All language subtitles for 05 Deleted Scene and Alternative Ending_track2_[eng]_DELAY 40ms

There was a wonderful scene that I shot
with Vukovic and his

wife from whom he was getting a divorce
during the whole story,

and he tried to reconnect with her.

And I shot a beautifully performed scene
by...

John Pankow and Tracy Swope playing his
wife, where he goes to her and tries

to reconnect with her because his world
is falling apart.

The backstory was he had been in
Vietnam, he came from a family of police

officers, and he had this kind of
troubled relationship with his wife, who

in the process of becoming his ex -wife,
I think, if I remember correctly.

Vukovic wanted back with her, and she
couldn't handle the whole cop thing.

She just blows him off and it's over,
basically.

It just kind of ratcheted up the stress
and the stakes.

He can't communicate. He's lost the
ability to communicate. He loses it

with her and there's no chance for him.

And you can see that he has become so
engulfed in his obsession

with living up to his partner's idea of
what makes a great agent.

that he has lost the ability to
communicate with another human being on

personal or social scale.

And Tracy Swope and John Pankow played
that scene absolutely great.

Why did I cut it? I have no idea. I
think now having seen it again some 20

later, I should have left it in the
film.

In fact, if there was a way to integrate
it, I would do that. I would integrate

it into the picture.

I've got to talk to you.

Now? Here.

I need to talk to you about something.

I can't. I can't. Donna, Donna.

I'm going to quit my job.

Okay?

I've got to quit my job.

I can't help you right now. I need to
come in. I can't.

You got somebody in there? No. Now look.

Is that what you're trying to tell me?
It's late, Donna. You have somebody in

there. I don't like that neighbor. You
fucking lot. Stop it.

You never cared about what I did when we
were a mess. Mary, why should you care

now? Donna, please. Nobody ever changes,
right? Right, John?

Well, I have a life now. I have people
that are important to me. You care about

me. Now, I want to talk to you, God damn
it, but not like this.

Please,

baby, you've got to... Why do you always
do this? Just go. Please go.

Please, please.

Donna, please. Just talk to me tomorrow,
please. Just respect me for once,

please.

Do you need me tonight?

No, I don't think so.

What time do you get off?

About 12 .30.

Okay. Got a few things to do, and then
I'll drop by and pick you up at the

The SLM producers saw the film the first
time and said, well, you killed a star.

We don't have an ending.

And Billy said, yeah, we have an ending.
Pankow takes over the girl, and they

continue on.

And they wanted to see Peterson live.

They wanted us to shoot another ending,
where, in fact, I had already been shot,

but I survived miraculously a shotgun at
point -blank range to the face.

And in fact, I did film another ending,
which is terrible, but it exists where

the two guys are alive, where Peterson
isn't killed.

I have a memory of the two endings, one
with Chance dying and one with both of

us living.

And I remember shooting the one where
Chance and I are in some remote, like,

Canadian hut, lodge thing, you know,
playing Pinochle or something. I don't

what the hell we're doing. We're up
there just hanging.

You know, you can't have a movie like
that, and then all of a sudden there

are sitting in bunk beds, bitter that
they've been sent to the North Pole.

That would have been the Eddie Murphy
version of To Live and Die in L .A. We

shot it.

We edited it. We mixed it. We cut it
onto the film. We made end credits with

that. The whole snow scene screened at
one time. Billy said, get rid of that

shit.

So we took it right out.

They begged me to use it. They said, the
film will make a lot more money if we

don't kill this guy. The audience likes
him.

And I said, I'm not sure of that.

Would they have made a lot more money
with Psycho if Janet Leigh was only

wounded and in the cellar? I don't know.

I felt it was...

that what we had achieved was organic,
that this guy was tempting fate every

step of the way, and a lot of my films
have to do with the mystery of fate, and

it seemed to me right that at that point
in the film he would lose it.

Good evening. I'm Brian Bastian.

Our story tonight focuses on the world
of counterfeiters and the government

agents who pursue them.

The investigation of counterfeiter Eric
Masters, an accomplished artist whose

twisted career led to the murder of a
federal lawman, ended in gunfire at a

secret printing plant.

Here to provide the background is the
man responsible for Masters' capture,

Thomas Bateman, newly appointed head of
the counterfeit division in Washington.

The first step I took was to make sure
all leads of the case were followed up

thoroughly. I took a hands -on approach
because I believe in moving in quickly.

No one agent can claim responsibility
for master's apprehension.

It was a group effort.

But when he attempted to resist arrest,
my orders were to shoot to kill if

necessary.

Drink on the thing, just like a lying
wife.

For a chance to get involved with love
and faith.

One thing that's better than the other
thing.

Waiting with me until 16.

I'm waiting for you.

But you're very late.

I'll know you're here anyway.

I'm like a loving wife.

Evidently.

There's a difficulty.

I know you're coming my way.

And I cannot be white.

I cannot be white.

You approach me with your eyes on the
ground.

Thank you.

Thank you.

Thank you.

Thank you.

I can hardly wait.

I can hardly wait.

Thank you.

Thank you.

Thank you. Thank you.

Thank you.

I can't possibly wait.

I can't possibly wait.