Extended Sarah's first nightmare
T2 omitted scene
A longer nightmare sequence. In the original written sequence, the Terminator was also present in Sarah's nightmare and he forces her to watch humanity die in the nuclear fire.
Van Ling (Creative Supervisor), in T2, the Book of the Film, An Illustrated Screenplay:
Sarah's first nuclear nightmare was first pared down during production by the elimination of Terminator from the dream due to both scheduling conflicts and to a desire to simplify the amount of puppet work in the dream imagery. The portions involving Michael Biehn as Kyle Reese were filmed but subsequently cut due to time considerations, for although the Reese sequence provides resonance with the first film, reinforces the crucial line (paraphrased from the first film) "The future is not set. There is no fate but what we make for ourselves," and personifies Sarah's own guilt over her inability to protect John in her current condition, it was ultimately deemed unnecessary to the main message of the nightmare, namely, Sarah's persistent vision of the imminent nuclear war. In fact this essential point of the dream was originally repeated three times -- twice visually in Sarah's nightmares and once verbally in her description of it to Silberman on videotape in the following scene. In the end, the whole first nightmare was excised due to time and to the fact that Sarah describes it so vividly in the next scene, making the dream itself unnecessary. In the 5/10/90 draft version of the nightmare, Silberman and attendants turn out to be terminators themselves, which is revealed as Sarah struggles with them and claws at their faces, tearing them open and exposing metal endoskeletons under their flesh.
Terminator 2 script, Revised final shooting script:
29 INT. SARAH'S CELL - DAY CLOSE ON SARAH. She is shackled, hands and feet, to the bed. Sunlight falls across her pale face. A hand enter frame, gently stroking her cheek. She wakes up to see -- KYLE REESE. Sitting on the edge of her bed, looking exactly the same as we last saw him in 1984. Scruffy blonde hair and a long raincoat. SARAH Kyle..? You're dead. He gives her a gentle smile. REESE I know. This is a dream, Sarah. SARAH Oh. Yeah. They... make me take this stuff... He puts a finger to her lips. Then silently unfastens her restraints. They gaze into each other's eyes. And in the look that his death and the horror she has been through since hasn't touched their love at all. SARAH Hold me. She melts into Reese's arms. Pulls him to her. REESE I love you. I always will. SARAH Oh, God... Kyle. I need you so much. She kisses him passionately. They are locked together in a timeless moment. PUSH IN TIGHT on Sarah as she buries her face in his shoulder. She shuts her eyes tight. Stay on Sarah as Reese speaks. He voice is strangely cold. REESE (O.S.) Where's John, Sarah? Sarah opens her eyes and he is no longer in her arms. He is standing across the room. Pinning her with an accusing gaze. SARAH They took him from me. REESE It's John who's the target now. You have to protect him. He's wide open. SARAH I know! REESE Don't quit, Sarah. Our son need you. SARAH (struggling not to cry) I know, but I'm not as strong as I'm supposed to be. I can't do it. I'm screwing up the mission. REESE Remember the message... the future is not set. There is not fate but what we make for ourselves. He turns toward the door. SARAH Kyle, don't go! REESE (turning back to her) There's not much time left in the world, Sarah. Reese goes out the door. Sarah jumps from the bed, frantic. Yanks the door open. Follow her out. 30 INT. CORRIDOR Sarah staggers from her cell. Reese is already, impossibly, a hundred feet away, striding down the dim corridor. A silhouette in a long coat, disappearing around a corner. Sarah runs after him, her bare feet slapping the cold linoleum. Her hospital gown floats out behind her as she dream-runs along the seemingly infinite corridor. She reaches the corner, slides around it, and... 30A Slams right into the arms of Douglas and his three helpers. They grab her as she struggles and screams. The Silberman is there, smiling soothingly. They force her down and she is pinned to the floor, screaming. A new figure approaches... one even more menacing. TERMINATOR walks toward her, with heavy measured steps. Backlit, eyes concealed by the sunglasses, it stands over her like the angel of death itself. It reaches down and... Takes her hand. Lifts her up. Leads her to a door. They go through together. Emerging into... 30B A BEAUTIFUL SUNLIGHT MORNING. CHILDREN are playing nearby... sliding down slides, clambering through a jungle gym. Sarah knows this dream know... it's is the worst of all her nightmares. She starts to scream but no sound comes out. 30C THE SKY EXPLODES into WHITE LIGHT. Everything is seared by the unholy glare, hotter than a thousand suns. The children ignite like match heads. Sarah is burning, screaming silently, everything silent and overexposed. Terminator's flesh and clothing are burning, silently. It grips her hand, Virgil to her Dante in this tour of the nuclear-age Inferno. 30D THE BLAST WAVE HITS... a near-solid wall of compressed air followed by 250-mph winds. The children, charcoal statues frozen in positions of play, explode into black leaves of ash and swirl away. SOUND hit now, with a thunderous roar. Sarah's scream merges with the howl of the wind as the blast hits her, exploding the flesh from her bones. Beside her, Terminator is stripped of its burnt flesh, becoming a smoking skeleton of steel. 30E Then she wake up... in her cell, shackled to the bed. Sunlight hurts her eyes. She looks desperate and defeated. She knows the war is coming. It visits her every time she closes her eyes. Lost and alone, Sarah feels all hope recede for herself and for humanity. CUT TO:
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