INT.  HOSPITAL CORRIDOR

Sarah, strait-jacketed and strapped onto a GURNEY, is
being wheeled down the corridor by Douglas and the other
orderlies.  Silberman is right behind her with the
interns.  Sarah's eyes are full of suppressed rage as she
stares up and back at him.

                          SILBERMAN
                     (to the interns)
          What's fascinating about her case is
          that the architecture of the
          delusion--

                          SARAH
          Don't talk about me like I'm not
          here.  I'm right goddamn here!

                          SILBERMAN
          We know where you are, Sarah...
                     (continuing to the
                      interns)
          ... the delusion seems to have begun
          with the boyfriend and then been
          adopted by the patient.  He believed
          he was a soldier from the next
          century, sent to protect her from a
          killer machine called a "terminator".

Frustrated, Sarah begins struggling against her
restraints.  Douglas, blocking the action from the
doctors, casually smacks her solar plexus with his baton.
Sarah gasps for air.  Douglas winks at her.

                          SILBERMAN
          You see, it's all about machines,
          for her.  We're seeing more and more
          of this new syndrome, a sort of
          acute phobic reaction to technology.
          It's a defensive response to the
          dehumanization of relationships in a
          high-tech world.

They sweep through a set of double doors.  The doors swing
closed into CLOSEUP.  Big block letters stenciled across
them read:
ELECTRO-CONVULSIVE THERAPY
Yes, they still do this shit to people.


INT.  E.C.T. ROOM

Sarah's eyes go wide, clocking the sign on the door as she
is wheeled in to a room full of ominous machines.  Aging
shock therapy equipment.

                          SILBERMAN
          Sarah, today we're going to be
          trying ECT... electro-convulsive
          therapy--

                          SARAH
          No!  Don't do this.  Okay, look,
          Silberman -- hey!  Don't put that --
          HEY!

She struggles vainly against the gurney straps as a NURSE
tapes electrodes to her head.  Silberman leans down to
Sarah.  The interns and the orderlies watch from near the
door.

                          SILBERMAN
          Now relax, we've found this very
          helpful with problems like yours.
          Such as this feeling that you're
          being persecuted--

                          SARAH
          I'm not being persecuted, you
          fucking moron!  I'm not a threat to
          them anymore.  I told you.  It's my
          son who's the target!

Silberman sighs.  They finish placing the electrodes on
her temples.

                          SARAH
          You've got to let me go so I can
          protect him!  He's naked if they
          come for him now!  Please!  Why
          won't you listen?  You know how
          important this is!

The nurse sets the dials on the machine.  Sarah starts to
thrash now, becoming irrational.  Starts shrieking at
everyone in the room.  She sounds exactly like what they
say she is -- a whacko.

                          SARAH
          Goddamnit.  Let me go!!  I'll kill
          you, FUCKER!!

She screams incoherently as they jam the rubber biscuit
down between her teeth so she won't bite through her
tongue when the voltage jumpstarts her brain.  Silberman
is smooth and cheerful as he turns to the interns.

                          SILBERMAN
          ECT is coming back into favor lately,
          and we've had good results with it.
          It looks worse than it is.  As soon
          as the current hits her brain, she's
          out.  It's a bit like punching the
          restart button on a computer when
          the program crashes.

He nods to the nurse and the current blasts through
Sarah's brain, locking every muscle in her body into a
painful contortion.  It triggers an epilepsy-like seizure
and she bucks and flops on the gurney.

                          SILBERMAN
          She's not feeling anything right now.

TIGHT ON SARAH'S FACE, contorted, jerking spasmodically.
Then...

STROBOSCOPIC FLASH CUTS speeding up in rhythm, images
coming at us like a roaring freight-train.

TERMINATOR'S STEEL HAND lunging for her in the punch
press.
A CHROME SKULL, eyes burning red, a demon after her soul.
STEEL FINGERS closing on her throat.  Then...
SARAH'S FINGERS groping endlessly for the switch to the
press.  Then...

TERMINATOR'S RED EYES filling frame.  Lightning arcing all
around as the press crushes the hideous machine.  But even
as it dies it has her by the throat.  Even now, long after
it's dead, it still has her by the throat.  The lightning
gets brighter and brighter... WHITING OUT FRAME.

                                            CUT TO:



This ending lightning and whiteout then cuts directly to
the lightning arcing outside the trucker bar at night,
heralding the arrival of the terminator through time.  the
stroboscopic flash cuts in the moments immediately
preceding this transition were to be shots from the climax
of the first film, as Sarah in the throes of her
electroshock therapy relives the arcing destruction of the
first terminator, a nightmare that is still ever-present
in her mend.