The Terminator Page #11

REESE:

Come with me if you want

to live.

She looks where he is pointing.

CUT TO:

94 EXT. STOKER'S BAR/STREET - NIGHT 94

Terminator is rising unsteadily to his feet. Shattered

glass rains from him, except where it sticks to his blood-

drenched shirt and coat.

C.U. - TERMINATOR, as he slowly look up, his blue eyes

riveting STRAIGHT INTO THE CAMERA.

CUT TO:

95 INT. STOKER'S BAR - NIGHT 95

C.U. - SARAH, feeling a lightning blot of terror greater

than she could ever imagine as the cold gaze fixes on her.

SARAH:

(awed whisper)

Oh my God...

CUT TO:

96 INT./EXT. STOKER'S BAR - NIGHT 96

PANAGLIDE PRECEDING TERMINATOR as he clambers back through

the window and starts through the burning bar.

CUT TO:

97 INT. STOKER'S BAR - NIGHT 97

PANAGLIDE MOVING IN ON REESE AND SARAH as he runs, drag-

ging her with him, toward the back.

REVERSE ON TERMINATOR, DOLLYING as he crashed through the

wreckage in the swirling smoke, hurling burning tables out

of his way.

CUT TO:

98 INT. KITCHEN/HALLWAY/EXIT CORRIDOR 98

PANAGLIDE FOLLOWING REESE AND SARAH, running headlong

through the cluttered kitchen, then down a narrow back

hallway. Sarah stumbles and Reese brutally pulls her to

her feet without slowing.

He hits a closed door, which crashes open.

Hauls Sarah through, into another corridor.

Slams and blot-latches it.

An instant later an impact from the far side tears the

latch-screws half out of the wall.

They run on.

CUT TO:

99 INT. HALLWAY - NIGHT 99

Terminator takes a step back from the closed door and

slams into it again. It starts to give way.

behind him the flames engulf a CAN OF CLEANING SOLVENT.

CUT TO:

100 INT./EXT. EXIT CORRIDOR/ALLEY - NIGHT 100

Reese and Sarah pelt down the narrow corridor, fling open

the outside door and spin out into the alley.

TIGHT ON DOOR at far end. It splinters open and Terminator

sprints down the corridor.

CUT TO:

101 INT. HALLWAY - NIGHT 101

The cleaning solvent EXPLODES.

CUT TO:

102 INT. EXIT CORRIDOR - NIGHT 102

DOLLYING AHEAD OF TERMINATOR, very fast, as he runs full-

throttle. Behind him a fireball of superheated gas hurtles

down the narrow hallway. He clears the outer door an

instant before the tongue of flame roars out into the alley.

CUT TO:

103 EXT. STREET IN FRONT OF STOKER'S - NIGHT 103

Vukovich's plain car arrives, slewing to a stop in the

glass-littered street in front of the blazing building.

He leaps out, Traxler right in behind him.

VUKOVICH:

(shouting)

What the f*** is going on?

TWO LAPD UNITS arrive behind them. He motions to the

nearest one.

VUKOVICH:

(continuing)

Cover the alley in back.

He heads for the inferno at a run.

CUT TO:

104 EXT. ALLEY BEHIND STOKER'S - NIGHT 104

DOLLYING WITH REESE AND SARAH as they run through the

dark alley. Sarah stumbles over trashcans.

Reese pulls her along mercilessly.

WHIP-PANNING as they clear a corner.

The B.G. is a blur.

The night-maze is a blur in all of these shots.

No static angles.

Relentless forward motion.

CUT TO:

105/FX EXT. ALLEY - NIGHT105/FX

Behind them Terminator is moving with inhuman speed,

bounding like a panther, leaping trash cans and other

obstacles.

TRACKING C.U. - TERMINATOR, catching the faintest glimpse

of a red glow in the pupils of his eyes as he passes through

total shadow.

CUT TO:

106/FX EXT. ALLEY/POV - TERMINATOR (HANDHELD) - NIGHT 106/FX

We know this is Terminator's POV because Sarah and Reese

are just ahead of us. But the image is bizarre, alien.

Bright and hyper-real. There is a hint of digitization,

and the fleeing figures ahead are more luminous than the

background, suggesting infra-red.

The margins of the FRAME are crammed with columns of CRT-

type characters:
columns of numbers and acronyms. The

data changes more rapidly than any human eye could follow.

There is no doubt that we are seeing as a machine would see.

The sound effects are bright and clear, as if they are

digitized and enhanced as well.

CUT TO:

107 EXT. ADJOINING ALLEY - NIGHT 107

Reese and Sarah turn a corner by caroming off the wall

without slowing and pelt down a narrower alley. This

one is lined with a row of parked cars and connects to

the street. There is little room to run.

Reese is reloading on the run, dropping shells.

Behind them Terminator enters the alley, gaining.

LOW ANGLE, FAST PANAGLIDE ahead of the fleeing pair.

As they breast the last car Reese shoves Sarah hard,

pitching her on her face to the pavement.

He flings open the car door...a shield.

Drops to the ground.

Fires into the gas tank of a car further back in the row

just before Terminator reaches it.

The car EXPLODES, filling the alley with fire. An inferno

funneled between the enclosing walls.

ANGLE ON REESE AND SARAH behind the car door as flames

roar over the hood.

ON TERMINATOR, as he slides to a stop, cut off by the

wall of flame.

Reese doesn't waste any time stuffing Sarah into the car.

Climbing in after and over her he twists two wires together

and we recognize it as his stolen GREY SEDAN.

The engine catches.

A SILHOUETTE rockets out of the flames.

Terminator, leaping from the roof of the blazing car ahead,

impacts on the hood of Reese's car. His hair and coat are

burning.

CUT TO:

108 INT./EXT. GREY SEDAN/ALLEY - NIGHT 108

Reese jams reverse and nail the throttle.

The car backs down the alley.

Terminator draws back his fist.

Punches into the windshield.

Inside, Sarah is sprayed with glass as the killer's fist

shoots through.

The lacerated fingers grope for her.

WIDE as the car shoots backwards out of the alley onto the

street, narrowly missing an arriving LAPD CRUISER.

Sarah plasters herself tightly into the seat as the

fingers grasp her blouse and pull.

Reese cranks the wheel hard.

CUT TO:

109 EXT. STREET - NIGHT 109

The sedan skids, slewing sideways into a parked car.

Terminator rolls down off onto the pavement.

Reese's car shoots forward.

PANNING WITH SEDAN as it roars past Vukovich, the gathering

minions of the burning building, an arriving fire

truck...shoots through a red light and continues to accel-

erate.

Terminator gets to a kneeling position, then slowly stands.

He pats out his smoldering clothing as he watches his quarry

escape.

CUT TO:

110 EXT. STREET - NIGHT 110

ON VUKOVICH as he runs to his car, exhorting the nearby

LAPD guys to give pursuit, while Traxler grabs the radio.

VUKOVICH:

(shouting)

Go! Go! He's got her.

TRAXLER:

(overlapping)

Suspect westbound on

Olympic. Grey sedan. Has

hostage, repeat...

CUT TO:

111 EXT. STREET - NIGHT 111

LOW WIDE ANGLE on the empty street, which is narrow and

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