"I'll Be Back."
Meanwhile, Sarah calls the police station and manages to get through to the lieutenant. She tells him where she is, and he says she'll be safe in the public place until they can come get her. Somewhat relieved, she hangs up, and manages to find an open table (busing tables doesn't seem to be a concern at TechNoir).
Arnie has...already arrived? Okay. Anyway, he walks in, ignoring the cover-charge harpy, and strong-arming a bouncer who got really physical rather quickly over four dollars and fifty cents. TechNoir's poor table-clearing performance comes in handy, as Sarah accidentally knocks a bottle off the table, then reaches down to pick it up, so Arnie doesn't see her when he looks over her way. When she straightens up, however, she spots Biehn sitting at the bar. Then Arnie sees her and slowly stomps his way through the dancers. Sarah's instincts really need some work; Arnie raises his gun and paints a giant bindi on her forehead for about half-an-hour until Biehn whips out the sawed-off shotgun and blasts away at Arnie a few times, knocking him down. Not out, however; Arnie gets back up and starts spraying his Uzi around the bar. And that's why poor Kimberly Mitchell had the worst bachelorette party ever. The Terminator tries to mow down a fleeing Sarah, but gets another woman instead. That's good! (Well, for Sarah, anyway.) The dead woman gets her revenge by falling on Sarah and keeping her from getting up, which means the Terminator can walk menacingly over, reloading the Uzi, instead of running menacingly over, which gives Biehn time to blast off another five shotgun rounds that send the Terminator through TechNoir's front window. You know, this isn't anything I don't see on a Fort McMurray Friday night. Biehn crouches down beside Sarah. "Come with me if you want to live." As a pickup line, it's got panache. Sarah elects to gasp at the fact that Arnie is getting up again, even though he's taken shotgun hits around the double digits. Or maybe she can't believe that she can see some movie production crew behind him. Finally, she clambers to her feet and runs off with Biehn out into the back alley, and Arnie starts chasing.
We get the first use of the robotic interface overlay point-of-view shot. It's red, with many digits and computer-y sounds! Having reloaded his shotgun, Biehn shoves Sarah into his car, then fires a few rounds at the gas tank of a car back down the alley where Arnie is, until it blows up. This only forces a flaming Arnie to jump up onto the roof of the burning car and launch himself onto the hood of Sarah and Biehn's car, punching a hole through the windshield. Biehn pulls out of the alley and swerves around, dislodging Arnie from the hood and depositing him on the pavement before peeling out. There's a cop car right there, and he makes the correct, if fatal, mistake to let Biehn go while getting on the radio to call for an ambulance for a hit-and-run victim. But said victim is getting to his feet, still smouldering, his hair singed and eyebrows burned off, and he tosses the cop aside and commandeers the police car (and the shotgun inside).