SCRIPT: "TERMINATOR" by James Cameron

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The Cop cruiser flanks them, closing. Reese peels off to the right, inches in front of a tractor-trailer rig, brakes hard and slides into a four-wheel drift through a curving off-ramp. The helicopter banks, following. The cruiser swaps ends trying to maneuver and slams broadside into the guardrail. Out of action. The sedan roars across the street without slowing and vanishes down a tree-lined side street. The sedan skids around a corner.

PILOT (V.O.) (filtered): Lost him.

Reese is ultra-alert, craning to look up, back, forward.

REESE: Good cover. . . . . Alright. Listen. The Terminator's an infiltration unit. Part man, part machine. Underneath, it's a hyperalloy combat chassis, mircoprocessor-controlled, fully armored. Very tough...

He pauses as they slide around another corner. Reese's sedan glides out onto a main drag, very subdued. He turns the lights on and blends with traffic.

REESE (continuing): But outside, it's living human tissue. Flesh, skin, hair...blood. Grown for the cyborgs.

SARAH: Look, Reese, I know you want to help, but...

REESE (cutting her off): Pay attention. 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 'til he moved on you before I could zero him.

SARAH: Hey, I'm not stupid, y'know. They can't build anything like that yet.

REESE: No. Not yet. Not for about forty years.

Reese is driving sedately for a low profile, but his eyes rove constantly, searching for a place to ditch the car. Sarah's eyes are alert as well, and her tone becomes a bit too cool.

SARAH: So, it's from the future, is that right?

REESE: One possible future. Four your point of view. I don't know the tech stuff.

SARAH: And you're from the future too?

REESE: Right.

They come to a red light and Reese stops.

SARAH (patronizingly): Right...

Like a shot she unlatches the seatbelt, pulls the door lock and has the door half open before Reese can react. He catches her arm and hauls her struggling back into the car. Sarah sinks her teeth into his hand with all her strength. His grip doesn't slacken.

Slowly, without releasing her, he reaches across with his other hand and shuts the door. His face shows no reaction. Sarah draws back and stares at the blood running down his arm from the bite, that at his grim, scarred face. The light turns green and Reese drives on. Sarah tastes blood and wipes her mouth.

REESE (coldly): Cyborgs don't feel pain. I do. Don' that...again.

He wipes his hand on his pants.

SARAH (weakly, pleading): Just let me go.

REESE (slow, but intense): Listen. Understand. That Terminator is out there. It can't be reasoned with, it can't be bargained doesn't feel pity of remorse or fear... and it absolutely will not stop. Ever. Until you are dead.

Sarah slump in utter resignation.

SARAH (quietly): Can you stop it?

Reese doesn't look at her.

REESE: Maybe. With these weapons... I don't know.

Reese's car turns into the parking lot of a large hospital, acres of pavement dotted with sporadic parked cars. In the Terminator's cruiser, he searches, streetlights flare across rhythmically. A helicopter moves between two buildings, searchlight sweeping back and forth. The circle of light moves across a row of parked cars. It passes a grey sedan with a shattered windshield. Flicks back. Holds, in the glare it looks empty.

Reese and Sarah crawl behind a row of parked cars. He has firm hold of her arm but she seems to be cooperating. The chopper hovers, on the far side of the lot. Reese approaches the door of a late model brown Buick which has been left with its window partway down. He unlocks it and they slip inside. In the cruiser, we see Terminator through the windshield of the black-and-white.

DISPATCHER (V.O.) (filtered): Suspect vehicle located at parking lot, Cedar and Glenhaven...

FULL SHOT as Terminator's cruiser slews in a radical turn and roars off in the opposite direction.

Brown Buick/parking lot: Reese uses the butt of the shotgun to smash loose the ignition assembly. He begins working on the wires. A police cruiser appears, moving slowly between the rows of cars. Reese grabs Sarah and pulls her down to huddle below dash level. A moment later a spotlight flashes across the seats above them. They hear the helicopter circling closer.

SARAH: Reese...why me? Why does it want me?

They are lying very close, a forced intimacy. Reese's voice is an urgent whisper, almost in her ear. A cruiser passes so close they can hear its radio clearly.

REESE: There's so much...

SARAH: Tell me. Just start at the beginning.

Reese musters his thoughts. And starts.

REESE: There was a war. A few years from now. Nuclear war. The whole thing. All this--

His gesture includes the car, the city, the world.

REESE (continuing): --everything is gone. Just gone. There were survivors. Here. There. Nobody knew who started it. (pause) It was the machines.

SARAH: I don't understand...

REESE: Defense network computer. New. Powerful. Hooked into everything. Trusted to run it all. They say it got smart...a new order of intelli- gence. Then it saw all people as a threat, not just the ones on the other side. Decided out fate in a microsecond...extermination.

Reese pauses, and when he continues it's less like a military briefing, quieter.

REESE (continuing): Didn't see the war. I was born after, in the ruins. Grew up there. Starving. Hiding from the H-K's.

SARAH: The what?

REESE: Hunter Killers. Patrol machines. Build in automated factories. Most of us were rounded up, put in camps...for orderly disposal.

He pushes up the sleeve of his jacket and shows her a ten digit number etches on the skin of his forearm. Beneath the numbers is a pattern of lines like the auto- matic-pricing marks on product packages.

REESE (continuing): Burned in by laser scan. (pause) 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...

The helicopter moves overhead. Its searchlight illum- inates the car interior, moves on. Before the rotor sound fads, Reese starts the car.

CUT TO PARKING LOT - NIGHT: Several black-and-whites are moving among the parked cars, slowly. ANGLE ON TERMINATOR'S CRUISER rolling along just above idle. He peers into the row of cars, listening and seeing on level we can't.

CUT TO BROWN BUICK - NIGHT: Reese is holding onto Sarah's shoulder tightly.

REESE (continuing): ...but there was one man...who taught us to fight. To storm the wire of the camps. To smash those metal mother- fuckers into junk. He turned it around...he brought us back from the brink. (pause) His name is Connor. John Connor... your son, Sarah. Your unborn son.

Sarah stared at him.

CUT TO PARKING LOT - NIGHT: The brown Buick is F.G. as the nose of Terminator's cruiser appears behind it, moving slowly.

C.U. - TERMINATOR, scanning. LOW ANGLE, past the back of the Buick, as Terminator cruises by. The tailpipe, F.G., puffs quietly. Terminator's head snaps around. His eyes lock on Reese's car. He reaches for his shotgun.

CUT TO BUICK - NIGHT: Reese's head jerks up, looking in the mirror.

CUT TO PARKING LOT - NIGHT: Reese's car launches forward from its space, tires spinning as Terminator fires from the window of the cruiser.

CUT TO BUICK - NIGHT: The rear window explodes and Reese ducks, then cranks the wheel.

CUT TO PARKING LOT - NIGHT: Reese and Terminator race along opposite sides of a row of cars, approaching the exit. The cruiser pulls ahead and closes diagonally as they clear the last car. Reese sees the other's shotgun leveled. He ducks, steering blind, keeps it floored. The windshield and side window EXPLODES INWARD. The Buick slams into the black-and-white, spinning it into a parked truck. TIRES SCREAM as the two cars slew around heading for the exit. SEVERAL ANGLES, as the police react. The chopper banks tight and dives across the tops of the parked cars. Cruisers race to converge.

CUT TO STREET - NIGHT: LOW WIDE ANGLE, PRECEDING REESE'S BUICK as it hits the street, accelerating. Terminator's cruiser slides out behind it, fishtails, races forward. Engines roar as the cars go flat out. Buildings lining the street become a blur. The chopper arcs in behind them. Legitimate police, lights blazing, enter the pursuit one by one. LOW ANGLE, MOVING WITH TERMINATOR'S CAR as Reese dodges across all lanes ahead of it. Terminator gaining. They run an intersection at a hundred plus. Reese is feeding his last two shells into the riot gun.

REESE (yelling): Steer!

Holding the gun in both hands he leans out the window, still keeping the throttle mashed down. Sarah grabs the wheel, fighting to control the car. Reese aims the shotgun, buffeted by the windstream. Terminator's car overtakes rapidly.

SARAH (shouting): Reese!

CUT TO BUICK - NIGHT: OVER SARAH'S SHOULDER as they approach an intersection... red light their way and an ALPHA BETA TRUCK entering cross wise.

CUT TO STREET/CARS - NIGHT: Past Terminator, F.G., his shotgun aimed as he comes along Reese. They are staring down each other's barrels.

CUT TO BUICK - NIGHT: Sarah grabs the shift lever. DETAIL - SHIFTER, as she slams it into reverse.

CUT TO STREET/CARS - NIGHT: MOVING WITH BOTH CARS as the Buick skids with rear tires locked. Reese and Terminator FIRE simultaneously. TIGHT ON REESE as the doorpost next to his shoulder is torn out by the other's blast. ON TERMINATOR, leaning to see around his shattered windshield. Too late. He hurtles into the intersection, past the skidding Buick. Clips the back of the semi. Spins radically.

Vaults the curb in a screeching front-end roll. WHIP-PANNING WITH THE CRUISER as it crashes upside-down through the counter area of an A & W. LOW ANGLE as Reese and Sarah slide to a stop in a cloud of tire smoke. Transmission fluid pours out of the car like blood. An instant later they are surrounded by an assortment of LAPD, SHERIFF'S DEPT., and CHP CARS. The helicopter hovers overhead.

MEDIUM ON SARAH AND REESE, he raises his hands, through the side window, in plain sight. A phalanx of cops, guns drawn, approaches the car warily. Sarah looks at Reese. Then at the cops. She opens the door and runs, staggering, toward them. Vukovich steps forward and pulls her away to safety. C.U. - REESE watching her go as a cop eases his door open.

CUT TO A & W - NIGHT: Two cops approach the overturned squad car jammed into the wreckage of the small building. They shine their flashlights inside. It is empty. The cyborg has VANISHED. A sign which reads 'DRIVE IN' detaches from an awning and crashed down across the crushed auto.

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