AFTERMATH: THE DELETED SCENES
[this scene was set to take place after Mike's introduction
scene, but was replaced by a more in-depth scene that
explained where Mike was and what his motivations were. This
scene also makes Homer's robbery look way too pre-meditated]
INT. QUICKIE MART -- NIGHT
MIKE is now alone at the register. He glances at his watch.
HOMER enters the market. MIKE nods to him and stands up. He
walks to the door and locks it while HOMER grabs a few
things. He also turns off the neon Open sign.
MIKE gets back to behind the register. HOMER emerges from the
back with a few things: soda, beer, bread, and eggs. He puts
them down softly on the counter.
MIKE
(Begins to scan the items)
How's life treating you, Homer?
HOMER
I've been worse. How about you?
MIKE
I'm good. Your job search yield any
results yet?
HOMER
No, still looking.
MIKE
If I could hook you up I would. I
just don't got the cash.
HOMER
No, don't worry about it. Something
will come up.
MIKE
That's gonna be 7.43. I know what
it's like, man. You just got to
keep with it.
HOMER
I know, I just hope I keep my
apartment through all of this.
MIKE
That's rough, man.
HOMER
(Pulls out his wallet)
On either side of me I have crack
addicts and couch potatoes that
collect free money. Seems like not
trying makes things a lot easier
around here. But if you try...
HOMER drops two one dollar bills and a five on the counter.
He then reaches into his pocket, pulling out two quarters.
MIKE
(Opens the register)
Seven cents is your change. You
were saying?
HOMER
If you try, it's always harder.
(Puts his wallet away)
You still work here alone?
MIKE
(Hands MIKE his change)
Yeah, 8 to 10.
HOMER
Exactly what I was saying. That's a
fourteen hour day, buddy. Nobody
should have to work that long.
MIKE
I do what I have to do.
HOMER
Yep.
MIKE
Later.
FADE OUT.
[This scene is too long, and at an important crossroads in
the picture is just seems to drag. The conversation is also a
bit too one-sided, I think, with little or no humor. And with
a subject like death, you always need a splash of humor to
keep things light. Light enough, anyway.]
INT. SMALL COFFEE SHOP - MORNING
In a full coffee shop FRANK and MARIA sit away from the sea
of chatter in the back of the shop.
Both have a big cup of coffee in front of them, but neither
are drinking. They both sit silently, every so often
exchanging glances.
FRANK
I'm sorry, I'm a little tired.
MARIA
(Smiles)
It's fine, just enjoy yourself. I'm
fine, OK?
FRANK
I'm glad you are. Everyone's been
so worried about you. Nothing like
a death to make people think crazy
things.
MARIA
It makes me happy to know people
care so much about me. I'm lucky.
FRANK
No, we're lucky to have you.
MARIA
I've been to Tim's grave around a
dozen times in this last year, and
somehow it always made me sad. Not
sad, really, but almost angry.
FRANK
Why do you think it made you angry?
MARIA
I feel like he wasn't supposed to
go. Like he wasn't supposed to be
the husband and father that you see
the picture of on the news. He
wasn't afraid of death, you know?
Usually those people live longer.
Dad's like that.
FRANK
I don't know how he is.
MARIA
Neither do I. He is a religious
man, and I bet that plays into it a
whole lot. But back to what I was
saying. This is the second time
I've been to Jimmy's grave, and I
don't feel the anger.
I feel a strange happiness when I
visit his grave, like he's up in my
brain telling me he's fine. I swear
I'll never go to another church,
but I think there is something.
FRANK
Oh, there is something. I just
wonder sometimes if that something
is working for or against us. I
feel that butterfly in my stomach
everytime I speak about death. Like
an it's some sort of inescapable
predator that's living inside me
waiting to take me out. There is
such an unknown there. What happens
after you die? Is there a bigger
question? That's the kagillion
dollar question, you know? And I
know I'm not in any rush whatsoever
to answer it.
MARIA
I have to admit I have one fear
about death that almost makes me
shake when I think of it.
FRANK
What's that?
MARIA
That it all just turns off, like a
light-switch. And somehow you still
remain, alone in the darkness, not
knowing what happens next. Or even
worse, that everything turns off.
Even that which makes us, us. The
soul, just turned off, and you are
no more. How can that even be
possible, to not exist after
already existing?
FRANK
I sure damn well hope it doesn't,
you giving me a little bit of
goosebumps just talking about it.
MARIA
It's hard to think about, I know.
Which is why we try not to, I
guess. It's too mind-boggling a
question to answer.
I wish those friends of the family
could hear me now. Suicide? Give me
a break. I'm afraid of riding on an
airplane.
FRANK
(Chuckles)
Me too.
MARIA
We are too much alike. Tell me
you've gone skydiving or something,
that'll make me feel unique.
FRANK
I have gone skydiving, actually.
Several times. What a blast.
MARIA
Thank you, that feels better.
FRANK
(Takes a drink of his
coffee)
What do you figure you're going to
do now?
MARIA
You mean now that... Jimmy is
buried?
FRANK
Yeah.
MARIA
I think I'm going to move.
FRANK
Where to?
MARIA
I don't know, I need to get out of
that house. A hotel for now. I
can't even sleep in the bedroom
anymore. I don't know why. I'll
have someone pack up Jimmy's room,
I can't go in there either. It was
the same when Mom died.
FRANK
Yeah, wow, that was... I don't know
how Dad took that so well.
MARIA
He didn't. He just pretended he was
fine. He cried every night for two
months, if you can believe that.
FRANK
(Shakes his head)
When do you plan on moving?
MARIA
I'm getting a room tonight. I
really don't feel like going back
to the house.
FRANK
I could come with you.
MARIA
Could you really do that for me?
FRANK
(Smiles)
That's the least I can do.
MARIA
Thanks, I really didn't feel like
going back alone. I need to get a
few things, too.
FRANK
Want to go now?
MARIA
Yeah, actually, that would be
great.
FRANK
(Takes a final sip from
his coffee)
I've had better.
MARIA
(Whispers)
Me too.
[This next scene was taking out for the same reason as the
above one, mostly for pacing reasons. It has no real place in
the film, other than as a bit of comic relief. It was
replaced by a scene in which Mike is confronted by his
sister, Sophie.]
EXT. NEIGHBORHOOD - NIGHT
MIKE and NATHAN are walking down a rather bad looking
neighborhood street dressed in heavy winter clothing. Both
men look rather frustrated.
NATHAN
Man, this is shitty. I mean, this
is so fucked up.
MIKE
Could you quit bitching? If you
would've driven your car, we
wouldn't have had to walk this
fucking long.
NATHAN
And why didn't you drive your car
to work?
MIKE
Well, Nathan, aside from the fact
that it is a short walk to my house
from the store, why else would I
need a car?
NATHAN
I don't get why you would walk if
you could drive.
MIKE
(Stops walking)
You had better shut up about cars.
You know why I don't have a car, so
just shut the fuck up about it.
NATHAN
OK.
MIKE stares at NATHAN with a frustrated look on his face.
NATHAN
(Sighs)
OK!
Both men start walking again.
MIKE
What street is it that we're headed
to?
NATHAN
North east Evelyn.
MIKE
Eleventh street is on the other
damn side of town!
NATHAN
Evelyn Street.
MIKE
Oh, OK, sorry.
We hear a man in the distance running, his feet hitting the
ground with loud bangs.
NATHAN
What is that?
MIKE
(Stops and looks back)
Some guy is running down the
street. Probably running from some
bad people.
NATHAN
What, cops?
MIKE
(Starts walking again)
Very funny. My father was a cop,
did you know that?
NATHAN
Yeah, that's why I was saying cops
equal bad.
NATHAN chuckles and MIKE give shim a weak push with a smile
on his face. The RUNNING MAN halts quickly right behind
NATHAN and MIKE. MIKE and NATHAN stop walking.
RUNNING MAN
Don't move a fucking muscle.
MIKE
I'm going to need to breath at some
point during this.
RUNNING MAN
Funny, smart ass. Turn around.
We see the RUNNING MAN now, as MIKE and NATHAN do. He is
dressed in black, the shadows not allowing us to see his face
clearly. He has a pistol, and has is pointed right at NATHAN.
MIKE
What do you want?
RUNNING MAN
Reach into your pockets, give me
your wallets. Slowly.
MIKE reaches into his pocket and takes out a black wallet
that has "Bad Mother Fucker" typed on it. He hands it to the
RUNNING MAN.
MIKE
Could I get my wallet back after
you take the money?
RUNNING MAN
Fuck you. Hey, you, stupid, give me
your fucking wallet.
NATHAN sighs and takes his wallet out from his jacket. He
tosses it to the RUNNING MAN'S feet in disgust.
MIKE
Can we go now?
RUNNING MAN
Yeah, get the hell outta here.
MIKE and NATHAN walk away. We follow, looking back at the
RUNNING MAN counting the money in the wallets.
NATHAN
This fucking sucks. Can't even take
these ladies out now.
MIKE
I've got some spare cash at my
place. We'll stop by there.
There is a silence as the two continue walking, turning to a
side street.
NATHAN
Where'd you get that wallet?
MIKE chuckles.
[That's all the scenes I have to show. Keep on keepin' on.]