Deleted Scene: Original Ending

Original Ending


EXT.  HIGHWAY 80 COFFEE SHOP - MORNING - THAT MOMENT

It's snowing harder now.  Sydney exits the coffee shop and walks towards his car, the two CATS watch him coming....

A nervous, sweaty MAN in a yellow jacket approaches.

MAN
Are you Sydney Brown?

SYDNEY
...excuse me...?

Sydney looks at the man.  BEAT.  In this moment, Sydney recognizes this to be the MAN from the MOTEL.  THE HOSTAGE.

MAN
You cost me my wife.  You and your friends beat me....that whore.

Sydney is dumbfounded.  HOLD.

SYDNEY
I don't know what you are talking about?

MAN
Are you Sydney Brown?

Sydney walks past him, the MAN follows.

MAN
A man named Jim told me of you.  I know you, I know you, I followed you.

SYDNEY
...I don't know what you're talking about, sir...

MAN
You and you friends, Clementine and John....I'll find them too....

SYDNEY
Don't follow me.

MAN
...I'll find them in Niagara Falls.  I know your the man that held me, I know it.

SYDNEY
...don't follow me....

MAN
....you motherfucker...

Sydney reaches his car...the MAN stops....BEAT....

MAN
You COST ME MY WIFE.

The MAN raises his arm....FIRES THREE SHOTS INTO SYDNEY...

...Sydney falls...

...The MAN runs off, gets in his car and pulls out of the lot.

Sydney lays covered in blood.  He holds onto his breath and his heartbeat for a few moments in horrible pain, He starts to cry.

The CATS watch him from the car.

Sydney lays flat on his back...looking up...gasping for air...

SYDNEY'S POV

Snow falls down softly...directly INTO CAMERA.

Sydney holds onto his breath for another moment.

DUTCH ANGLE, ABOVE PARKING LOT, LOOKING DOWN ONTO:

Sydney's dead body in the middle of the parking lot.

END  

Deleted Scene: Flashback #2

Flashback #2

 

EXT.  ATLANTIC CITY/ALLEY-WAY - FLASHBACK - DAY

Arthur sits on the ground, Sydney paces around.

ARTHUR
I wanted to tell you about it first, cause I knew you'd hear or maybe you'd heard.

SYDNEY
Uh-huh.

BEAT, THEN:

ARTHUR
I won't tell them anything about you, Sydney.

SYDNEY
What did they ask?

ARTHUR
Lots of things...Baltimore, the thing, Baltimore.

CAMERA NOW HOLDS ON SYDNEY THROUGH ENTIRE SEQUENCE.

ARTHUR (OC)
They waved it, but I didn't bite, Syd.  I didn't bite and I wanted you to know that.

SYDNEY
They ask anything else?

ARTHUR (OC)
They asked about everybody.

SYDNEY
You didn't tell them anything.

ARTHUR (OC)
Nothing.  I won't.  I didn't.

SYDNEY
I know.

ARTHUR (OC)
They talked about protection for me and all this other stuff, but you know, you know...I held strong, Syd.  I held strong....I held...like a man.

CAMERA DOES A SLOW DOLLY TOWARDS SYDNEY.

SYDNEY
Can I ask you something?

ARTHUR (OC)
Anything.

SYDNEY
Don't lie to me.

ARTHUR (OC)
I'd never lie to you, Sydney.

SYDNEY
Are you off the drugs?

ARTHUR (OC)
Yes.

Sydney turns and faces Arthur, who verges on tears.  Sydney holds a look on him.  Arthur looks at Sydney's hand stuffed in his coat pocket.  Sydney takes a few steps back....

ARTHUR
....Syd....Sydney....Sydney....Listen to your name, listen to me say your name: Sydney.  Sydney.  Please.

SYDNEY RAISES THE REVOLVER FROM HIS COAT POCKET, INTO FRAME, POINTED AT ARTHUR.

ARTHUR
...My baby...for my little, John, my child --

SYDNEY FIRES THE GUN INTO ARTHUR'S FACE.  CO we HEAR a PHONE RINGING.  SYDNEY places the REVOLVER in Arthur's hand and walks quickly off, down the alley and away.  CO PHONE RINGING CONTINUES OVER...

CUT TO:

Deleted Scene: Flashback #1

Flashback #1



SYDNEY
...I trust that once I give you this money you and I will have separate paths and that this negotiation will settle everything.  That's what I hope.  I don't want to die.



Jimmy holds eyes on him.  PAUSE, THEN:

HYSTERICAL MAN (OC)
...I DON'T WANNA DIE...

ANGLE, CLOSE-UP.  SYDNEY.

HYSTERICAL MAN (OC)
...Please, I don't wanna die...

CUT TO:

INT. APARTMENT ROOM/ATLANTIC CITY - DAY - FLASHBACK

The FACE of John's father, ARTHUR in TEARS.  He looks into CAMERA.

ARTHUR
...I CAN'T DIE, SYDNEY.

SYDNEY
Stop saying that, Arthur.

ARTHUR
I'LL DO WHATEVER THEY SAY.  WHATEVER YOU TELL ME TO DO, I'LL DO IT.

SYDNEY
I just want you to calm down for Christ's sake.  Your wife and child are in the next room, just calm down.

ARTHUR
MY BABY, SYD, MY BABY, FOR MY SON.  FOR MY SON.  FOR MY SON, YOU WON'T.

WIDER ANGLE IN THE APARTMENT - THAT MOMENT

A one bedroom place.  1966.  Sydney, obviously younger, stands up from a chair, walks to Arthur, picks him up from his knees.

SYDNEY
...I won't hurt you.  You know that.  Do you believe I won't hurt you?

ARTHUR
I believe you.

SYDNEY
Come sit in the chair.

Arthur and Sydney sit face to face.  HOLD.

SYDNEY
Do you have anything?  If you put forth an effort...

ARTHUR
I've got sixty dollars to my name.  My kid...my kid...he needs shots and all this other shit...hospital bills and all that...it's just...it's all fucked.  He can't do this to me, not for thirty-eight hundred bucks, he can't.

SYDNEY
You know you're not gonna get shot up over this....

ARTHUR
...he sends you to talk to me, I know it means something, Syd...

SYDNEY
He knows that I know you, he figured I could talk...

ARTHUR
...You know me...you know me...the next person here....I don't want to die, Sydney.  Look at my child, look at my child, Sydney.

SYDNEY
Stop it.

ARTHUR
I used to be in on jobs.  I was in on some big jobs, you've heard the stories about me.  Shit, this was before you were even around, but I was in it.  I was eyes and ears, Syd.

SYDNEY
I know.

ARTHUR
And now what?

SYDNEY
You've got a problem.

ARTHUR
That's over.  I'm done with that shit.  On my child's eyes, that shit is over.  You're my friend...

SYDNEY
...I'm your friend.

ARTHUR
Just a month ago, I was in it.  Remember the Baltimore job?

SYDNEY
I remember.

ARTHUR
It went wrong, but you took care of it.

SYDNEY
Yeah.

ARTHUR
..The next person that comes...

SYDNEY
Be quiet now.

They sit in silence for a moment.  Sydney looks into the kitchen, through a pair of glass doors.

SYDNEY'S POV - INTO THE KITCHEN

A young baby being breast fed by his MOTHER.  She glances at Sydney.

Sydney takes a hundred dollar bill from his pocket, hands it to him.

SYDNEY
You might want to be a little harder to find, Arthur.

ARTHUR
It doesn't matter.

SYDNEY
Don't put it in your arm, put it in your child's stomach.

Sydney leaves.  HOLD.  Arthur looks to the kitchen.

Deleted Scene: The Phone Call

The Phone Call

 

INT.  CASINO/PHONE BOOTH - NIGHT - LATER

Sydney drops a dime at a secluded pay phone and dials a number.

SYDNEY
Hello, Arlene.  It's Sydney. ....Yes....Yes....how are you...


(beat)
...no, no....I'm just calling to say hello.
(beat)
I'm in Reno.  Yes.  Yeah, well.  No.  I said, I said, "No."
(beat)
It's almost Christmas.......just to call, I figured I'd call.
(beat)
...are my kids home, are my....Do you have number?  Uh-huh.  Uh-huh.
(pause)
Well maybe you can give a message for me...I'm at the Pepper...Peppermill.  ...yeah...it's room number 1508...uh-huh.
(beat)
It would be nice.  Well, it just might be nice...it doesn't...Okay.  Uh-huh.  Okay.  Well.
(beat)
I guess that's...that's...Yes.  Yes.  Okay, well, I'm getting off the phone now.  I'm getting off the phone now, Arlene.  Good bye.

Sydney hangs up the phone.

Deleted Scene: Sydney Covers

Sydney Covers



INT.  KENO BAR/LOUNGE - NIGHT - MOMENTS LATER

Sydney is talking to the BAR MANAGER (who's also the LOUNGE SINGER from the opening.)

SYDNEY
...it was a last minute thing.  She apologizes for not letting you know...but it was --

BAR MANAGER
I understand that, but this hotel --

SYDNEY
She should be back Friday, Saturday the latest.  I hope it's not a problem.

BAR MANAGER
Well, normally, we like some notice, it puts us in a tough spot and --

SYDNEY
I'm sure you understand how love works.

BAR MANAGER
Well...yes...yes...you see --

SYDNEY
She's a good girl and she works hard.  She got married.  She's in love.  She'll be back Saturday the latest.

BAR MANAGER
I didn't know that Clementine was a friend of yours.

SYDNEY
She's a very old friend, yes.

BAR MANAGER
In that case.

SYDNEY
Thanks.

CUT TO:

Deleted Scene: Hard Eight, Scene 63

SCENE 63 (The Turd Story)

 INT.  JOHN'S CAR - MOVING - DAY



Clementine is driving, John is in the passenger seat;

CLEMENTINE
I can't believe I just thought of this... do you wanna hear a funny story?  Oh my god --

JOHN
What?

CLEMENTINE
There was this guy and this girl, I don't know them, my friend knew the girl and she told me about this story...oh my god...so this guy and this girl -- they went to high school together. And all through high school, they really like each other but they were always together with other people.  But still, on the side, they were always looking at each other, smiling and kind of noticing each other, but nothing ever happens.  So they graduate and they both go off to different colleges and two years pass -- and it's summer vacation and they're both back in town, back from school and they happen to bump into each other on the street.  "Oh my God, Hi How Are You?"  "What are you up to?"  "Nothing, what about you?"  "Oh you know, same old thing." They're both thinking about each other's boyfriend and girlfriend from high school, right?  So he asks her,"Are you still going out with so and so...?"She says, "No, we broke up..." She says to him, "Are you still going out with..." He says, "No, it didn't work out, we broke up." SO they're both like: cool, this could work out.  So they get together that night, they have a date, they go and eat, they have a beautiful and great dinner....they're both a little nervous, though.  So outside the restaurant, they have their first kiss -- and it's beautiful and sweet and perfect.  So they look at each other and he says, "Come stay with me, lets' go back to my apartment." They agree -- but then he remembers he's got his roommate and all this so it won't work out.  She's staying with her parents so that won't really work - but she tells him she has this empty apartment that she's about to move into but there is nothing in it -- no water, or heat, electricity, just a mattress -- well, they finally decide and say, "All we need is a mattress, let's go back to the apartment." So they go back...they have sex and it's great...no first time jitters, nothing awkward, it's just like....perfect, right? Perfect sex and they're totally, totally in love. Afterwards, they're in bed, they're naked and holding each other in their arms and she starts feeling his body, he says, "It's all muscle, y'know, look:" So he turns his back to her and lifts his arms like this -- and he tightens up, flexing his back muscles real hard and -- BOOM!  This projectile turd shoots right out of his butt and lands SMACK on her neck....this poo hits her right in the neck -- Now remember, they're in this apartment with no towels no water, nothing -- so they get up - get dressed, they drive down to a gas station and they have to hose her off -- they hose this poo off of her neck -- and then he drove her to her parents house and that was it -- they never spoke again -- can you believe that?

CAMERA goes to John for reaction.  He's stunned and speechless.

CLEMENTINE
John?

He shakes his head.

Deleted Scene: Hard Eight, Cigarette Trick

The Cigarette Trick



SYDNEY
Here...
(he offers John some cash)
Go to the mall and get something new.  John will take you.

JOHN
I got money, Syd.
(to Clem)
I'll take you, would you like to go?

CLEMENTINE
Yeah.

SYDNEY
And that's that.  I'll see you later.

Sydney goes back in his room.  John looks to Clementine.  PAUSE.

JOHN
...well...

Clementine smiles at John, he gets her some coffee, gives her a cigarette and lights it for her.

CLEMENTINE
The first one of the day is always the best.

JOHN
Wanna see a trick?

CLEMENTINE
Sure.

John takes the cigarette from his mouth and very carefully places the filtered end in the crease between his forehead and his nose.  He squints down, holding the cigarette in place, makes a motion as if he's inhaling, then blows the smoke from his mouth.  Clementine laughs hysterically.

JOHN
I can do it with eight cigarettes.  Eight cigarettes in this crease between my nose and forehead...

CLEMENTINE
Lemme see...

JOHN
No...I gotta go talk to Syd for a second.  I'll be right back.

John exits.

Deleted Scene: Hard Eight, Scene 23

LONGER SCENE 23 (Just after the Craps Table Stories)


John looks to Sydney, spots Sydney's mood, then looks back to Jimmy.



JOHN
...Jimmy...

JIMMY
What?

JOHN
Just...y'know...I dunno --

JOHN
Hey, I mean, I live up here.  I know what flies and what doesn't and to tell some cocktail waitress she's got a nice ass is no crime.  It's a compliment to them.  Believe me.

SYDNEY
You said it as she walked away.

The Keno Girl arrives back to drop the ticket.

KENO GIRL
...Your ticket...

JIMMY
Honey, honey, can I ask you a question?

KENO GIRL
What?

JIMMY
Can I tell you first of all: "You have a very nice ass."

KENO GIRL
Thank you.

JIMMY
My friends here were embarrassed that I would say that to you.  My question is: Are you embarrassed?



KENO GIRL
No.

JIMMY
(turns to Sydney)
See?
(back to Keno Girl)
You take it as a compliment?

KENO GIRL
Sure.

JIMMY
Good.

KENO GIRL
Do you want to play?

JIMMY
No thank you.

KENO GIRL
(to Sydney)
Good luck, Sir.

Sydney hands her a five dollar tip, she exits.

JIMMY
You see what I'm saying?

SYDNEY
I suppose you're right, then.

JOHN
...Jimmy, let's go play....

JIMMY
Still waitin' on our drinks here.

JOHN
We'll get them at the tables.

Deleted Scene: Hard Eight, Scene 13

SCENE 13 (after John orders a drink)



INT.  CASINO FLOOR - THAT MOMENT
...Sydney approaches the Cocktail Waitress.


SYDNEY
Excuse me.

COCKTAIL WAITRESS
Yes?

SYDNEY
That man order a drink?

COCKTAIL WAITRESS
Bloody Mary.

SYDNEY
I'm his father.  He's not allowed to drink.  Bring him a cup of coffee.

He hands her a couple dollars.

Deleted Scene: Hard Eight, Scene 5

SCENE 5 (after John switches from back-seat to front seat)



INT. SYDNEY'S CAR - MOVING - MORNING/LATER  


Sydney driving, John in the passenger seat.  HOLD.  They drive for a while in silence, then: 


   
SYDNEY
My Uncle died in 1949.  He was a policeman in Boston.  My Uncle worked as a policeman in Boston for thirteen years and he was fired upon twenty three times in the line of duty without being hit.
(beat)
One morning: He woke up, got dressed, walked outside and down the street.  He went to buy his coffee and his paper.  He walked fifty yards from his house...he was fifty yards from reaching the store.  He slipped on a patch of ice, fell down and cracked his forehead open on the pavement.  

BEAT.

SYDNEY
There are thirty-six possible combinations of numbers on a pair of dice.  There's one way to roll a two and six ways to roll a seven.  That's the math.  That is what can be proven.  If you want to roll a four, how can you do it?  What are the combinations?

JOHN
...Combinations...

SYDNEY
What number plus what number equals four?

JOHN
Two plus two.

SYDNEY
What else?

JOHN
Three and one.

SYDNEY
What else?

JOHN
...That's it.

SYDNEY
One and three.

JOHN
I said that.

SYDNEY
There are three ways to make a four, John.  Two and two, three and one, one and three.  That's the math.  It's the only given in the situation.  Only thing is: we can't control how they come up.  In walking down the street to buy a cup of coffee, we relinquish the control to what?  Maybe, to who?  I don't know.  But it doesn't matter to what or who or why, because that's the way it is.  We've got nothing to do with any of it.
(beat)
All we can do is bet on it.

HOLD.  They drive for a while in silence, then:

JOHN
Can I get a cigarette from you?