The Terminator Page #20

He touches the grass, the trunk of a tree.

REESE:

(continuing)

...and you...all so...beauti-

ful. It hurts, Sarah. More

than death.

He looks are her beseechingly.

REESE:

(continuing)

Don't you understand...it's

all gone!

Sarah puts her arm around him.

She sniffs and wipes at her nose with the back of her hand.

SARAH:

We can change it, Kyle. We

have to try.

She takes his shoulder in her hands.

SARAH:

(continuing)

There's no fate but what we

make for ourselves. Right?

Come on. Let's go, kiddo.

Whaddya say?

He picks up her sign and they look at each other for a

second, then get up.

CUT TO:

194 INT. TERMINATOR'S HOTEL ROOM - DAY 194

Terminator sits in his room with the blinds drawn tight.

Murky. Claustrophobic. With knife-slits of hot sunlight.

MEDIUM ON TERMINATOR

sitting on the edge of the bed.

His appearance isn't improving.

A patch of SCALP is blown away, revealing CHROME underneath.

A flap of skin dangles from his cheek, which exposes some

of the DRIVE CABLES which move the lips.

He is scanning Sarah's address book, turning a page every

two seconds.

C.U. - TERMINATOR

his eyes tracking rapidly. His skin is waxy, WHITE, BRUISED,

GANGRENOUS in places. He ignores the FEW FLIES crawling

on his face.

CUT TO:

194A/FX POV - TERMINATOR 194A/FX

Showing Sarah's book.

In microseconds the handwritten entries are translated

into CRT-type characters and displayed to one side of the

screen. This updates instantly as the page is turned.

CUT TO:

195 INT. HOTEL CORRIDOR - DAY 195

A MIDDLE-AGED MAN with a torn T-shirt covering his paunch

knocks on the door. He is wheeling a trash cart.

MAN:

Hey, buddy, you got a

dead cat in there of what?

CUT TO:

196 INT. TERMINATOR'S HOTEL ROOM - DAY 196

TIGHT ON TERMINATOR

as he looks up.

CUT TO:

197/FX POV - TERMINATOR 197/FX

The digitized image PANS to the door and a LOGIC-FLOW

DIAGRAM appears overlaid in color-coded words. It con-

cluded with a list of potential appropriate responses:

YES/NO

OR WHAT:

GO AWAY:

PLEASE COME BACK LATER

F*** YOU

F*** YOU, A**HOLE

The last begins to FLASH, and enlarges to fill the screen.

CUT TO:

198 RESUME ANGLE

TERMINATOR:

F*** you, a**hole.

He returns to his scan.

CUT TO:

199 INT. CORRIDOR - DAY199

The man shrugs and walks down the hall.

CUT TO:

200 EXT. MOTEL - DAY

The two fugitives walk toward an economy motel of the

two-story park-by-the-door variety.

Sarah turns to wave as a TRACTOR-TRAILER pulls away noisily,

heading back to the Interstate. The driver answers her wave

out the side window. Reese stops for a moment outside the

motel office to pet a GERMAN SHEPHERD sitting on the porch.

The dog wags its tail and licks his hand.

Reese opens the door and they go in.

CUT TO:

201 INT. MOTEL OFFICE - DAY 201

Reese pulls a crumpled wad of bills from his jeans and shows

it to Sarah.

REESE:

Is this enough?

SARAH:

Yes. And I don't want to

know where you got it.

She turns to the desk clerk, a female version of the pawn-

shop lizard.

SARAH:

(to clerk)

We need a room...with a

kitchen.

CUT TO:

202 INT. MOTEL ROOM - DUSK

Kyle and Sarah enter the spartan room.

SARAH:

I'm dying for a shower. You

could use one too. And we'd

better check that bandage.

REESE:

Later. I'm going out for

materiel. Keep this.

He hands her the .38 he took off the detective.

She takes it without thinking as he leaves then realizes

that she has A LOADED GUN IN HER HAND, without the slightest

idea of how to use it. She lays it gently on the dresser.

As an afterthought, she turns it with one finger so that it

is pointing the other way.

Sarah moves the curtain slightly and looks outside.

CUT TO:

203 EXT. MOTEL - DUSK203

Reese walks away toward a commercial area visible down the

road.

CUT TO:

204 INT. MOTEL ROOM - NIGHT 204

Sarah is on the phone, her hair still wet from a shower.

She sits on the bed with a towel wrapped around her.

SARAH:

...No, Mom, I can't tell you

where I am. I was told not

to say.

SARAH'S MOM (V.O.)

(filtered)

But honey, I need to know where

I can reach you or I'll be

worried sick. It turns out I

can't stay up here...the

electricity's off...and I don't

know just where I'll be.

Sarah hesitates, then:

SARAH:

Okay, here's the number. Are

you ready?

SARAH'S MOM (V.O.)

(filtered)

Go ahead.

CUT TO:

205 INT. MOUNTAIN CABIN - NIGHT 205

SLOW PAN around the room as the conversation between Sarah

and her Mom continues, completely VOICE OVER.

SARAH (V.O.)

(filtered)

It's 408-972-1439. Room 14.

SARAH'S MOM (V.O.)

(filtered)

I got it.

The PAN continues, revealing an overturned chair.

SARAH (V.O.)

(filtered)

Okay, I've gotta go. I'm

sorry I can't tell you very

much now, Mom. I love you.

The PAN comes to a table. Smashed plates. Spilled coffee.

A spatter of blood. A phone. It follows the phone cord

onto Terminator in CLOSE-UP as he continues in a perfect

simulation of her mother's voice...

TERMINATOR (MOTHER'S VOICE)

I love you too, sweetheart.

CUT TO:

206 INT. MOTEL ROOM - NIGHT 206

Sarah hangs up the phone, vaguely disturbed.

CUT TO:

207 INT. MOUNTAIN CABIN - NIGHT 207

Terminator rapidly dials the number Sarah gave.

TERMINATOR (HIS VOICE)

Hello.

(pause)

Tell me your address there.

CUT TO:

208 INT. MOTEL ROOM - NIGHT 208

TIGHT ON SEVERAL GROCERY BAGS

covering the counter beside the hot-plate in the tiny

apartment.

Reese's hands split one open and its contents spill out.

FULL SHOT:

Sarah looks through Reese's haul.

SARAH:

Let's see. Corn syrup.

Ammonia. Moth balls...

Mmm. What's for dinner?

REESE:

(preoccupied)

Plastique.

There are also boxes of shotgun shells, road flares, tape,

scissors, pans, a strainer and many other odd utensils,

substances, chemicals.

SARAH:

What's that?

REESE:

Nitroglycerin, basically.

Bit more stable. I learned

howto make it when I was a

kid.

Sarah looks a bit stricken as she contemplates the evening

ahead.

CUT TO:

209 EXT. HIGHWAY/CHEVY CAMARO - NIGHT 209

The dashlight illuminated Terminator from beneath as he drives

through the night. He looks like Death. His left eye

glows a faint red in the darkness.

CUT TO:

210 INT. MOTEL ROOM - NIGHT 210

A heartwarming domestic scene.

Sarah and Kyle have pulled the dresser out to use as a

worktable. Pans, packages and bottles clutter the kitchen,

B.G. On the table between them are eight ten-inch lengths

of PLUMBER'S PIPE, threaded each end. Kyle is showing

Sarah how to tamp the HIGH-EXPLOSIVE PUTTY into the pipe

bombs and seal them shut.

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