Sarah fights back
T1 deleted scene
After Sarah calls her mother, she looks at a phone book and searches for Cyberdyne Systems. She takes the page and shows it to Reese. Sarah wants to attack Cyberdyne in order to prevent the future. Reese on the other hand wants to lay low and says that it's not his mission. They get a argument and Sarah runs away, followed by Reese. After a struggle, Sarah sees the emotional side of Reese.
From the Special Edition DVD of The Terminator:
"The longest of the omitted sequences, this group of scenes took place during the time between Sarah and Reese's night in the drainage culvert and their subsequent arrival at the Tiki Motel. The scenes establish both Sarah's desire to turn the tables on her deadly pursuer and Reese's personal breakdown in being a man out of time. The latter was originally written and perceived as a defining character moment for Reese, but was omitted to maintain the forward motion of the film to heighten the emotional catharsis of the later motel scenes; the former not only illustrated Sarah's growing, pro-active role in resolving her own fate, but also set up several key revelations which had originally been intended for the end of the film.
Although omitted from the movie, this sequence formed the basis of a key plot point in "Terminator 2" - Sarah's decision to stop running and take the offensive against Dyson and Cyberdyne - and clearly demonstrates that the seeds of the sequel were sown in the original film."
Director James Cameron's audio commentary from the region 1 Special Edition and the region 2 Ultimate Edition of The Terminator:
"I think that one always attempts, in the writing and then working with actors, to create some kind of point of connection, some kind of endurement. There's a lot going on there. I was intrigued by the idea that we could do a story where a character, a female character had this support structure around her that was sort of as society dictates, almost. She has a mother, and a roommate, she all these things around her and they get stripped away one by one. In the final hour, it's her fight. So she ultimately winds up naked against this almost inconceivable enemy. And she has to find the resources within herself. And ofcourse once we see her do that it creates a congruence with the image of the future that Reese has told her that she will become. It's absolutely great luck for me that I cut that scene because it became the nucleus of the entire second film. So, it gaves us a reason to continue the story. Because there was that unfinished piece of business. The fact that we didn't deal with it, that we didn't have her make the cognitive leap that she had to be proactive and that had to go after Cyberdyne, blow it and try and change the future, actually gave us the whole second film. But what we lost there was Sarah becoming proactive, and beginning to take on the mantle of leadership and seeing the kind of tactical mind that would be needed in the future to fulfil her destiny. See it actually in progress, that transfer of power, for him to drop back and her to step forward. And now the only time that you see it is right at the end of the film.
That's the beauty of it. You know, I've got an infantry man who says, "I didn't build the blanking thing." And I've got a waitress who can't pretend to understand the technology. And they are both having to deal with it.
I think the statement I was trying to make with Reese's character is they were living in a very de-humanised future thrust upon them. They had become like machines themselves in battling machines. It's the classic idea that if you battle dragons you become a dragon. And Reese had become a machine, he had become as cold and impersonal as a Terminator. And yet a human being will always be fundamentally different. No matter how much they repress those emotions, bottle them up or maybe even in Reese's case never have an opportunity to explore them, still that human soul will be there. And that's the difference between us and a machine. And Reese could not be the cold machine that the Terminator can be. So I wanted to see that. I wanted to peal that union, I wanted to crack that armour and I wanted to see the guy inside. We put Reese under unbelievable stress. He's been through stresses we can't imagine, being in this future combat his entire life, seeing his, probably not even having friends, not even having close attachments because of the facts that they'll be lost. The attrition rate was just too high. His world is inconceivable to us and yet our world is inconceivable to him. And the beauty of our world is what ultimately shatters his armour. Which I like the irony of that.
I think we felt that Reese kinda had two breakdown moments. One was the loves scene in the motel room. And the other one was the scene in the woods. And it seemed too many. It's like a scene in the novel where you sort of reiterate the same point, several times in different ways. It seemed like you did one or the other. Obviously we needed the love scene, because part of Sarah fulfilling her destiny was she to give birth to John Connor. And the elipse of Reese being the father was not something I was prepared to give up under any circumstances. And with that scene gone, I think that the love scene in the motel room actually plays better. It has a more mythic quality. I'm not saying this scene doesn't work. It's just that when we modulated the pace of the storytelling in that film, it felt that it was a show stopper. You know there are a lot of poetic aspirations in the film. Some of them were too much for the film, had they been done even perfectly. Some of them I didn't have the experience as writer or director to do well. But I might have felt I didn't get to express exactly what I wanted to express. Or maybe what I wanted to express didn't have a place in the overall story. And you know, you're allowed to make those decisions as a filmmaker as long as they're not thrust upon you."
A great emotional scene for Reese where we finally get to know his thoughts. This scene makes us understand that it's hard for Reese to walk around in the pre-Apocalypse world. We also learn the line of "There's no fate but what we make for ourselves", taught by Reese to Sarah. Besides an emotional Reese, this scene also shows a growing Sarah, that accepts her fate and goes into counterattack against SKYNET. It's one of her first steps to become a warrior, and the mother of the future... The legend. Sarah Connor. Who taught her son to fight... organize, prepare. From when he was a kid.
The footage of this scene can be found on the Special Edition DVD's and the Ultimate Edition DVD of The Terminator.
The Terminator script, Fourth Draft, April 20, 1983:
191 EXT. SERVICE STATION/PAY PHONE - DAY 191 Sarah is talking on an open pay phone. SARAH ...I know, Mom. This is the soonest I could...I know. Mom...Mom, I can't talk long. No, I'm okay. (pause) I was on TV? Really? (pause) Oh no, I hate that picture... why didn't you give them my graduation picture? (pause) I'm okay, really. Listen, I want you to pack some stuff and go up to the cabin for a few days. Just don't...no, don't ask any questions. Just do it. I gotta get going...gotta go. Bye, bye. Sarah has been idly leafing through the DIRECTORY. On a whim she looks up something. She freezes for a moment when she finds the listing. Then with a triumphant expression she rips the page out of the book. CUT TO: 192 EXT. SERVICE STATION/PICNIC TABLE - DAY 192 Sarah is sitting at a table under a tree, lettering something with a lipstick on a cardboard box-flap. E.C.U. - SIGN, as the last letters are finished. It reads: SILICON VALLEY FULL ON SARAH as she retracts the lipstick and leans across to hand it to a girl at the next table. SARAH Thanks a lot. REESE (V.O.) What's that? Sarah looks up, startled to see him standing beside her. SARAH That's where we're going. REESE Why? Sarah point to the directory page lying on the table. MACRO - PAGE Sarah's finger points to a listing which reads: CYBER DYNAMICS CORPORATION 18144 El Camino Real, S'Vale ANGLE ON SARAH AND REESE She looks smug. SARAH Look. I found it. Isn't that it? Cyber Dynamics Corporation? REESE What about it? SARAH Didn't you say that they're going to develop this revolutionary new thing... REESE Molecular-memory. SARAH Whatever...they become the hotshot computer guys so they get the job to build El Computer Grande...Skynet...for the government. Right? REESE (uneasy) That's the way it was told to me. Sarah's fear has been replaced by excitement. SARAH Well, we're gonna uninvent the bastard. Eighty-six it. We'll blow up the place...burn it down. Something. REESE (very cold) Tactically dangerous. We lay low. SARAH Reese. Think it through. We can prevent the war. Nobody else is gonna do it. If we go to anybody official we wind up back in jail and then that walking cuisinart has got us again. We have to so it ourselves. REESE That's not my mission. SARAH (upset, mocking his manner) Listen. Understand. I'm not a military objective, Reese. I'm a person... You don't own me. Reese takes her arm and pulls her to her feet. REESE Let's go. Time to move out. SARAH Fuck you! Let go of me! She jerks her arm free. He reaches for her again but she outdistances him, running. REESE (warning tone) Sarah! She dashes down a footpath among the trees, clutching her sign. Reese follows her into the woods. CUT TO: 193 EXT. WOODS/CLEARING - DAY 193 Only a few yards from the picnic area, the woods take over completely. PANNING WITH SARAH as she runs down the path. Reese tackles her from behind and they fall together in the long spring grass. She struggles violently to get away. SARAH Let...go...bastard... She gets one arm free and whacks him hard in the face. Reese reacts instinctively, leaping back in a defensive crouch. Sarah freezes when she sees the .357 in his hand. SARAH (continuing, scared, but angry) Oh, that's real smart. Go on, shoot me. That's brilliant. Reese is trembling as he lowers the gun. Sarah too is shaking with emotion. Tears roll down her cheeks and her voice cracks. SARAH (continuing) Jesus Christ, Reese. Can't you see I'm scared? He straightens up and his arms go limp at his sides. He turns away. SARAH (continuing) I can't spend my life waiting for that thing to catch up with me...always looking over my shoulder, wondering if I left some tiny clue behind... Reese doesn't respond. The gun slips from his fingers. His will seems to drain from him and he sags to his knees. The moment stretches. There is only the sunlight moving in shafts through the leaves, the sound of a small stream nearby, birds chirping. SARAH Reese? She crawls over to him. C.U. - REESE in profile, with Sarah in B.G. His eyes are closed. A tear meanders down his cheek. SARAH (continuing, quietly) Kyle? REESE (a whisper) I'm wrong here. I wasn't meant to see this... He gestures at their surroundings. REESE (continuing) It's...like some dream. This...this... He touches the grass, the trunk of a tree. REESE (continuing) ...and you...all so...beauti- ful. It hurts, Sarah. More than death. He looks are her beseechingly. REESE (continuing) Don't you understand...it's all gone! Sarah puts her arm around him. She sniffs and wipes at her nose with the back of her hand. SARAH We can change it, Kyle. We have to try. She takes his shoulder in her hands. SARAH (continuing) There's no fate but what we make for ourselves. Right? Come on. Let's go, kiddo. Whaddya say? He picks up her sign and they look at each other for a second, then get up.
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