Original subtitles

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.