RoboCop1 > Deleted

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Year: 1987

Alex Murphy is brutally gunned down by drug-dealing thugs and left for dead, but he survives and is retooled into a cyborg to fight crime. But RoboCop soon begins to uncover the truth about himself and who he really is.

DELETED SCENES
The Old Man adjusts his tie and smiles. "Nice shootin', son. What's your name?" "Murphy," the cyborg replies, bringing RoboCop to a punchy end. Originally, though, RoboCop had a somewhat different conclusion. An additional post-script shown at the first preview screening continued the storyline,



FINAL MEDIABREAK

The first deleted sequence followed the existing tagline with another MediaBreak announcement that popular television comic Bixby Snyder -whose obnoxious "I'd buy that for a dollar!" punctuates the film -had been con-victed on a morals charge. Evidently Bixby had been caught swapping sexual favors for appearances on his television show, "It's Not My Problem."

The broadcast then cut to a hospital bed for a few words with officer Anne Lewis -alive and rapidly recuperating. Had it survived to the final cut, the sequence would have silenced rumors that Lewis was to be rebuilt as a female cyborg for RoboCop 2.

Finally, the last deleted scene featured RoboCop himself cruising the streets of Old Detroit -ever vigilant, ever alert, always ready to stop another crime. However after test screenings they realized that the Murphy line got such a strong reaction they decided the media break was anti-climatic and with the decision to cut the aforementioned footage, the film now ends on a simpler, more upbeat note.



ROBOCOP VISITS HIS GRAVE

Irvin Kershner deleted a grave yard scene in RoboCop 2. Paul Verhoeven deleted a similar sequence involving Murphy's visit to his own grave from the original RoboCop. In this case Verhoeven felt that the look of the sequence was "too gothic" and out of step with the look of the rest of the film and the scene never got done.

Below is the graveyard scene as featured in fourth script draft of RoboCop and the marvel comic adaption.

SALESMAN
Hey, have you thought it all over?
Why not make me an offer? I'm ready
to make a de...grkKK!

Robo shoves his fist through the screen.

EXT CEMETERY -- DUSK -- LIGHTENING FLASHES

in puddles and rain pours as Robo walks among the tombstones. Robo walks between wind whipped trees. Thunder rolls as lightening snakes across the sky.

ROBOVISION -- FLASHBACK

with each crack of lightening. The faces of the gang swirl in front of us, threatening, leering...Emil...Joe...Chan...Leon...Clarence. And now we come to a

WHITE MARKER

with a raised white cross which reads: ALEX MURPHY, Beloved Husband and Father, RIP.

And so ends the scene (the script subsequently cuts to the scene in Bob Morton's house with him and the two "models". Below is the graveyard scene as featured in the RoboCop novell by Ed Naha. We start off in Murphys home, 548 Primrose Lane

Robo walked though the house of dreams and headed for the front door. A wave of sounds flooded his mind. The woman singing. The TV blaring. The little boy laughing. Coffee percolating. A phone. A kiss. A sigh. Robo ran out the front door and found himself staring up into an angry sky. Rain began to fall in sheets. The sky rumbled. Lightning crackled. Bolts flew and through space in rapid succession. Robo theorized that they were affecting his circutry. He was beginning to hallucinate again. A flash of lightning. The face of little Emil from the gas station. Another flash. There was Joe. Another bolt. Chan and another. Leon. And another. Clarence Boddicker. Robo raised his arms in a cross before him, to ward off the wind and the howling banshees dancing across the sky. Suddenly, he was staring at a cross in a cemetery. He heard sobbing. He squinted at the cross. There were words on its base. ALEX MURPHY: Beloved Husband and Father, RIP.

"What do you want from me?" he whispered into the swirling rain. He heard a faint echo of distant sobbing. The woman and the boy. The ghosts. Robo emitted a guttural noise, the sound of an animal in pain, and dashed for the car.

He sat behind the wheel and shook. And, when he was done, he shook some more.






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