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JAMES CAMERON'S "THE TERMINATOR" -- ILLUSTRATED SCREENPLAY & SCREENCAP GALLERY |
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directed by James Cameron, starring Arnold Schwarzenegger, Michael Biehn, Linda Hamilton, Paul Winfield, Written by James Cameron with Gale Anne Hurd
"Terminator" -- Illustrated Screenplay and Screencap Gallery, directed by James Cameron [Screenplay transcribed from the movie by Tara Carreon, American Buddha Online Librarian] An Orion Pictures Release Hemdale Presents a Pacific Western Production of A James Cameron film Los Angeles 2029 A.D. The machines rose from the ashes of the nuclear fire. Their war to exterminate mankind had raged for decades, but the final battle would not be fought in the future. It would be fought here, in our present. Tonight ... ARNOLD SCHWARZENEGGER Edited by MARK GOLDBLATT Director of Photography, ADAM GREENBERG Music by BRAD FIEDEL Casting by STANZI STOKES Executive in Charge of Production: BRUCE M. KERNER Special Terminator Effects Created by: STAN WINSTON Special Visual Effects by FANTASY II Written by JAMES CAMERON with GALE ANNE HURD Executive Producers: JOHN DALY and DEREK GIBSON Produced by GALE ANNE HURD Directed by JAMES CAMERON THE TERMINATOR Los Angeles 1984, 1:52 a.m. [Truckdriver] What the hell? Goddamn son of a bitch. *** [Punk Leader] Hey, my turn! Me. Come on. [Punk] Hey! What's wrong with this picture? Nice night for a walk, eh? [Terminator] Nice night for a walk. [Punk] Washday tomorrow. Nothing clean, right? [Terminator] Nothing clean. Right. [Punk Leader] I think this guy's a couple cans short of a six-pack. [Terminator] Your clothes. Give them to me -- now. [Punk Leader] Fuck you, asshole! *** [Derelict] Hey, sugar, how about it? I don't have to put up with that bullshit, man. She's always after me. I don't -- I don't ... Hey, buddy, did you just see a real bright light? [Police] He the guy? [Police] Hold it right there! [Police] He's rabbiting. Hey! I said hold it! Go! [Derelict] That son of a bitch took my pants! *** [Reese] What day is it? The date! [Police] The 12th of May. Thursday. [Reese] What year? [Police] What? He's got my gun! Let's go! [Police] 3831, they lost the suspect. *** [Waitress] So am I. [Sarah] I'm in it. [Waitress] So am I. [Man] Honey, could I have that coffee now, please? [Sarah] Yes, sir. Who gets the burly beef? [Man] I ordered barbecued beef. [Man] I think that's mine, but I didn't order fries. [Man] He gets the barbecued beef. Mine's the chili beef deluxe. [Sarah] Who gets the burly beef? [Lady] Miss, we're ready to order now. [Sarah] Yes, ma'am. I'm so sorry. Oh, lord. This isn't real leather, is it? [Man] This special sucks. [Woman] Nice going, kid. Ought to give you the tip. [Waitress] Look, in a hundred years, who's going to care? *** 14329 -- STORE WIDE CLEARNCE [Terminator] The 12-gauge auto-loader. [Gunman] That's Italian. You can go pump or auto. [Terminator] The .45 long slide, with laser sighting. [Gunman] These are brand-new. We just got them in. That's a good gun. Just touch the trigger, the beam comes on and you put the red dot where you want the bullet to go. You can't miss. Anything else? [Terminator] A phased plasma rifle in the 40-watt range. [Gunman] Just what you see, pal. [Terminator] The Uzi 9mm. [Gunman] You know your weapons, buddy. Any one of these is ideal for home defense. So which will it be? [Terminator] All. [Gunman] I may close early today. There's a fifteen-day wait on the handguns but the rifles you can take right now. You can't do that. [Terminator] Wrong. *** [Man] Hi, baby. Yeah, it's me. Listen, I need you to come pick me up. My bike just broke down. I don't care what you're doing. Come and get me. What the -- Hey, man, you got a serious attitude problem. Connor, Sarah 14239 [Terminator] Sarah Connor? *** [Sarah] I'm on my break, Chuck. Carla's got my station. [Waitress] Sarah, come here! It's about you. Sort of. It's incredible. You're not gonna believe this. Sit down. You are going to love this. Shh! [Sarah] What? [TV] ... has been compiled from several witnesses. Once again, Sarah Connor, thirty-five, mother of two, brutally shot to death in her home this afternoon. [Waitress] You're dead, honey. *** [Sarah] Sorry. [Matt] First, I'm gonna rip the buttons off your blouse one by one, and then run my tongue down your neck to your bare, gleaming breasts, and then slowly slowly pull your jeans off, inch by inch. [Sarah] Ginger, it's Matt! [Matt] And lick your belly in circles,
further and further down, and then pull your panties off with my teeth. [Matt] Oh, Jesus. I'm sorry. I thought you were -- Can I talk to Ginger, please? [Sarah] Sure, Bunky. It's the creep. [Matt] First, I'm gonna rip the buttons off your blouse one by one *** [Man] You fucking pigs! Wait till I get my hands on you! Get off of me! [Police] Sit down, fella. [Vukovich] Ed. [Ed] What do you got? [Vukovich] Dead girl. [Ed] I can see that. [Vukovich] Sarah Ann Connor, secretary, thirty-five, shot six times at less than ten feet. Large caliber weapon. [Ed] You know, these work. What's this? [Vukovich] Dead girl two, sent over from Valley division this afternoon. [Ed] I'm sure there's a point to all of this. [Vukovich] Look at the name, Ed. [Ed] Sarah Louise Connor. Is this right? You're kidding me. [Vukovich] The press is going to be short-stroking it all over. [Ed] A one-day pattern killer. I hate the weird ones. *** [Sarah] So? [Ginger] Better than mortal man deserves. BEWARE OF DOG [Sarah] Ginger, have you seen Pugsley? [Ginger] Not, not lately. Did you check messages? [Sarah] I thought you did. [Answering Machine] Hi, Sarah, this is your mom ... [Sarah] There you are, young man. You mind your mother. [Dan] Hi, Sarah. Dan Moorski. Something's come up. I can't make it tonight. Just can't get out of it. Look, I'm really sorry. I'll make it up to you. Call you in a day or so, OK? Sorry. Bye. [Ginger] That bum. So what if he has a Porsche? He can't treat you like this. It's Friday night, for Christ's sake! [Sarah] I'll live. [Ginger] I'll break his kneecaps. [Sarah] Well, Pugsley still loves me, don't you baby? [Ginger] God. It's disgusting. [Sarah] I'm gonna go to a movie, kiddo. You and Matt have a good time. [Ginger] We will. You, too. *** [Sarah] Damn it, Matt! *** [Ed] Oh, shit. [Reporter] Lieutenant, are you aware that these two killings occurred in the same order as their listings in the phone book? [Ed] Now, what can I tell you guys? No comment. [Reporter] But we've got two murders -- *** [Vukovich] That coffee's two hours cold. I put a cigarette out in it. [Ed] Did you reach the next girl yet? [Vukovich] No. I keep getting an answering machine. [Ed] Send a unit. [Vukovich] I sent a unit. There's no answer at the door, and the manager's not home. [Ed] Call her. [Vukovich] I just called her. [Ed] Call her again. Give me a cigarette. [Answering machine] Hi there. Fooled you. You're talking to a machine, but don't be shy, it's OK. Machines need love, too, so talk to it. [Ed] I can hear it now. He's going to be called the goddamn "Phone Book Killer." I hate these press cases. Especially the weird press cases. [Vukovich] Where you going? [Ed] To make a statement. Maybe make these jackals work for us for a change. If I can get on the tube by eleven o'clock, maybe she'll call us. Well, how do I look? [Vukovich] Like shit, boss. [Ed] Your mama. [Reporters] Lieutenant! [Newscaster] This just in. Police have announced the name of the victim in the second of two execution-style murders which took place today. The names of the two victims are virtually identical. Two hours ago, 35-year-old Sarah Ann Connor was pronounced dead at the scene in her Santa Monica apartment ... [Man] Can we change this? [Newscaster] Sarah Louise Connor was slain ... [Sarah] Don't touch it! [Newscaster] ... earlier today in her home. Now, police are refusing to speculate on the apparent similarity between these shooting deaths and no other connection between the two victims has been established as of yet. We'll have more on this story as it comes in. A spectacular fire fueled by solvents, oils and other flammable liquids swept through an oil company on North Spring Street just northeast of Chinatown Wednesday night. *** TechNoir [Sarah] Hey, you got a phone? [Girl] It's in the back! Hey! Four fifty. [Sarah] emergency number. [911] This is the Los Angeles Police Department emergency number. All our lines are busy. If you need a police car sent, please stay on the line. [Police] Two-eleven in progress, corner of Third and Cameron. [Ginger] Pugsley, shoo! Go on. I'm going to make a belt out of you. *** [Matt] Don't make me bust you up, man! [Answering Machine] Hi there. Fooled you. You're talking to a machine, but don't be shy, it's OK. Machines need love, too, so talk to it and, Ginger, that's me, or Sarah will get back to you. Wait for the beep. [Sarah] Ginger, this is Sarah! Pick up if you're there! I'm at this place on Pico Boulevard called Technoir. I'm really scared. I think that there's somebody's after me. I hope that you play this back soon. I need you and Matt to come and pick me up as soon as possible. The police keep transferring me around. I'm gonna give them another try. The number here is 555-9175. Call me, kiddo. I need your help. [Vukovich] It's her. [Ed] Sarah Connor? It's Lieutenant Traxler. [Sarah] Lieutenant, don't put me on hold or transfer me! [Ed] I won't. Just relax. Where are you? [Sarah] In this bar called Technoir. [Ed] I know. It's on Pico. Are you all right? [Sarah] Yeah, but I don't want to leave. I think there's a guy following me. [Ed] All right, now listen, Miss Connor. Now listen carefully. You're in a public place, so you'll be safe till we get there, but stay visible. Don't go outside or even to the rest room. I'll have a car there in a hot minute. [Woman] Hey, that guy didn't pay. [Reese] Come with me if you want to live. Come on! [Police] This is 1-L19. I got a hit-and-run felony. Suspect vehicle -- late model gray Ford headed westbound on Seventh. He's really moving, punching lights all the way. I'm going to need an ambulance at Seventh and Broadway right now. Hold it! [Police] All units watch for a late-model gray Ford last seen westbound on Seventh and Broadway. [Reese] Hold on. Are you injured? Are you shot? Do exactly what I say! Exactly! Don't move unless I say. Don't make a sound unless I say. Do you understand? Do you understand? [Sarah] Yes! Yes! Please, don't hurt me. [Reese] I'm here to help you. I'm Reese, Sergeant Techcom, BN38416 assigned to protect you. You've been targeted for termination. [Police] Attempt to intercept 1-L19. [Terminator] This is 1-L19. Westbound on Olympic approaching Overland. [Sarah] This is a mistake. I didn't do anything. [Reese] No, but you will. It's very important that you live. [Sarah] This isn't true. How could that man just get up after you -- [Reese] He's not a man -- a machine. A Terminator. A Cyberdyne Systems Model 101. [Sarah] A machine? Like a robot? [Reese] Not a robot. A cyborg. A cybernetic organism. [Sarah] No. He was bleeding. [Reese] Just a second. Get your head down! All right, listen. The Terminator's an infiltration unit, part man, part machine. Underneath, it's a hyperalloy combat chassis, microprocessor controlled, fully-armored -- very tough. But outside, it's living human tissue -- flesh, skin, hair, blood -- grown for the cyborgs. [Sarah] Look, I don't know what -- [Reese] Pay attention! I got to ditch this car. 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 till he moved on you before I could zero him. [Sarah] Look, I am not stupid, you know.
They cannot make things like that yet. [Sarah] Are you saying it's from the future? [Reese] One possible future. From your point of view -- I don't know tech stuff. [Sarah] Then you're from the future, too, is that right? [Reese] Right. [Sarah] Right. [Reese] Cyborgs don't feel pain. I do. Don't do that again. [Sarah] Just let me go. [Reese] Listen and understand! That Terminator is out there. It can't be bargained with. It can't be reasoned with. It doesn't feel pity or remorse or fear. And it absolutely will not stop ever! Until you are dead. [Sarah] Can you stop it? [Reese] I don't know. With these weapons, I don't know. [Police] All units. Gray Ford suspect vehicle has been found in a parking structure at Fourth and Beaudry. [Sarah] Why me? Why does it want me? [Reese] There was a nuclear war a few
years from now. All this, this whole place, everything -- it's
gone. Just gone. There were survivors. Here, there.
Nobody even knew who started it. It was the machines, Sarah. [Reese] Defense network computers -- New, powerful, hooked into everything. Trusted to run it all. They say it got smart -- a new order of intelligence. Then it saw all people as a threat, not just the ones on the other side. Decided our fate in a microsecond -- extermination. [Sarah] Did you see this war? [Reese] I grew up after it in the ruins, starving, hiding from HKs. [Sarah] HKs? [Reese] Hunter-Killers -- patrol machines built in automated factories. Most of us were rounded up, put in camps for orderly disposal. This was burned in by laser scanner. 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. But there was one man who taught us to fight, to storm the wire of the camps, to smash those metal motherfuckers into junk. He turned it around. His name is Connor -- John Connor. Your son, Sarah. Your unborn son. Drive! [Sarah] No, Reese! They'll kill you. [Police] You in the Cadillac! Let me see your hands now! Get out of the car! Drop to your knees! Out of the car. Drop the ground. *** [Ed] Sarah, try to drink some of this. [Sarah] Listen, are you sure it's them? Maybe I should look at the bodies. [Ed] No. They've been identified. There's no doubt. [Sarah] Oh, God. [Ed] Sarah, this is Dr. Silberman. [Silberman] Hi, Sarah. [Ed] I want you to tell him everything
Reese told you. Do you feel up to that? [Silberman] Criminal psychologist. [Sarah] Is Reese crazy? [Silberman] That's what we're gonna find out. *** [Silberman] So, you're a soldier, fighting for whom? [Reese] With the 132nd, under Perry. From 21 to 27. [Silberman] That's the year 2027? [Reese] That's right. And I was assigned ... [Vukovich] This is fucking great. [Reese] ... the last two years under John Connor. [Silberman] Who was the enemy again? [Reese] A computer defense system built for -- [Silberman] Damn. Sorry. [Reese] Built for SAC-NORAD by Cyberdyne Systems. [Silberman] I see. And this computer thinks it can win by killing the mother of its enemy. Killing him, in effect, before he's even conceived, a sort of retroactive abortion? [Vukovich] That guy Silberman cracks me up. Last week, he had this guy in here that burned his Afghan. Screwed it first, then he set it on fire. [Ed] Shut up. [Silberman] Why didn't the computer just kill Connor then? Why this elaborate scheme with the Terminator? [Reese] It had no choice. Their defense grid was smashed. We'd won. Taking out Connor then would make no difference. Skynet had to wipe out his entire existence. [Silberman] Is that when you captured the lab complex and found that -- What is it called? The time displacement equipment? [Reese] That's right. The Terminator had already gone through. Connor sent me to intercept, and they blew the whole place. [Silberman] How are you supposed to get back? [Reese] I can't. Nobody goes home. Nobody else comes through. It's just him and me. [Silberman] Why didn't you bring any weapons, something more advanced? Don't you have any ray guns? [Vukovich] Ray guns. [Silberman] Show me a piece of future technology. [Reese] You go naked. Something about the field generated by a living organism. Nothing dead will go. [Silberman] Why? [Reese] I didn't build the fucking thing! [Silberberg] OK. But this cyborg, if it's metal -- [Reese] Surrounded by living tissue! [Silberman] Right. This is great stuff. I could make a
career out of this guy. You see how clever this part is? How
it doesn't require a shred of proof? Most paranoid delusions are
intricate, but this is brilliant. [Reese] Most of the records were lost in the war. Skynet knew almost nothing about Connor's mother. Her full name, where she lived. They just knew the city. [Silberman] Well, let's go back to -- [Reese] Look, you have heard enough! I have answered your questions! Now I have to see Sarah Connor! [Silberman] I'm afraid that's not up to me. [Reese] Then why am I talking to you? [Silberman] Because I can help you. [Reese] Who is in authority here? Shut up! You still don't get it, do you? He'll find her. That's what he does! You can't stop him! He'll wade through you, reach down her throat and pull her fucking heart out! [Ed] Doc. [Reese] Let go of me. [Silberman] Sorry. [Sarah] So, Reese is crazy? [Silberman] In technical terminology, he's a loon. [Ed] Sarah, this is what they call body armor. Our TAC guys wear these. It'll stop a 12-gauge round. This other individual must have worn one under his coat. Feel that. Go ahead. [Sarah] What about when he punched through the windshield? [Vukovich] He was probably on PCP. Broke every bone in his hand wouldn't feel it for hours. There was this guy once -- See this scar? [Ed] Here. [Vukovich] Thank you. [Ed] There's a couch in this other room. Why don't you stretch out and try to get some sleep? It'll be an hour before your mother gets here from Big Bear. [Sarah] I can't sleep. [Ed] Try. It may not look it, but that couch is very comfortable. You'll be perfectly safe. We got 30 cops in this building. [Sarah] Thank you. *** [Silberman] Good night. [Terminator] I'm a friend of Sarah Connor. I was told that she's here. Could I see her, please? [Police] No. You can't see her. She's making a statement. [Terminator] Where is she? [Police] Look, it may take a while. If you want to wait, there's a bench over there. [Terminator] I'll be back. [Police] What the hell was that? Gunshot! What is it, terrorists? Let's go! Let's go! [Ed] Stay here. [Police] Let's get out of here! Come on! He's got an automatic weapon! Move it, move it! KEEP OUT CAUTION [Police] What the hell happened to the lights? [Vukovich] Watch him. [Ed] Automatic weapons! Lock and load! Let's go! [Police] Fire! Fire! [Reese] Sarah! This way. [TV] KFLB Newstime 4:36. In the top story of the hour, the largest single law enforcement mobilization in California history is currently underway. Police in five southern counties are engaged in a massive manhunt for an unident -- [Reese] Take this. All right, let's get this off the road. You cold? [Sarah] Freezing. You got a first name? [Reese] Kyle. [Sarah] What's it like when you go through time? [Reese] White light. Pain. It's like being born maybe. [Sarah] Oh, my God. [Reese] I caught one back there. [Sarah] You mean you got shot? [Reese] It's not bad. [Sarah] We got to get you to a doctor. [Reese] It's OK. Forget it. [Sarah] What do you mean, forget it? Are you crazy? Take this off. Jesus. [Reese] See, it passed right through the meat. [Sarah] This is going to make me puke. Would you talk about something? [Reese] What? [Sarah] I don't know. Anything. Just talk. Tell me about my son. [Reese] He's about my height. He has your eyes. [Sarah] What's he like? [Reese] You trust him. He's got a strength. I'd die for John Connor. [Sarah] Well ... at least now I know what to name him. I don't suppose you know who the father is so I won't tell him to get lost when I meet him. [Reese] John never said much about him. I know he dies before the war -- [Sarah] Wait! I don't want to know. So, was it John that sent you here? [Reese] I volunteered. [Sarah] Why? [Reese] It was a chance to meet the legend -- Sarah Connor. Taught her son to fight, organize, prepare from when he was a kid. When you were in hiding before the war ... [Sarah] You're talking about things I haven't done yet in the past tense. It's driving me crazy. Are you sure you have the right person? [Reese] I'm sure. [Sarah] Come on. Do I look like the mother of the future? Am I tough, organized? I can't even balance my checkbook. Look, Reese, I didn't ask for this honor and I don't want it! Any of it! [Reese] Your son gave me a message to give to you. Made me memorize it. Thank you, Sarah, for your courage through the dark years. I can't help you with what you must soon face except to say that the future is not set. You must be stronger than you imagine you can be. You must survive, or I will never exist. That's all. That's a good field dressing. [Sarah] You like it? It's my first. [Reese] Get some sleep. It will be light soon. [Sarah] Talk to me some more. [Reese] About what? [Sarah] Tell me about where you're from. [Reese] All right. You stay down by day, but at night you can move around. You still have to be careful because the HKs use infrared. But they're not too bright. John taught us ways to dust them. That's when the infiltrators started to appear. The Terminators were the newest, the worst. *** [Man] Traversing your sector in search mode. 750 meters north of your position. [Man] Understand. 750 meters north. Let's go. [Man] Intercept. Over. [Man] Take it easy. Finish your sweep. [Man] They are scavenger teams in that quadrant. [Man] Avoid contact. Repeat, avoid contact. [Man] We'll get them later. [Man] Roger, Echo Leader. [Man] Sector niner, what's your status? [Man] Situation normal. [Man] We're coming in. [Man] Roger. [Man] Firebase, what's your status? Over. [Reese] Reese BN384. [Man] Right. Let him in. Any infiltrators at the shopping mall? [Reese] No problem. They were clean. [Man] We're cutting short the patrol. Over. [Reese] Roger, Yankee-1-7. You are clear to return. [Man] Terminator! *** [Sarah] I was dreaming about dogs. [Reese] We use them to spot Terminators. [Sarah] Your world is pretty terrifying. *** [Janitor] Buddy, you got a dead cat in there, or what? POSSIBLE RESPONSE: [Terminator] FUCK YOU, ASSHOLE MOM'S CABIN [MAN] God damn! *** [Sarah] Thank you. TIKI MOTEL [Reese] Is this enough? [Sarah] Yeah, it's enough. I don't want to ask where you got it. [Clerk] I'm coming. [Sarah] We need a room. [Clerk] All right. [Reese] With a kitchen. [Sarah] Do you have one with a kitchen? I am dying for a shower. We should check your bandage, too. [Reese] Later. I'm going out for supplies. Keep this. *** [Sarah] No, I can't tell you where I am, Mom. I was told not to say. [Mom] Honey, I need to know where I can reach you. You tell me to hide up at the cabin like some fugitive, and you won't tell me what's going on? I am worried sick, dear. [Sarah] Here's the number. Ready? [Mom] Yes. Go ahead. [Sarah] It's 408-555-1439. Room nine. Got it? [Mom] I've got it. [Sarah] I've got to go. I'm sorry I can't tell you more right now. I love you, Mom. [Terminator] I love you, too, sweetheart. [Terminator] Tiki Motel. Give me your address. *** [Sarah] What have we got? Mothballs. Corn syrup. Ammonia. What's for dinner? [Reese] Plastique. [Sarah] That sounds good. What is it? [Reese] Nitroglycerin, basically. It's a bit more stable. I learned to make it when I was a kid. Make sure there's none on the threads. Like this. Screw the end cap on. Very gently. [Sarah] You must have had a fun childhood. [Reese] That's good. All right. Six more like that, and I'll get started on the fuses. [Sarah] He'll find us, won't he? [Reese] Probably. [Sarah] It'll never be over, will it? Look at me. I'm shaking. Some legend, huh? You must be pretty disappointed. [Reese] No. I'm not. [Sarah] The women in your time, what are they like? [Reese] Good fighters. [Sarah] That's not what I meant. Was there someone special? [Reese] Someone? [Sarah] A girl. You know. [Reese] Never. [Sarah] Never? I'm sorry. I'm so sorry. So much pain. [Reese] Pain can be controlled. You just disconnect it. [Sarah] So you feel nothing? [Reese] John Connor gave me a picture of you once. I didn't know why at the time. It was very old, torn, faded. You were young like you are now. You seemed just a little sad. I always wondered what you were thinking at that moment. I memorized every line, every curve. I came across time for you, Sarah. I love you. I always have. I shouldn't have said that. [Sarah] Think fast! [Reese] Trade places! [Reese] Faster! Drive faster! [Sarah] Kyle! Oh, my God! [Truckdriver] Whoa! [Truckdriver 2] Son of a bitch! [Truckdriver] You stay here. [Trucker 2] Let's get out of here. [Terminator] Get out. [Sarah] Kyle! Come on! Get up! He's coming! Kyle! Come on! Help me! Get out! Get out! Come on! Faster! [Reese] Don't stop! Run! [Sarah] We did it, Kyle. We got it. [Reese] Wait! [Reese] Cover ... so he can't track us. AUTOMATED PRODUCTION SEQUENCE START Motoman [Sarah] Come on! No, Kyle! Come on! [Reese] Leave me here. [Sarah] Get up! Move it, Reese! On your feet, soldier! On your feet! Move it! Back. Go back. [Reese] Run, Sarah. Run! Come on, motherfucker. [Sarah] You're terminated, fucker. *** [Sarah] Tape 7, November 10. Where was I? What's most difficult for me is trying to decide what to tell you and what not to. But I guess I have a while yet before you're old enough to even understand these tapes. They're more for me at this point, just so that I can get it straight. [Man] Fill her up. [Sarah] Should I tell you about your father? Boy, that's a tough one. Will it affect your decision to send him here, knowing that he is your father? If you don't send Kyle, you can never be. God, a person could go crazy thinking about this. I suppose I will tell you. I owe him that. Maybe it'll help if you know that in the few hours that we had together, we loved a lifetime's worth. [Boy, in Spanish] You are very beautiful ma'am, and I am sorry to have to tell you that this is going to cost $5 but if I don't my father will hit me. [Sarah] What did he just say? [Man] He says you're very beautiful, and he's ashamed to ask you for five American dollars for his picture, but if he doesn't, his father will beat him. [Sarah] Pretty good hustle, kid. Cuatro. [Boy, in Spanish] Look, over there a storm is coming. [Sarah] What did he just say? [Man] He said there's a storm coming in. [Sarah] I know. Production Manager and Post Production Supervisor DONNA SMITH Acknowledgment to the works of HARLAN ELLISON First Assistant Director: BETSY MAGRUDER Associate Editor: MICHAEL BLOECHER Focus Puller: BERNARD AUROUX Stunt Coordinator: KEN FRITZ Terminator Special Effects: SHANE MAHAN, TOM WOODRUFF, JOHN ROSENGRANT, RICHARD LANDON, BRIAN WADE, DAVID MILLER, JACK BRICKER Terminator Mechanical Effects: ELLIS BURMAN, JR., BOB WILLIAMS, RON MacINNES (assistant) Special Visual Effects Fantasy II Film
Effects, Inc. Technical Assistant: STEVEN FAGERQUIST SECOND UNIT CAST STUNTS Extras Casting: CHRISTAL BLUE CASTING GMF Robots supplied and operated by:
ELLISON MACHINER CO. Post Production Services: CFI Opticals by: RAY MERCER AND COMPANY "YOU CAN'T DO THAT" Performed by TRYANGLZ, Written by Ricky Phillips, Published by Ricky Lynn Phillipos Music (BMI) "PICTURES OF YOU" Performed by 16 mm, Written by Jay Ferguson, Published by Painless Music (BMI) "INTIMACY" Performed by LINN VAN HEK, Written by Linn Van Hek, Joe Dolce, Published by Dolceamore Music "BURNIN' IN THE THIRD DEGREE" Performed by TRYANGLZ, Written by Tahnee Cain, Mugs Cain, Dave Amato, Brett Tuggle, Ricky Phillipos, Published by Any Garage Music (ASCAP) Processing by DFI COPYRIGHT © 1984 CINEMA '84, A GREENBERG BROTHERS PARTNERSHIP. ALL RIGHTS RESERVED. THE PERSONS AND EVENTS IN THIS FILM ARE FICTITIOUS. ANY SIMILARITY TO ACTUAL PERSONS OR EVENTS IS UNINTENTIONAL. THIS MOTION PICTURE IS PROTECTED UNDER THE LAWS OF THE UNITED STATES AND OTHER COUNTRIES. UNAUTHORIZED DUPLICATION, DISTRIBUTION OR EXHIBITION MAY RESULT IN CIVIL LIABILITY AND CRIMINAL PROSECUTION. An ORION PICTURES Release
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