Multimedia > Escape From L.A. > Deleted Scenes
City Street Opening Scene
A DARK TABLEAU - CITY STREET - LOS ANGELES - NIGHT
Graffiti-smeared walls. Fires raging. Automatic weapons FIRE. Shadowy FIGURES dash through the southern California night.
Source: Gregory H. Alpert [Location Manager]
Brazen Talking To Malloy And The President About Plissken Inside The Firebase 7 [MP4] [808 KB]
INT. CORRIDOR - NEAR CONTROL ROOM - NIGHT
Malloy, Brazen, and a 3RD MAN -- tall, charismatic, grim -- move urgently along a corridor. No masks or gloves in this area of the complex.
MALLOY
So what have you got?
BRAZEN
We ran a psychoprofile on him. Used a database of 5 million sociopathic personalities. He hit the bottom of the curve.
MALLOY
No change since '97, huh?
BRAZEN
He's gotten worse. Zero emotional developments. Total lack of compassion. A highly developed psychopathic instinct to survive.
MALLOY
The only thing he's ever cared about is staying alive for another 60 seconds.
3RD MAN
Let's get this over with.
Source: Trailer
Congressman Saying To Utopia: "Utopia, please. Give us the black box. If something should happen..." Inside The Air Force 3
Source: Paul Bartel is credited as Congressman
Submarine Landing In Cahuenga Pass [YouTube]
Comment [Andreas/Webmaster]: "This deleted scene features the discarded miniature submarine that was only used once in the movie for the fall into the water."
Source: Buena Vista Visual Effects Submarine A-Roll Tape provided by Visual Effects Coordinator Brian Keeney.
Surfer Saying To Plissken: "Locals only, dude. What're you doin' here?" After The Submarine Sinks In Cahuenga Pass [YouTube]
Source: Buena Vista Visual Effects Submarine A-Roll Tape provided by Visual Effects Coordinator Brian Keeney. Breckin Meyer is credited as Surfer.
Plissken Getting Caught Up By A Mudslide Down The Hills Of The Hollywood Bowl
EXT. HILLS ABOVE THE HOLLYWOOD BOWL - NIGHT - RAIN
The rain is coming down in a torrent as Plissken makes his way down the hillside.
Suddenly, a huge KATHUMP from above him. Plissken looks back.
A HUGE MUDSLIDE
is ROARING its way down the hill toward him.
PLISSKEN
races down the hill, but the mudslide cascades downward like a freight train, catches up with him, sweeps him off his feet...and Plissken goes riding down the hill, tumbling and sliding in the mud.
Plissken Climbing Out Of The Goo And Pulling Out Tracer Above The Hollywood Bowl
Clip 1 [MP4] [428 KB]
Source: Official Site Behind the Scenes Featurette
Clip 2 [MP4] [138 KB]
Source: Official Site Behind the Scenes Featurette
Clip 3 [MP4] [184 KB]
Source: Official Site Behind the Scenes Featurette
EXT. STAND OF TREES - ABOVE THE HOLLYWOOD BOWL - NIGHT - RAIN
The mudslide hits a flat area, spreads out. A mud-covered Plissken climbs out of the goo. He's dripping with it. His one good eye gleams.
Bellow him is the Hollywood Bowl. He pulls out the tracer. The screen shows the blinking red light to the southeast of his position.
The rain washes the mud off his body. He moves off.
Comment [Michael Lessa/Visual Effects Supervisor]: "For the deleted Hollywood Bowl shot we set up a bunch of dead trees in front of the blue screen for Kurt [Russell] to be walking through when he sees the Bowl. We also shot a lot of extra trees without him so I could put more in the foreground or background as needed. The Bowl was also a matte painting. The shot was actually cut from the film about two days before the final composite was done. The final looked great but it was already out."
A Hooker Strutting In Front Of Plissken At Hollywood Boulevard
EXT. HIGH SHOT - HOLLYWOOD BOULEVARD - NIGHT
Looking down Hollywood Boulevard. The ruins of the old Chinese Theater. A CROWD on the street. BLACK, LATINO, NATIVE AMERICAN GANGS. Plus the usual Hollywood Boulevard STREET TRAFFIC: HOOKERS, DRUG DEALERS, etc. Plissken moves up the boulevard.
GORGEOUS HOOKERS
stand under a marquee which reads:
SAFE SEX
NO CONDOMS NEEDED
POLYPROPYLENE ORIFICES
SATISFACTION GUARANTEED
PLISSKEN
moves through the street traffic. A PRETTY HOOKER blocks his way for a moment.
Opening her mouth, the Pretty Hooker gives a sensuous puff. A polypropylene condom attached to the inside of her lips expands outward like a small balloon. She sucks it back in and puckers, kissing the air.
Plissken moves on, stares at his tracer, then turns to a corner into an alley.
A Barker Giving A Spiel To A Group Inside The Theater
INT. RUN-DOWN THEATER - NIGHT
An old movie palace gone to ruin. HOOKERS and CUSTOMERS everywhere. PIMPS, THIEVES, various TOUGH-GUYS lurk here and there like silent predators. Plissken moves into the theater, following the blinking red light on his tracer. A BARKER gives a spiel to an enthusiastic GROUP...
BARKER
Don't hold back! If sex isn't worth dying for, what is? Our girls very well could carry STD's that KILL YOU!! Experience all-out sex with that added thrill -- DOES SHE OR DOESN'T SHE? Contraction of disease NOT guaranteed!
Plissken descends some steps, rounds a corner...
Comment [Andreas/Webmaster]: "Costume Supervisor Robert L. Bush played Barker."
Source: Damien Quinn [Costumer]
Cloaked Figure Saying To Surgeon General Of Beverly Hills: "It was a slow night, Surgeon General." Inside The Beverly Hills Hotel
Source: Shelly Desai is credited as Cloaked Figure
Plissken And Taslima Escaping Through A Window Inside The Beverly Hills Hotel
INT. DARKENED HALLWAY - SURGICAL THEATER - NIGHT
A NURSE unties Taslima, who quickly joins Plissken. They back away toward the hallway. Plissken drags the Surgeon General.
Taslima is right behind. Suddenly they stop.
The hallway in front of them is filled with SURGICAL FAILURES standing with hand weapons waiting for them.
TASLIMA
Come on.
Taslima heads off into a room. Plissken follows.
INSIDE THE ROOM
Taslima races to a broken window, scrambles through it.
TASLIMA
This way.
Plissken shoves the Surgeon General away, follows Taslima through the broken window...
Comment [Christian P. Della Penna/First Assistant Director]: "We had to get them out of there somehow so we did one shot of them getting out the window at the end of the hall. Him and the girl."
Cuervo Jones Talking More To Plissken In The Locker Room Inside The Los Angeles Memorial Coliseum
Clip 1 [MP4] [1.34 MB]
Source: The Making Of Escape From L.A.
Clip 2 [MP4] [932 KB]
Source: The Making Of Escape From L.A.
Clip 3 [MP4] [184 KB]
Source: Trailer/Official Site Behind The Scenes Featurette
Clip 4 [MP4] [1.14 MB]
Source: The Making Of Escape From L.A.
INT. LOCKER ROOM - NIGHT
PLISSKEN'S GOOD EYE
opens. Looks around fuzzily.
He is in a large dilapidated locker room. Torch-lit. We SEE row upon row of work-out machines, some from the '90s, some more modern. Stairmasters, Versaclimbers, treadmills, rowing machines, free weights, etc. Plissken is tied upright to one of the machines.
In one corner, a remote T.V. hookup is being prepared. A futuristic lasercam sits on a tripod. Lights.
Cuervo Jones strides into the room toward Plissken. Map To The Stars Eddie scurries along at his side.
MAP TO THE STARS EDDIE
Come on, Cuervo. I delivered him, didn't I? I figured out what the cops sent him in to do. Plissken was the second rescue team. He was supposed to get the black box and the girl, and then take 'em back over the wall. He did it once before, so they figured he could do it again. Only one problem. They didn't figure on you, Cuervo.
CUERVO JONES
[puffing]
You're right, agent.
MAP TO THE STARS EDDIE
So all I'm asking for is a finder's fee after you take over. Maybe Wisconsin, I don't know...
CUERVO JONES
We'll see.
Cuervo stops in front of Plissken. Sees that he's awake. Holds out a glass filled with red liquid.
CUERVO JONES
Carrot juice?
[no response]
Laced with tequila, Snake. Good for you. No?
[no response]
Your health.
Cuervo downs the carrot juice. Plissken lifts his head. Sweat pours down his face. Out of the corner of his eye, Plissken catches a glimpse...
...of his watch. Only 3 hours to go. Cuervo leans closer to Plissken.
CUERVO JONES
Running out of time, Snake. But don't feel so bad. You beat the odds for a little while.
[his smile fades]
It's a shame your luck just ran out.
He steps back, considers Plissken for a moment.
CUERVO JONES
Snake Plissken. American outlaw. So typical of American idealism. The old west, Snake. Man against the sky. The individual. Freedom. No wonder they hate you so much in America, Snake. You remind them of what they used to be.
[beat]
Funny, though. I thought you'd be taller.
Utopia bounds into the room. Right behind her is TEST TUBE, 40's, Cuervo's computer operator and all-around handy-man. Test Tube carries the black box.
TEST TUBE
They're almost set up, Cuervo.
UTOPIA
[sees Plissken]
What's he doing here?
CUERVO JONES
Snake? He's looking for this.
Cuervo takes the black box from Test Tube.
CUERVO JONES
Spookin' for the the man now, huh, Snake? I never thought I'd live to see it. You workin' with the cops.
UTOPIA
[scrutinizes Plissken]
He could be a fake, Cuervo.
Utopia moves closer to Plissken.
UTOPIA
He's supposed to be a famous gunfighter?
[Cuervo nods]
I mean, he looks so -- I don't know -- out of it.
Test Tube sets up a computer and a futuristic monitor.
TEST TUBE
I'm all set, Cuervo.
CUERVO JONES
Hey, Snake. Good news. You came to just in time for my little demonstration. Gonna show the President what he gets for sending you in here.
[to Test Tube]
Tell him how it works.
TEST TUBE
Really?
CUERVO JONES
Sure. Snake don't give a shit which side he's on.
[to Plissken]
And after you see this, you'll want to be on my side.
Test Tube turns the monitor toward Plissken and punches up a visual of what he explains.
TEST TUBE
I originally heard about this when I worked for NASA. Then the fuckers kicked me out of the country. So I hooked up with Cuervo and told him about it.
Test Tube opens the black box. All eyes in the room go to it, as he pulls out a remote control unit exactly like the one Brazen used and Map To The Stars Eddie used.
TEST TUBE
Common, ordinary remote control unit, right? Everybody's got one. But here's the kicker.
Test Tube reaches into the black box, takes out a silver c.d. that is, again identical to the ones we have seen except for one thing: a small, red dot, laser encoded, near the center of the disc.
TEST TUBE
This instruction disc hooks you right into the Sword of Damacles, the ultimate defensive weapons system. Take a look.
Test Tube punches buttons on the computer.
AN IMAGE
appears on the monitor: a computer-rendered view of earth from space. Orbiting high above is a ring of satellites that surround the planet like a necklace.
TEST TUBE
There's a ring of satellites encircling the earth. Attached to each satellite is a mega-neutron bomb with a laser optic aiming device. When detonated...
TEST TUBE punches more buttons on the computer. The ring of satellites on the monitor explode, sending out a massive pulse down toward earth.
TEST TUBE
...each satellite unleashes an intense electro-magnetic pulse. E.M.P.
[more buttons]
E.M.P. Doesn't harm a living thing. People, animals, plants -- nothing.
Plissken watches intently...
TEST TUBE
What it does is shut down every known power source. All electrical devices -- cars, airplanes, toasters, computers .. everything. Even batteries. Pretty old technology, actually. It's been around since the Gay 90s. But this...
[holds up the silver c.d.]
...makes this...
[holds up the remote control]
...an aiming device that gives the user incredible accuracy.
Test Tube punches another button. On the monitor, SEE the E.M.P. pulse suddenly narrow to a pinpoint on the earth, then widen again and spread out to cover the whole planet.
TEST TUBE
You can pinpoint precisely what you want to shut down. A taxicab in Buenos Aires. The entire country of Spain. Brilliant.
Test Tube hands the silver c.d. and remote control unit to Cuervo Jones.
TEST TUBE
Hell, you could key in all the satellites and shut down the whole planet -- send it right back into the Dark Ages!
CUERVO JONES
Of course shutting down the Earth would be useless. Everything equal, everybody equal. That's no fun, right Snake?
[walks to Plissken]
Power where everyone is equal is no power at all. Me, the President, you -- even the taxi driver in Buenos Aires -- we'd all be the same. Nobody wants to play on a level field, Snake.
The Mescalito who picked up Snake's jacket on Sunset Blvd. comes out. He's now wearing the jacket. NOTE: Whenever we see this Mescalito from now on, he wears Snake's jacket.
MESCALITO
We're ready, Cuervo.
CUERVO JONES
[nods to him]
Whoever has this controls who doesn't have power. And that amigo, is total power. Pretty cool, huh?
[no response]
Check it out, Snake. You're gonna like this.
After The Broadcast In The Locker Room Inside The Los Angeles Memorial Coliseum
INT. LOCKER ROOM - NIGHT
The Mescalitos CHEER. Test Tube's ecstatic.
TEST TUBE
It worked, it worked!
CUERVO JONES
Good thing for you it did.
A Mescalito approaches Cuervo, leans into his ear.
MESCALITO
[re: the Deportees]
Cuervo, they're hungry. What do I do with them?
CUERVO JONES
I don't care -- get rid of them.
The Mescalito nods, then ushers off the Deportees. Utopia is clearly affected by Cuervo's callousness. Cuervo notices Utopia looking at him.
CUERVO JONES
[to Utopia]
Go get dressed. We have things to do.
UTOPIA
[somewhat cautiously]
Are we gonna eat soon? I'm starved.
Cuervo gives her a slap on the butt, which startles Utopia. She looks at him.
For the first time, we see a little fear in her eyes.
CUERVO JONES
Go on, now. Do as I say.
Plissken watches as Utopia slowly walks away.
CUERVO JONES
I'm going to show her what it means to be a woman -- for the first time in her pathetic little life.
[moves to Plissken]
I'll give her love, Snake. Everybody needs love.
[leans close]
So what do you think? You want to hook up with me? Join the revolution?
[holds the remote control unit]
I'm gonna rule the world. Come with me.
Plissken says nothing. His good eye glares.
CUERVO JONES
No? Too bad. You're not as smart as I thought you were.
[to several Mescalitos]
Get him ready.
Cuervo places the remote control unit back into its black box, wheels and marches off. The Mescalitos move to Plissken, begin to untie him, pull him to his feet. The Mescalitos hold their guns on him, usher him forward out of the locker room.
Source: William Luduena is credited as Mescalito
Map To The Stars Eddie Saying To Cuervo Jones: "Cuervo, I'm taking care of you. I'm with you in all this. Don't you understand?" Outside The Los Angeles Memorial Coliseum [MP4] [995 KB]
Comment [Andreas/Webmaster]: "In this alternate shot we actually get to see Map to the Stars Eddie [Steve Buscemi] saying this line to Cuervo Jones [George Corraface]. In the final movie we only get to hear it in the background while Snake Plissken is preparing a car to blow up by setting a piece of paper on fire and sticking it into the petrol flap."
Source: Official Site Behind The Scenes Featurette
Cuervo Jones Talking To Utopia After Her Exit From The Manhole Outside The Los Angeles Memorial Coliseum
EXT. MANHOLE COVER - STREET - NIGHT
Smoke rises. Fires burn. FIGURES stagger through the street.
CLOSE - MANHOLE COVER
The manhole cover pops open, slides aside. Utopia's head pops out and two hands immediately grab her, yank her up face with...
CUERVO JONES!
Cuervo yanks her all the way out.
CUERVO
[shaking her]
Where is he? Where is he??
Utopia is too petrified to speak. Eddie jumps out of the manhole.
MAP TO THE STARS EDDIE
Man -- we almost bought the farm, Cuervo. The whole place fell in right behind us.
CUERVO JONES
Where's Plissken?
MAP TO THE STARS EDDIE
[points]
Down there. He's dead. History. And I did it. I killed him.
[holds up the gun]
I shot him.
[to Utopia]
Didn't I?
Utopia nods, terrified.
CUERVO JONES
Give it to me.
[reaches for the black box]
Give it.
Dead silence. Finally, Eddie gives Cuervo the black box.
MAP TO THE STARS EDDIE
Here it is, Cuervo. I got it back for you.
Cuervo looks at them both suspiciously. Then he SLAPS her hard, viciously, across the face. Utopia reacts to the stinging slap.
CUERVO JONES
[in her face]
Nobody leaves Cuervo Jones. Not unless you give your life. You fight till you're dead, then I forgive you. Understand? UNDERSTAND!
He shoves her toward a waiting car, then wheels on Eddie, sincerely pissed.
Pipeline Turning His Head After Plissken Is Flushed Out In Wilshire Canyon [MP4] [264 KB]
Comment [Andreas/Webmaster]: "Alternate close-up take."
Source: Official Site Behind The Scenes Featurette
A Beautiful Woman Dancing On A Narrow Girder During The Glider Flight
EXT. TOPS OF SKYSCRAPERS - NIGHT
A BEAUTIFUL GIRL in a sheer diaphanous gown dances far out on a narrow girder waving a scarf at the moon.
Comment [Michael Lessa/Visual Effects Supervisor]: "We did shoot the girl dancing on the beam but it was omitted in the first rough cut. So we never did the effects for it."
USPF Troops And Vehicles Heading For Plissken's Chopper Outside The Firebase 7 [MP4] [666 KB]
Source: Trailer
Promotional Clips
Plissken Saying: "Welcome To L.A." [MP4] [481 KB]
Source: The Making Of Escape From L.A./Official Site Behind the Scenes Featurette/TV Spots
Plissken Saying: "Call Me Snake." [MP4] [240 KB]
Source: TV Spots
Plissken Saying: "Your Rules Are Really Beginning To Annoy Me." [MP4] [835 KB]
Source: The Making Of Escape From L.A./Trailer/VHS Trailer/TV Spots
Plissken Saying: "You Got A Problem With That?" [MP4] [138 KB]
Source: Trailer/VHS Trailer
Plissken Saying: "Surf's Up." [MP4] [93.4 KB]
Source: TV Spots
Omitted Scenes [Final Shooting Script] [February 26, 1996]
An Army Of Terrifying Figures Climbing Atop A Mountain Of Debris And Raising Their Weapons Into The Night Sky In The Ruins Of L.A.
WHAM! A TORCH-LIT LANDSCAPE - NIGHT
The ruins of L.A. Rubble, smoke, a lethal wasteland. An ARMY of terrifying FIGURES climbs atop a mountain of debris. They raise their weapons into the night sky.
FEMALE NARRATOR
By January of the year 2001, street gangs, South American terrorists and the criminally insane capture Los Angeles Island, the once-great City of Angels.
Comment [Andreas/Webmaster]: "Was scheduled to be filmed March 19, 1996 in studio according to the January 15, 1996 [16th Pass] One Line Schedule."
Source: Michael Lessa [Visual Effects Supervisor]
The Submarine Passing By King Kong At The Wreckage Of The Universal Studios Tour
EXT. UNDERWATER - UNIVERSAL CITY - THE BLACK TOWER - NIGHT
The sub SMACKS into the side of the Black Tower, powers through it, BLASTS out the other side through a window, tilting and wobbling.
THE SUB
rights itself momentarily but is SLAMMED downward out of frame by a huge dark slimy object.
KING KONG
looms overhead -- his fist RISING and falling with the currents. Plissken has maneuvered himself into the wreckage of the Universal Studios Tour.
Comment [Andreas/Webmaster]: "Was scheduled to be made in a Visual Effects Shot By Shot Breakdown based on the Revised November 17, 1995 Shooting Script. It isn't featured at all in Buena Vista Visual Effects Memorandum."
The Submarine Landing On A Hillside And Sliding Backward Toward The Water And Plissken Escaping It In Cahuenga Pass
EXT. SHORELINE - CAHUENGA PASS - NIGHT
The sub EXPLODES out of the water, lands belly first on a hillside with a HARD THUMP!
INT. SUBMARINE
Plissken presses the hatch controls.
HILLSIDE - THE SUB
begins to slide backward down toward the water.
INT. SUBMARINE
Plissken struggles, then rips open the hatch, scrambles out.
HILLSIDE - THE SUB
slowly slips backward, down into the water. As the rear exhaust tubes hit the surface, a BLAST of steam.
Plissken leaps out of the hatch. The sub sinks faster and faster. He scampers up the side, leaps for ground, and lands on the hillside.
The sub sinks into the sea, bubbling, churning, HISSING. Plissken has ONE BEAT -- BEEP! He takes out his pocket walkie.
Comment [Andreas/Webmaster]: "Was scheduled to be filmed February 01, 1996 according to the November 28, 1995 [14th Pass] One Line Schedule. An alternate version was filmed instead."
Plissken On A Bike Grabbing A Chain And Gunning Down A Biker In Sunset Boulevard
EXT. SUNSET BOULEVARD - NIGHT
ON PLISSKEN
Coming right behind him are 4 MESCALITOS on Harleys -- chains, iron bars, and swords in their hands. Plissken stares up ahead. The Chevy is still a few vehicles ahead of him.
Plissken guns it, when suddenly 2 Mescalitos pull up on either side of him. One of them swings a chain.
Plissken grabs it with one hand, and with his other hand, aims his submachine gun and FIRES!
The Mescalito and bike go flying, and Plissken holds on to the chain.
Comment [Andreas/Webmaster]: "Was scheduled to be filmed January 15, 1996 according to the November 28, 1995 [14th Pass] One Line Schedule. An alternate version was filmed instead."
Pllissken On A Bike Yanking Off A Biker With The Chain In Sunset Boulevard
As the other Mescalito riding behind him swings a chain. Plissken swings his. The two chains SNAP together, intertwining.
Then Plissken squeezes his hand-brake.
He SCREECHES to a stop. The Mescalito keeps going, and is yanked over backward by his own chain, off the Harley.
Finally the Harley flops over, skids, EXPLODES.
Comment [Andreas/Webmaster]: "Was scheduled to be filmed January 15, 1996 according to the November 28, 1995 [14th Pass] One Line Schedule. An alternate version was filmed instead."
Plissken Leaping From Bike To Horse Then Taking Out A Biker And Taking His Bike In Sunset Boulevard
PLISSKEN
SURGES the bike forward, coming up on a Mescalito on horseback who turns and FIRES. Plissken ducks and the bullet RIPS THROUGH the rear tire. The tire BLOWS and the bike SWERVES out of control. Plissken LEAPS from the bike and grabs the back of the saddle.
THE HORSE
Plissken pulls himself up behind the Mescalito and wrestles for control of the mount. Plissken grabs the reins and wraps them around the Mescalito's neck, squeezing until his eyes burst. Plissken SLAMS his arm against the Mescalito, throwing him off the saddle, BOUNCING onto the pavement.
Plissken GALLOPS ahead, circling a lasso high above his head, POUNDING down on a biker. The lasso takes flight and finds it mark, the biker's neck.
Plissken pulls the lasso taut, ties the end to the saddle horn, rides his mount parallel to the biker.
THE BIKE
with one quick YANK to the lasso, Plissken PULLS the biker off, JUMPS on the bike and SMACKS the hell out of the horse's rump.
THE HORSE
TAKES OFF down the street, DRAGGING the biker by the neck.
Comment [Andreas/Webmaster]: "Was scheduled to be filmed January 16, 1996 according to the November 28, 1995 [14th Pass] One Line Schedule. An alternate version was filmed instead."
Plissken Fighting Cuervo Jones On The Roof Of A Car In Sunset Boulevard
THE CHEVY
speeds up as Plissken moves up to the Mustang five cars behind. He swings off the bike and jumps on to the trunk.
PLISSKEN
climbs up to the roof, leaps on the hood, then jumps to the trunk of the car in front -- leapfrogging, jumping to the next car, the next car...
CUERVO JONES AND UTOPIA
CUERVO JONES
[watching Plissken get closer]
Cuervo Jones climbs up onto the rear of the Chevy...
MESCALITOS
lean out their car windows, FIRING at him...
BUT PLISSKEN keeps moving toward the Chevy...
SUDDENLY A HAND
reaches out a car window and grabs Plissken's submachine gun. Plissken turns to snatch it back --
WHEN CUERVO JONES
leaps from the Chevy and takes Plissken down to the roof.
They struggle. Cuervo raises his machete. Plissken grabs his wrist, flips him over, knocks the machete off into the street, SMACKS Cuervo in the face...
Cuervo kicks Plissken hard in the stomach, sending him staggering. The Cuervo's on his feet, his hands around Plissken's neck.
CUERVO JONES
Nobody rolls into town and takes over my territory, gringo. Not Snake Plissken, not nobody.
A BOLAS-SWINGING MESCALITO comes roaring up on his bike, throws the bolas...
PLISSKEN
as CUERVO ducks, and the bolas hit him, wrap round his neck, the balls THUNKING him in the face, sending him flying...
KAWHAP!
Plissken hits the pavement hard. He skids, rolls, and at last SLAMS into the edge of the sidewalk.
THE CARAVAN
rumbles away down Sunset. The hand in the car window still holds Plissken's submachine gun.
Cuervo crouches on the roof, HISSING at Plissken.
CUERVO JONES
Take him out!
Comment [Andreas/Webmaster]: "Was scheduled to be filmed January 18, 1996 according to the November 28, 1995 [14th Pass] One Line Schedule. An alternate version was filmed instead."
A Group Of Vagrants Clustering Around The Edge Of The Twin Towers Of Century City
EXT. SKY VIEW OF L.A. BY NIGHT
ANGLE ON THE TWIN TOWERS OF CENTURY CITY
They're like buck teeth, sheered off and crumbling, stuck up in to the sky. A GROUP OF VAGRANTS cluster around the edge of the building -- the walls of the floors beneath have been torn away. Desk, furniture, rugs, everything hangs out over the empty space.
In the hills to the north, SEE a massive brush-fire sweep through the old Hollywood Hills, across Los Feliz, into Griffith Park.
Comment [Andreas/Webmaster]: "Was scheduled to be filmed March 19, 1996 in studio according to the January 15, 1996 [16th Pass] One Line Schedule."
Source: Michael Lessa [Visual Effects Supervisor]
A Bracero Family Having Dinner In A Skyscraper During The Hang Glider Flight
EXT. TOPS OF SKYSCRAPERS - NIGHT
The group of hang gliders sweep past the buildings. A BRACERO FAMILY is having dinner by candlelight two feet from the edge of a sheer precipice, as the side of the skyscraper they live in has been torn off. They wave to Plissken as he passes.
Comment [Andreas/Webmaster]: "Was scheduled to be filmed March 19, 1996 in studio according to the January 15, 1996 [16th Pass] One Line Schedule."
Source: Michael Lessa [Visual Effects Supervisor]
Plissken Rolling Across The Ground On Fire As The Helicopter Explodes In A Small Clearing
EXT. SMALL CLEARING - NIGHT
THE HELICOPTER
dives toward the ground...
FROM BEHIND PLISSKEN - INSIDE
looking out the front, SEE the ground come up, hit! KABLOOM! Plissken ducks. THE BLADES SMASH THROUGH the windscreen, barely missing his head. The fuselage jumps and twists in a GRINDING fury. Fire billows into the cockpit, engulfing Plissken...
EXT. HELICOPTER - SMALL CLEARING - NIGHT
Plissken pulls himself out of the door. He is on fire. He dives away from the chopper and rolls across the ground, just as the flaming mid-section of the ship EXPLODES in a ROARING FIREBALL.
Comment [Andreas/Webmaster]: "Was scheduled to be filmed February 20, 1996 according to the January 15, 1996 [16th Pass] One Line Schedule."
Source: Christian P. Della Penna [First Assistant Director]