The Terminator Page #7

further and further down...

then I'll pull off your panties

with my teeth...

Sarah is repressing laughter.

SARAH:

(crossly)

Who is this?

Silence. Then Matt realizes to his horror who he's been

talking to.

MATT (V.O.)

Oh my God! Sarah! Oh, sh*t.

Jesus, I'm sorry. I thought

you were...Can I talk to Ginger?

SARAH:

Sure, Bunky.

As Ginger approaches, Sarah hands her the receiver and

goes into the bedroom.

GINGER:

Hello?

MATT (V.O.)

First I'm gonna rip the buttons

off your blouse...

CUT TO:

54 BEDROOM

Sarah picks up four blouses on hanger lying on the bed

and goes back into the hallway.

CUT TO:

55 INT. LIVING ROOM

Ginger is still listening to Matt, nodding, as Sarah enters

and starts holding the blouses against herself one by one

for Ginger's inspection.

SARAH:

What do you think?

GINGER:

(covering mouth-

piece)

Great.

Sarah hold up another one.

SARAH:

How about this?

GINGER:

Great.

SARAH:

You're a big help.

GINGER:

(advisory tone)

Alright, the beige one.

SARAH:

I hate the beige one.

GINGER:

(same advisory

tone)

Don't wear the beige one.

Sarah gathers up the blouses and walks out.

SARAH (V.O.)

This guy's probably a schmuck

and I don't care what I wear.

A couple of BEATS, and she's back in the doorway with

a concerned expression.

SARAH:

(continuing)

You think the beige?

CUT TO:

56 EXT. VENICE STREET - NIGHT

An unmarked car with a clamp-on light and siren blaring

screeches to the curb behind two marked black-and-whites

in front of a funky Venice apartment building. A small

crowd is gathered around the front steps. LIEUTENANT

ED VUKOVICH, Homicide Division, gets out of the car and

strides through the crowd. He's fiftyish, short, but

square and solid, a human bulldog gone a little to paunch.

He chews Juicy Fruit gum like a maniac: a chain-chewer.

He's homely as an old boot. And he's not a smart cop, he's

a wise one; rarer still. The onlookers, gathered patiently

for their ten second glimpse of something under a sheet,

separate for him to pass.

CUT TO:

57 INT. VENICE APARTMENT BUILDING/STAIRWELL/APARTMENT

CAMERA PANAGLIDES AHEAD OF VUKOVICH, as he climbs the switch-

back staircase two steps at a time. He passes TWO UNIFORMED

COPS at the doorway of a second-floor apartment, and enters

to find a quiet flurry of activity. Several DETECTIVES and

a PHOTOGRAPHER prowl around, taking evidence, taking pictures.

In the center of the living room floor is the body of a

young woman, crumpled face down in a small lake of blood.

Two bags of groceries lie split open on the floor in front

of her.

Vukovich glances up as he is joined by DETECTIVE SGT.

TRAXLER. Traxler is black, lean and very jaded.

VUKOVICH:

Give me the short version.

TRAXLER:

Six shots at less than ten

feet. Weapon was a large

caliber--

Vukovich is looking at the body.

VUKOVICH:

No sh*t.

Traxler turns to a passing DETECTIVE.

TRAXLER:

Come on. man. Don't track

it all over. It's un-

professional.

He turn back to Vukovich, gesturing at the body.

TRAXLER:

(continuing)

Okay, let's see...Got a pos-

itive on her. She's Sarah

Connor, works as a legal--

VUKOVICH:

(interrupting)

That can't be right. That's

the name of the one Valley

Division mopped up this after-

noon.

Traxler slips something off his clipboard and hands

it to the Lieutenant.

TRAXLER:

Here's her driver's license.

VUKOVICH:

(pondering)

You gotta be kidding me. The

new guys'll be short-stroking

it over this one. A one-day

pattern killer.

TRAXLER:

I hate the weird ones.

CUT TO:

58 INT. SARAH'S APARTMENT/BATHROOM58

Sarah poses with Ginger in front of the mirror. They are

dressed, made-up, hair-styled and READY.

GINGER:

(studying their

reflection)

Better than mortal man deserves.

Sarah grins and goes into the other room.

CUT TO:

59 INT. LIVING ROOM

Sarah walks around the room, searching for something.

SARAH:

(calling)

Ginger, have you seen Pugsley?

Ginger enters, stopping beside their phone answering machine.

GINGER:

Not lately. Did you check

messages?

SARAH:

(still looking)

I thought you did.

She checks under the couch, then behind the drapes. She

bends down.

SARAH:

(from beside cur-

tains)

Come here young man. Mind

your mother.

C.U. - PUGSLEY, as the GREEN IGUANA c*cks its head, blinking

vapidly.

RESUME WIDE, Sarah lifts the three foot long lizard from his

perch on the windowsill. She gives the complacent reptile

a kiss on its blunt snout.

GINGER:

(groaning)

Totally nauseating.

Sarah drapes the lizard across her shoulders where it sits

contentedly as she looks for her purse. Ginger has been

rewinding the message tape. She punches PLAY and a MALE

VOICE is heard.

VOICE:

(recorded)

Hi, Sarah...Stan Morsky.

Uh, something's come up and

it looks like I won't be able

to make it tonight. I'm really

sorry. Call you in a day or so.

Sorry. 'Bye.

Sarah stands still, crestfallen.

GINGER:

That bum. So what if he has

a Porsche, he can't treat you

like that...it's Friday night

for crissakes.

SARAH:

(slumping)

I'll live.

GINGER:

I'll break his kneecaps.

Sarah resignedly slips Pugsley off her shoulders.

SARAH:

You still love me, don't

you, Pugsley?

She places Pugsley in a large terrarium with a 'BEWARE OF

DOG' sign taped on the side.

SARAH:

(continuing)

I'm going to a movie, kiddo.

See ya'. You and Matt have

a good time.

GINGER:

(as Sarah exits)

We will, kiddo.

CUT TO:

60 INT. PARKING GARAGE - NIGHT

Sarah is a small figure in the shadowed echoing garage of

her building.

CONVERGING DOLLY, PACING HER, as she passes the stalls with

their inky shadows.

The light near her moped is out.

She fumbles in the dark to unlock the chain.

She looks up.

Did she hear something...masked by the rattle of the chain?

POV - SARAH, there is no movement for the length of the

garage.

ON SARAH - C.U., inexplicably nervous.

She stows the chain and starts the bike. It whines

reassuringly.

Sarah jumps on and whirs out of the garage.

CUT TO:

61 INT. CAR/NEARBY - NIGHT 61

Sarah is visible through the windshield as she pulls onto

the street.

PAN WITH HER to reveal Kyle Reese, hunched down in shadow,

watching. He puts the car in gear and pulls out to follow

her receding tail-light.

Streetlights flash across his face, in stark-lines profile.

Mouth cruel where the scar tugs at it.

CUT TO:

62 INT. DIVISION HEADQUARTERS - NIGHT 62

DOLLYING WITH VUKOVICH and TRAXLER, as they pass through a

group of REPORTERS. Mostly newspaper stringers but there

is also one bored local TV MINICAM CREW.

REPORTER:

...Lieutenant, are you aware

that these two killings occurred

in the same order as their listings

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