Scenes that were cut from the shooting script
This is probably the most interesting and unusual one. The T-1000 seems capable of showing mercy when he chooses to. I'd have liked to see it in the movie, if only for that reason -- makes his character a little more complex. T-1000s are able to make their own decisions contrary to those of Skynet, which seems obvious here, since Skynet would presumably prefer the woman and kids dead.
SALCEDA'S DEATH
9/10/90
Salceda's Death scene from 9/10/90 draft was scheduled but never filmed due to both scheduling and cost considerations; scheduled for the first week of principal photography, the scene would have involved a great number of mechanical makeup and pyrotechnic effects, not to mention a fair number of complicated visual effects plates for computer graphics shots. Since its only narrative purpose was to show how the T-1000 follows them to Dyson's house and a number of the T-1000 gags in the scene were reprised more effectively elsewhere, it was deemed redundant to the plot and unnecessarily complicated for the first week of shooting.
EXT. SALCEDA'S CAMP - NIGHT
SALCEDA'S DOG, teeth bared, barks a furious warning. The SOUND of machine gun fire erupts drowning him out.
YOLANDA, clutching a .45 Officer's Colt, sweeps Paco and Juanita up in her arms and races away.
SALCEDA is firing an MP5K on full auto, its strobing barrel flash lighting up the camp. CAMERA PUSHING IN ON HIM AS...
THE T-1000 calmly walks toward him, unbothered by the stream of bullets. Unhurried. Salceda, amazed, is backing toward his truck, and the stacks of crated grenades and ammo boxes beside it. The T-1000 keeps coming. Steps right up to Salceda, knocks the weapon away and slams him to the ground.
Salceda sprawls against one of the open wooden crates. T-1000 kneels before him. Points its finger. THUNK. Salceda screams, pinned to the crate by a two-foot long steel needle through his left lung.
T-1000
Where is John Connor?
SALCEDA
John who?
THUNK!! Another needle slams through him. Salceda
struggles to breath against the excruciating pain.
T-1000
(almost soothingly)
I know this hurts. Where is John
Connor?
Salceda's hand gropes in the open crate of grenades behind him. He clutches one. Then apparently ready to cooperate he clutches T-1000's shoulder and struggles to pull himself closer, up along the impaling spikes.
Behind the T-1000's neck, Salceda pulls the grenade's pin with his free hand. The spoon flies off... CLINK.
SALCEDA
FUCK YOU!!
The truck, Salceda, and the T-1000 vanish in a MASSIVE EXPLOSION as the grenade sets off the other munitions. A huge ball of fire ascends into the night.
YOLANDA, huddled with her children, the .45 held before her in a combat grip, screams as--
A CHROME HEAD rolls out of the inferno and comes to rest in the dirt, the liquid metal mouth gulping like a gaffed fish. A figure appears, silhouetted by the fire... or most of a figure.
We TRACK WITH the polished black cop shoes toward the head lying in the dirt. A hand enters the frame. The head dissolves and fuses with the hand, like two blobs of solder running together.
She stares in shock at the thing approaching. She slowly lowers the useless pistol. The T-1000 walks right up to her. It reaches down and picks up little Juanita. Gives her a friendly smile.
T-1000
Do you know where John Connor is?
The child mutely shakes her head no. T-1000 nods,
unperturbed. Points toward the road. Juanita follows
with her eyes.
T-1000
When they reached the main road, did
they go north...
(indicating)
... or south?
She points north. T-1000 smiles. Sets her down,
unharmed.
T-1000
Thank you for your cooperation.
With that, the T-1000 turns and strides to its motorcycle parked a few yards away. Yolanda and her children silently watch as the Cop from Hell climbs onto the bike and roars off into the night.
CUT TO:
-------------------------------------------------------
The reabsorption of T-1000's gulping head was one of the favorite moments that was reluctantly lost when the scene was cut; it served no narrative purpose and was merely a variation on the reabsorption of the chrome hook hand, just as the skewering of Salceda is a less involving take on the skewering of Sarah at the steel mill later on. In a very telling moment at the end of this scene, T-1000 demonstrates the subtlety with which it goes about its mission, shifting gears from the brutal interrogation of Salceda to the gentle questioning of Yolanda and the kids.
---
CUT TO:
INT. T-1000'S POLICE CRUISER - DAY
The T-1000 sits as before. Monitoring the police radio. Listening to Sarah's tapes. Scanning John's letters and papers.
SARAH (V.O.)
... if we're ever separated, go
directly to Gant's ranch. Travis
will take care of you until I get
there...
T-1000 stops scanning the letter in its hand. It zeros in on the sentence it just heard. Stops the cassette recorder. Reaches to the computer terminal on the dash. Types "Travis Gant" with a KNOWN ACQUAINTANCES cross-reference to "Sarah Connor".
TIGHT ON THE COMPUTER SCREEN. Gant's vital statistics come up. Date of Birth. License. Number of arrests. And an address out in Imperial Valley, near the Mexican border.
TIGHT ON T-1000 staring at the screen.
Suddenly, the barrel of a REVOLVER appears through the open window beside it. It's aiming right at its head. The owner is a helmeted C.H.P. OFFICER.
CHP
Freeze! Police!
The T-1000 calmly complies.
ANGLE ON CRUISER from a few yards away. The motorcycle cop stands outside the cruiser's window, aiming his revolver. We see his motorcycle parked off to the side of the empty road.
A SECOND MOTORCYCLE COP pulls into shot, rolling into CLOSEUP. He's wearing a headset/microphone under his helmet. We hear him calling in the report.
2ND CHP
Roger, that's a positive I.D. on
the vehicle. Suspect is in custody.
CUT TO:
EXT. HIGHWAY - MINUTES LATER - DAY
The T-1000 thunders along on a CHP Kawasaki 1100, doing about a hundred and twenty. PAN WITH IT until it recedes toward the horizon.
---
CUT TO:
EXT. GANT'S RANCH
Gant, deep in thought, approaches the back entrance to the main house. He sees Enrique asleep in a chair on the back porch, rifle across his knees. Gant works up to him like a cat, and surprises him by swiping his cap.
Only Enrique doesn't surprise so well. His head lolls over and Gant sees the dilated pupils, the trickle of blood from the corner of one eye.
Gant gets a shot of adrenalin that revs him into hyper-alertness in two seconds. He drops into the shadows next to the chair and scans the surroundings rapidly. In the bushes, twenty feet away, another one of his men lies crumpled and motionless. Gant pulls his Detonics .45 and thumbs the safety off, then slips his walkie off his belt. He cups his hand over it and whispers.
GANT
Main gate? Miguel? Don't talk,
just key your walkie if you copy,
over.
(there is no answer)
Salceda? You copy? Franco? Come
back.
His answer is static.
Not good. Gant takes a couple grenades from Enrique's harness and slips them in a vest pocket. He cat-steps to the house.
INT. GANT'S HOUSE
Gant enters the dark house. His radar is turned up all the way. He hasn't felt his heart pounding like this since Khe San. He crosses the living room. Pauses in the corridor. Silhouetted in the kitchen is a motionless figure... Yolanda.
He puts his finger to his lips and motions her to him. As she comes toward him Gant wonders at the last second why she doesn't look particularly afraid... an instant before Yolanda's hand snaps out into a two-foot steel needle which punches through his abdomen and pins him to a solid oak door with a THUNK!
He whips up the ,45 but THUNK! His forearm is skewered, pinned to the door at his side.
The pistol clatters to the floor.
He stares, face to face, into the eyes of the T-1000 as it morphs into the cop-form.
Maybe this is an acid flashback, except it hurts too
goddamn much. He knows suddenly that very special fear, not just death, but of an incomprehensible death in a deranged universe.
T-1000
Where is John Connor?
Gant squirms on the skewers like a bug, gasping with the pain.
GANT
John who?
THUNK! Another needle slams through him, sprouting
directly from the cop's chest. It pins him through the left lung.
T-1000
Where is John Connor?
Gant struggles to breathe against excruciating pain.
GANT
Don't know... gone.
(THUNK. Another
needle)
Aaaarrgh!
THUNK. Another. Gant screams now, feeling rapier thrusts through shoulder and groin. He can't believe the pain.
His hand fumbles into the pocket of his vest. Sweaty
fingers find a grenade there. He pulls the pin. The
spoon flies out and clinks on the floor. T-1000 looks down and looks up, into Gant's eyes.
GANT
FUCK YOU!!
EXT. GANT'S HOUSE
The front of the house EXPLODES in Ingram's face. He was running toward the front door with his MPK machine-pistol at ready. The blast knocks him on his ass. He sits up, slashed by flying glass, to see the inside of the house engulfed in flame. Then he sees something on the ground, just outside the shattered front door...
A chrome head. Ingram's expression goes bugshit. The
chrome mouth is moving, gulping like a gaffed fish.
A figure appears in the doorway... or most of a figure. We TRACK WITH the polished black cop shoes toward the head lying in the dirt.
A hand enters frame. The head dissolves and fuses with the hand, like two blobs of solder running together.
IN CLOSE-UP, the T-1000 rises into frame, whole again. INGRAM snaps out of his stupor and crawls in a frenzy for his machine pistol. He starts screaming and firing, screaming and firing as we TRACK IN ON HIM. The MPK clicks empty. It is swatted out of his hands and s steel needle pins him to the dirt.
T-1000
Where is John Connor?
INGRAM
I don't know, man... aaaargh... they
were talking about some guy... Dyson
or something like that...
INGRAM'S POV as the impassive cop face hovers above him.
T-1000
Thank you for your cooperation.
The cop's hand comes into frame, the index finger pointing straight at us.
RACK FOCUS to the tip of the finger as--
SSSNICK! A flash of steel FILLS FRAME, then blackness.
SALCEDA'S DEATH
9/10/90
Salceda's Death scene from 9/10/90 draft was scheduled but never filmed due to both scheduling and cost considerations; scheduled for the first week of principal photography, the scene would have involved a great number of mechanical makeup and pyrotechnic effects, not to mention a fair number of complicated visual effects plates for computer graphics shots. Since its only narrative purpose was to show how the T-1000 follows them to Dyson's house and a number of the T-1000 gags in the scene were reprised more effectively elsewhere, it was deemed redundant to the plot and unnecessarily complicated for the first week of shooting.
EXT. SALCEDA'S CAMP - NIGHT
SALCEDA'S DOG, teeth bared, barks a furious warning. The SOUND of machine gun fire erupts drowning him out.
YOLANDA, clutching a .45 Officer's Colt, sweeps Paco and Juanita up in her arms and races away.
SALCEDA is firing an MP5K on full auto, its strobing barrel flash lighting up the camp. CAMERA PUSHING IN ON HIM AS...
THE T-1000 calmly walks toward him, unbothered by the stream of bullets. Unhurried. Salceda, amazed, is backing toward his truck, and the stacks of crated grenades and ammo boxes beside it. The T-1000 keeps coming. Steps right up to Salceda, knocks the weapon away and slams him to the ground.
Salceda sprawls against one of the open wooden crates. T-1000 kneels before him. Points its finger. THUNK. Salceda screams, pinned to the crate by a two-foot long steel needle through his left lung.
T-1000
Where is John Connor?
SALCEDA
John who?
THUNK!! Another needle slams through him. Salceda
struggles to breath against the excruciating pain.
T-1000
(almost soothingly)
I know this hurts. Where is John
Connor?
Salceda's hand gropes in the open crate of grenades behind him. He clutches one. Then apparently ready to cooperate he clutches T-1000's shoulder and struggles to pull himself closer, up along the impaling spikes.
Behind the T-1000's neck, Salceda pulls the grenade's pin with his free hand. The spoon flies off... CLINK.
SALCEDA
FUCK YOU!!
The truck, Salceda, and the T-1000 vanish in a MASSIVE EXPLOSION as the grenade sets off the other munitions. A huge ball of fire ascends into the night.
YOLANDA, huddled with her children, the .45 held before her in a combat grip, screams as--
A CHROME HEAD rolls out of the inferno and comes to rest in the dirt, the liquid metal mouth gulping like a gaffed fish. A figure appears, silhouetted by the fire... or most of a figure.
We TRACK WITH the polished black cop shoes toward the head lying in the dirt. A hand enters the frame. The head dissolves and fuses with the hand, like two blobs of solder running together.
She stares in shock at the thing approaching. She slowly lowers the useless pistol. The T-1000 walks right up to her. It reaches down and picks up little Juanita. Gives her a friendly smile.
T-1000
Do you know where John Connor is?
The child mutely shakes her head no. T-1000 nods,
unperturbed. Points toward the road. Juanita follows
with her eyes.
T-1000
When they reached the main road, did
they go north...
(indicating)
... or south?
She points north. T-1000 smiles. Sets her down,
unharmed.
T-1000
Thank you for your cooperation.
With that, the T-1000 turns and strides to its motorcycle parked a few yards away. Yolanda and her children silently watch as the Cop from Hell climbs onto the bike and roars off into the night.
CUT TO:
-------------------------------------------------------
The reabsorption of T-1000's gulping head was one of the favorite moments that was reluctantly lost when the scene was cut; it served no narrative purpose and was merely a variation on the reabsorption of the chrome hook hand, just as the skewering of Salceda is a less involving take on the skewering of Sarah at the steel mill later on. In a very telling moment at the end of this scene, T-1000 demonstrates the subtlety with which it goes about its mission, shifting gears from the brutal interrogation of Salceda to the gentle questioning of Yolanda and the kids.
---
CUT TO:
INT. T-1000'S POLICE CRUISER - DAY
The T-1000 sits as before. Monitoring the police radio. Listening to Sarah's tapes. Scanning John's letters and papers.
SARAH (V.O.)
... if we're ever separated, go
directly to Gant's ranch. Travis
will take care of you until I get
there...
T-1000 stops scanning the letter in its hand. It zeros in on the sentence it just heard. Stops the cassette recorder. Reaches to the computer terminal on the dash. Types "Travis Gant" with a KNOWN ACQUAINTANCES cross-reference to "Sarah Connor".
TIGHT ON THE COMPUTER SCREEN. Gant's vital statistics come up. Date of Birth. License. Number of arrests. And an address out in Imperial Valley, near the Mexican border.
TIGHT ON T-1000 staring at the screen.
Suddenly, the barrel of a REVOLVER appears through the open window beside it. It's aiming right at its head. The owner is a helmeted C.H.P. OFFICER.
CHP
Freeze! Police!
The T-1000 calmly complies.
ANGLE ON CRUISER from a few yards away. The motorcycle cop stands outside the cruiser's window, aiming his revolver. We see his motorcycle parked off to the side of the empty road.
A SECOND MOTORCYCLE COP pulls into shot, rolling into CLOSEUP. He's wearing a headset/microphone under his helmet. We hear him calling in the report.
2ND CHP
Roger, that's a positive I.D. on
the vehicle. Suspect is in custody.
CUT TO:
EXT. HIGHWAY - MINUTES LATER - DAY
The T-1000 thunders along on a CHP Kawasaki 1100, doing about a hundred and twenty. PAN WITH IT until it recedes toward the horizon.
---
CUT TO:
EXT. GANT'S RANCH
Gant, deep in thought, approaches the back entrance to the main house. He sees Enrique asleep in a chair on the back porch, rifle across his knees. Gant works up to him like a cat, and surprises him by swiping his cap.
Only Enrique doesn't surprise so well. His head lolls over and Gant sees the dilated pupils, the trickle of blood from the corner of one eye.
Gant gets a shot of adrenalin that revs him into hyper-alertness in two seconds. He drops into the shadows next to the chair and scans the surroundings rapidly. In the bushes, twenty feet away, another one of his men lies crumpled and motionless. Gant pulls his Detonics .45 and thumbs the safety off, then slips his walkie off his belt. He cups his hand over it and whispers.
GANT
Main gate? Miguel? Don't talk,
just key your walkie if you copy,
over.
(there is no answer)
Salceda? You copy? Franco? Come
back.
His answer is static.
Not good. Gant takes a couple grenades from Enrique's harness and slips them in a vest pocket. He cat-steps to the house.
INT. GANT'S HOUSE
Gant enters the dark house. His radar is turned up all the way. He hasn't felt his heart pounding like this since Khe San. He crosses the living room. Pauses in the corridor. Silhouetted in the kitchen is a motionless figure... Yolanda.
He puts his finger to his lips and motions her to him. As she comes toward him Gant wonders at the last second why she doesn't look particularly afraid... an instant before Yolanda's hand snaps out into a two-foot steel needle which punches through his abdomen and pins him to a solid oak door with a THUNK!
He whips up the ,45 but THUNK! His forearm is skewered, pinned to the door at his side.
The pistol clatters to the floor.
He stares, face to face, into the eyes of the T-1000 as it morphs into the cop-form.
Maybe this is an acid flashback, except it hurts too
goddamn much. He knows suddenly that very special fear, not just death, but of an incomprehensible death in a deranged universe.
T-1000
Where is John Connor?
Gant squirms on the skewers like a bug, gasping with the pain.
GANT
John who?
THUNK! Another needle slams through him, sprouting
directly from the cop's chest. It pins him through the left lung.
T-1000
Where is John Connor?
Gant struggles to breathe against excruciating pain.
GANT
Don't know... gone.
(THUNK. Another
needle)
Aaaarrgh!
THUNK. Another. Gant screams now, feeling rapier thrusts through shoulder and groin. He can't believe the pain.
His hand fumbles into the pocket of his vest. Sweaty
fingers find a grenade there. He pulls the pin. The
spoon flies out and clinks on the floor. T-1000 looks down and looks up, into Gant's eyes.
GANT
FUCK YOU!!
EXT. GANT'S HOUSE
The front of the house EXPLODES in Ingram's face. He was running toward the front door with his MPK machine-pistol at ready. The blast knocks him on his ass. He sits up, slashed by flying glass, to see the inside of the house engulfed in flame. Then he sees something on the ground, just outside the shattered front door...
A chrome head. Ingram's expression goes bugshit. The
chrome mouth is moving, gulping like a gaffed fish.
A figure appears in the doorway... or most of a figure. We TRACK WITH the polished black cop shoes toward the head lying in the dirt.
A hand enters frame. The head dissolves and fuses with the hand, like two blobs of solder running together.
IN CLOSE-UP, the T-1000 rises into frame, whole again. INGRAM snaps out of his stupor and crawls in a frenzy for his machine pistol. He starts screaming and firing, screaming and firing as we TRACK IN ON HIM. The MPK clicks empty. It is swatted out of his hands and s steel needle pins him to the dirt.
T-1000
Where is John Connor?
INGRAM
I don't know, man... aaaargh... they
were talking about some guy... Dyson
or something like that...
INGRAM'S POV as the impassive cop face hovers above him.
T-1000
Thank you for your cooperation.
The cop's hand comes into frame, the index finger pointing straight at us.
RACK FOCUS to the tip of the finger as--
SSSNICK! A flash of steel FILLS FRAME, then blackness.