The techs move aside and suddenly John Connor is standing beside him. Connor...their grim messiah...He fixes Reese with an intense gaze. There is so much he wants to say, but cannot bring himself to. Finally Reese speaks.
REESE: Did you know I'd be the one who volunteered?
Connor nods.
CONNOR: I've always known.

There is a man in his forties playing with two small children nearby. He turns. It is John Connor.
SARAH (V.O.): John fights the war differently than it was foretold. Here, on the battlefield of the Senate, the weapons are common sense...and hope.

You don't recall those scenes from Terminator 2? That's because they were cut - Terminated - you might say. The face-to-face between Reese and Connor was never filmed but Sarah watching her grandchildren and their father, the Senator, was and this book has the pictures to prove it.

The Judgement Day script went through seven drafts, additions and revisions. Here you can find what ideas never made it to film, what characters were combined and what dialogue was ad-libbed on set. Additionally there are over 500 film stills and storyboards illustrating the facing text, though most are in black-and-white. But what I found particularly interesting were the 'production notes' which detailed the evolution of a scene and often contain the kind of trivia fans love to discover. Question: do you know how many hands the T-1000 has while pursuing the SWAT van in the helicopter? I'll wait why you slo-mo the DVD...

Yes, interesting, huh? I also enjoyed James Cameron's introduction. Like a man who's about to pull back the curtain and show you the goods, he's really candid about the writing process.
"I hate writing. It is the most tedious, solitary, terrifying part of making of a film. It is the moment when the creative die is cast, although it will take months, maybe years, and millions of dollars to find out if the throw was lucky... The problem is that when you're writing, you can't think of that awesome responsibility or you won't ever get a single word down on paper. You have to divorce yourself mentally from the director-self which will be sweating months later under the yoke your writer-self is creating. And to take responsibility for the financial success of a multi-million dollar project at that fragile stage of creation is the death of art... With a kind of abandon, I pre-absolve myself from the responsibility of creating stunts and special effects in the real world, and plunge into the story as if I am writing a novel, rather than a screenplay which is only a means to an end.

So if you are looking for a Terminator fix, or are just a student of story-craft, you might want to give this one a try. ( )