The Terminator Page #22

and is barefoot.

REESE:

Light it now.

Sarah has been holding a BIC LIGHTER near the tip of a fuse.

She thumbs the flame on. The fuse catches as Reese twists

the wires and the engine starts to turn over.

CUT TO:

216 INT./EXT. MOTEL ROOM - NIGHT 216

Terminator spins at the sound of the truck engine catching.

FAST PANAGLIDE WITH HIM as he runs the

length of the suite, stops outside the front door.

Whips the AR to his shoulder.

The truck is BACKING WILDLY across the lot B.G.

Terminator turns, looking into CAMERA as a SIZZLING SOUND

becomes audible.

DETAIL - PIPE CHARGE, lying just inside the door, in the

shadows. The fuse is burning.

WIDE SHOT - On doorway, from the parking lot, as Terminator

takes two leaping strides forward and the CHARGE EXPLODES.

The front of the building is BLOWN TO KINDLING.

Terminator is flung forward by the blast.

CUT TO:

217 EXT. STREET/PICKUP TRUCK - NIGHT 217

PANNING RAPIDLY as the truck shoots out of the parking lot

and tears down the street.

CUT TO:

218 EXT. MOTEL - NIGHT218

Terminator lies face down, motionless, F.G., as the debris

from the blast settles. A YOUNG GUY ON A HONDA 750 crosses

the parking lot and stops near him, running forward.

Terminator starts to get up, moving slowly.

RIDER:

(crouching be-

side him)

Don't try to move, buddy.

MOVING WITH TERMINATOR as he shoves the cyclist aside and

approaches the BIKE, which is STILL RUNNING.

CUT TO:

219/FX PARKING LOT/TERMINATOR'S POV - NIGHT 219/FX

Digitized POV, approaching the cycle. The image reduces

to GRAPHIC OUTLINES, with separate systems COLOR-CODED.

It breaks down suddenly into individual SIDE, TOP and PLAN

VIEWS. All in less than four seconds.

CUT TO:

220 INT./EXT. FREEWAY/PICKUP TRUCK - NIGHT 220

Reese slides the truck into an ON-RAMP and guns in onto the

freeway, burying the throttle. Traffic is light...a few

18-wheelers. The truck tops out at 110 and he holds it.

They flicker rapidly through pools of light and shadow.

ANGLE OVER REESE'S SHOULDER as they hurtle forward. An

interchange flashes by in an instant.

PACING WITH THE TRUCK, looking back as a single headlight

arcs radically across all lanes behind them and grows

BRIGHTER, CLOSING.

CUT TO:

221 EXT. FREEWAY - NIGHT 221

LOW WIDE ANGLE preceding Terminator on the bike. He is

tucked, getting as much speed as possible out of the 750.

As he GAINS ON THE CAMERA, FILLING FRAME, he unslings the

assault rifle. Raises it against the windstream in a one-

handed pistol grip.

CUT TO:

222 INT. PICKUP TRUCK - NIGHT 222

Reese motions Sarah to keep her head down. He pulls the

Colt Python from his coat pocket. Steering with his elbows,

he checks the load. Snaps the cylinder shut. Glances in

the rear mirror. Turns the wheel.

CUT TO:

223 EXT. FREEWAY - NIGHT 223

WIDE ANGLE, following close to Terminator, as he closes on

the pickup, B.G. The truck swerves suddenly, diving around

a TRACTOR-TRAILER. Terminator leans hard to follow.

LOW WIDE ANGLE preceding the pickup and Terminator as they

swerve as high speed. Reese uses the slow semis as static

obstacles. He misses them by inches, TIRES SQUEALING.

ANGLE OVER SARAH'S SHOULDER, through the front window as

the back of a SEMI-TRAILER hurtles toward them, straight ahead.

HIGH ANGLE, following both vehicles as Reese feints RIGHT

and then skids LEFT. He slides toward the trailer in a

FOUR-WHEEL DRIFT as Terminator commits to the right.

M.C.U. - TERMINATOR, over the barrel of the AR, as he FIRES.

SIDE ANGLE - PASSING TRUCK-TRAILER, bullets strafe across

it as the pickup vanishes behind. Terminator skids the

bike, barely missing an abutment, and is forced onto an

OFF-RAMP.

LOW SIDE ANGLE preceding Terminator as he roars down the

off-ramp without slowing. Runs the red light at the bottom

as a hundred miles an hour. Climbs the ON-RAMP.

CUT TO:

224 INT. PICKUP TRUCK - NIGHT 224

Sarah is buffeted as Reese fights to control the skidding

truck. The angle is past Reese, F.G., on Sarah.

Terminator appears B.G., converging rapidly as the on-ramp

joins the freeway.

REESE:

Switch places with me.

She slides over him while he keeps the hammer down.

CUT TO:

225 EXT. FREEWAY - NIGHT 225

Reese is out the window to the waist, aiming double-

handed. He FIRES. ONCE. TWICE. AGAIN.

They enter an interchange. Ahead lies a LONG, SWEEPING

CURVE, two lanes wide and elevated.

Terminator rocks back from a round between the eyes that

bares metal, the FIRES.

Bullets rake the pickup.

The windows are blown out.

The side mirror explodes.

Reese is hit. Drops the .357.

Sarah screams and weaves, barely in control.

CUT TO:

226 INT. PICKUP TRUCK - NIGHT 226

Sarah reaches across and pulls Reese's limp body back

inside. He slumps on the seat, moaning. Stunned.

SARAH:

Kyle...oh God...

He has a bullet in the chest. Another has broken his arm.

Sarah feels all hope recede.

CUT TO:

227 EXT. FREEWAY - NIGHT 227

Terminator crosses behind the truck, coming up on Sarah's side.

He FIRES.

Sarah shrieks as the doorpost next to her head CLANGS WITH

HITS.

The short burst EMPTIES THE GUN.

It CLATTERS TO THE PAVEMENT a moment later, discarded.

Terminator draws the .38. Takes aim.

Sarah SCREAMS. HITS THE BREAKS HARD. CRANKS THE WHEEL.

GLASS behind her EXPLODES with gunfire.

SWERVING VICIOUSLY the truck SLAMS THE BIKE, sending it

FLYING INTO A GUARDRAIL. Terminator goes over the handle

bars at a hundred miles per hour.

CUT TO:

228 INT. PICKUP TRUCK - NIGHT 228

Sarah fights the wheel, losing control of the slewing pickup.

CUT TO:

229 EXT. FREEWAY OVERPASS - NIGHT 229

Terminator hits the pavement, tumbling, rolling, sliding

with a CHATTERING SCREECH and spraying sheets of SPARKS

as flesh strips away and steel screams on concrete.

The pickup SWAPS ENDS violently, smashing into the guardrail.

Terminator hits the guardrail, bounces up, tumbles along the

top and then pitches OUT INTO SPACE.

CUT TO:

230 EXT. INTERSECTING FREEWAY - NIGHT 230

Terminator smashes to the pavement in the middle lane and

lies there, face-down. Still.

CUT TO:

231 INT./EXT. PICKUP/OVERPASS - NIGHT 231

Sarah is slammed hard as the truck grinds to a stop against

the guardrail. She checks Kyle. He is barely conscious.

Sarah heaves open the door. Runs to the guardrail. Looks down.

CUT TO:

232 EXT. LOWER FREEWAY - NIGHT 232

After a long moment Terminator slowly rolls over and sits up.

LOW ANGLE as he rises into FRAME, a mass of blood. Clothing

and skin in tatters.

HEADLIGHTS FLARE behind him and an AIRHORN BLARES.

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