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.

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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:

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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.