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Making bombs
T1 deleted scene )
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) Scene description Sarah and Reese are making bombs. Sarah talks about a "normal existence" with Reese, when it's all over. Reason cut From the Special Edition DVD of The Terminator: "This scene extension was a character-driven moment when Sarah tries to come to grips with her new place in the universe and her desire to live a "normal" existence with Reese. As scripted, this "heart warming domestic scene" strove to find a balance between the frivolous and poignant, but was cut to preserve the mood, as Sarah and Reese have little time to think about anything other than the battle at hand." Director James Cameron's audio commentary from the region 1 Special Edition and the region 2 Ultimate Edition of The Terminator: "That was a bait and switch for the audience, that there was gonna be some sensitiviy between them. Because you know, you put a male and female together in a movie long enough in the same shot and the audience is gonna jump to the conclusion that they eventually are gonna wind up together, unless you either give them insurmountable obstacles, which I did by showing Reese as this kinda shut-down guy, or for whatever reason you do some kind of a plot twist where that doesn't take place. But they're gonna make that inherit assumption, just because they've seen so many movies. It's like "Okay, he's the guy, she's the girl. They'll gonna wind up together." So I wanted to sort of fake out the audience a little bit there . Is this guy ever going to open up? It's about they can get together but only if he reveals something of himself. There's an attempt there on the part of the writer to convey to the audience what it would feel like to be in a situation that where literally she moves from our reality into a new reality, because she had no choice but to believe Reese. Because the evidence was overwhelming. She had to interpret everything she saw through a new filter. And that filter said that everything around her would cease to exist. But I think when she said "We're the only three in the world," in a sense, that became her reality. They were the only three in the world. You know, one hopes, as a filmmaker, that you don't need to say it, that the audience will get it and, draw that conclusion for themselves. And it's always better. People can get it at a level. Even if they can't express it or articulate it, they can get it at a subconscious level. They may not know exactly why a film is appealing to them, but it's working." Comments A scene that shows Sarah reaching through time and trying to collapse it. Status The footage of this scene can be found on the Special Edition DVD's and the Ultimate Edition DVD of The Terminator. Source The Terminator script, Fourth Draft, April 20, 1983: 210 INT. MOTEL ROOM - NIGHT 210
A heartwarming domestic scene.
Sarah and Kyle have pulled the dresser out to use as a
worktable. Pans, packages and bottles clutter the kitchen,
B.G. On the table between them are eight ten-inch lengths
of PLUMBER'S PIPE, threaded each end. Kyle is showing
Sarah how to tamp the HIGH-EXPLOSIVE PUTTY into the pipe
bombs and seal them shut.
REESE
Make sure there's none on the
threads, like this. Now screw
the end-cap on...very gently.
SARAH
You must have had a fun child-
hood.
REESE
That's good. Now, seven more
like that while I make fuses.
SARAH
I was thinking, there's so
much I've got to show you
when we get through this.
It's mind boggling, the pos-
sibilities...Disneyland, the
beach, movies...matinees with
popcorn and foot-long hot dogs...
REESE
Hot dogs?
SARAH
I want to buy you a hot dog so
bad,Kyle...all the things you've
never seen and done. You're here,
but wherever you go, and whatever
you touch, you bring the war with
you.
REESE
My whole life has been combat.
SARAH
I want it to be over for you.
REESE
Not possible.
SARAH
I want it to be over for me too.
I feel like I slipped over some
invisible line, that I'm in your
world now. Everything's the same,
but I see it differently.
It's like, there's you and me,
and him...but nobody else can
understand or help or even touch
us.
Reese looks up and finally catches her gaze. He reaches
out for her hand and it seems he may be taking it to
comfort her.
But he turns her wrist to read her watch.
REESE
We'll head out at 0200.
That gives you four hours
to sleep if you want. I'll
finish.
The Terminator script, Fifth Draft, March 19, 1984 revision pages: 210 INT. MOTEL ROOM - NIGHT 210 A heartwarming domestic scene. Sarah and Kyle have pulled the dresser out to use as a work-table. Pans, packages and bottles clutter the kitchen, B.G. On the table between them are eight ten-inch lengths of PLUMBER'S PIPE, threaded each end. Kyle is showing Sarah how to tamp the HIGH-EXPLOSIVE PUTTY into the pipe bombs and seal them shut. REESE Make sure there's none on the threads, like this. Now screw the end-cap on... very gently. SARAH You must have had a fun childhood. REESE That's good. Now, seven more like that while I make fuses. SARAH I was thinking, there's so much I've got to show you when we get through this. It's mind boggling, the possibilities... Disneyland, the beach, movies...matinees with popcorn and foot-long hot dogs... REESE Hot dogs? SARAH All the things you've never seen and done. You're here, but where-ever you go, and whatever you touch, you bring the war with you. REESE My whole life has been combat. SARAH I want it to be over for you. REESE Not possible. SARAH I want it to be over for me too. I feel like I slipped over some invisible line, that I'm in your world now. Everything's the same, but I see it differently. It's like, there's you and me, and him... but nobody else can understand or help or even touch us. Reese looks up and finally catches her gaze. He reaches out for her hand and it seems he may be taking it to comfort her. But he turns her wrist to read her watch. REESE We'll head out at 0200. That gives you four hours to sleep if you want. I'll finish. |
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