was cured all right." In the final chapter, Alex—now 18 years old and working for the nation's musical recording archives—finds himself halfheartedly preparing for another night of crime with a new gang (Len, Rick, and Bully). After a chance encounter with Pete, who has reformed and married, Alex finds himself taking less and less pleasure in acts of senseless violence. He begins contemplating giving up crime himself to become a productive member of society and start a family of his own while reflecting on the notion that his children could end up being just as destructive as he has been, if not more so. Omission of the final chapter in the US The book has three parts, each with seven chapters. Burgess has stated that the total of 21 chapters was an intentional nod to the age of 21 being recognised as a milestone in human maturation. The 21st chapter was omitted from the editions published in the United States prior to 1986. In the introduction to the updated American text (these newer editions include the missing 21st chapter), Burgess explains that when he first brought the book to an American publisher, he was told that US audiences would never go for the final chapter, in which Alex sees the error of his ways, decides he has lost his taste for violence and resolves to turn his life around. At the American publisher's insistence, Burgess allowed their editors to cut the redeeming final chapter from the US version, so that the tale would end on a darker note, with Alex becoming his old, ultraviolent self again – an ending which the publisher insisted would be "more realistic" and appealing to a US audience. The film adaptation, directed by Stanley Kubrick, is based on the American edition of the book, and is considered to be "badly flawed" by Burgess. Kubrick called Chapter 21 "an extra chapter" and claimed that he had not read the original version until he had virtually finished the screenplay and that he had never given serious consideration to using it. In Kubrick's opinion – as in the opinion of other readers, including the original American editor – the final chapter was unconvincing and inconsistent with the book. Kubrick's stance was unusual when compared to the standard Hollywood practice of producing films with the familiar tropes of resolving moral messages and good triumphing over evil before the film's