Since no deleted film was saved we are never going to see cut scenes on DVD, but there are stills I have collected and will give quotes and text from the novel about them when possible.
2/3 - Attack near the Library | 6 - Duke of New York | 6 - Durango 95 | 10 - Municipal Power Plant/Train | 11 - Int. Korova Milkbar - Night | 16 - Pasta Parlour | 18 - Alex at Home | 31 - Int. Priest's Study | 43 - Int. Public Biblio | 50 - Dolin's car | 53 - Alex wakes up | 61 - Ending Fantasy

Quotes

"I'll tell you right now on A Clockwork Orange, we had cans of negative outtakes and prints, which we had stored in an area at Stanley's  house where we worked out of, which Kubrick personally supervised the loading of it to a truck and then I went down to a big industrial waste lot and burned it. That's what he wanted." - Leon Vitali, Stanley Kubrick's Assistant 5/01
"There are no outtakes and we wouldn't show them if there were." Katharina Kubrick 6/08
"They can't be outtakes as he's had them all incinerated." Jon Ronson from Stanley Kubrick's Boxes 7/15/08

Scene 2/3 - Attack near the Library

Alex waiting to attack
Alex and his droogs attacking the man

The man grabbing Alex with Georgie & Dim behind him

Kubrick on a cart with his crew filming the scene
In between filming - Malcolm and the victim
In between filming - Malcolm and Kubrick
MM looks very animated about something as SK casually looks at him.

Notes

Quote

"We did a sequence in Aylesbury. The town square was decorated with giant rubber ducks, weird animals, they were huge, and we accosted an old guy from the library. I ripped out these priceless books that he had and I threw them up. I remember my line, it was taken from the book, it was: 'There's a mackerel of a cornflake for you.' The pages from the ripped books fall like confetti. The retribution was that Alex goes to the library when he is cured and all the old codgers in the library go: 'You were the one!' - Malcolm McDowell in Camera 2 - Summer 2002

The Novel

    So we scatted out into the big winter nochy and walked down Marghanita Boulevard and then turned into Boothby Avenue, and there we found what we were pretty well looking for, a malenky jest to start off the evening with. There was a doddery starry schoolmaster type veck, glasses on and his rot open to the cold nochy air. He had books under his arm and a crappy umbrella and was coming round the corner from the Public Biblio, which not many lewdies used these days. You never really saw many of the older bourgeois type out after nightfall those days, what with the shortage of police and we fine young malchickiwicks about, and this prof type chelloveck was the only one walking in the whole of the street. So we goolied up to him, very polite, and I said: 'Pardon me, brother.'
    'An old man of your age, brother,' I said, and I started to rip up the book I'd got, and the others did the same with the ones they had. Dim and Pete doing a tug-of-war with The Rhombohedral System. The starry prof type began to creech: 'But those are not mine, those are the property of the municipality, this is sheer wantonness and vandal work,' or some such slovos. And he tried to sort of wrest the books back off of us, which was like pathetic. 'You deserve to be taught a lesson, brother,' I said, 'that you do.' This crystal book I had was very tough-bound and hard to razrez to bits, being real starry and made in days when things were made to last like, but I managed to rip the pages up and chuck them in handfuls of like snowflakes, though big, all over this creeching old veck, and then the others did the same with theirs, old Dim just dancing about like the clown he was. 'There you are,' said Pete. 'There's the mackerel of the cornflake for you, you dirty reader of filth and nastiness.'

Scene 6 - Duke of New York

The droogs around the old ladies
Alex and company bribe some old ladies to provide cover for them while they rob a store.

Makeup test for the three old ladies
In the film we only see the Duke in the scene after Alex knocks Georgie and Dim into the water and he takes them there and asks them about the Cat Lady.

Notes

The Novel

    The next thing was to do the sammy act, which was one way to unload some of our cutter so we'd have more of an incentive like for some shop-crasting, as well as it being a way of buying an alibi in advance, so we went into the Duke of New York on Amis Avenue and sure enough in the snug there were three or four old baboochkas peeting their black and suds on SA (State Aid). Now we were the very good malchicks, smiling good evensong to one and all, though these wrinkled old lighters started to get all shook, their veiny old rookers all trembling round their glasses, and making the suds spill on the table. 'Leave us be, lads,' said one of them, her face all mappy with being a thousand years old, 'we're only poor old women.' But we just made with the zoobies, flash flash flash, sat down, rang the bell, and waited for the boy to come. When he came, all nervous and rubbing his rookers on his grazzy apron, we ordered us four veterans - a veteran being rum and cherry brandy mixed, which was popular just then, some liking a dash of lime in it, that being the Canadian variation. Then I said to the boy: 
    'Give these poor old baboochkas over there a nourishing something. Large Scotchmen all round and something to take away.' And I poured my pocket of deng all over the table, and the other three did likewise, O my brothers. So double firegolds were bought in for the scared starry lighters, and they knew not what to do or say. One of them got out 'Thanks, lads,' but you could see they thought there was something dirty like coming. Anyway, they were each given a bottle of Yank General, cognac that is, to take away, and I gave money for them to be delivered each a dozen of black and suds that following morning, they to leave their stinking old cheenas' addresses at the counter. Then with the cutter that was left over we did purchase, my brothers, all the meat pies, pretzels, cheese-snacks, crisps and chocbars in that mesto, and those too were for the old sharps. Then we said: 'Back in a minoota,' and the old ptitsas were still saying: 'Thanks, lads,' and 'God bless you, boys,' and we were going out without one cent of cutter in our carmans. 

We were back in the Duke of New York very skorry and I reckoned by my watch we hadn't been more than ten minutes away. The starry old baboochkas were still there on the black and suds and Scotchmen we'd bought them, and we said: 'Hallo there, girlies, what's it going to be?' They started on the old 'Very kind, lads, God bless you, boys,' and so we rang the collocoll and brought a different waiter in this time and we ordered beers with rum in, being sore athirst, my brothers, and whatever the old ptitsas wanted. Then I said to the old baboochkas: 'We haven't been out of here, have we? Been here all the time, haven't we?' They all caught on real skorry and said: 
    'That's right, lads. Not been out of our sight, you haven't. God bless you, boys,' drinking. 

Scene 6 - Ext. Alley/Durango 95

 Droogs Driving at Dawn
This picture is what we would've seen if they showed Alex and his droogs driving home after the attack on Mrs. Alexander.

Stealing the Durango 95
This shows the filming of the droogs getting ready to steal the car.

The Novel

The autos parked by the sinny weren't all that horrorshow, crappy starry veshches most of them, but there was a newish Durango 95 that I thought might do. Georgie had one of these polyclefs, as they called them, on his keyring, so we were soon aboard - Dim and Pete at the back, puffing away lordly at their cancers - and I turned on the ignition and started her up and she grumbled away real horrorshow, a nice warm vibraty feeling grumbling all through your guttiwuts. Then I made with the noga, and we backed out lovely, and nobody viddied us take off. 

Scene 10 - Municipal Power Plant/Train

Alex and company ride the train home and vandalize it.

Scene 11 - Int. Korova Milkbar - Night

Alex sticks his hand between a milk dispenser's legs

Notes

Scene 16 - Pasta Parlour

Notes

The Novel

    'Oh, but we're so hungry. Oh, but we could so eat.' The other said: 'Yah, she can say that, can't she just.' So I said: 
    'Eat with uncle. Name your place.'
    Then they viddied themselves as real sophistoes, which was like pathetic, and started talking in big-lady golosses about the Ritz and the Bristol and the Hilton and Il Ristorante Granturco. But I stopped that with 'Follow uncle,' and I led them to the Pasta Parlour just round the corner and let them fill their innocent young litsos on spaghetti and sausages and cream-puffs and banana-splits and hot, choc-sauce, till I near sicked with the sight of it, I, brothers, lunching but frugally off a cold ham-slice and a growling dollop of chilli. These two young ptitsas were much alike, though not sisters. They had the same ideas or lack of, and the same colour hair--a like dyed strawy. Well, they would grow up real today. Today I would make a day of it. No school this afterlunch, but education certain, Alex as teacher. Their names, they said, were Marty and Sonietta, bezoomny enough and in the heighth of their childish fashion, so I said: 
    'Righty right, Marty and Sonietta. Time for the big spin. Come.' When we were outside on the cold street they thought they would not go by autobus, oh no, but by taxi, so I gave them the humour, though with a real horrorshow in-grin, and I called a taxi from the rank near Center.

Scene 18 - Alex at Home

Notes

Quote

"The scene with Joe the lodger and Alex's mum breaking down was originally much bigger. Alex's father and the two nude girls after the high-speed bedroom scene with Alex - the only one I really missed." ACO editor Bill Butler 2001

Scene 31 - Int. Priest's Study

Alex & the Chaplain at the Priest's Study, Bathroom & the Weights Room next door.

Scene 37/38 - Unknown

Takes place between the rape film and the next day at the Ludovico center.

Scene 41 - Unknown

Takes place between the Ludovico center in the day and the cure demonstration.

Scene 43 - Int. Public Biblio

 Alex is confronted and attacked by the library.

Scene 50 - Da Silva's (later Dolin) car

After Alex's suicide leap the conspirators drive them to the hospital.

Scenes 53/54/55/56/57

One is Alex wakes up with the conspirators at his bedside.

Scene 59 - Unknown

Takes place in the hospital

Scene 61 - Ending Fantasy

Scan of Alex chasing the girl

Interpretation

On the call sheets this was called 'Rape Fantasy' that's why think this sequence was cut out because it shows Alex chasing the girl down and she looks horrified. It looks like he ripped her clothes off and she is trying to get away. By only showing the girl on top of Alex in the film it makes her look happy and it's consensual. You can't rape someone who is on top of you, they have to want to be there or they could jump off. This way Alex's final line, "I was cured all right" is ambiguous which Kubrick preferred. Was he cured to go back to his raping ways or was he cured to experience physical love? 

From the shooting script

As the music came to its climax, I could viddy myself very clear, running and running on very light and mysterious feet, carving the whole face of the creeching world with my cut throat britva. I was cured all right.

The Novel

This scene was of Kubrick's invention and has no equivalent in the novel.

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