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		TERMINATOR 2: 3-D BATTLE ACROSS TIME

					 by

				James Cameron

					and

				 Adam Bezark

				January 11, 1995

EXTERIOR/ENTRANCE

As we stroll down the elegant Hollywood Boulevard at
Universal Studios Florida, one particular facade catches
our eye.  It's a 1940s HOLLYWOOD OFFICE BUILDING that
might have been commissioned by Howard Hughes in his
prime.  The SIGN over the ENTRANCE reads:

				Cyberdyne Systems

The graphic style is hi-tech modern, indicating that
Cyberdyne must be a new tenant.  But even more compelling
is the SIGN that "morphs" out of the concrete in front of
the building.  Rising on a pylon, the sign lets us know
what we're really here to see:

					T2/3D

We walk through the doors into the dark, chilly lobby.

INTERIOR QUEUE: CYBERDYNE LOBBY

Once inside the building, it's as though we've stepped
into another world.  All traces of the gracious 1940s
design have been obliterated by the current tenant.

The CYBERDYNE LOBBY is an ultramodern statement in
polished gray concrete, with a rustic terrazzo floor.  The
Cyberdyne Systems LOGO hangs on the back wall.  A smaller
SIGN inside the lobby reads:

				CYBERDYNE SYSTEMS
   Special Projects Division - Authorized Personnel Only

				TODAY'S SCHEDULE:
		Demonstration of New Technologies
				Invited Guests Only

We enter the QUEUE AREA, a cheerless world of polished
gray concrete and brushed stainless steel accents.  A
number of smoked plastic DOMES hang from the ceiling,
presumably concealing surveillance cameras.

VIDEO MONITORS suspended from the ceiling carry an endless
cycle of information programs.  These depict the history
of Cyberdyne, the history of Cyberdyne's robotic
development program, and so forth.  The videos are both
serious and humorous.

Beyond the lobby, we find the entrance to another room.  A
sign over the entry reads "Miles Bennet Dyson Memorial
Auditorium."

Presently a cheery P.R. DRONE VOICE addresses us.

					P.R. DRONE VOICE
		Ladies and Gentlemen; Senators,
		Congressmen; invited guests.
		Welcome to Cyberdyne Systems,
		America's leading supplier of
		future technology for consumer
		products and defense.

		You are about to enter our
		Demonstration Center for a
		classified preview of our most
		incredible new technologies.
		Please remember that all information
		presented today is strictly
		confidential.

		Finally, Cyberdyne Systems cannot be
		responsible for personal injuries
		sustained due to radiation exposure
		or high energy tachyon fields.
		Thank you, and enjoy the
		presentation.

As we leave the indoor queue, we pass an unattended kiosk
which contains custom-designed SAFETY VISORS -- our 3-D
GLASSES.  We pick up a pair as we walk into the Pre-Show.

PRE-SHOW: VIDEO WALL PROLOGUE

Entering the PRE-SHOW AREA gives us a strange sense of
compression.  Claustrophobia, even.  It's a narrow,
rectangular chamber with an angular ceiling.  High-tech,
ultramodern wall finishes and carpeted floors give us the
sense of entering the inner sanctum of a powerful
corporation.  Four large VIDEO WALLS bear down on us,
embedded in the slopping ceiling.  A cantilevered platform
at the far end of the room features a speaker's podium; it
hangs in front of the farthest Video Wall.

As we enter, carrying our 3-D Glasses, the CYBERDYNE LOGO
floats across the Video Walls.

We hear the glossy P.R. VOICE again as we file into the
room.

					P.R. DRONE VOICE (V.O.)
		Welcome to the Cyberdyne
		Demonstration Center.  Please do not
		put on your Safety Visors at this
		time.  Improper use of these glasses
		can result in disorientation,
		dizziness, or minor chromosome
		damage.  Thank you.

The ROOM LIGHTS FADE TO HALF, as the VIDEO WALL springs to
life with a CYBERDYNE PROMOTIONAL VIDEO that spreads
across the screens.  It's a slick, polished presentation
with lots of fancy video effects, trendy cinematography,
punchy MTV editing.

The ACTORS are a Politically Correct ethnic balance, and
all look happy.  Wealthy.  Perfect.  Our NARRATOR VOICE is
warm and fatherly: Hal Holbrook, John Mahoney, Dennis
Weaver.  It's a parody of those AT&T "You Will" ads, but
with a slightly sinister Cyberdyne overtone.

And it goes like this:

								 SHOW START

								 FADE IN

EXT.  MEADOW - DAY

A graceful BUTTERFLY flitters across a golden field of
daffodils.  It lands on a flower in the foreground.

					NARRATOR (V.O.)
		Imagine a world... where butterflies
		run on batteries.

TIGHT on the butterfly: we see it's actually a tiny FLYING
MACHINE of plastic and chrome.  Miniature hydraulic
cylinders power its delicate wings.

INT.  SCHOOLROOM MONTAGE - DAY

Scrubbed, happy kids listen eagerly to the day's lesson.

					NARRATOR
		Where children in Chicago...
		Detroit... Los Angeles... and
		Seattle...

In each schoolroom, the eager STUDENTS gaze at hi-tech
flatscreen MONITORS built into their desks.  A single
teacher appears on all the monitors.

					NARRATOR
		... all learn exactly the same
		lesson.  From exactly the same
		teacher.  At exactly the same time.
		Every day.

INT.  LIVING ROOM - DAY

A LITTLE OLD LADY sits in a rocking chair, deftly
manipulating the world's most complicated REMOTE CONTROL.
A huge VIDEO WALL dominates her living room, the screen
divided into sixty different individual images.

					NARRATOR
		Where a Grandmother can choose from
		five thousand television channels.
		And if she can't, her television
		chooses for her.

All sixty screens cut to "Murder, She Wrote" -- or other
innocuous MCA show.  The Lady smiles.

INT.  OPERATING ROOM

A high-tech surgical procedure is in progress.  Robot-
guided LASERS move across the patient, making ultra-
precise incisions.  A VIDEO CAMERA looks down at the
procedure, next to a VIDEO MONITOR displaying a SURGEON'S
face.

					NARRATOR
		Where a neurosurgeon can remove a
		brain tumor...

EXT.  BEACH FRONT HOUSE - SUNSET

The other end of the video link: the same SURGEON sits on
a rustic porch overlooking a sunset-drenched beach.  A
laptop computer sits on the arm of his chaise-lounge.

The contented looking Surgeon deftly manipulates a pair of
ROBOTIC REMOTE CONTROL HANDLES that are connected to the
computer, while watching the results of his surgery on the
little monitor.

					NARRATOR
		... without missing the sunset.

The surgeon reaches over and sips a Pina Colada.

INT.  HOTEL ROOM - NIGHT

A smiling MOMMY looks into a picture phone, whispering a
lullaby to her Daughter.  She grasps a ROBOTIC REMOTE
CONTROL HANDLE just like the one the surgeon used.

					NARRATOR
		Or a mother can tuck her babies in
		at night...

INT.  NURSERY - NIGHT

The other end of the video link: angle on the sleepy
DAUGHTER as Mommy's video face coos gently from the
picture phone.  Responding to the mother's commands, a
shiny MECHANICAL CLAW grasps the little girl's blanket and
pulls it up to her chin.

					NARRATOR
		... from halfway around the planet.

POW!  SMASH CUT to extreme CU, moving across a fantastic
COMPUTER CHIP.

					NARRATOR
		It's happening.

POW.  Closer on the chip.

					NARRATOR
		Today.

POW.  Closer.

					NARRATOR
		At Cyberdyne Systems.

POW!!  SMASH CUT to the CYBERDYNE LOGO.  Then...
FADE TO BLACK.

In the darkness, we hear driving INDUSTRIAL MUSIC.  Then,
screen by screen, the Video Wall comes back to life with
images of HI-TECH MANUFACTURING.

					NARRATOR
		That's right.  Cyberdyne.  We're
		back, bigger and better than ever.
		And we're ready to lead the world
		down the Information Superhighway.
		Our goal: complete global
		communications leadership.

MONTAGE - VARIOUS LOCATIONS

We see HAPPY PEOPLE using Cyberdyne's high-tech products
in a variety of glossy settings.  Those ROBOTIC ARMS are
showing up again.  Painting cars, weaving baskets,
assembling detonators.

					NARRATOR
		We've pioneered new breakthroughs in
		Artificial Intelligence... Neural
		Network Processors... plus advanced
		Robotic systems for Medicine,
		Consumer Products... and Defense.

TOMAHAWK MISSILES streak through the skies, creating
brilliant traces of light.

The visuals come faster now.  More military images mix
with the industrial/commercial visuals.  Music begins to
build, accelerating urgently.

					NARRATOR
		But our greatest challenge lies
		ahead.

And now we see technicians laboring over something dark,
omniscient.  A NASA SPACE SHUTTLE orbits the earth,
releasing a satellite.

					NARRATOR
		Or rather... above.  Six hundred
		miles above, in geosynchronous earth
		orbit.  Today, these Cyberdyne
		satellites protect us from enemy
		attack.  But soon, they'll go even
		farther.

SATELLITES in space.  Department of Defense Stratigic
Defense Initiative satellite footage.

					NARRATOR
		Imagine every computer on earth...
		Every television... every
		telephone... and eventually, every
		living person... united.  In the
		ultimate global network.

		You've heard of the information
		highway?  Welcome to the information
		skyway.

Images of PEOPLE and COMPUTER NETWORKS.  People carry
nifty-looking personal communications devices.
CAPTION: "Pending FCC Approval"

					NARRATOR
		Imagine the ease... the speed... the
		fun!  You'll be able to reach any
		person, anywhere on earth, any time
		you choose.

A CONSUMER consults her Newton-style personal
communications device.  It flashes a series of messages:
"Judy: call Mom"... "Come to Ed Blumberg's Auto Mall!
Check out our new minivans!  Click here"... "Past Due:
$62.94 to Skynet Communications, Inc. -- Click to
authorize funds transfer."

The images come faster.  MUSIC is pounding.

					NARRATOR
		This is the future of communication.
		The future of National Defense.  The
		future of a new global society.

		Ladies and Gentlemen...

		This is SKYNET.

The SKYNET LOGO forms on screen.

Suddenly the video image twitches, then explodes into
STATIC.  A computer-generated STATUS LINE appears in the
upper left corner of the screen.
It says: SIGNAL INTERRUPT.
UNAUTHORIZED TRANSMISSION.
AUTO-OVERRIDE: FAIL.

					AN ANGRY VOICE
		NO!!!

An instant later the static scatters, revealing a shaky
Closed Circuit VIDEO IMAGE.

INT.  A DARK PLACE

Two PEOPLE are standing in a small dark room: one of them
reaches toward us, adjusting a unseen VIDEO CAMERA.  The
other twiddles the controls on a small electronic box.

But these people don't look like the well-groomed
Cyberdyne employees we've seen so far.  They wear battle
fatigues and carry a small arsenal of weapons and
electronic gear.

We're looking at two fugitives from history.

SARAH CONNOR.  And her son JOHN.

John has grown since we saw him last.  Now about sixteen
years old, tall and whipcord lean, he's kept in shape by
constant exercise, travel and vigilance.  He's tougher
than before, hardened by loss.  But still a boy, really.
Prone to outbursts of youthful enthusiasm.

Sarah, though, looks much the same.  Years of combat
training have kept her in top physical condition.  Hair
pulled back in a tough ponytail, eyes hidden by dark
glasses.  She's not quite as wired as she was in 1991, but
she's still not someone you'd want to piss off.

And right now, she's pretty pissed off.

					SARAH
		How dare you?!  How dare you!?!
		These stupid cutesy-pie corporate
		videos make me sick!  Skynet isn't
		our defender.  It's our downfall!
		Everyone of you death mongering
		Cyberdyne bloodsuckers should be
		barbecued in your own--

					JOHN
		Mom... MOM!  The mission, remember?
				(to us)
		She's a little tense.

Sarah takes a second to calm down.  John steps forward and
addresses the camera.

					JOHN
		Um, okay.  Attention, everybody.
		This is a warning.  To all civilians
		inside this building.  Cyberdyne
		Systems is a menace.  The Skynet
		project threatens the future of
		humanity.  We're going to stop it.
		You've got five minutes to get out.

And now, in the Pre-Show Theater, Cyberdyne starts to
react to Sarah's uninvited broadcast.  As Sarah's
narration continues, we hear a quiet BEEPING, and a little
LIGHT begins to flash from an OPERATIONS PANEL on the
raised Dais.

A DOOR opens behind the Dais, and we see a SILHOUETTE
moving in the dark.  A CYBERDYNE EMPLOYEE walks up to the
Dais.  She stands in front of the Video Wall, a dark
silhouette against the giant flickering images.

This is KIMBERLEY DUNCAN, a Cyberdyne "marketeer" who
we'll meet in a minute.  She watches the pirate broadcast
for a moment.  Though she tries not to show it, we can
tell that she's upset by the transmission.

Kimberley picks up a TELEPHONE HANDSET hanging from the
Ops Panel.  She WHISPERS into the phone, trying to keep us
from hearing.

					KIMBERLEY
		Security?  It's them.
				(hissing)
		The CONNORS, you idiot!  They're
		crashing our show.  Yes, there's an
		audience here.
				(angry)
		I don't care.  Shut them down.  Now.

Kimberley slams down the phone.  Meanwhile, back on the
Video Screens, The Connor's PIRATE TRANSMISSION continues:

Sarah removes her sunglasses and stares at us.

					SARAH
				(to us)
		Now listen very carefully.

John punches a tape player.  The words "INITIATE PROGRAM"
flash for an instant on the screen.  STATIC.

Then: a nightmare vision of the future.

VISION - MONTAGE

We're watching a FLASHBACK SEQUENCE of scenes from the
movie "Terminator 2: Judgment Day".  In contrast to the
chic, soft look of the Cyberdyne video, these images are
sharp, bold, flooded with brilliant oranges and blues.

A DESOLATE LANDSCAPE: the ruins of Los Angeles.  CAMERA
comes to rest on a skull half-buried in the rubble.
HOLD ON THIS IMAGE as:

A METAL FOOT crushes the skull like china.

TILT UP, revealing a humanoid machine holding a massive
battle rifle.  It looks like a CHROME SKELETON... a high-
tech Death figure.  It is the endoskeleton of a Series 800
terminator.

And now, for the first time, we hear the TERMINATOR THEME
MUSIC.  Dark.  Urgent.  Militant.

Cut to assorted shots of the FUTURE WAR as Sarah speaks:

					SARAH
		The Skynet project is doomed.  One
		month after its completion, the
		Skynet computer will turn against
		its human creators, and launch an
		all-out war against mankind.  The
		conflict will last over thirty
		years, with the fate of the human
		race at stake.

SARAH appears in an INSET FRAME, addressing the camera.

					SARAH
		How do I know this is going to
		happen in the future?
				(solemn)
		Trust me.

Angry streaks of lightning flicker across the screen, and
a black TIME SPHERE appears in a parking lot.  The sphere
vanishes, revealing a crouching, naked man.

					SARAH
		Skynet sent mechanical assassins
		back in time, to destroy anyone who
		might oppose it.

The T-1000 walks into view, framed by dancing flames.

					SARAH
		These "Terminators" threatened my
		life... and the life of my son.

WHAM!  CUT TO a lightning-fast collection of ACTION CLIPS
from the movie.  The T-1000 pursues YOUNG JOHN.

The T-1000 STALKS JOHN through a mall, breaking into a
run.

The T-1000 PURSUES JOHN down a riverbed.  Three-ton tow
truck versus eighty-pound minibike.

The T-1000 FIRES HIS PISTOL at John with alarming speed.

					SARAH
		But resistance sent a lone warrior.
		A protector for John.

HEROIC SHOT of the TERMINATOR.

					SARAH (V.O.)
		Another terminator, programmed to
		defend human life.

TERMINATOR AIMS HIS SHOTGUN directly at John.

					TERMINATOR
		Get down.

John ducks; Terminator opens fire on the T-1000, shielding
John with his back.

					SARAH (V.O.)
		And despite certain...
		reservations... that I had about
		this particular model, he defended
		us to the very end.  Sacrificed his
		own existence to save the future.

TERMINATOR lowers himself into the molten steel pit.

					SARAH (V.O.)
		And then John and I were alone
		again.

SARAH AND JOHN EMBRACE in their final shot from
"Terminator 2," gazing down into the molten steel.

TERMINATOR THEME MUSIC ENDS.

POP!  We're back with JOHN AND SARAH in the present day,
transmitting from their secret location.  John monitors
the jamming equipment, increasingly jumpy.

					SARAH (ONSCREEN)
		I thought we'd prevented Judgment
		Day.  But now... it's all starting
		again.

					JOHN
		Mom, we gotta go.  Like now.

					SARAH
		Skynet must never be completed.

STATIC starts to obscure the image.

Sarah is a giant now, her blazing eyes filling the Video
Screens.

					SARAH
		Get out of the building.  You've
		been warned.  You have five minutes
		before we--

VIDEO STATIC overwhelms the image.  Computer data scrolls
across the screen: UNAUTHORIZED TRANSMISSION: MANUAL
OVERRIDE.  COLOR BARS fill the screen; the words PLEASE
STAND BY are superimposed.
Then--

An instant of STATIC, and we're back to:

CYBERDYNE PROMO VIDEO

-- which, oblivious to the Connor's interruption, is now
building up to its stirring conclusion.  FLAGS wave
against flashing laser graphics; CHILDREN laugh across
digital chat networks; SOLDIERS march and smile from hi-
tech tanks; a pair of GRANDPARENTS kiss via two-way
television.  It's big and soppy and sentimental, with a
slight military edge.

					NARRATOR (V.O.)
		-- making the future safer and
		friendlier for everyone.

One of the images that flickers by: Cyberdyne Scientists,
wearing Safety Visors like ours, labor over a silhouetted
CHROME SKELETON.

					NARRATOR
		And you'll witness perhaps
		Cyberdyne's greatest breakthrough.
		An incredible new technology that
		will change your world today... and
		tomorrow.

Meanwhile, KIMBERLEY DUNCAN re-enters and watches the
screens.  She picks up the phone, dials as she watches the
Cyberdyne Video finale.

					KIMBERLEY
		Right.  That took care of it.
				(impatient)
		I don't know how they did it.
		That's supposed to be your job.
				(a beat)
		Do what you have to.  Double the
		security on the doors.  Just keep
		them out.

She bangs down the phone and waits in the dark for the
video to end.

EXT.  CHILDREN'S PLAYGROUND - DAY

An idyllic playground overlooking Los Angeles.  CHILDREN
and MOTHERS play on the swings, the slide, the roundabout.

The MECHANICAL BUTTERFLY lands on a swingset, next to a
beautiful LITTLE GIRL.  Its wings move slowly back and
forth.  We PUSH IN on the creation, into EXTREME CLOSE-UP.
A tiny red LED LIGHT glows in the center of each wing.

					NARRATOR
		The future.
		It's happening.
		Today.
		At Cyberdyne Systems.

And as we FADE OUT, the butterfly's outline seems for a
moment to resemble the red-eyed chrome skull of a
TERMINATOR ENDOSKELETON.

We FADE TO BLACK.  A moment later, the Cyberdyne Logo
FADES IN, white letters against black:

				CYBERDYNE SYSTEMS
				We are the future

After a moment of silence, we...

								 FADE OUT

A moment of darkness.  Then...

A SPOTLIGHT RISES, illuminating the person standing on the
Dais.  The KIMBERLEY DUNCAN who greets us now acts
completely different from the shadowy, angry person we
heard a moment ago.

					KIMBERLEY
		Well, Hi, everybody!  It sure is
		nice to see so many friendly faces
		here today!
				(a fresh start)
		Welcome, Ladies and Gentlemen, to
		Cyberdyne Systems.  My name is
		Kimberley Duncan, Cyberdyne's
		Director of Community Relations and
		Media Control.  Today you're going
		to see a classified presentation of
		out latest, most exciting
		technology.

		I'll tell you this much now: you'll
		need the Safety Visors we
		distributed when you entered.  Does
		anybody need a pair of glasses?
		Please ask our attendants as you
		enter the Demonstration Center.

		Everybody ready?  Okay, then.
		Follow me!

The AUTOMATIC DOORS swing open.  Kimberley steps down from
the Dais and leads us into the MAIN SHOW THEATER.

					MAIN SHOW

					ACT I
			Cyberdyne Demonstration

We enter the CYBERDYNE PRESENTATION CENTER through
MULTIPLE DOORS at the back of the theater.

The spacious auditorium features wide, carpeted aisles and
comfortable seats.  A broad STAGE spans the room, its
various platformed levels reaching down to the audience
floor and up to a large CURTAIN.

The WALK-IN MUSIC continues the hip, you're-going-to-love-
this flavor established in the Pre-Show Video.

A SPEAKER'S PODIUM/CONTROL CONSOLE stands stage right,
bearing the Cyberdyne logo.  The Control Console wraps
around behind the Podium, forming a little space where a
person can stand and either address the audience, or turn
upstage to operate an array of high-tech CONTROL PANELS
and DIGITAL DISPLAYS.  A vertical VIDEO PROJECTION SCREEN
lies embedded in a structural column, stage right of the
Podium.

The same droning VOICE from the Pre-Show chimes in.

					P.R. DRONE (V.O.)
		Ladies and gentlemen: welcome to the
		Cyberdyne Visitor Center.  Our
		special presentation of classified
		technology will continue in just a
		moment.  Please do not put on your
		Safety Visors at this time.  Wait
		until instructed by your Cyberdyne
		Host or Hostess.

KIMBERLEY DUNCAN, the Cyberdyne Spokesperson, leads us
into the theater.  She hops up onto the stage and directs
us.

					KIMBERLEY
		Please step in quickly, ladies and
		gentlemen.  Find a row and move all
		the way to the end, making room for
		everyone.  Because this auditorium
		was precision designed by Cyberdyne
		engineers, rest assured that every
		seat will give you an excellent view
		of our presentation.

Kimberley busies herself at the Control Console, pressing
a sequence of buttons.

					KIMBERLEY
		And now, if everybody is settled,
		let's continue with our
		presentation.

Kimberley presses a button, and the HOUSE LIGHTS FADE TO
HALF.  A SPOTLIGHT FADES UP on her.  Behind Kimberley, the
CURTAIN OPENS, revealing a HI-TECH WALL emblazoned with a
large CHROME CYBERDYNE LOGO.  The Video Projection Screen
carries a LIVE IMAGE OF KIMBERLEY as she speaks from the
podium.

					KIMBERLEY
		Ladies and gentlemen: Armed combat
		has entered the age of the thinking
		machine.  And today, it gives us
		great pleasure to introduce the
		ultimate thinking machine...

We hear the faint WHIRRING of servos all around us.  Then,
with a startling PCHSSSSSH, SIX large PNEUMATIC HATCHES
open around the room.  LIQUID NITROGEN FOG spills out of
the hatches.

					KIMBERLEY
		... The mechanical soldier.

And as INTENSE MUSIC BUILDS, a group of cold metal objects
start to rise from the six open hatches around us.  FOG
LIGHTS shine up through dark METAL GRATINGS below, casting
eerie shadows up the theater walls.

					KIMBERLEY
		Cyberdyne Systems is proud to
		present... the future of modern
		defense.

These things are creepy.  At first we might mistake them
for missiles rising out of their silos; but then we
realize that these are gleaming CHROME ROBOTS.

					KIMBERLEY
		The Cyberdyne Series 70 Automated
		Fighting Infantry units.  Or, as we
		call them...

KA-CHUNK!  The robots finish their upward travel and lock
into place.  Their EYES LIGHT UP with a blood-red glow.

					KIMBERLEY
		... The Terminators.

And that's what they are.

They're the deadly endoskeletons from the movies.  Those
same skull faces and chrome bodies, but a little larger --
these models are nearly eight feet tall.

The machines are "alert" now, scanning the audience as if
looking for trouble.  They carry huge ATTACK RIFLES.

The Video Projection Screen switches to images of the T-
70s around the room.

A SPOTLIGHT RISES on Kimberley.  Her cheery spiel
contrasts with the endoskeletons lethal appearance.

					KIMBERLEY
		Ladies and gentlemen, you are
		looking at the most advanced
		fighting machines in the world
		today.  And now... let's see just
		what they can do.

		Please put on your Safety Visors --
		the special glasses you received
		outside.

She puts on a pair of VISORS just like ours.  HOUSE LIGHTS
DOWN.

					KIMBERLEY
		Observe.

Kimberley pushes another button on the console.  SIX
HANGING TARGETS descend from the ceiling and hang over the
audience.  They're hi-tech versions of standard police
targets, showing stylized outlines of a human profile.

					COMPUTER VOICE
		Automatic Targeting Systems active.

The T-70s suddenly SNAP TO ATTENTION like hunting dogs on
the trail.  Each Terminator picks out a target and watches
it descend into position.

					COMPUTER VOICE
		Laser Designators active.

From each T-70s rifle a bright red LASER BEAM appears.
They crisscross the theater in sweeping arcs until they
LOCK ONTO their designated targets.

					COMPUTER VOICE
		Prepare to fire.
		Lock and load.
		Commence firing.

And the room fills with thunder.

The T-70s OPEN FIRE on the targets.  The guns BLAZE with
Automatic Fire, rattling off six hundred rounds a minute.
Their shooting is laser perfect at first: the guns punch
precise clusters through the heart and head bullseyes.
Kimberley calmly puts her fingers in her ears, watching
the demonstration with a placid smile.

Then, as the sequence progresses, the robots aim deviates
more and more.  They start to hit the target's arms, legs,
groins.  SCRAPS OF PAPER flutter down from the targets.
Bullets tear up the Target Frames, sending SPARKS flying
and causing pieces of the frames to BREAK LOOSE and dangle
from the Targets.

The GUNFIRE STOPS as suddenly as it began.  The T-70s
return to attention.

Silence.  It's been only ten or fifteen seconds, but it
felt like the Normandy invasion.  The room is filled with
smoke and ruined targets and little drifting bits of
charred paper.

Kimberley jumps right in with a winning corporate smile.

					KIMBERLEY
		The Cyberdyne Series 70, ladies and
		gentlemen!

HOUSE LIGHTS UP TO HALF.

					KIMBERLEY
		But raw firepower is just the
		beginning.  Within five years, these
		incredible fighting machines will
		completely replace U.S. combat
		troops in all--

THPOW!  PTOOM!  A pair of EXPLOSIONS shake the air
overhead.  The CEILING VENTILATION DUCTS BURST OPEN at two
different places with a FLASH OF LIGHT and a CLOUD OF
SMOKE.

RAPPELLING CABLES drop from the ducts into the theater.
Then, zipping down the lines from above, we see a pair of
LIVE ACTORS: JOHN and SARAH CONNOR.  They're heavily armed
and ready for action.

					JOHN
		Mom!  They've already started!

					SARAH
		Move!

The Security System goes nuts.  ALARMS and SIRENS SOUND
all around the theater, as the VIDEO SURVEILLANCE SYSTEM
tries to get a fix on the two intruders.  The Video
Projection Screen cuts away from Kimberley, to show the
two intruders.

Kimberley suddenly springs into action.  She completely
drops her civilized facade, and becomes a snarling, take-
no-prisoners Cyberdyne mercenary.  She grabs for the
security phone on the Control Console.

					KIMBERLEY
				(into phone)
		Get me security -- NOW!  I've got
		the Connors in the theater!

					SARAH
		John!  The alarms!

					JOHN
		On it!

They pause in mid-descent and OPEN FIRE, expertly blasting
the Alarms.  John blasts the alarm on the side column;
Sarah destroys the phone Kimberley's holding.  They finish
their zip-slides and land in the theater.  They unclip
their harnesses and run toward the stage.  On the Video
Projection Screen, we can see their faces more clearly.

					SARAH
				(to Kimberley,
				indicating the
				T-70s)
		Shut those things down!

					KIMBERLEY
		No way, Connor.  This is a High-
		security--

PKOW!  Sarah FIRES A SHOT just over Kimberley's head; it
HITS the CYBERDYNE LOGO on the wall behind her.

					SARAH
		RIGHT NOW!

					KIMBERLEY
				(caving in)
		Okay -- d-don't shoot--

Kimberley fumbles with the controls, trying to comply.
But as she does, we hear a weird LIQUID SUCKING sound
behind her.

And the bullet holes in the Cyberdyne logo heals.

Where the bullets entered a moment earlier, it left a
large chrome "crater." But now, the metal logo SHIFTS and
RIPPLES like soft butter, smoothing over the hole until
there's no trace of it left.

And then, as Sarah crosses to the console, the logo loses
its shape and begins to PEEL OFF THE WALL.

					JOHN
				(noticing)
		Oh, no.  It can't be.

					SARAH
		Now let's get this thing--

As OMINOUS MUSIC BUILDS, the melting Logo DROPS to the
ground, landing in a formless CHROME BLOB on the top step.
It cast a "shadow" on the "wall" behind it.

					JOHN
		Mom!  Look out!

Sarah turns and sees the bizarre chrome thing, which
shifts and changes under its own power.

					SARAH
		John!  Take cover!

The Connors dive off the stage, into the audience, and
take refuge in the crowd.

Suddenly a portion of the chrome mass STRETCHES AWAY FROM
THE STAGE, extending out into the theater.  The liquid
metal forms a mirrored FACE that reaches out toward us,
almost close enough to touch; we can see the AUDIENCE
REFLECTED in its smooth chrome features.

Kimberley points a shaking finger at the chrome blob.

					KIMBERLY
		My god -- what is that?

But the Connors already know what it is: the deadly
cybernetic organism sent by Skynet to destroy John and
Sarah.

THE T-1000.

The robot assassin scans slowly back and forth, looking
for John and Sarah.

					T-1000
				(an eerie, filtered
				voice)
		Sarah Connor... John Connor...

The metal face THRUSTS toward us one more time; but as it
pushes forward, the chrome surface changes to SKIN TONES,
a snake shedding digital skin.  The T-1000's "human" face
is almost fully formed now.

The head BACKS AWAY FROM US and retracts toward the wall
as the remaining chrome mass transforms into the BLACK
FABRIC of a policeman's uniform.  The creature pulls
itself into shape of a HUMAN FIGURE.  And in one final
transformation, the creature MORPHS into the T-1000's
familiar MOTORCYCLE COP persona, complete with sunglasses
and helmet.

The T-1000 crosses the stage, never taking its eyes off
the audience where it knows John and Sarah are hiding.
Kimberley sees it coming and panics.

					KIMBERLEY
		Wh-what are you doing?  You can't
		just hrgkh--

With a casual effort, the T-1000 grabs Kimberley by the
throat and TOSSES HER BEHIND THE CONSOLE.

John and Sarah run up to the edge of the stage,
desperately trying to take cover behind a piece of
equipment onstage.

The T-1000 turns to the Control Console and efficiently
punches a few buttons.

					COMPUTER VOICE (OVERHEAD)
		Automatic Designators active.

The Hanging Targets ASCEND out of sight, as the T-70
ROBOTS come back to life.  They SWING AROUND and their
LASER TARGETING systems start to converge on John and
Sarah.

					COMPUTER VOICE
		Laser Designators active.

The T-70 LASER SCOPES sweep red beams toward the Connors,
who are completely exposed to the chrome robots.  John
notices the T-70s zeroing in on them.

					JOHN
		Uh, Mom.  Mom, this isn't good.

Sarah turns around and sees the T-70s.  They're trapped.

					COMPUTER VOICE
		Prepare to fire.
		Lock and load.

They exchange looks.  Sarah grabs John's hand.  A last
goodbye...

The quiet is shattered by a BOLT OF BLUE-WHITE LIGHTNING
that rips across the stage.  TZZZAKT!  Another bolt
appears, then another.  They dance across the screen,
clutching at the side columns and floor as though looking
for a place to "land." The lightning bolts begin to
CONVERGE at a single point, across the stage from the
control console.  HEAVY METAL THUNDER shakes the theater;
and somewhere in the surreal background we hear the
revving of an enormous MOTORCYCLE, getting louder.  T-1000
stops before he hits the firing button, looking around,
momentarily distracted.

Suddenly a JET-BLACK SPHERE opens up in the middle of the
lightning bolts, appearing out of dead-ass nowhere.  This
is the TIME SPHERE effect from "T2,".  Through this 'time
vacuole" we see fleeting, static-shadowed images of
another world.  And with a ROAR of light and thunder, a
LEATHER-CLAD FIGURE ON A BLACK HARLEY-DAVIDSON EXPLODES
OUT OF THE SPHERE!

The bike hurtles out of the void, flying through the air
as though it had just arrived in mid-jump, and SOARS
ACROSS THE STAGE in a blazing meteor-trail of WHITE
LIGHTNING.  The entire theater is LIT BY THE GLARE as the
bike comes roaring through.

It lands on the stage floor, bouncing heavily on its
suspension.  Trailing CRACKLING ELECTRIC DISCHARGES.  It
disappears for a moment behind the Control Console and
reappears an instant later.  The bike screeches forward,
accelerating toward downstage center.  As it passes the
console, the Harley SMASHES INTO the T-1000, sending the
"cop" FLYING across the stage.  The bike FISHTAILS
slightly and SKIDS TO A HALT near the Connors.

The big machine THUNDERS MENACINGLY as its RIDER revs the
engine.  The figure on the machine is massive, dressed all
in black riding leather, his severe face made more
threatening by the familiar black glasses.

Enter TERMINATOR.

					TERMINATOR
		I said I'd be back.

The T-70s turn to follow Terminator, the LASER TARGETING
BEAMS sweeping toward him.  But Terminator doesn't waste a
moment.  He unslings a SAWED-OFF TEN-GAUGE LEVER ACTION
WINCHESTER from the bike's saddle-bag and--

POOM!  POOM!  Pumps two rounds into the control console,
which EXPLODES IN SPARKS.  The T-70s go dead.  They
descend into their silos.

The T-1000 jumps back to his feet and begins to advance
toward them.  Terminator holds out a hand to John.

					TERMINATOR
		Come with me if you want to live.

Sarah is between John and the T-1000.  She raises her
weapon and FIRES.  It jerks with the impacts, staggering
but advancing.  Dripping MERCURY CRATERS appear in its
chest with each shot.  Sarah shouts to John, who is
hesitating...

					SARAH
		Go with him!  Go get Skynet!

John leaps onto the motorcycle behind Terminator.  Sarah
fires again.  T-1000 staggers back, then advances.

					SARAH
		Get out of here!  GO!!

Terminator GUNS THE THROTTLE on the Motorcycle.  It POPS A
WHEELIE, the back wheel SPINNING and SMOKING.  The T-1000
is coming toward them.

					JOHN
		Hit it, lugnuts!

VRROOOOOOMMM!!  The Motorcycle takes off, straight for the
back wall.  The TIME SPHERE, which has been flickering
slowly from left to right, now hovers in the dead center
of the stage.  The Harley hits the bottom steps and LEAPS
INTO THE AIR, and with a burst of CRACKLING ENERGY, the
Motorcycle flies RIGHT INTO THE TIME SPHERE!

The world turns inside out.  As the Terminator's
motorcycle enters the Time Sphere, a BLINDING GLARE OF
ELECTRICAL ENERGY flashes all around the bike and Sphere.
A cloud of TACHYON PARTICLES swirls like tiny glowing
cinders in the bike's wake.  The TIME SPHERE EXPANDS,
growing bigger and moving toward us.  The mysterious world
behind it rushes forward as well, so we're actually
following the motorcycle.  The crackling Sphere grows
until it fills the entire 3-D FILM SCREEN.

At the same time, the Stage and Theater GO DARK, and all
objects on the stage DESCEND INTO THE STAGE, leaving us
looking at a PURE 3-D FILM.

					ACT II
				 Future Run

The Terminator and John BLAST THROUGH the Time Sphere as
Tachyon Particles fly out in 3-D at the audience,
revealing the NUCLEAR NIGHTMARE WORLD of LOS ANGELES 2029.
The city lies in ruins.  Little fires dot the shattered
landscape.  Strange CHROME AIRCRAFT fly through the
darkened sky, rapid-firing PLASMA BLASTS.  Grotesque
HUNTER-KILLER TANKS tread the rubble landscape in the
distance.

As the motorcycle HITS THE GROUND and screeches to a stop,
the CAMERA rushes up to it, moving in TIGHT ON TERMINATOR
as he leans the weight of the machine on one leg and turns
to look back.

Off his look WE WHIP PAN 180 DEGREES, looking back the way
we just came... revealing the TIME SPHERE, seen from the
future side.

Beyond the outline of the window is the audience, still
seated in the auditorium in 1996!

Before we have too much time to think about this out-of-
body paradox, the T-1000 leaps through the window and runs
right toward us.

THE CAMERA PUSHES IN, rushing toward the evil T-1000,
giving him a sense of enormous speed.  The T-1000 reaches
out with his right hand -- we see that it's changed into a
cruel METAL HOOK -- and then SWIPES at us with his left
arm, which is now an EXTENDED METALLIC BLADE.

ANGLE ON TERMINATOR as he extends the 10-gauge with one
hand and points RIGHT INTO CAMERA.  BOOM!

HE FIRES RIGHT BETWEEN THE T-1000'S EYES.

The T-1000's head splits (saucehead effect) as he falls
back and collapses to the ground.  This moment of victory
is interrupted by the thundering SOUND of an approaching
FHK, even as PLASMA BLASTS begin exploding nearby.

Back to Terminator and John as a FLYING HUNTER KILLER
swoops into view.  Terminator revs up the bike and takes
off just as a MASSIVE PLASMA BLAST punches a three-foot
crater in the ground, right where the bike was seconds
before.

We BURST THROUGH the smoke and fire of the explosion
FOLLOWING the bike as Terminator swerves with machine
precision, avoiding the barrage of purple blasts.  John
SHOUTS over the action.

					JOHN
		What the hell is going on?!  Where
		are we?!

					TERMINATOR
		Your future, John Connor.  Unless we
		stop them.  Now.

					JOHN
				(realizing)
		Oh man.  You're heading for Skynet.

Before Terminator can respond, a MAJOR BIG-TIME PLASMA
BLAST EXPLODES directly in front of them.
KA-BLAMMM!
The bike hits the exploding rubble, launching them into
the air.  IN SLOW MOTION Terminator grabs John and spins
in the air like a cat, coming down on his back on the
pavement--
K-WHAM!!

He skids on his back on the concrete, throwing a comet-
tail of sparks behind them.  Before he has even come to
rest he is rolling to his feet, pulling John up next to
him.

Behind them, the FHK circles around and comes in for the
kill.  Terminator grabs John and pulls him as they rush
for cover.

					TERMINATOR
		This way.  Quick.

They rush to a large burned-out PARKING STRUCTURE, darting
under its protective cover.  The massive FHK fires several
PLASMA BLASTS at them, but too late: its intended victims
are safely inside.  The FHK can't get to them.

					JOHN
		That was close.

					TERMINATOR
		It's not over.

They move into the shadows as the FHK sweeps overhead
again, its moving searchlights seeking them out.

TIGHT ON THE FLYING HK as doors open in its belly,
releasing THREE CHROME DISKS as they come to life,
rocketing downwards towards the parking structure.

They are MINI-HUNTERS: single rotor anti-personnel drones
about a foot in diameter.  Fast, short range death-
frisbees, they each carry a front-mounted automatic-weapon
about as powerful as an UZI.

They whine like evil bees as they swarm down into the
shadows, SPLITTING OFF IN THREE DIRECTIONS with keen
precision.  We TRACK WITH ONE OF THEM as it zips through
the war torn landscape.

TRACKING WITH JOHN AND TERMINATOR as they sprint through
the ruins of the crumbling parking structure.

The MINI-HUNTERS ATTACK.
ANGLE FOLLOWING THE LEAD DISK as it closes on the running
targets.
Terminator pulls John in front of him, shielding him with
his body as--
The Mini-Hunters open fire and--
Terminator's leather jacket is ripped to shreds as rounds
riddle his back.

Sheltering John, he whips around with the 10-gauge, firing
one-handed RIGHT INTO CAMERA.

Mini-Hunter #1 is blown into shrapnel right in the
FOREGROUND.

Terminator pulls John behind a concrete column as--
The other Mini-Hunters fire and--
The concrete is riddled with hits, and--
Terminator and John dodge out of the garage structure and
through the ruins, and--
The two remaining Mini-Hunters fly aerobatics, swooping
around, through and under the jumbled ruins to stay in
pursuit.

THE LAST TWO MINI-HUNTERS whine around a mound of debris,
closing.  MINI-HUNTER #2 FLIES IN, its guns targeting
Terminator.  John sees it first and dives for cover.

					JOHN
		LOOK OUT!

Terminator swings around, brings up the shotgun, pulls the
trigger--
CLICK!  Empty.
As the Mini-Hunter fires, stitching rounds into his chest,
he flips the gun in his hand, holding it by the muzzle
and--
Swings it like a bat.

CRACK!  Grand slam!  The Mini-Hunter SPINS AWAY, out of
control, smoking and throwing off bits of shrapnel.
Wailing plaintively and out of control, it corkscrews past
the last functioning Mini-Hunter.

The remaining Mini-Hunter follows with its optical sensors
as it goes by, "watching" it until we hear an off-screen
explosion.
Then it turns back toward its target and revs up angrily
for an attack.

FOLLOWING THE LAST MINI-HUNTER as it zips at blinding
speed through the ruins, following John and Terminator as
they run and dodge.  It loses sight of them and banks,
doubling back--
Zigzagging through columns, burnt-out doorframes, empty
windows--
It catches a glimpse, homes in and--
Loses them again.

The whining disk hovers one way, then the other.  Its
sensors spin, searching.  Huh?
Perplexed, it edges past a column and--

WHAM!  A hand shoots out of the darkness and grabs it in a
vice-like grip.

Terminator steps from behind the pillar, holding the angry
drone.  It wriggles savagely in his hand.
Its miniature guns rotate, trying to fire.  Its little
rotor screams shrilly as it struggles.
Terminator SMASHES IT AGAINST THE WALL.

					TERMINATOR
		Quit your whining.

It does.

A SKELETAL SILHOUETTE with glowing red eyes steps out of a
charred doorway behind them.

A T-800 TERMINATOR ENDOSKELETON (ENDO) raising its plasma
rifle toward them as it moves in.  The T-800s are the
first stage in the creation of the cyborg.  Our
reprogrammed hero, Terminator himself, started as one of
these, before he was completed as a human-infiltration
unit.

Terminator spins, hurling the dead Mini-Hunter like a
discus, right into the chest of the T-800.  The Mini-
Hunter EXPLODES, blasting the Endo into cartwheeling
chunks of metal.

Out of the fiery explosion, the dead Endo's metallic head
comes flying out, DIRECTLY AT US, in horrific 3-D.
John jumps backwards as the skull hurtles toward him--
The head hovers for a moment -- its eyes glowing red as it
seems to stare at us -- then it EXPLODES right in our
faces--

					JOHN
		Nice shootin', Tex.  A friend of
		yours?

					TERMINATOR
		He was my roommate in college.

					JOHN
		Now what?

Terminator hands John a backpack as he picks up the heavy
PLASMA RIFLE from the dead Endo.

					TERMINATOR
		Now we take on Skynet.

					JOHN
		I was afraid you were going to say
		that.

John follows Terminator to a blackened doorway, CAMERA
FOLLOWING, REVEALING...

AN ENORMOUS BUNKER.  Squat and brutal in its design, like
a mesa of burnished metal, its sides angling up hundreds
of feet to a flat top.  It gives the impression of being
only the tip of a vast structure under the earth, which it
is.

					JOHN
				(awed)
		Oh, man.

Set into the face of the implacable bunker are numerous
sets of massive doors, some closed, some open to allow
HUNTER KILLERS to come and go.  The nearest doors yawn
wide as a FLYING HUNTER KILLER emerges onto the killing
plain.  Beyond it, several doors down, a huge tracked-
vehicle (TANK HUNTER KILLER) is entering the bunker.

John takes a peek inside the pack given to him by
Terminator.  Inside are metal cylinders the size of a
thermos... a futuristic version of German "potato-masher"
grenades.

					JOHN
		Satchel charges.  Cool.

					TERMINATOR
		Let's bust a move.

They sprint towards the doors, right under the jetwash of
the departing FHK.  Ahead, the ENORMOUS DOORS are grinding
closed.  Let me tell you about these doors: they're big.
BIG.  Bigger than the Wizard of Oz's doors.  Bigger than
the door in "War Games".  This is the Spruce Goose of
doors.

John and Terminator run full-out toward the doors.
They're not going to make it...
Terminator's stride lengthens and he gets there first, in
time to wedge himself between the enormous doors.  Like
Samson between the pillars of the temple, his hydraulic
arms hold the doors apart.

There is a grumbling roar from the hidden mechanism as the
doors strain to close.

Just as John makes it through, the powerful cyborg
releases the doors, diving out of the way as they SLAM
TOGETHER with a THUNDEROUS CLANGGGG!

PLUNGING US INTO ABSOLUTE BLACKNESS...

					ACT III
				Skynet Showdown

The gong-like echo of the doors closing dies away along
with the fading sounds of the HK explosions.

					JOHN
		Where are we?

					TERMINATOR
		Home.

A pale shaft of light filters down through the darkness,
and into it walk JOHN and TERMINATOR.

KAWHUNNK.
A low, powerful HYDRAULIC MOTOR comes to life beneath us.

And then the theater begins to drop.

With a hefty UNLATCHING sound, the WALLS OF THE THEATER
START TO RISE.  We're on a giant ELEVATOR, the size of the
entire theater.
Descending into the bowels of the earth.

John looks around in awe as the room descends.

					JOHN
		Skynet.

					TERMINATOR
		Affirmative.

As we descend, the walls of the shaft reveal a larger
vista.  We're descending through the heart of Skynet's
operations.

This is not a place intended for human use.  This is a
facility designed by machines for machines.  The
architecture is alien, without aesthetics, without even
such human basics as light switches and door knobs.
Girders and conduits crisscross the space around us.

We notice dozens of tiny red "EYES" scattered throughout
the chamber.  These are AUTOMATIC VIDEO CAMERAS; they
constantly scan the complex, looking for trouble.

A bank of SECURITY SCANNERS checks the elevator for
intruders.  These are BLUE FANS OF LIGHT that sweep across
the elevator and into the theater.  John and Terminator
duck to avoid them. A sequence of ELECTRIC SPARKS throws
eerie popping light from below.  John and Terminator brace
for trouble, but it's just a T-800 ENDOSKELETON WELDING
some mechanical components; it pays them no notice.

					JOHN
		Pretty intense security.

					TERMINATOR
		We are approaching the final level.
		Skynet's Central Core.

Terminator starts loading his Plasma Rifle, checking the
satchel charges: preparing for the final battle.

And we descend into the highest, deepest, widest chamber
ever built.

THE CENTRAL CORE is a vast, gleaming steel corridor that
seems to go on forever: a cold, mechanical environment,
some kind of thermal-insulated manufacturing facility.
LIQUID NITROGEN moves through translucent walls and
streams down from vents and piping that line the walls and
ceiling.  CATWALKS and CONVEYOR BELTS crisscross the
chamber at weird angles.

To the left and right, huge SIDE TUNNELS branch off,
nearly as vast as the central corridor.  On the left we
see a GIGANTIC VIDEO WALL.  The Video Wall stands thirty
of forty feet high and several hundred feet long, receding
down the corridor.  From here, Skynet monitors every
aspect of its empire.

In the right hand tunnel, two massive TRUNCATED CONES
converge from above and below.  A CATWALK extends from the
platform into the gap between the cones.

An immense CHROME PYRAMID, perhaps thirty feet high,
dominates the center tunnel.  While the rest of the Skynet
systems are interconnected with ducts and cable trays,
this gleaming metal stands strangely removed.

BDOOOOM!  The elevator comes to a stop.  We've reached the
bottom of the huge elevator shaft.

John and Terminator quietly start to explore the space.
In contrast to the thunderous noise of the Act II
motorcycle-and-foot chase, the only sounds here are a
faint hum of powerful machines all around us and their
echoing footsteps.  The room is cold.  Sterile.  Tomblike.

					JOHN
		So... what's the plan?

					TERMINATOR
				(indicating the huge
				pyramid)
		We destroy the central processing
		unit.  Then we activate the Time
		Generator...
				(indicating the twin
				cones to our right)
		... and you go home.

					JOHN
		Hmmm.  Well... at least we're past
		all the security systems.

But what he doesn't see is that the video cameras have
already spotted them, and their image appears on the stage
right VIDEO WALL.
And now, a bad sound.  That same METALLIC SUCKING we heard
when the Cyberdyne Logo healed up.  Only a whole lot
bigger.

					TERMINATOR
		All but one.

There's MOVEMENT as the MASSIVE CHROME PYRAMID begins to
MELT.  It ripples down, forming a huge donut of liquid
metal on the ground.  The slithering chrome reveals a
smaller object underneath: an imposing ELECTRONIC PYRAMID
covered in undecipherable patterns of light.

					JOHN
				(looking around,
				nervous)
		Okay... don't tell me...
				(looking at the
				cabinet)
		That's the Central Processor...

Suddenly the entire chamber seems to COME TO LIFE as the
liquid metal mound begins to change shape.  With the
horrifying sound of bending, twisting, shrieking metal,
GIANT SPIDER-LIKE ARMS slice up and out of the liquid
metal moat.  A METALLIC HEAD grows from the center.
Razor-sharp chrome legs extend from the shape--
And it rises into the air.

					JOHN
		... and we're about to meet the
		night watchman.

John backs away as the DEADLY CREATURE CONTINUES MORPHING,
growing in size by the second.  As the creature comes to
life, its head and arms REACH OUT towards us.  John and
Terminator back away, momentarily unsure what to do.

With a DEAFENING ROAR the metal completes its
transformation into a horrific TECHNO-ORGANIC CHROME
CREATURE; a kind of "steel spider" nearly thirty feet
high.  Revealing a cruel set of razor-sharp METAL TEETH,
the creature (call it the T-1,000,000) lets out a SHRIEK
OF FURY straight from the cauldrons of hell.

					JOHN
		Do something quick!

					TERMINATOR
		Stand clear.

Without missing a beat, Terminator OPENS FIRE with the
PLASMA RIFLE as John dives out of the way.  The shots have
no effect on the creature.  John and Terminator RUN TO
STAGE LEFT -- and the creature REACHES OUT ITS ARMS for
them.

Terminator FIRES another PLASMA BLAST and this time
manages to blow off one of the creature's chrome arms.
The wriggling tentacle merely dissolves and re-merges with
its body once again.

Terminator and John rush to the other side of the stage.
The T-1,000,000 blocks them with its arm while metallic
jaws snap at them.  They move off the platform as the
creature tries to get at them.  The metallic head hovers
over the audience as it searches for John and Terminator.
3-D IMAGES ARE COMING AT US NOW FROM ALL THREE SCREENS.

Suddenly, John and Terminator leap onto the platform at
stage right.  The creature's head snaps in their direction
and it SCREAMS LOUDLY as its arms extend toward them.

					JOHN
		Any ideas?

					TERMINATOR
		Get down!

Terminator AIMS AT THE WALL BEHIND THE CREATURE and fires
blindly into it.  PTWOOOOSSSSSHHH!  THE SIDE OF THE WALL
BLOWS OPEN, releasing a spectacular cloud of LIQUID
NITROGEN across the stage.  The fog fills the screen and
stage, obscuring the T-1,000,000 for a moment.  The
creature's hideous metallic cries are silenced.

A moment later, the smoke clears.  John and Terminator
stand as before, still ready for their attack.  But now we
see the T-1,000,000 is FROZEN SOLID, covered with sparking
frost.  Crystallized.

Terminator raises the plasma rifle.

					JOHN
		Wait!

The Terminator sprays the crystallized creature with
gunfire, and the T-1,000,000 shatters like glass.  It's
blown into a million silvery fragments; the razor sharp
METAL SHARDS fly through the air in all directions.  A
large cluster of fragments flies right toward our eyes.
They hover in front of us, tinkling against each other
with a music sound like a million wind chimes.  We feel
tiny sprinkles of ICE WATER on our arms and faces as the
pieces shatter toward us.

John and Terminator look up in awe at the galaxy of metal
flakes floating overhead.

John looks around, uneasy.

					JOHN
		I'm not sure that was a great idea.

He's right, of course.  Already the fragments hovering in
front of us begin to SOFTEN and MELT.  They turn into
floating blobs of liquid metal that start drifting back
towards the center of the chamber.  The larger pieces
shift, moving to join the floating blobs.  As our heroes
watch, the shattered pieces melt and merge together...

					TERMINATOR
		We don't have much time.

Terminator grabs the satchel charge from the backpack on
John.  He sets the timer and sets the trigger.  We hear it
BEEPING as the bomb begins counting down.

					TERMINATOR
		Thirty seconds.  Follow me.

Terminator and John head to the stage left column, where a
metal structure leads to the upper platform--
And start to climb.
The T-1,000,000 is slowly reassembling itself.  And now it
is really, really pissed.

					JOHN
		Oh, man... This is not good... This
		is definitely not good...

Terminator reaches the Service Platform first, and RIPS
OPEN the big Junction Box.  SPARKS jitter inside the box
as Terminator jiggers the wires.
TZZZZZZZAKKKTT!
The huge CONES on our right suddenly flare to life.
Familiar LIGHTNING BOLTS crackle, and a TIME SPHERE
appears between the cones, identical to the one Terminator
used in Act I.

John reaches the platform.  The noise is building: the T-
1,000,000 rises and undulates violently, extending its
razor-sharp arms out as it reforms.

					TERMINATOR
				(indication the Time
				Sphere)
		Go John!  Now!

					JOHN
		NO!

The creature's head is reforming now.

Terminator grabs hold of a HANGING CABLE and tests it for
strength.  He wraps it around himself and grabs the bomb
in one hand.  The BEEPING of the bomb has become rapid--
There's only about ten seconds left.

					JOHN
		NO!  I won't go without you!

					TERMINATOR
		Six seconds!  GO!

Things happen REALLY fast now.
Terminator LAUNCHES HIMSELF INTO THE AIR, swinging on the
cable.  As he swings toward the CPU Cabinet, Terminator
shouts back to John:

					TERMINATOR
		GO!!!

John realizes what's happening as he see Terminator
swinging towards the T-1,000,000--
He turns and RACES down the CATWALK--
And LEAPS INTO THE TIME SPHERE--
There's a FLARE OF ELECTRICAL ENERGY as he disappears--

The HEAD of the T-1,000,000 reforms and SCREAMS a blood-
curdling DIGITAL HOWL, twisting our attention back to the
center screen--
Its mouth opens, flashing chrome daggers as Terminator
swings toward it--
Terminator KICKS AND SPINS, narrowly avoiding the T-
1,000,000 in mid-gnash--
The BEEPING of the bomb turns into a continuous high-
pitched "this-is-it" tone--
Terminator reaches the end of the cable's swing--

The T-1,000,000 freezes in its tracks: it knows it's
screwed.  And in the split instant before it blows, every
surveillance camera in Skynet turns and focuses in on
Terminator.  His grim face fills the massive VIDEO WALL in
a heroic close-up.

					TERMINATOR
		Hasta la vista, baby.

And Terminator HURLS the bomb into the CPU.

KABLALAWHOOOOOOOOOOOM!!!!!!

A MASSIVE EXPLOSION BLOWS THE CPU TO SHREDS -- IT TRIGGERS
A HUGE FIREBALL THAT BLOWS STRAIGHT TOWARD US--
AND BLOWS THE T-1,000,000 TO SLIVERY VAPOR!

And as the RUMBLING, ROILING FIREBALL BLOWS OFF THE SCREEN
and REACHES OUT towards us, a huge cloud of LIQUID
NITROGEN SMOKE thunders into the audience, obscuring
everything--

-- and for one terrifying instant, OUR SEATS suddenly DROP
OUT from under us--

-- and the world goes black.

EPILOGUE

In the darkness that follows, the TERMINATOR THEME MUSIC
begins again.

We can make out the trappings of the CYBERDYNE
PRESENTATION CENTER in the dim light.  A LIGHT falls on
JOHN and SARAH.  John has returned from the battle drained
and forlorn.  Sarah folds him into her arms as she gazes
out into the darkness.  We hear SARAH'S VOICE overhead.

					SARAH (V.O.)
		And so the battle continues.

On the 3-D FILM SCREEN above them, a final image appears:
The burning red eyes of a TERMINATOR ENDOSKELETON.  IT
moves slowly OUT toward us, flames reflected in its
chromeskull.

					SARAH (V.O.)
		And once again I find I owe my son's
		life to the heroic actions of a
		machine.

And then, as the endo skull hovers directly in front of
us, it FADES into the solemn visage of Arnold
Schwarzenegger.  A RED GLOW appears in one eye behind his
sunglasses.

					SARAH (V.O)
		A Terminator.

Thundering drums roll...

BLACKOUT.

								 END SHOW CYCLE

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