영화대본 : 터미네이터 1 The Terminator

나와 내 친구들 모두.....

터미네이터가 되고 싶어했었다. ㅎㅎㅎ

정말로 대단했던 영화....

Article 27854 of rec.arts.movies:

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From: lb2e+@andrew.cmu.edu (Louis Blair)

Newsgroups: rec.arts.movies

Subject: Re: Terminator I 'Screenplay'

Message-ID: <Ad0ZKPa00Vp008UEd3@andrew.cmu.edu>

Date: 21 Oct 91 04:20:43 GMT

References: <9231@gara.une.oz.au> <ccw4kKG00WI_I6r1RE@andrew.cmu.edu> <aeNE01cBf2Tl00@amdahl.uts.amdahl.com> <Mcwea1m00VpB0=1FA=@andrew.cmu.edu> <d1jy01fGf4os00@amdahl.uts.amdahl.com>

<u906789.687663282@bruny>

Organization: Mathematics, Carnegie Mellon, Pittsburgh, PA

Lines: 2040

In-Reply-To: <u906789.687663282@bruny>

Just for fun, I decided to try to correct Steve Parkinson's transcript

of the first Terminator movie (and add a few remarks here and

there). Here it is:

I hope

this isn't going to cause too many (C) problems.

Obviously, this script contains one or two SPOILERS.

Some of the cast abbreviations:

T Terminator

S Sarah Conner

R Reese

Vl Vulkovitch

Tx Traxier

 

-----------------------------------------------------

The Terminator

-----------------------------------------------------

Subtitle:

Los Angeles 2029 AD

The machines rose from the

ashes of the nuclear fire.

Their war to exterminate

mankind had raged for

decades, but the final

battle would not be fought

in the future.

It would be fought here,

in our present.

Tonight...

>>Tomorrow night, really.

Scene: Dark alley, Garbage truck

Subtitle:

Los Angeles 1984

1:52 a. m.

>Truck motor stops.

Truck Driver:

what the hell .. god damn son a bitch..

>electrical storm, flash of light.

Truck Driver:

what the hell

>Truck Driver gets out of truck and runs away

>Terminator is naked on the ground.

>He stands and looks out over the city.

Scene: Punks standing around a pay-telescope.

Punk1:

Hey my turn ... Come on.

Punk2: (seeing t)

Hey. What's wrong with this picture?

Punk1:

Nice night for a walk, eh?

T:

Nice night for a walk.

Punk2:

Washday tommorrow, nothing clean. Right.

T:

Nothing clean right.

Punk1:

Hey, I think this guy's a couple cans short of a six pack.

T:

Your clothes, give them to me. NOW.

Punk1:

Fuck you, asshole.

>T pushes them out of the way (violently)

>T decides to have a heart.

>Only remaining punk starts taking off his clothes very

>quickly.

SCENE: Another dark alley

>Tramps mumbling, moaning.

Drunk (talking to nobody):

Yeah, I have to put up with that bullshit. She's alway after me.

>More electrical disturbance. A dark sphere is visible in the air.

>R drops to the ground, naked, exhausted.

>The sphere is still visible for a second.

>R moves down the alley.

Drunk:

Hey buddy. Did you just see a real bright light?

>Cop car swings round corner.

>Cop sees R pulling on drunk's trousers

Cop2:

You see that?

Cop1:

Hold it right there.

Cop2:

He's rabbiting.

Cop1:

Hey, I said hold it.

Cop2:

Go.

Drunk:

That son of a bitch took my pants.

>Chase down alleyway.

>Cop loses R.

>R attacks cop, gets his gun, and points it at him.

R:

What day is it? The DATE?

Cop:

12th May, Thursday

>>This is technically wrong. It is after midnight. Friday,

>>really. With a gun pointed at him, I guess his error is

>>understandable. In case anyone cares, the 12th of May

>>really fell on a Saturday in 1984.

R:

What year??

Cop:

What?

>Hears another cop car coming.

>R enters building (a department store)

Cop:

He's got my gun. Let's go.

>Cops follow.

>R finds an overcoat, and shoes.

>R exits building, via fire escape.

Radio voice:

Lost the suspect, sir.

>He grabs shotgun out of cop car.

>>I wonder where he got all of the extra bullets that he seems

>>to have later on.

>... and walks off down street

>He goes into a phone booth, looks at the phone book, under

>Sarah J Conner... He rips out that page.

>>Her name was on the right side page.

SCENE: outside Diner, Sarah's workplace.

Sarah Conner on moped arriving for work.

S (to large plastic statue):

Guard it for me, big buns.

Sarah's friend:

Hi.

S:

Hi, I'm late.

Sarah's friend:

So am I.

>Sarah clocks in.

Scene: T breaks into car, hotwires ignition.

Scene: Diner

S:

... five minutes, so am I.

Coffee drinker:

Honey, can I have that coffee, now, please?

S (carrying food and not stopping):

Yes, sir.

(arrives at another table)

Okay, who gets the burly beef?

Man at the table:

Uh. I ordered the barbecue beef.

Another man at the table:

I think that's mine, but I didn't order fries.

Woman at the table:

He get's the barbecue beef. Mine's the chili beef deluxe.

S:

Okay, who gets the burly beef?

Woman at next table:

Miss. We're ready to order now.

S:

Yes, mam.

>She spills a drink.

S:

Oh god, I'm sorry. This isn't real leather, is it?

>Boy at next table puts blob of icecream in S's pocket.

One of the male customer's:

Nice going kid. Oughta give you the tip.

Sarah's friend:

Look at it this way, in a hundred years, who's gonna care.

>T goes into gun shop.

T:

The 12 gauge autoloader.

Storekeeper:

That's Italian, you can go pump or auto.

T:

The .45 longslide, with laser sighting.

Sk:

These are brand new, we just got them in. That's a good gun.

Just touch the trigger, the beam comes on and you

put the red dot where you want the bullet to go.

You can't miss. Anything else?

T:

Phased plasma rifle in the 40 watt range.

>>Arnold delivers this line real well. Most people don't

>>even notice that he is asking for something a bit weird.

Sk:

Hey, just what you see pal.

T:

Uzi 9mm

Sk:

You know your weapons buddy.

Any one of these is ideal for home defense.

So, which will it be?

T:

All.

Sk:

I may close early today... there's a fifteen day wait

on the handguns, but the rifles you can take right now.

>T loads gun

Sk:

You can't do that..

T:

Wrong.

>>This seems slightly out of character for a machine. Why

>>bother saying, "wrong"?

>T shoots him.

SCENE: R sawing off shotgun in alley.

SCENE: T drives up to phone booth in car. Warren is talking to

a woman on the phone.

Warren:

Hi baby. Yeah, yeah, it's me. Listen, I need you to come pick me

up. My bike just broke down. I don't care what you're doing.

Come and get me. What the ...

>T pulls Warren away.

Voice on the phone:

Warren. You listening to me, Warren?

Warren:

Hey man.. you got a serious attitude problem.

>T looks up S 's address

>>It is on the left page.

Voice on the phone:

Warren. Where are you? Come on, Warren. What are you doing?

Come on! Well, I'm just going to go pick up ...

SCENE: T in car, stops, crushing kid's toy car.

DOG barks at T - T knocks on door.

T:

Sarah Conner

Sarah Louise Connor:

Yes?

>T shoots her with .45 longslide.

SCENE: In diner

S:

I'm on my break.

S's friend:

Sarah come here .. .. it's about you. I mean, sort of.

So incredible, you're not gonna believe this.

Sit down.

You are going to love this.

S:

What?

>listens to TV

tv announcer:

... a description of the suspect has been compiled from several witnesses.

Once again.. Sarah Conner, 35, mother of two, brutally shot to death

at her home this afternoon.

SF:

You're dead honey.

tv announcer:

In other late breaking news, Teamster representatives have issued

a statement ...

SCENE: construction site

>R hotwiring car. The set is reminiscent of future. Reese looks at the

>catapillar tracks on the construction equipment, but SEES the

>DEstruction equipment from the future.

SCENE: war in future

>R destroys a war machine, but they get his car, and turn it over.

>R wakes up! (from dream)

SCENE: Sarah and her flatmate Ginger in their apartment, getting

ready to go out.

S (accidentally bumping into Ginger):

Sorry.

>Phone rings.

S:

Hello.

Man on phone:

First I'm gonna rip the buttons off your blouse one by one.

Then run my tongue down your neck to your bare gleaming

breasts. And then slowly, slowly pull your jeans off inch by inch

>Sarah covers the mouthpiece, and giggles.

S:

Ginger, it's Matt.

Matt:

... further and further. And then pull your panties off with my

teeth.

S:

Who is this?

Matt:

Oh shit. Jesus. Sarah? I'm sorry, I thought you were..

Can I talk to Ginger please?

S:

Sure, bunky.

>Ginger takes the phone.

S:

It's the creep.

G:

Hello.

Matt:

First I'm gonna rip the buttons off your blouse one by one...

SCENE: police station uncooperative man being taken in.

Uncooperative man:

You fucking chimps. Wait till I get my hands on you. Get off

of me.

Vl:

Ed.

Tx:

What have you got?

Vl:

Dead girl.

Tx:

I can see that.

Vl:

Sarah Anne Conner, secretary, 35. Shot six times at less than

ten feet. Large callibre weapon.

Tx (holding out his glasses for a moment):

You know these work.

What's this?

Vl:

Dead girl, two. Sent over from the Valley division this afternoon.

Tx:

Are you sure there's a point to all of this?

Vl:

Look at the name, Ed.

Tx:

Sarah Louise Conner. Is this right?

>Vl nods.

Tx:

You're kidding me.

Vl:

The press is gonna be short stroking it all over the place.

Tx:

A one day pattern killer.

Vl:

I hate the weird ones.

SCENE in Sarah's apartment. Ginger pulls open one of the

buttons at Sarah's neck.

G:

So! Hah! Better than mortal man deserves.

Sarah kisses Ginger on the cheek and leaves the bathroom

where they had been looking in the mirror.

S:

Ginger, you seen Pugsly?

G:

No, not lately. Did you check messages?

S:

Huh-uh, I thought you did.

(to Pugsly, a lizard)

There you are, young man. You mind your mother.

Phone machine:

BEEP. Hi Sarah. This is your mom. You know how I hate this

machine so call me back, Monday, you hear. Bye. BEEP. Hi

Sarah, Dan Morsky.. uh something's come up and it looks like

I won't be able to make it tonight. Just can't get out of it. Look,

I'm really sorry. I'll make it up to you. Call you in a day or so,

okay? Sorry, bye.

G:

That bum. So what if he has a Porsche. He can't treat you like this.

It's Friday night for Christ's sake.

S:

I'll live.

G:

I'll break his kneecaps.

S:

Well, Pugsley still loves me don't ya baby?

G:

Gawd, it's disgusting.

S:

I'm gonna go to a movie, kiddo. You and Matt have a good time.

G:

We will. You too.

S:

Okay.

>S goes out of the door & bumps into Matt oustide, who's just

>arriving.

S:

Matt.

>She pokes at him. He kisses her on the cheek.

>She then goes into the basement garage and gets on her moped.

>Reese follows her in a car.

SCENE police dept

Tx and Vl see press.

Vl:

Oh, shit.

Press:

Lt., are you aware that these two killings occured in the same order

as their listings in the phone book.

Tx:

Now, what can I tell you guys. No comment.

Press:

But Lt., We've got two murders out ...

>The door is closed.

Vl:

That coffee is two hours cold.

>Tx starts drinking it anyway.

Vl:

I put a cigarrette out in it.

Tx:

Did you reach the next girl yet?

Vl:

No.. I keep getting an answering machine.

Tx:

Send a unit.

Vl:

I sent a unit. There's no answer at the door, and the apartment

manager is not home.

Tx:

Call her.

Vl:

I just called her.

Tx:

Call her again! Give me a cigarette.

>Vl hands him a pack. Tx realizes that he is already smoking a

>cigarette.

Answering machine:

Hi there. Hah-hah-hah. Fooled you. You're talking to a machine,

but don't be shy. It's okay. Machines need love, too. So talk to it

and Ginger (that's me) or Sarah will get back to you. Wait for the

beep. BEEP.

Vl:

Same shit.

Tx:

I can hear it now. He's gonna be called the god damn phone book

killer.

Vl:

I hate these press cases. Especially the weird press cases.

Where you going?

Tx:

To make a statement. Maybe make these jackals work for us

for a change. If I can get on the tube by 11 oclock, maybe she'll

call us. Well, how do I look?

Vl:

Like shit, boss

Tx:

Your mama.

scene:

S is in a bar, watching TV.

Announcer:

This just in... police have announced the name of the victim in the

second of two execution style murders which took place today.

Incredibly, the names of the victims are virtually identical.

Two hours ago, 35 year old Sarah Anne Conner was pronounced dead

at the scene in her Santa Monican apt. Sarah Louise Connor was

slain by a lone gunman earlier today in her home.

Guy at bar:

Can we change the channel?

Bartender:

Sure.

S:

Don't touch it!

A:

Now police are refusing to speculate on the apparent similarity between

these shooting deaths, and no other connection between the two victims

has been established, as of yet. Of course, we'll have more on this late

breaking story as it comes in. A spectacular fire fueled by solvents, oils,

and other flammable liquids swept through the Bors Oil Company on

North Spring Street, just northeast of Chinatown, Wednesday night.

>>Slight error here. They would not be likely to be reporting on a

>>two day old fire.

>Sarah looks at phone book listing, and she's next on the list.

>>Her name is on the right side, again.

>She walks out into the street. She sees R following her.

>She walks into a club called `Technoir'.

S (to teller):

Hey, you got a phone?

Teller:

It's in the back. Hey .. $4.50

S gives her the money.

>S dials 911.

Phone:

You have reached the Los Angeles police dept. emergency number.

All our lines are busy. If you need a police car sent out to you, please

stay on the line.

SCENE: Outside G & S's apartment.

Police car radio:

2-11 in progress at Bob's liquor, corner of Third and Cameron.

>>Very cute.

Police car radio:

One suspect believed ...

>Police car drives away. Mr. T moves toward the apartment.

SCENE: G & S's apartment.

G leaves Matt in bed and, wearing headphones, goes to the fridge.

Pugsley knocks things off a shelf and frightens her.

G:

Shoo... Go on. I'm gonna make a belt out of you..

>T enters bedroom, Matt wakes up.

Matt:

Whoa..

(picking up a lamp)

Don't make me bust you up man.

>T throws Matt through a glass partition. He gets up and

>charges at T.

>G is still preparing food in the kitchen.

>T throws Matt against a mirror, shattering it. He gets up

>again and tries to tackle T!

>G is STILL preparing food in the kitchen.

>T throws Matt onto some shelves, causing them all to collapse.

>Would you believe that Matt gets up, again!?!?

>>I think Matt must have been the sixth replicant.

>Ginger is returning to the bedroom. She hasn't heard ANY of

>this! T throws Matt through the bedroom door. He's dead now.

>T kills Ginger.

>>This is the low point of the movie. It reminds one of all those

>>teen-slice-and-dice movies.

>Phone rings. Answering machine answers.

Answering machine:

Hi there. Hah-hah-hah. Fooled you. You're talking to a machine,

but don't be shy. It's okay. Machines need love, too. So talk to it

and Ginger (that's me) or Sarah will get back to you. Wait for the

beep. BEEP.

S:

Ginger, this is Sarah. Pick up if you're there.

I'm at this place on Pico Boulevard called Technoir.

I'm really scared.

I think that there's somebody after me.

I hope that you play this back soon. I need you

and Matt to come and pick me up as soon as possible. The police

keep transferring me around.

I'm gonna give them another try.

The number here is 555-9175.

>>Yeah, yeah, I know. Please, let's not start THAT thread again.

S:

Call me, you know. I need your help.

>T looks for photo of Sarah. He gets her address book too.

Vl:

It's her.

Tx:

Sarah Conner? It's Lt. Traxier.

S:

Look, Lt., don't put me on hold and don't transfer me to another

dept.

Tx:

Don't worry, I won't. Now just relax. Can you tell me where you

are?

S:

I'm in this bar called Technoir.

Tx:

Yeah, I know, it's on Pico.

s:

Yeah, but I don't wanna leave, I think there's a guy following me.

Tx:

Alright, now listen, Miss Conner. Now listen carefully.

You're in a public place, so you'll be safe till we get there

but stay visible. Don't go outside or even to the restroom.

I'll have a car there in a hot minute.

S:

OK.

>T arrives.

Teller:

Hey that guy didn't pay.

>T crushes bouncer's hand.

>Sarah knocks a bottle off her table, and bends down to get it.

>The terminator passes by her table, but doesn't see her as she's

>bent down. When she straightens up, she sees Reese. The terminator

>looks again at the table, sees her, and gets his gun out.

>Reese gets HIS gun out, and shoots the terminator just as the laser

>sight trains on Sarah's head.

>Terminator gets shot several times and falls down.

>>Here, Reese's gun behaves like the typical Hollywood one-way

>>momentum machine. By physical law, the gun has to push

>>Reese at least as hard as the bullet pushes the Terminator.

>>Nevertheless, the Terminator is knocked flat and Reese is

>>still standing.

>Sarah runs.

>T reboots, gets up, causes mayhem, shooting

>all over the place.

>The woman just behind Sarah is hit and falls

>dragging Sarah to the ground.

>T reloads.

>R shoots him from behind, 5 times.

>T is propelled past Sarah and through a window.

R (to Sarah):

Come with me if you wanna live.

COME ON.

>They run to the back, chased by T.

>Reese reloads as they run.

>R shoots a gas tank on a car, blowing it up in front of T.

>T dives on R's car.

>T punches through windscreen, grabbing S.

>R drives car into another parked car, throwing T off.

Police officer:

This is 1L19. I gotta hit and run fellony. Suspect vehicle late model

grey Ford westbound on 7. He's really moving, punching lights

all the way. I'm gonna need an ambulance at 7th and Broadway.

Right now.

(to T)

Hey hold it. ... Oh god.

>T steals car, bangs officer's head against door of car, knocking him

>out.

R (to S):

Hold on.

Are you injured?

Are you shot?

>S starts squirming, perhaps trying to open the car door. Reese

>reaches across in front of her to hold her down.

>>There are some continuity errors involving Reese's right

>>arm if you want to watch for them.

R:

Do exactly what I say.

>We see Reese move his hand from in front to behind her head,

>presumably to hold Sarah by her hair.

R:

Exactly. Don't move unless I say. Don't make a sound

>On the word, "sound", Reese's arm INSTANTLY appears in

>front of Sarah again. No transition.

R:

unless I say. Do you understand? DO YOU UNDERSTAND?

>Now his hand is suddenly behind Sarah's head again.

S:

Yes. Please don't hurt me.

>Reese does some fancy driving here. His right hand is now

>on the wheel. More fancy driving. Now his arm is in front

>of Sarah, again.

R:

I'm here to help you.

(We finally see him withdraw his arm and put it back on the

wheel.)

I'm Reese. Sergeant Techcom DN38416 assigned to

protect you. You've been targeted for termination.

T: (impersonating officer's voice)

This is 1L19 westbound on Olympic, approaching Overland.

S:

This is a mistake. I didn't do anything.

R:

No, but you will. It's very important that you live.

S:

This isn't true. How could that man just get up after you did ...

R:

He's not a man, a machine, a terminator. Cyberdyne systems

model 101.

S:

A machine? Like a robot?

R:

Not a robot. A cyborg. Cybernetic organism.

S:

No, he was bleeding.

R:

Just a second.

Get your head down.

>Reese evades some police cars and drives into a parking lot.

R:

Alright, listen. The terminator is an infiltration unit, part man, part

machine, underneath it's a hyper alloy combat chassis, microprocessor

controlled, fully armoured, very tough. But outside, it's living human

tissue. Flesh, skin, hair, blood - grown for the cyborgs.

S:

Look Reese, I don't know what you want from me

R:

Pay attention. I gotta ditch this car.

The 600 series had rubber skin. We spotted them easy. But these are new.

They look human, sweat, bad breath, everything, very hard to spot. I had

to wait till he moved on you before I could zero him.

S:

Look, I am not stupid you know. They cannot make things like that yet.

R:

Not yet, not for about 40 years.

S:

Are you saying it's from the future.

R:

One possible future. From your point of view. I don't know tech stuff.

S:

Then you're from the future too, is that right?

R:

Right.

S:

Right.

>S tries to get away, biting R's hand.

R:

Cyborgs don't feel pain. I DO. Don't do that again.

S:

Just let me go.

R:

LISTEN, and understand. That terminator is out there. It can't be

bargained with, it can't be reasoned with. It doesn't feel pity, or

remorse, or fear. And it absolutely will not stop, ever, until you are

dead.

S:

Can you stop it?

R:

I don't know. With these weapons, I don't know.

>T hears polices radio.

Radio:

All units all units. Grey Ford, suspct vehicle, has been found in a

parking structure at forth and poetry ...

>T turns his car around in a hurry.

Radio:

... in location lower level all night parking garage ...

>R & S switch to another car.

Radio:

... suspect is described as a male, white, six feet, 25 years, with a

green overcoat ...

S:

Reese, why me? Why does it want me?

R:

There was a nuclear war, a few years from now. All this, this whole

place, everything, it's gone, just gone.

The survivors, here, there, nobody even knew who started it.

It was the machines, Sarah.

S:

I don't understand.

R:

Defense network computers, new, powerful, hooked into everything

Trusted to run it all. They say it got smart, a new order of

intelligence, then it saw all people as a threat, not just the

ones on the other side. It decided our fate in a microsecond.

Extermination.

S:

Did you see this war?

R:

No, I grew up after, in the ruins, starving, hiding from HKs.

s:

HKs?

R:

Hunter killers, patrol machines, built in automated factories

Most of us were rounded up, put in camps, for orderly disposal.

(He shows Sarah a code on his arm.)

It's burned in by laser-scan.

Some of us were kept alive, to work, loading bodies. The disposal

units ran night and day. We were that close to going out forever.

But there was one man, who taught us to fight, to storm the wire of

the camps, to smash those mutant mother fuckers into junk. He

turned it around. He brought us back from the brink. His name

is Conner, John Conner.

>>Sarah must not have been listening too closely at this point.

R:

Your son Sarah, your unborn son.

>T drives up in a police car with "To care and to protect" on the side.

>Big car chase follows.

>>Neither T nor R ever seems to try to aim for the tires.

R (to Sarah):

Drive.

>Sarah takes over the driving. Eventually they reach a dead end.

S:

Resse.. Reese..

>Both cars crash, and the police arrive.

>Reese reaches for the gun.

S:

No Reese, no, no, no.

They'll kill you.

Police1:

You in the Cadillac. Let me see your hands now. Get out of the car.

Drop to your knees.

Police2:

Out of the car.

Police1:

Drop to the ground.

>The wrecked police car is empty.

>>I can't make out the words on the side, but they are definitely not

>>"To care and to protect".

>Back at the police station:

Tx:

Sarah? Sarah try to drink some of this.

S:

(about Ginger and Matt, to police)

Listen. Are you sure its them? I mean, maybe I should look at the

bodies?

Tx:

No, they've been identified. There's no doubt.

S:

She didn't do anything.

Tx:

Sarah, Sarah, this is Dr Silberman.

D:

Hi, Sarah.

Tx:

I want you to tell him everything that

Reese told you. Do you feel up to that?

S:

Yeah, I guess so. You're a doctor?

D:

Criminal psychologist.

S:

Is Reese crazy?

D (clicking pen):

Well, that's what we're gonna find out.

SCENE: T repairing arm.

SCENE: Interview room, Doctor Silberman interviewing Reese

D:

So, you're a solider, fighting for whom?

R:

With the 132nd under Perry, from 21 to 27.

D:

That's the year 2027?

R:

That's right. Then I was assigned ...

Vl (listening in from the next room):

This is fucking great.

R:

... for the last two years under John Conner.

D:

And who was the enemy again?

R:

A computer defense system built for

Silberman's pager:

BEEP, BEEP, BEEP, ...

>>This is a nice touch. Those gadgets are infuriating.

D:

(shutting off pager)

Oh damn. Sorry.

R:

Built for SAC NORAD by Cyberdyne systems.

D:

I see. And this computer, thinks it can win by killing the mother of

its enemy. Killing him in effect, before he's even conceived. A sort of

retroactive abortion?

Vl (to Tx, still in the other room, listening):

That guy Silberman really cracks me up. Last week he had this guy

in there who burned his afghan. He screwed it first .. then he set it..

Tx:

Hey. Shut up.

D:

Why didn't the computers just kill Conner then? Why this elaborate

scheme with the terminator?

R:

It had no choice. Their defense grid was smashed. We'd won. Taking

out Conner then would make no difference. Skynet had to wipe out his

entire existance.

D:

Is that when you captured the lab complex and found that.. What is it

called ... the time displacement equipment?

R:

That's right. The terminator had already gone through. Conner sent

me to intercept and they blew the whole place.

D:

Well, how are you supposed to get back?

R:

I can't .. nobody goes home. Nobody else comes through.

It's just him, and me.

SCENE: T removes fake eyeball (yuck) and uses dark glasses to cover

up the hole.

SCENE: Police station, officers, doc, and Sarah are now watching the

videotape of the interview.

>>Presumably, Sarah has just heard the name, John Connor,

>>for the second time.

R (on tape):

It's just him, and me.

D (on tape):

Why didn't you bring any weapons, something more advanced?

Don't you have ray guns?

Vl (watching and laughing):

Ray guns.

>D laughs, too.

D (on tape):

Show me a piece of future technology.

R (on tape):

You go naked, something about the field generated by a living

organism, nothing dead will go.

D (on tape):

Why?

R (on tape):

I didn't build the fucking thing!

D (on tape):

Okay, Okay. But this cyborg.. if it's metal..

R (on tape):

.. SURROUNDED BY LIVING TISSUE.

D (on tape):

Oh, right, right.

>D stops the tape

D:

This is great stuff. I could make a carreer out of this guy.

You see how clever this part is? How it doesn't require a shred

of proof. Most paranoid delusions are intricate, but this is

brilliant.

>D starts tape.

D (on tape):

Why were the other two women killed?

R (on tape):

Most of the records were lost in the war. Skynet knew almost

nothing about Connor's mother. Her full name.. where she lived

They just knew the city. The terminator was just being systematic.

D (on tape):

Uh-huh. Well, lets go back to one other thing...

R (on tape):

LOOK. You have heard enough. I have answered your questions,

now I have to see Sarah Conner.

D (on tape):

I'm afraid that's not up to me.

R (on tape):

Why am I talking to you?

D (on tape):

Because I can help you.

R (on tape):

Who is in authority here?

D (on tape):

Please ...

R (on tape):

Shut up. You still don't get it, do you. He'll find her. That's what he

does. That's all he does. You can't stop him. He'll wade through you,

reach down her throat, and pull her fucking heart out.

Tx:

Doug.

R (on tape):

Let go of me..

>D stops tape

D:

Sorry.

S:

So, Reese is crazy.

D:

In technical terminology. He's a loon.

Tx:

Sarah. This is what they call body armour. Our TAC guys wear these.

Stop a 12 gauge round. This other individual must've been wearing

one under his coat. Feel that.

S:

What about when he punched through the windshield?

Vl:

He was probably on PCP. Broke every bone in his hand, wouldn't

feel it for hours. There was this guy once.. see this scar....

Tx (interrupts him, handing him the armor):

Here.

Vl:

Thank you.

Tx:

There's a couch in this other room. Why don't you stretch out and

try to get some sleep. It'll be at least an hour before your

mother gets here from Big Bear.

S:

I can't sleep.

Tx:

Well, try. It may not look it, but that couch is very comfortable.

You'll be perfectly safe. We got 30 cops in this building.

S:

Thank you.

SCENE: At police station desk.

D (leaving):

Goodnight.

Desk sergeant:

Goodnight.

Pager:

BEEP, BEEP, BEEP, ...

>D shuts it off as he leaves and doesn't notice T, arriving.

T:

I'm a friend of Sarah Conner. I was told that she's here. Could

I see her please?

Desk sergeant:

No. You can't see her, she's making a statement.

T:

Where is she?

Desk sergeant:

Look, it may take awhile. If you want to wait, there's a bench

over there.

>>Sarah is actually sleeping. This guy is a twit.

T:

I'll be back. (TM)

>T drives car through door of police station.

>S wakes up.

>T walks through police station, killing as he goes. Major death

>here.

Voice:

Is it a terrorist or something?

Tx (to Sarah):

Stay here.

Voice:

Move it, move it, move it, move it!

Another voice:

I got him. I got him.

BANG!

>(No, he doesn't.)

>T fuses lights.

Voice:

What happened to the lights?

Vl (to officer guarding Reese):

Watch him.

>Vl exits,

>R kicks officer to ground, and gets his keys.

Voice:

Let's go!

>T shoots Tx.

Vl:

Ed!

(Turning to T with gun.)

Hey!

>T shoots Vl.

>>None of the many weapons fired at T has as much effect as

>>the police rifle stolen by R and used at Technoir. Why?

>Someone is trying to get into the room where Sarah is.

>It's Reese.

R:

Sarah?

S:

Reese!

R:

This way.

>They steal a car and get away, with T shooting after them.

SCENE : Car out of fuel.

Radio:

KFLB newstime 4:36. In the top story of the hour, the largest

single law enforcement mobilization in California history is

currently under way. Police in five southern counties are

engaged in a massive manhunt for an unidentified ...

R (opening trunk and indicating first aid kit):

Take this..

Alright, let's get this off the road.

>R & S push the car off the road.

>They go under the bridge.

R:

You cold?

S:

Freezing.

>Reese puts his arm around her.

S:

Reese. You got a first name?

R:

Kyle.

S:

Kyle, what's it like when you go through time?

R:

White light. Pain. It's like being born, maybe.

S (sees R's wound):

Oh my god.

R:

I caught one back there.

S:

You mean you got shot?

R:

It's not bad.

S:

Well, we gotta get you to a doctor.

R:

It's ok, forget it.

S:

What do you mean, "forget it"? Are you crazy?

Take this off.

Jesus.

R:

It passed right through the vein.

>>That can't be right, but that's what it sounded like to me.

S:

Oh .. this is gonna make me puke.

Would you just talk about somehting.

R:

What?

S:

I don't know, anything. Just talk. Tell me about my son.

R:

He's about my height. He has your eyes.

S:

What's he like?

R:

You trust him. He's got a strength.

I'd die for John Conner.

S:

At least now I know what to name him.

>>But she's heard that name at least once and probably twice

>>before. Oh well. I guess it's late.

S:

I don't suppose you know who the father is, so I won't

tell him to get lost, when I meet him?

R:

John never said much about him. I know he dies before the war.

S:

Wait! I don't want to know.

So, was it John that sent you here?

R:

I volunteered.

S:

Why?

R:

It was a chance to meet the legend: Sarah Conner.

Taught her son to fight, organize, prepare from when he was a kid

when you were in hiding, before the war.

S:

You're talking about things I haven't done yet in the past tense.

It's driving me crazy.

Are you sure you have the right person?

R:

I'm sure.

S:

Come on. Do I look like the mother of the future. I mean

am I tough, organized? I can't even balance my checkbook.

Look, Reese, I didn't ask for this honor, and I don't want

it, any of it.

R:

Your son gave me a message to give to you. Made me memorize it.

Thank you Sarah for your courage through the dark years. I can't help

you with what you must soon face except to say that the future is not

set. You must be stronger than you imagine you can be. You must

survive or I will never exist.

That's all.

(looks at bandage)

It's a good field dressing.

S:

You like it? It's my first

R:

Get some sleep. It'll be light soon.

S:

Okay. Talk to me some more.

R:

About what?

S:

Tell me about where you're from.

R:

Alright. You stay down by day, but at night you can move around.

You still have to be careful because the HKs use infra red. They're

not too bright. John taught us ways to dust them. Till the infiltraters

started to appear. Terminators were the newest - the worst.

SCENE: future

Radio voice:

...traversing your sector in search mode seven five zero meters north

your position.

R:

Let's go.

(arriving at base)

REESE DN384 ...

Guard:

Right.. let him in.

>Dogs sniff him.

>Reese moves through the base. Nobody says anything to him.

>Others seem to have companions. Reese is a loner.

>One kid is stairing at a television with the insides all

>gone. There is a small fire in the middle.

>>This is cute, but very hard to believe. The kid would be too

>>young to remember real television. Also, melting plastic

>>makes a horrible smell. Somebody would certainly make

>>the kid put out the fire.

>R gets a picture out of a pocket on his sleeve,

>.. it's Sarah.

>The dogs start barking. All hell breaks loose.

>A terminator has infiltrated the base.

>Sarah's picture gets burned.

Voice:

Terminator. Terminator.

SCENE: back to present

S:

I was dreaming about dogs.

R:

We use them to spot terminators.

S:

Your world is pretty terrifying.

SCENE: T's apt.

>T is looking through Sarah's address book, which he took from

>her apt.

Landlord:

Hey buddy.. got a dead cat in there or what?

>The terminator considers possible responses:

>YES/NO

>OR WHAT?

>GO AWAY

>PLEASE COME BACK LATER

>FUCK YOU, ASSHOLE

>FUCK YOU

T:

Fuck you, asshole.

>T sees address:

>MOM'S CABIN BIG BEAR 555-9661

>181 SPRUCE LANE

>T leaves carrying a BIG gun.

Person in hallway:

>God damn!

SCENE: motel

S (to driver of truck who gave them a lift):

Thank you.

R (with cash):

Is this enough?

S:

Yeah, it's enough. I don't wanna ask where you got it.

Motel guy:

I'm coming.

S:

We need a room.

R:

With a kitchen

S:

Do you have one with a kitchen?

SCENE: In room

S:

I am dying for a shower. We should check your bandage too.

R:

Later. I'm going out for supplies.

Keep this.

>It's a gun. R leaves.

>Sarah phones mom.

S:

No.. I can't tell you where I am mom. I was told not to say.

Mom's voice:

Oh but honey. I need to know where I can reach you. You tell

me to hide out here at the cabin like some fugitive and you won't

tell me what's going on? I am worried sick dear.

S:

OK. Ok. Here's the number.

SCENE: at cabin, conversation continues.

S:

Ready?

M's voice:

Yes. Go ahead.

S:

408-555-1439, room 9. Got it?

M's voice:

I got it.

S:

I gotta go.

I'm sorry, I can't tell you more right now.

I love you mom.

>Sarah's mother has been killed by the Terminator. The terminator

>is impoersonating Sarah's mother's voice.

M's voice:

I love you too sweetheart.

>Sarah looks at the phone as though she is slightly puzzled and

>then hangs up.

>>Since the terminator acts like such a "dork" all the time,

>>I've always found it hard to believe that it could do a very

>>convincing mother imitation. One possible answer to this

>>problem: Even today we have programs that can imitate

>>human conversation in certain limited domains. The doctor

>>program is a famous example. Perhaps the terminator has

>>a special mother-simulation program that works well for

>>that specific purpose, without giving it the ability to pass

>>easily for a human in any context.

>T rings up the number Sarah has given him.

T:

Give me your address there.

SCENE: Motel

S:

What've we got

Mothballs, corn syrup, ammonia, ...

What's for dinner?

R:

Plastique.

S:

Mmm, that sounds good. What is it?

R:

Nitroglycerine based. It's a bit more stable. I learned to make it

when I was a kid.

SCENE: Terminator on motorcycle.

SCENE: Motel

R:

Make sure there's none on the threads. Like this. Screw it in carefully.

>Sarah screws without care.

R:

SSuuh ( <- how do you write this word??) Very gently.

S:

You must have had a fun childhood.

R:

That's good.

Alright, six more like that, and we'll get started on the fuses.

>Later: Seven bombs are on the table.

S:

He'll find us, won't he?

R:

Probably.

S:

It'll never be over, will it?

Look at me, I'm shaking, some legend huh?

You must be pretty disappointed.

R:

No. I'm not.

S:

Kyle, the women in your time. What are they like?

R:

Good fighters.

S:

That's not what I meant. Was there someone special?

R:

Someone?

S:

A girl, you know?

R:

No, never.

S:

Never?

I'm sorry. I'm so sorry.

(Touching R.)

So much pain.

R:

Pain can be controlled. You just disconnect it.

S:

So you feel nothing.

R:

John Conner gave me a picutre of you once. I didn't know why at

the time. It was very old, torn, faded. You were young like you are

now. You seemed just a little sad. I used to always wonder what you

were thinking at that moment. I memorized every line, every curve.

I came across time for you, Sarah. I love you, I always have.

I shouldn't have said that.

>Sarah kisses him

>Passionately.

>VERY passionately.

>Then they do other things...

>Later:

S:

(acting like she's about to throw all the explosives at him.)

Think fast!

>They laugh.

>A DOG BARKS.

>T breaks into room, fires gun a bit.

>R & S are already outside, stealing a small truck.

>T gets on motorbike.

R:

TRADE PLACES.

Faster.

Drive faster.

>R tosses four bombs.

>R gets shot as he tosses the fifth bomb.

>Both the truck and the motorcycle crash.

>BIG truck hits T.

>T hangs onto underside of BIG truck.

>Driver gets out of BIG truck, T disposes of him.

Codriver:

Let's get out of here.

>T gets in BIG truck.

T:

Get out.

>T drives towards Sarah Conner in crashed small truck.

>Kyle can barely move.

S:

Kyle. Come on. Get up. Help me, Kyle. Come on. Help me.

Get out. Get out. Get out. Come on.

>T drives BIG truck into the little truck, but R + S get out in

>time.

R:

Just run. Run!

>R puts explosive into exhaust of BIG truck (a gas tanker),

>and dives into dumpster.

>Big truck explodes.

>>It does look to me as though the movie is trying to have us

>>believe that there were three separate explosions. The first

>>destroys the rear end of the truck. The second explosion

>>seems to be the big tank, and the third tears apart the cab.

>>I guess that it's supposed to be the dynamite, the big

>>tank, and then the truck's own fuel tank.

>fire everywhere

>R get's out of the dumpster.

>Flesh burned off T's body.

R:

Sarah.

S:

Kyle

Kyle.. Kyle .. we did it Kyle, we got it.

>Terminator gets up. His flesh is burned off, but the metal

>skeleton is still functional.

>>Actually, I have a hard time believing that this thing

>>could fit inside even Arnold's body. Particularly the

>>neck. The metal head is supported by two extra metal

>>braces in the back which certainly look too far apart

>>to fit inside any human neck that I ever saw.

S:

NO! NO!

>R & S run away and enter a building.

>They lock a door, but the T just keeps going.

R:

Wait.

>R turns on the machines.

S:

What are you doing?

R:

Cover, so he can't track us

S:

Come on.

>Suddenly, Reese is back in barely-able-to-move mode.

S:

Come on. No, Kyle. Come on. Come on.

R:

Leave me here.

S:

Get up..

Move it, Reese. On your feet solider, on your feet.

>T breaks through locked door.

>Chase through factory. S + R reach a dead end.

S:

Back. Go back.

>They back up, but

>T is behind them. They decide to head on up some steps.

>They reach the top.

R:

Run, Sarah.

S:

No.

R:

Run! Run!

>T reaches the top.

R:

Come on, mother fucker.

>R is now in super-active mode and hits T's head several times

>with a metal bar. R gets hit to the ground, but manages to put

>a stick of explosive into T's skeleton. BANG! R dies here.

>Sarah crawls to Kyle's body.

S:

Oh, no. No.

>Although his legs are ripped off, T is still pulling itself along by it's

>fingers. Sarah crawls under a press. T follows.

>She gets out of the press. T is coming for her.

S:

You're terminated, fucker.

>She starts the press. T is crushed. The red lights in it's eyes go out.

>Police arrive, take Sarah away. Kyle leaves in a body bag.

S:

Kyle.

EPILOGUE:

S:

Tape7, Novemeber 10. Where was I?

What's most difficult for me is trying to decide what to tell you and

what not to. But I guess I have a while yet before your old enough

to even understand these tapes. There more for me at this point, just

so that I can get it straight.

>Arrives at gas station.

S:

Gasolina por favor

Attendant:

Quanto?

S:

Llena el tanke.

A:

Ah.. fill her up. Si.

>Sarah resumes taping. Yes, in case you are wondering, the

>tape reels DO turn.

S:

Should I tell you about your father? Boy that's a tough one.

Will it affect your decision to send him here, knowing that he

is your father? If you don't send Kyle, you could never be.

God a person could go crazy thinking about this.

But I suppose I will tell you. I owe him that.

Maybe it'll help if you know that in the few hours that we

had together, we loved a lifetime's worth.

>boy takes photo:

Boy:

>spanish dialogue, sorry

S (to attendant):

What did he just say?

A:

He says you're very beautiful, senora, and he's ashamed to ask you

for five American dollars for this picture. But if he doesn't, his father

will beat him.

S:

Pretty good hustle, kid. Quatro.

Boy:

Si si. Gracias.

Boy:

>spanish dialogue, sorry

S:

What did he just say?

A:

He said there's a storm coming in.

S:

I know.

-----------------------------------------------------

The end.

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