DELETED SCENES

HOYT PROTECTS THOMAS (0:15)



1. In a short scene cut from the final print, a 1960s-era car pulls up and comes to a stop. Out comes a young-looking Hoyt, who yells at a group of kids offscreen: "Hey, kids, get the hell away from him!" This is presumably to protect young Leatherface and establish the connection they show later when Hoyt persuades Leatherface to kill Holden, the biker, saying "he's like all the others".


MOTEL SCENE- EXTENDED (5:37)



2. The motel scene was originally a lot longer. Eric and Chrissie talk about Vietnam and their future together, including how many kids they are going to have, their names, and Eric puts a cracker jack ring on her finger and pulls her into the water. Meanwhile, inside the hotel, Dean and Bailey's scene runs a bit longer, and she is disappointed when he can't "perform". They then discuss the pros and cons of telling Eric that Dean is not going to join him in Vietnam. Bailey thinks he's scared, and they start to get into it, when Eric knocks on the door and tells him to be ready at 1700 hours. Unlike the theatrical release, they actually show Eric knocking on the door. Bailey then asks Dean "what's 1700 hours", and then Dean, in turn, yells out to Eric, "what's 1700 hours?"


LUDA MAE SCOLDS HOYT (0:28)



3. After bringing Dean, Eric and Bailey to the farm, there was a scene where Luda Mae and Hoyt argue. In it, Luda Mae says, "People are gonna come lookin' for 'em, I know it. You have made a big mistake. Boy, are you dumb". Hoyt then responds with, "I ain't made no god damn mistake, mama". Luda Mae interrupts him and tells him to watch his mouth, and Hoyt simply corrects himself with "darn mistake" and then insists that "nobody is gonna miss those creatures, not one person, not now, not when they gone". But Luda Mae will just not let it go, and continues to tell him that "somebody is gonna come lookin' for 'em". Hoyt, who finally had enough, just tells Luda Mae to "let me handle it, goddamnit mama", and walks away.


CHRISSIE FINDS DEAN- EXTENDED (1:13)



4. The scene where Chrissie finds Dean in the bear trap was originally longer. As she approaches the house, she finds Dean in the trap. She tries to free him, but Dean grimaces in pain and says "no". He explains to her that "they tortured us" and that she needs to go get help. Chrissie says there's no help to go for, and asks where Eric and Bailey are. He answers, "in the house". Chrissie then tells Dean she has to go inside, but that she'll come back for him. He begs her not to, and groans "no" as she walks away.


ALTERNATE ENDING #1 (2:05)



5. In this ending, Chrissie gets in the car after escaping from the meat factory and Leatherface is not in the back seat. Chrissie is then scared by the radio, which mysteriously tunes in really loud. She gets comfortable and starts the car, then Leatherface kills her through her open window with the chainsaw. After that, they cut to a montage of shots from the farm house area, and what is assumed to be Chrissie's parents calling the police concerned about her. As the phone call plays, the family of the 2003 film, including the hitchhiker, drives down that stretch of highway, where they would encounter the Hewitt Family.


ALTERNATE ENDING #2 (1:13)



6. This ending was the same as the theatrical release, except that as Leatherface walks away, there is no closing narration from John Larroquette. Instead, there are subtitles on the screen that read, "so began, from what could be pieced together, the single worst killing spree in American history...so began the Texas Chainsaw Massacre".


ALTERNATE ENDING #3 (2:10)



7. This ending played out the same as the theatrical release, except that Leatherface, from the backseat, reaches over and stabs Chrissie in the chest with a knife, and wrenches it until she dies. The same accident happens, and they run through the state trooper and bystander. After that, Leatherface pulls back Chrissie's hair and touches her face to make sure she's dead. He then exits the car and walks off into the distance as John Larroquette's closing narration takes it to black.



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