The Terminator Page #5

innocuous pedestrian soon lost in the rain.

CUT TO:

18 EXT. STREET/NEARBY - NIGHT 18

Reese enters a telephone booth. Harsh light rakes across

his face, outlining the long scar. He opens the directory,

leafs through it.

ANGLE - MACRO ON PAGE, Reese's finger slides down a column.

Stops beside the following listings in the big metropolitan

white pages:

CONNOR, SARAH

CONNOR, SARAH ANN

CONNOR, SARAH J.

DISSOLVE TO:

19 EXT. CITY STREET - MORNING 19

The night's rain has given way to a typical L.A. morning

of diffuse sunlight.

MOVING WITH A GIRL on a MOPED as she zips through traffic.

SARAH CONNER is 19, small and delicate-featured. Pretty in

a flawed, accessible way. She doesn't stop the party when

she walks in, but you'd like to get to know her. Her vulner-

able quality masks a strength even she doesn't know exists.

Sarah maneuvers nimbly, apparently in a hurry.

CUT TO:

20 EXT. BIG BOB'S RESTRAUNT - DAY 20

Sarah buzzes into the parking lot of Big Bob's Family

Restaurant and chains the moped to the icon of Big Bob

himself. The fiberglass cherub holds up his mammoth

hamburger in perpetual homage to whatever deity watches

out for fat kids.

Sarah removes a stack of college textbooks from the luggage

carrier and tuns to go into the restaurant.

SARAH:

(to Big Bob)

Watch this for me, big buns.

CUT TO:

21 INT. BIG BOB'S/DINING AREA 21

HIGH WIDE SHOT prominently featuring a VIDEO SURVEILLANCE

CAMERA F.G. as Sarah enters below. She passes under another

video eye as she crosses the main floor of the wholesomely

appointed eatery. Sarah goes through the swinging STAFF

doors under a third camera.

CUT TO:

22 INT. MANAGER'S OFFICE 22

The office is closet-like, lit by the glow of several

security monitors. CHUCK BREEN, day manager, pimply and

officious,watches Sarah in an overhead view of the service

corridor. He punches a switch and reaches for a microphone

on a studio gooseneck.

CUT TO:

23 INT. SERVICE CORRIDOR 23

Sarah glances up as Breen's voice rasps from a ceiling speaker.

BREEN (V.O.)

Sarah?

She answers the empty hallway.

SARAH:

Yes, Chuck?

BREEN:

Come to the office, please.

She turns back toward the office door at the end of the

corridor.

CUT TO:

24 MANAGER'S OFFICE 24

Sarah opens the door to Breen's closet control center.

SARAH:

Mission control to Chuck,

come in...

BREEN:

(without looking

up)

You're late.

Sarah is undaunted.

SARAH:

Aren't I worth waiting for?

BREEN:

Not really. Do you think you

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