Media/Movie Scripts/Other/Natural Born Killers (1994)

  "NATURAL BORN KILLERS"


                               WRITTEN BY

                            QUENTIN TARANTINO








     INT. COFFEE SHOP - DAY

     A coffee shop somewhere in New Mexico. MICKEY KNOX, his back
     turned to us, is sitting at the counter finishing his meal. We
     hear the PING...BANG...of a pinball machine being played OFF
     SCREEN.

     MABEL, a waitress, comes over and fills Mickey's coffee cup.

                               MICKEY
                    What kind of pies do you have?

                               MABEL
                    Apple, pecan, cherry, and key lime.

                               MICKEY
                    Which do you recommend?

                               MABEL
                    The key lime is great, but it's
                    an acquired taste.

                               MICKEY
                    I haven't had a key lime pie in ten
                    years.

                               MABEL
                    When ya had it, did ya like it?

                               MICKEY
                    No, but that don't mean much. I was a
                    completely different person ten years
                    ago. Let's give key lime a day in
                    court. And a large glass of milk.

     Mabel turns to her right.
 
                               MABEL
                         (to someone O.S.)
                    Should I make that two pieces?

     CAMERA PULLS BACK and we see for the first time MALLORY KNOX,
     Mickey's wife, sitting on a counter stool next to him. Her back
     is to the camera as well.

                               MALLORY
                    Nada, Rosey.

                               MABEL
                         (annoyed)
                    My name's not Rosey.
                         (points at name tag)
                    It's Mabel.

     Mabel exits FRAME.

                               MALLORY
                    Whatever.

     Mallory hops from the stool, walks over and grabs the JAR next
     to the cash register, then dumping out the coins on the counter,
     she selects a quarter.

                               MABEL
                    Hey, what the hell do you think you're
                    doin'?

     Mallory saunters past the COWBOY playing pinball. As his eyes
     follow Mallory, he loses his ball.

     She walks to the jukebox in the back, inserts the quarter,
     selects a song, punches the buttons, a needle lands on a record,
     and a good God almighty rockabilly tune cuts through the coffee
     shop.

     Mabel brings Mickey his pie and milk.

                               MABEL
                         (to Mickey)
                    She ought not be doing that. That's
                    for Jerry's kids, not rock 'n roll.

     CAMERA moves around to a CU of Mickey. This is the first time
     we see him. As he takes a bite of green pie:

                               MICKEY
                    I can't take her anywhere.

     Mallory starts doing a slow seductive fandango around the coffee
     shop. She's really cooking and smoking.

     Pinball Cowboy and Mabel are starting to wonder just who the
     hell these people are.

     Mickey isn't paying much attention. He's too busy enjoying his
     pie and milk.

     EXT. COFFEE SHOP - DAY

     A dirty pickup truck, sporting a Confederate flag decal, pulls
     up to the coffee shop. SONNY, OTIS, and EARL, three
     tough-looking rednecks, pile out. Steam rises from beneath the
     pickup's hood.

                               EARL
                    Goddamn this sumbitch is runnin' hot.
                    Y'all go inside. I'm gonna check 'er
                    out.

     INT. COFFEE SHOP - DAY

     The LOUDNESS of the Rockabilly song slaps Sonny and Otis in
     their faces as they walk inside the door. The sexy sight of
     Mallory doing the ubang stomp stops them in their tracks.

                               SONNY
                    Good God almighty. What the hell is
                    that?

                               OTIS
                    That's a bitch outta hell, son.

     Otis and Sonny exchange looks.

                               SONNY
                    Take a run at 'er, kiddo.

     Otis heads toward Mallory. Sonny moves over to the counter next
     to Mickey.

                               SONNY
                    Miller, Mabel.

                               MABEL
                    Comin' up.

     Otis stands in front of Mallory, trying to copy what she's
     doing. Her eyes are closed at the moment, so she doesn't see
     him.

     Mabel sets the Miller down in front of Sonny. Sonny takes a
     swig, enjoying the floor show.

                               SONNY
                         (to Mickey)
                    That's some sweet piece of meat, ain't
                    it?

     Mickey turns from his pie and looks at Sonny. His expression
     betrays nothing.

                               MICKEY
                    Her name's Mallory.

     The needle lifts off the record. The song ends.

     Mallory opens her eyes and sees Otis.

                               OTIS
                    Hells Bells! Don't stop now sugar.
                    I'm just getting warmed up.

     Otis gives her his best shit-eating grin before turning to
     Sonny.

     Sonny gurgles out a laugh.

                               SONNY
                    Hey, I think she's sweet on you.

     Otis turns to Mallory as she PUNCHES him hard in the face
     spinning him around.

     Sonny spews his mouthful of Highlife.

     Mallory grabs the back of Otis' head and SMASHES it down on the
     table, cracking the linoleum.

     Otis buckles, dropping to his knees.

     Sonny jumps off the counter stool, but Mickey's hand clutches
     hold of his shoulder.

     Sonny spins around toward Mickey, loaded for bear, and points
     his finger at him, threateningly.

     Before any threat can be made, Mickey whips a large buck knife
     out from its sheath, and in a flash, SLICES off Sonny's finger.

     Sonny's finger drops on his boot. He grabs his aching hand.
     Blood flows from the wound.

                               MICKEY
                    Just because my woman's mopping up the
                    floor with your buddy is no reason for
                    you to join in.

     Mickey makes five lightning quick SLASHING SWINGS. The buck
     knife slips back into its sheath. At first, there seems to be
     no difference with Sonny. Finally, blood flows from the slices
     made in his face and chest. Sonny collapses.

     The SHORT-ORDER COOK charges out of the kitchen at Mickey,
     wielding a meat cleaver and screaming.

     Mickey whips out a .45 automatic from a shoulder holster inside
     his jacket and FIRES.

     BULLET'S POV: Heading fast toward Short-Order Cook's face. It
     HITS. Short-Order Cook puts his hands to his face and falls to
     the ground, screaming.

     Mickey spots Earl, who's standing outside the plate glass
     window. Earl's watched the whole shebang.

     Earl mouths 'Fuck!' He turns and runs for it.

     Mickey hurls the knife through the plate glass window, which
     SHATTERS. The knife PLUNGES deep into Earls back. He hits the
     ground dead.

     Mickey turns to Mallory. She's sitting on op of Otis, SLAMMING
     his head repeatedly on the floor.

                               MICKEY
                    Honey.

     Mallory looks up at Mickey. She gets off Otis and moves to
     Mickey's side.

     Mickey trains his .45 on Pinball Cowboy, who's shaking in his
     cowboy boots. Mickey aims at Mabel, who's clutching the coffee
     pot, crying.

                               MICKEY
                         (to Mallory)
                    Pick one.

     Mallory does eanie, meanie, minie, moe, pointing back and forth
     from Mabel to Pinball Cowboy.

                               MALLORY
                    Eanie, meanie, minie, moe, catch a
                    nigger by the tow. If he hollers, let
                    him go. Eanie, meanie, minie, moe. My
                    mom told me to pick the best one and
                    you are it.

     She ends, pointing at Mabel. Mabel's crying. She screams.

                               MABEL
                    NO!

     Mickey FIRES the .45. The bullet CHINKS through the coffee pot
     Mabel's holding and explodes, THUNKING her in the chest. She
     hits the floor dead.

     Mickey and Mallory join hands and walk over to the Pinball
     Cowboy who stands in a pool of his own urine.

                               MALLORY
                    When you tell people what went on here,
                    tell 'em Mickey and Mallory Knox did
                    this. Understand?

     Pinball Cowboy nods yes.

     The two killers plant a big wet kiss on each other's mouths.
     Then, holding hands, Mickey and Mallory walk out of the cafe.

     CREDIT SEQUENCE:

     INT. COUPE DE VILLE - MOVING - DAY

     Mickey and Mallory in a flashy '68 Cadillac Coupe De Ville.
     Duane Eddy's 'REBEL ROUSER' blares on the soundtrack. The B.G.
     is an outrageous PROCESS SHOT. The titles splash over this
     image 50's style.

     When this sequence is over, we CUT TO BLACK.

     END CREDIT SEQUENCE

     Over black screen, we hear:

                               CAPTAIN SQUERI
                    Send Scagnetti in here.

     INT. POLICE STATION (SQUERI'S OFFICE) - DAY

     CAMERA is position in the middle of the office. The door is in
     the middle of the frame.

     JACK SCAGNETTI flings the door open and steps inside Squeri's
     office. Squeri's never seen.

                               SCAGNETTI
                    You wanted to see me, Capt'n?

                               CAPTAIN SQUERI (O.S.)
                    Scagnetti, go up to interrogation room
                    C. Dewight McClusky, chairman of the
                    prison board, is waiting to meet you.
                    You're gonna deliver two prisoners from
                    the county jail to Nystrom Insane
                    Asylum in Bakersfield.

                               SCAGNETTI
                    This is bullshit. I'm a detective.
                    You want an errand boy, call Jerry
                    Lewis.

     Scagnetti spins around and leaves the room, SLAMMING the door
     shut behind him. Captain Squeri shouts after him.

                               CAPTAIN SQUERI (O.S.)
                    Jack!

     INT. POLICE STATION CORRIDOR - DAY

     Police Detective Scagnetti walks rapidly down the hallway,
     wearing an old, wrinkly, black suit jacket.

     PEOPLE walk by in the F.G. and B.G. Scagnetti slips an already
     tied tie over his head.

     INT. INTERROGATION ROOM C - DAY

     DEWIGHT MCCLUSKY, a man in his fifties, wearing a business suit,
     stands in the F.G. reading a book with his back to the door.
     In the B.G., Scagnetti enters the room.

                               SCAGNETTI
                    Jack Scagnetti. You wanted to see me?

     McClusky turns toward Scagnetti.

                               MCCLUSKY
                    Congratulations on the Curtis Fox case,
                    Scagnetti. You put an end to a
                    nightmare. The ladies of this city can
                    get to sleep again, and they have you
                    to thank.

                               SCAGNETTI
                    Thank you, sir.

                               MCCLUSKY
                    Dewight McClusky of the California
                    Prison Board. Take a seat please.

     Scagnetti lowers into a chair in front of the interrogation
     table.

                               MCCLUSKY
                         (referring to book)
                    This is damn good reading. I'm
                    surprised Hollywood hasn't found you.
                    This would make a better movie than
                    that 'Serpico' shit.

     McClusky puts the book down, we see the title: 'CURTIS FOX: The
     Capture and Death of a Serial Killer'. Author: Jack Scagnetti.
     McClusky sits on the edge of the table, facing Scagnetti. He
     lifts a file off the table, then tosses it in Scagnetti's lap.

                               MCCLUSKY
                    I think you'll find that good reading
                    as well. Mickey and Mallory's file.
                    You familiar with them?

     Scagnetti opens it. It's the files, reports, and photographs
     of Mickey and Mallory Knox. Scagnetti's face lights up.

                               SCAGNETTI
                    Who isn't?

                               MCCLUSKY
                    You been followin' the news coverage?

                               SCAGNETTI
                    They've been separated since their
                    incarceration in a couple of
                    penitentiaries---

                               MCCLUSKY
                    Susanville, Soledade.

                               SCAGNETTI
                    They've killed a shitload of inmates
                    and guards---

                               MCCLUSKY
                    Five inmates, eight guards and one
                    psychiatrist all in one year's time...
                    Very good. You do keep up with the
                    headlines.

     Scagnetti nods.

                               MCCLUSKY
                    Look, our situation in a nutshell is,
                    no prison wants 'em, no prison will
                    take 'em. I'm even talkin' hellholes,
                    where the warden's as hard as a bar of
                    iron. No one wants those fuckin'
                    assholes behind their walls, dealin'
                    with 'em day in, day out.

                               SCAGNETTI
                    I can appreciate that.

                               MCCLUSKY
                    So can we. So the solution to our
                    little problem is we had them deemed
                    crazy. And we're shippin' 'em to
                    Nystrom Asylum for the criminally
                    insane.

                               SCAGNETTI
                    Lobotomy Bay?

                               MCCLUSKY
                    You've heard of it?

                               SCAGNETTI
                    So, how do I fit into this scheme?

                               MCCLUSKY
                    The public loves you Jack...You don't
                    mind if I call you Jack, do you?

                               SCAGNETTI
                    By all means.

                               MCCLUSKY
                    You're a celebrated cop. Twenty-six
                    years on the force, a best-seller out on
                    paperback...

     McClusky grabs Scagnetti's book and reads from the back cover.

                               MCCLUSKY
                    A modern day Pat Garret. A hell bent
                    lawman with a deadly axe to grind with
                    maniacs.

     McClusky lowers the book.

                               MCCLUSKY
                    You're a breathing icon of justice and
                    that's why you were chosen to deliver
                    Mr. and Mrs. Knox. We, the prison
                    board we, knows that once you get them
                    on the road if anything should happen,
                    an escape attempt, an accident, fire,
                    anything...Jack 'Supercop' Scagnetti
                    would be there to look out for his
                    public's best interests.

                               SCAGNETTI
                    I see.

                               MCCLUSKY
                    You write the script Jack, call it,
                    'Showdown in Mojave: The extermination
                    of Mickey and Mallory', whatever...
                    Have we found our man?

     Hold on Scagnetti.

                                                  CUT TO:

     INT. COUNTY JAIL - CELL BLOCK CORRIDOR - DAY

     SCAGNETTI'S POV: McClusky stands next to a big iron door. He
     BANGS on it with is fist. We stay on Scagnetti's POV through
     this scene.

                               MCCLUSKY
                    Pete, open it up! I'm comin' through
                    with a visitor!

     A BUZZER SOUNDS

     McClusky opens the door and we follow him down the corridor. As
     soon as the door opens, we can hear a female voice singing the
     song 'Long Time Woman'.

     McClusky turns to Scagnetti as they walk.

                               MCCLUSKY
                    Well, Jack, I'll tell ya, in all my
                    years with the penal institution, and
                    I'll tell ya that's no small number,
                    Mickey and Mallory Knox are without a
                    doubt the most twisted, depraved group
                    of fucks it's ever been my displeasure
                    to lay my eyes on. I mean, those two
                    rat shits are a walkin' reminder of
                    just how fucked up our system really
                    is.

     The song 'Long Time Woman' is getting louder as they proceed.

                               SCAGNETTI (O.S.)
                    Who's the song bird?

                               MCCLUSKY
                    Mickey's better half herself. Mallory
                    Knox. This little lady drowned her
                    father in a fish tank.

     INSERT: INT. A LIVING ROOM - NIGHT

     CU of a home aquarium with fish swimming around. Suddenly
     Mallory's FATHER'S head is shoved into the tank.

     BACK TO: PRISON CORRIDOR

                               MCCLUSKY
                    While the two together burned her
                    mother alive in her bed.

     INSERT: INT. A BEDROOM - NIGHT

     MEDIUM CU of Mallory's MOTHER lying asleep in bed, mouth open.
     What looks like a gas nozzle appears at the top of the FRAME,
     pouring gasoline all over her face. She coughs and gags.
     CAMERA PANS up and we see Mickey holding a gas can.

     CU of Mallory with a lit match by her face. She tosses it in
     front of her. We hear the SOUNDS of Mallory's mother igniting.

     BACK TO: PRISON CORRIDOR

     Still SCAGNETTI'S POV:

                               SCAGNETTI (O.S.)
                    Why?

     McClusky's still walking ahead of us.

                               MCCLUSKY
                    Because they wouldn't give them their
                    blessing for marriage.

                               SCAGNETTI (O.S.)
                    Ain't love grand.

     McClusky laughs.

                               MCCLUSKY
                    Ain't love grand. That's a good one.

     Still SCAGNETTI'S POV: We look down from McClusky to Mallory's
     file in our hands. It contains her picture and lists her color
     of hair, color of eyes, height, weight, race, etc. Beneath that
     is a column which reads: PSYCHIATRIC REMARKS.

     As we read the remarks, we hear a DOCTOR'S VOICE read aloud.

                               FEMALE PSYCHIATRIST (V.O.)
                    When pressed about the reason for the
                    murders...patient became hostile...

     INSERT: INT. A PSYCHIATRIST'S OFFICE - DAY

     Looking trashy, wild, and animalistic, Mallory's a sex machine
     dressed in a prison gown. She sits in a chair, looking directly
     at the CAMERA.

                               MALLORY
                    I don't owe you an explanation! I don't
                    owe you shit! I'm not here for your
                    entertainment. If I don't tell you
                    what you wanna hear, what are you gonna
                    do? Throw me in jail? I'm already
                    there, you stupid pigfucker. You gonna
                    give me some more time? I've already
                    got life. What else you got to
                    threaten me with? Death? I'd like to
                    see you fuckin' try. I haven't met one
                    motherfucker here who's shown me shit!

     BACK TO DEATH ROW CORRIDOR:

     Still on SCAGNETTI'S POV:

     We look up from the fill and see McClusky's leaning against a
     cell door.

     We hear somebody signing 'Long Time Woman' inside the cell.

     We move to McClusky, who looking into the CAMERA, gestures
     toward the cell.

                               MCCLUSKY
                    Here she is...you know her, you
                    love her, you can't live without
                    her...Mallory Knox.

     We PAN from McClusky to the inside of the cell where we see
     Mallory, her back to us, singing and dancing.

     INT. PRISON (MALLORY KNOX'S CELL) - DAY

     CU of Mallory's face singing 'Long Time Woman'.

                               MALLORY
                         (singing)
                    99 years is a long, long time. Look at
                    me, I will never be free, I'm a long time
                    woman...

                               MCCLUSKY (O.S.)
                    Hey, Knox! Somebody out here wants to
                    meet you.

     Mallory just keeps on truckin'.

                               MALLORY
                         (singing)
                    Been workin' on the road now.
                    Been workin' by the sea.
                    Been workin' in the cane fields.
                    and I wanna be free...

     MALLORY'S POV: We stare at McClusky and Scagnetti for a second.
     Then, like a bull, we charge/DOLLY straight at them. Mallory
     screams O.S. We SMASH headfirst into the bars. Mallory's POV
     flings up, looking at the ceiling, then falls backward.

     MEDIUM TIGHT SHOT of floor, Mallory falls into FRAME, out cold.

     CU on Scagnetti through the cell bars.

                               SCAGNETTI
                    Jesus Christ!

     CAMERA PANS over to CU on McClusky.

                               MCCLUSKY
                    Don't worry about it. She does that
                    all the time.

     BACK TO: Mallory on the floor, still unconscious with blood
     trickling down her scalp.

                               MCCLUSKY (O.S.)
                    Follow me.

     INT. PRISON (LONG CORRIDOR) - DAY

     CAMERA is at the end of a long corridor. McClusky and Scagnetti
     approach from the other end. Scagnetti's studying the files.

     PHIL WURLITZER comes up behind the two men.

                               WURLITZER
                    You duckin' me Dewight?

                               MCCLUSKY
                    Hey, Phil, how the hell are ya?

                               WURLITZER
                         (to Scagnetti)
                    This son of a bitch is chairman of the
                    prison board, but it's like pullin'
                    teeth to get him down to a prison.

                               MCCLUSKY
                    The only reason I'm here now is to set
                    him straight, and I'm on the next
                    flight out.
                         (to Scagnetti)
                    Jack, this is the superintendent of the
                    jail. Phil Wurlitzer. He's the man
                    who's got the power of the pen here.

     Wurlitzer shakes hands with Scagnetti.

                               WURLITZER
                    Pleased to meet ya, Jack. I read your
                    book. I'm impressed. Good work on
                    Curtis Fox.

                               SCAGNETTI
                    Thanks.

                               MCCLUSKY
                    From now on, you'll be dealin' with
                    Phil. He can answer all the questions
                    you got about the arrangements. I'm
                    gonna be bidding you good luck and
                    adieu in about twenty minutes. My
                    flight back to Sacramento leaves LAX in
                    a hour.

                               WURLITZER
                    And I want you to know, we'll all cry a
                    river when you're gone.

     They all laugh.

                               SCAGNETTI
                    What's the travelling arrangements?

                               WURLITZER
                    Well, Mickey and Mallory can't be
                    together. So, we'll put you on one of
                    our prison busses and you'll take
                    Mallory first, then you'll come back
                    for Mickey.

                               SCAGNETTI
                    And where do you keep Mickey?

                               WURLITZER
                    We got his stinkin' ass in the deepest,
                    darkest cell in the whole place. But
                    it just so happens that right now he's
                    got a special visitor.

                               SCAGNETTI
                    Who?

                               WURLITZER
                    Wayne Gayle.

                               SCAGNETTI
                         (surprised)
                    Wayne Gayle!

     INT. JAIL - VISITING AREA - DAY

     WAYNE GAYLE, a young, energetic, commando journalist a'la
     Geraldo Rivera is sitting on the visitor side of the county jail
     visiting area. Wayne is alone and the visiting area is empty.
     Apparently some arrangement was made for the visit. Wayne has a
     miniature tape recorder in his hand and is testing it.

                               WAYNE
                         (into recorder)
                    Testing one...two...three...
                    testing...one...three...over,
                    over, over, Mickey Knox meeting.

     Wayne shuts off the recorder, rewinds and plays it back. It
     works beautifully. He hits the record button and conceals the
     recorder in his sport coat jacket.

     The door opens on the prisoner side and Mickey Knox is lead into
     the room by two SHERIFF'S DEPUTIES. Mickey's wearing the country
     jail blue jump-suit. He has a thick and wide leather belt around
     his waist with a metal ring built into each side. Long sturdy
     chains with handcuffs on each end are wrapped across his body
     and through the rings, binding his arms to his sides. His hands
     and feet are double cuffed.

     The Deputies both have their guns drawn, ready to blow Mickey in
     half at the slightest provocation. For a man wrapped and bound
     in chains, Mickey seems strangely in control of his environment.
     Even restrained as he is by the symbols of society (the chains,
     jail, guards, guns, jump-suit), he remains a dangerous,
     intimidating, and fascinating figure.

     Wayne takes in the image of Mickey.

                               WAYNE
                         (to himself)
                    Showtime.

     Mickey's roughly shoved into his seat on the prisoner's side of
     the glass. The Deputies move to their place, off to the side by
     the wall.

                               WAYNE
                    Hello Mickey. We've never been
                    introduced, but I'm Wayne Gayle. I
                    don't know if you've ever heard of me
                    or remember me. I was one of the
                    reporters outside the courthouse during
                    your trial---

                               MICKEY
                    Everybody knows who you are. You're
                    famous.

     Wayne pauses and retorts.

                               WAYNE
                    I could say the same thing about you.
                         (smiles)
                    I want to thank you very much for
                    seeing me...

     Mickey is silent.

                               WAYNE
                    I have a television show. It's very
                    popular. Every week we do a profile on
                    a different serial killer. You don't
                    mind if I call you a serial killer, do
                    you?

     Mickey shakes his head no.

                               WAYNE
                    The episode we did on Mickey and
                    Mallory was one of our most popular ones.

                               MICKEY
                    Did you ever do one on Wayne Gacy?

                               WAYNE
                    Yes.

                               MICKEY
                    Whose ratings were higher?

                               WAYNE
                    Yours.

                               MICKEY
                    How 'bout Ted Bundy? Ever do one on
                    him?

                               WAYNE
                    Yes. Yours got the larger Nielson share.

                               MICKEY
                    Good...yuppie piece of shit.

                               WAYNE
                    What I'd like to do---

                               MICKEY
                    How 'bout Manson?

                               WAYNE
                    Manson beat you.

                               MICKEY
                    Yeah, it's pretty hard to beat the
                    king.

                               WAYNE
                    We've been waiting to do a follow up
                    episode on you for a long time. And
                    that time has definitely come.
                         (pause)
                    I feel it's apparent to anyone who's
                    hip to what's going on that the prison
                    board has thrown the constitution
                    straight out the fuckin' window.
                    You and Mallory may be killers, but
                    you're not insane. You belong in a
                    prison, not in an asylum. The prison
                    board is blatantly railroading you into
                    a hospital for the sole purpose of
                    turning you into vegetables. Now some
                    people are saying, 'So what?' I am not
                    one of those people. If we avert our
                    eyes while they do this to you, we give
                    them permission to do it again whenever
                    they see fit. Today they wipe clean
                    your mind because they feel your
                    actions are dangerous, tomorrow they
                    wipe clean my mind because they feel
                    what I say is dangerous. Where does
                    it all stop?

     No response from Mickey.

                               WAYNE
                    My problem Mickey, is that you don't
                    exactly inspire empathy. I'm all alone
                    on this. I need your help. I want
                    what the prison board is doing to be
                    the focus of our follow up episode.
                    Now I have interviews with chairman of
                    the prison board Dewight McClusky about
                    this issue. And I'm tellin' ya,
                    Mickey, he looks bad. The two
                    psychologists they used for their
                    psychiatric kangaroo court won't talk
                    to us, which always looks bad. I have
                    an interview with both the judge of
                    your trial, Bert Steinsma, and the
                    psychologist and author, Emil
                    Reinghold, both of which discount the
                    notion that you're insane. You put
                    that all together, and what the state
                    is doing becomes obvious. But the
                    network isn't satisfied. They feel the
                    show needs another element. It needs
                    you. In order to put the show on the
                    air, I need to get an interview with
                    you. You haven't talked to the press
                    since your trial. Now, a few days
                    before you get transferred to an
                    asylum, you grant an interview on
                    television with Wayne Gayle. We're
                    talkin' a media event here. Every son
                    of a bitch out the with a TV set's
                    gonna tune in to see that.
                    We'll make their motives so blatant,
                    we'll shame 'em into dropping the whole
                    thing. At least for a little while,
                    the publicity would keep them from just
                    giving you and Mallory lobotomies.
                    Well, whatta ya say?

                               MICKEY
                    Have you talked to Mallory about this?

                               WAYNE
                    She won't even see me, Mickey. Now
                    you're not supposed to know anything
                    about what's going on with her, but I'm
                    gonna tell ya somethin'. Since you
                    two've been sentenced, Mallory hasn't
                    spoken one word.

                               MICKEY
                    She doesn't talk?

                               WAYNE
                    Not to anybody. She sings.

                               MICKEY
                    She sings? What does she sing?

                               WAYNE
                    Songs. 'He's A Rebel', 'Leader Of The
                    Pack', 'Town Without Pity', that Dusty
                    Springfield song 'I Only Want To Be
                    With You'. That's what I hear anyway.
                    Her behaviour was the main thing the
                    doctors' report used against you. So
                    even if she would see me, which she
                    won't, I couldn't put her on camera
                    anyway. If I ask her, 'Mallory, are
                    you insane?' And she starts singing
                    'Dead Skunk In The Middle Of The Road',
                    that blows our whole case.

     Mickey cracks a smile.

     The guards come over to take him away.

                               DEPUTY SHERIFF (O.S.)
                    Time, motherfucker!

     They grab Mickey, and jerk him from the chair. Wayne stands.

                               WAYNE
                    Wait a minute, Mickey, I need an
                    answer.

     Mickey doesn't respond. He just leaves with the guards.

                               WAYNE
                         (yells after him)
                    Just think about it. But don't think
                    too long.

     INT. MICKEY'S CELL - DAY

     MEDIUM CU of Mickey curled up by his bed, writing Mallory a
     letter.

                               MICKEY (V.O.)
                    Dearest Mallory. My cell is so cold.
                    At night I get the chills. I pretend
                    you're lying next to me, holding me
                    from behind with your leg draped over
                    mine and your arms wrapped tightly
                    around me. I lie in my cell...

     DISSOLVE TO:

     WIDE SHOT in cell behind Mickey. We slowly DOLLY back.

                               MICKEY (V.O.)
                    ...and imagine kissing you. Not
                    making love, just kissing for hours and
                    hours on end. I remember everything
                    about our time. I remember every joke
                    you ever told.

     CU of the letter being written over the WIDE SHOT.

                               MICKEY (V.O.)
                    I remember every secret you ever
                    shared. Shared or revealed? I think
                    shared is proper. I remember every
                    single time you laughed.

     ECU of Mickey, mouthing the words as he writes, we can hear
     Mallory's laugh - a distant haunting echo.

                               MICKEY
                    I remember every meal we ever ate. I
                    remember your cooking. I especially
                    remember your casseroles. I remember
                    watching David Letterman.

     We hear the echo of television laughter.

                               MICKEY
                    I remember driving fast...faster,
                    man, fast behind the wheel of the Coupe
                    de Ville.

     The sound of the Coupe de Ville swells until we...

                                                  CUT TO:

     EXT. COUPE DE VILLE - NIGHT

     CAMERA sits on the hood looking down at Mickey and Mallory,
     driving fast -- SLOW MOTION. A hurricane of wind whips through
     their hair. Mallory laughs wildly as she wraps her arms around
     Mickey and kisses.

                               MICKEY (V.O.)
                    You, baby, by my side. Your bare feet
                    up on the dash, singing along with the
                    radio 'Needles And Pins', 'He's A
                    Rebel', 'You're My World', 'Ring Of
                    Fire', 'Love Grows Where My Rosemary
                    Goes', 'Groove Me'...

                                                  DISSOLVE TO:

     EXT. COUPE DE VILLE - NIGHT

     Coupe de Ville parked on the road side. Mickey is in the
     drivers seat with his feet on the dash watching Mallory dance on
     the hood of the car.

                               MICKEY (V.O.)
                    And your dancing, my God, your dancing.
                    I lie on my bed and go over every day,
                    every minute of our happiness. Every
                    day take a day of our time and go
                    through it hour by hour. I don't jump
                    ahead either. I take it as it comes,
                    and I live that day again. That way
                    when I get to our first kiss...

                                                  DISSOLVE TO:

     INT. A BEDROOM - NIGHT

     The screen erupts with fire. Mickey and Mallory's faces appear
     in the flame kissing passionately.

                               MICKEY (V.O.)
                    The killing of your parents, our
                    wedding...They're not just memories.
                    I feel that joy again...

                                                  DISSOLVE TO:

     INT. RESTAURANT - DAY

     MEDIUM CU of Wayne holding a piece of paper in front of his face
     and reading from it out loud. We hear Wayne's VOICE over
     Mallory's singing before the last scene DISSOLVES.

                               WAYNE
                         (reading out loud)
                    'After taking a few days to reflect on
                    your offer, I've come to the conclusion
                    that you are one hundred percent
                    correct. A national TV interview would
                    be very advantageous to both Mallory
                    and I. The only obstacle is they're
                    shipping me out to the funny farm in
                    four days. However, that is your
                    problem and not mine. I feel confident
                    you'll manage. Here's to us making
                    television history. Sincerely, Mickey
                    Knox.'

     Wayne drops the letter down from in front of his face.

                               WAYNE
                    Am I a God or what?

     We now see the restaurant adorned with the standard Denny's
     decorum. Wayne's team is gathered in a booth that surrounds the
     remains of a greasy meal. In response to his last remark, they
     all pretend they are praying to him.

     The team consists of SCOTT, the cameraman, who wears wild
     t-shirts (presently a t-shirt with the movie 'She Devils On
     Wheels' splashed on the front); ROGER, the soundman, who wears
     wild Hawaiian shirts and Bermuda shorts; and UNRULY JULIE,
     Wayne's assistant, a young lady who wears Bermuda shorts, a
     baseball jersey, and a dark sports coat no matter how hot the
     weather is at any time. Roger's never seen without his
     recorder, Scott's never without his camera, and Unruly Julie
     always has her giant notebook. These dishevelled film types are
     all in their twenties and are a marked contrast to Wayne's
     stylish yuppie demeanour.

     Unruly Julie pops the cork on a champagne bottle. The guys hold
     out coffee mugs, while Julie fills. Julie, however drinks
     straight from the bottle.

     NOTE: This scene is to be played at a rapid fire 'His Girl
     Friday' pace.

                               WAYNE
                    Drink up! This is a celebration. This
                    is the day we received word we were
                    gonna make television history. We're
                    gonna have the first sit down, in depth
                    interview with the most charismatic
                    serial killer ever, one day before he's
                    being shipped to a mental hospital for
                    the rest of his life. This is one of
                    those golden moments that happens maybe
                    only four times in a lucky journalist's
                    career. This is Wallace with Noriega,
                    this is Elton John confessing his
                    bi-sexuality to the Rolling Stone, this
                    is the tearful reporting of the
                    Hindenberg disaster, this is Truffaut
                    setting the record straight on
                    Hitchcock, this is a Robert Capa photo,
                    this is Woodward and Bernstien meeting
                    Deep Throat in an underground parking
                    lot, this is John Reid reporting 'The
                    Ten Days That Shook The World', this is
                    the hippies' bloody palms at Kent
                    State, the Maysles brothers at
                    Altamont, this is the Nixon/Frost
                    interviews...

                               ROGER
                    This is Raymond Burr witnessing the
                    destruction of Tokyo by Godzilla.

     Everybody laughs.

                               SCOTT
                    What's the schedule, mein fuehre?

     As Wayne talks, Unruly Julie writes furiously in her notebook.
     She never speaks, just writes.

                               WAYNE
                    We got tonight and tomorrow to get our
                    shit together. The day after that
                    they're shippin' Mallory. That's when
                    we do the Mickey Knox interview, 'cause
                    the next day he goes.

                               SCOTT
                    Would the network really not run it
                    without the interview?

                               WAYNE
                    Are you kidding? The last thing they
                    expected was Mickey Knox to get up
                    close and personal. They wanted a
                    follow up episode and would've taken
                    anything I had given them. I'm not
                    gonna tell Mickey Knox that. I'm gonna
                    make him think his grey matter depends
                    on it. When I told Woody and the brass
                    about this coup, they practically shit
                    a brick. I'm talkin' an adobe brick.
                    They want to expand the show to a hour,
                    and they want it on immediately.

                               ROGER
                    How immediate is immediately?

                               WAYNE
                    Next week's episode.

     Wayne's team all spit out mouthfuls of champagne.

                               ROGER
                    We don't got enough footage for a hour
                    follow up.

                               SCOTT
                         (pointing at Roger)
                    What he said.

                               WAYNE
                    Rape and pillage the first episode,
                    just change the order a bit. Those
                    sons of bitches out there ain't gonna
                    know the difference. All that shit is
                    just filler for the interview anyway.
                    We film a new intro. Show some old
                    footage from the first episode so the
                    get a brief history of Mickey and
                    Mallory. We introduce a new angle...
                    what the prison board is up to. We
                    see some of that new shit, then the
                    rest of the show is the interview. Now
                    what's so fuckin' hard about that? Oh,
                    Julie make a note: I need Woody to get
                    me thirty seconds of the 'Live at Five'
                    broadcast to promote next weeks show.
                    We'll do a feed right from the jail
                    while we're wrapping up with Mickey.

     Unruly Julie scribbles in her notebook. Wayne snaps at Scott.

                               WAYNE
                    You too Scott, Betacam and a remote,
                    keep it simple.

     Scott closes his eyes in concentration, and repeats Wayne.

                               SCOTT
                    Betacam with remote and two-way comm
                    link. Got it.
                         (opens eyes)
                    How about the interview...What camera
                    do you want to use?

     Wayne closes his eyes.
 
                               WAYNE
                    I see...high contrast sixteen
                    millimetre black and white, and I mean
                    black and white, where the black's
                    black and the white's white. This is
                    for posterity, so fuck video. Film!
                    Film! Film!

     Wayne pounds on the table. CU of Unruly Julie writing in her
     notebook: 'Film...film...film!'

                               WAYNE
                    So Unruly Julie's comin' with me and
                    planning the interview.
                         (points at Roger & Scott)
                    You two go down to the editing bay,
                    take the old footage and the new
                    footage, put it together, and see what
                    we got. Get it into shape so when we
                    finish the interview, we can just stick
                    it in.

                               SCOTT
                    When do you want the assembly?

                               WAYNE
                    Tomorrow.

                                                  CUT TO:

     TITLE CARD: 'TOMORROW'

                                                  CUT TO:

     INT. TV STATION CORRIDOR - DAY

     CAMERA leads Wayne, who's talking to Unruly Julie. As they
     march quickly through the halls Julie writes furiously in her
     notebook.

                               WAYNE
                    At that point I'll ask him if he
                    believes in God. If he says yes, I'll
                    ask him what he thinks God would make
                    of his actions. And is he worried
                    about burning in hell? If he says no,
                    I'll say, 'Well, Mickey, what do you
                    believe in?' And hopefully he'll say
                    something like a live round of ammo,
                    the expression on the face of a man he
                    just split up the middle, Mallory's
                    eyes, sex, drugs, and rock 'n roll.
                    He's bound to say something
                    provocative.

     Wayne and Unruly Julie enter the video editing room. Scott and
     Roger are sitting at the editing bay. Everybody is wearing, and
     looks like they slept in, the same clothes as the night before,
     except Wayne, who's in another sweater and looks alert and snappy.

                               WAYNE
                    Okay, boys, let's have it.

                               SCOTT
                    Well, basically, what we did was put
                    part of the old show on first...

                               ROGER
                    But we changed the order around so it
                    wasn't super obvious...

                               SCOTT
                    Then we added the new shit to the
                    tail...

                               ROGER
                    So we film the interview, and we can
                    just slap it on at the end.

     Wayne and Unruly Julie grab chairs and sit.

                               WAYNE
                    Okay, let's see it.

     CU of video monitor screen. We see a show rewinding.

                               ROGER (O.S.)
                    Now we got to film a new intro for the
                    follow up episode. But we put the
                    intro for the first episode at the
                    beginning temporarily so you can see it
                    with some scope.

                               WAYNE (V.O.)
                    I hear ya. Play.

     CU of Roger's hand pressing a play button.

                                                    CUT TO:

     Static. Then the opening slate for 'AMERICAN MANIACS' fills the
     SCREEN.

     BEGIN: HIGHWAY - DAY

     EXT. HIGHWAY - DAY

     WAYNE GAYLE is standing in the middle of an empty highway. The
     CAMERA looks up from the ground. With a WIDE ANGLE lens, he
     looks practically mythic.

     Wayne speaks into the camera.

                               WAYNE
                    Hello. Welcome to 'American Maniacs'.
                    I'm your host Wayne Gayle. And this is
                    Highway 58.

     Wayne walks toward the CAMERA. We DOLLY back.

                               WAYNE
                    To some the fastest distance between
                    point A and point B. To others a
                    beautiful stretch to the American
                    landscape. But to Mickey and Mallory
                    Knox, it was a candy land of murder and
                    mayhem.

     While we hear Wayne's narration, we see a MONTAGE of home 8mm
     movie footage. These are films of Mickey and Mallory living a
     normal life.

     HOME MOVIE - Mickey shaking hands with the JUDGE who married
     them. Mallory stands happily by Mickey's side.

     HOME MOVIE - Mallory hamming up the sex angle, as she poses by
     Bob's Big Boy.

     HOME MOVIE - Mallory sitting on Mickey's lap at home.

     HOME MOVIE - CU of Mallory asleep in bed. Mickey (holding
     camera) tickles her under her chin. Mallory slaps herself in
     the face with a handful of shaving cream.

     HOME MOVIE - Mickey and Mallory posing with Santa Claus.

     HOME MOVIE - Mickey being surprised in the toilet.

                               WAYNE (V.O.)
                    After living a very routine, drab,
                    nothing out-of-the-ordinary-ever-
                    happens kind of life, the sweethearts
                    shocked the entire nation with a
                    cross-country crime and murder spree
                    that lasted only three weeks, but
                    left---

     PHOTO: BLACK & WHITE PHOTOS of bloody victims -- MEN and WOMEN.

     PHOTO: BLACK & WHITE PHOTOS of a bloodstained police chalk
     outline.

                               WAYNE (V.O.)
                    ---forty-eight known bodies in its
                    wake. Including---

     HOME MOVE FOOTAGE of Mallory and her PARENTS during happier
     times. All three are smiling. Mallory's in the middle with her
     arms around them. Mallory's father is eating a chicken
     drumstick. Mallory takes a bite out of it while he's holding
     it.

                               WAYNE (V.O.)
                    ---Mallory's very own parents.

     PHOTO: COLOR POSTCARD of Los Angeles.

                               WAYNE (V.O.)
                    They started their crime wave in Los
                    Angeles.

     Wayne Gayle stands in front of a Circle K convenience store. He
     speaks to us.

                               WAYNE
                    And they were finally apprehended here
                    at this Circle K in St. Paul,
                    Minnesota.

                                                    CUT TO:

     EXT. CIRCLE K - DAY

     This sequence is filmed in 16MM COLOR, cinema verite a'la 'COPS.'

     The CAMERA runs behind three blue windbreaker clad COPS, as they
     run up to the Circle K, shouting obscenities.

     In front of the store three windbreaker cops have Mickey on the
     ground, beating him with nightsticks. One COP lies on the
     ground near them, holding his hands over his face, screaming.

     To the left Mallory is slugging it out with a windbreaker COP,
     matching each other blow for blow.

     Meanwhile, the three cops we ran with reach the action and join
     in.

                                                    CUT TO:

     MONTAGE

     NEWSPAPER-- Newspaper or magazine COLOR AD for a 7/11 store.

     NEWSPAPER-- Newspaper or magazine COLOR AD for a gas station.

                               WAYNE (V.O.)
                    They started off robbing 7/11 type
                    stores and gas stations and later
                    graduated to banks and the big time.

     EXT. SUBURBAN STREET - DAY

     Wayne Gayle walks down the street. The CAMERA walks with him.
     He speaks into the camera.

                               WAYNE
                    Mickey and Mallory's idea of an armed
                    robbery was a little different than
                    most. It was an assault, actually.

     EXT. 7/11 STORE - DAY

     Wayne interviews BISHOP, a young blonde kid with a 'Flock of Sea
     Gulls' haircut. Bishop's name appears on the SCREEN.

                               BISHOP
                    Well. I knew that Mickey and Mallory
                    kill everybody when they're through,
                    except for one clerk. There were a
                    couple of people in the store then, and
                    I was working with Stevo. And I like
                    Stevo, you know? But I was thinking,
                    what could I do to make them pick me to
                    be the clerk that gets to live?
                       
     INT. 7/11 STORE - DAY

     This scene is shot through the STORE'S BLACK & WHITE VIDEO
     SURVEILLANCE CAMERA. The date and time of day are burned into
     the edges of the frame.

     Mickey and Mallory charge into a 7/11 store, cocking their
     shotguns and shouting things.

     Mickey SHOOTS a CUSTOMER who lies on the ground screaming.

     Mallory BLASTS a FEMALE CUSTOMER who lies on the ground screaming.

     Mickey points his shotgun at Bishop the store clerk and screams:

                               MICKEY
                    Money! Money! Money! Fast! Fast!
                    Faster! Faster! Faster than that!

     Bishop stuffs money in a bag as Mallory guards the door, shotgun
     ready.

     STEVO, the other store clerk, walks in from the back room
     carrying boxes and wearing a walkman.

     Mickey and Mallory spin around and shoot him.

     As all this mayhem happens before our disbelieving eyes, Wayne's
     narration happens over it.

                               WAYNE (V.O.)
                    They'd storm in with shotguns, and kill
                    every customer in the place right off
                    the bat.

                                                    CUT TO:

     Smiling PHOTOS of other VICTIMS. We CUT from each photo
     to the next photo after shotgun FIRE.

     EXT. BLEACHERS - DAY

     Wayne Gayle sitting on football bleachers. He stares into the
     CAMERA for a few beats. Then, after his dramatic silence, he
     talks.

                               WAYNE
                    Sick, isn't it?
                         (mournful pause)
                    After killing numerous people, the
                    would always leave one clerk alive.
                    One clerk...to give them the money,
                    and tell the tale of---

     PHOTO: BLACK & WHITE snapshot of Mickey and Mallory standing
     next to each other, guns in hand, smiling for the camera.

                               WAYNE (V.O.)
                    Mickey and Mallory.

     PHOTO: Police Academy BLACK & WHITE snapshot of OFFICER GERALD
     NASH.

                               WAYNE (V.O.)
                    Patrolman Gerald Nash was just one of
                    the twelve peace officers that Mickey
                    and Mallory murdered during their reign
                    of terror.

     PHOTO: BLACK & WHITE photo of Gerald Nash and his partner DALE
     WRIGLEY, dressed in their uniforms, arms around each other.

                               WAYNE (V.O.)
                    Gerald and his partner Dale Wrigley
                    were parked at...

     PHOTO: BLACK & WHITE snapshot of donut shop.

                               WAYNE (V.O.)
                    ...this donut shop, Alfie's Donuts.
                    When---

     Interview with Dale Wrigley. Dale's name appears below him on
     the SCREEN.

                               DALE
                    This '68 Cadillac Coupe De Ville pulled
                    up about three spaces away. Gerald
                    came walking out with our coffee
                    and---
                         (begins to tear up)
                    my bear claw. When the driver of the
                    car asked him something, Gerald started
                    giving him what looked like street
                    directions. When he finished, the
                    driver waved him 'thanks,' brought up a
                    shotgun and---

     PHOTO: BLACK & WHITE of donut shop.

     WIDER PHOTO: Alfie's donut and parking lot. On this photo, a
     white grease pencil circles where Gerald was shot. We hear a
     SHOTGUN BLAST and a SCREAM over this.

     PHOTO: BLACK & WHITE of Mickey and Mallory. We hear LAUGHTER
     and a car PEELING OUT over this.

     EXT. BLEACHERS - DAY

     Wayne talks to us.

                               WAYNE
                    Apparently bored with banditry and
                    murder, the two outlaws proved what
                    renaissance psychopaths they really
                    are. To break up the monotony in
                    between bank jobs, or what have you,
                    they started butchering whole
                    households at random.

     CUT TO: MONTAGE of newspaper front page stories and headlines
     of family households butchered by the Knoxs.

     INT. WAYNE'S STUDIO - DAY

     Wayne, dressed in a pink shirt and suspenders, talks to us in
     front of a blue screen that has 'WAYNE GAYLE'S AMERICAN MANIACS'
     logo behind him.

                               WAYNE
                    Unfortunately, the story didn't end
                    with their capture. It just became
                    more surreal. Their subsequent trial
                    turned into a sick circus...

                                                    CUT TO:

     EXT. COURTHOUSE - DAY

     The CAMERA captures the crowd in front of the courthouse.
     They're a very mixed lot.

                               WAYNE (V.O.)
                    ...As spectators, reporters, law
                    students, tourists, gawkers, the
                    interested, the curious, the devoted,
                    and the demented were drawn to the Los
                    Angeles county courthouse like moths to
                    a flame.

     INT. WAYNE'S STUDIO - DAY

     Wayne talks to us.

                               WAYNE
                    The Mickey and Mallory Knox murder
                    trial was so event filled it made the
                    crime spree that took place before pale
                    by comparison. The first point was the
                    decision of Mickey's to act as his own
                    council. Now this in itself is not
                    unheard of, for instance, Ted Bundy
                    acted as his own council as well. What
                    was unexpected was how well Mickey's
                    performance would be.

     INT. JUDGE'S DEN - DAY

     Wayne interviews JUDGE BURT STEINSMA in his den at home.

                               WAYNE (V.O.)
                    We spoke with Burt Steinsma, who was
                    the presiding judge during the Knox
                    trial.

                               JUDGE STEINSMA
                    Mickey was surprisingly effective.
                    When I was told I was to be the judge
                    of this trial and then I was told
                    Mickey Knox would be handling his own
                    defence, I got a headache that lasted
                    five days. But at first I breathed a
                    sigh of relief. Mickey showed up very
                    prepared, and proved to be an excellent
                    amateur lawyer.

     INT. WANDA BISBING'S OFFICE - DAY

     Interview with state prosecutor WANDA BISBING, an attractive
     woman in her forties.

                               WAYNE (V.O.)
                    However, this opinion isn't shared by
                    the state's prosecutor on this case,
                    Wanda Bisbing.

     Wayne's with Bisbing.

                               WAYNE
                    Judge Steinsma said that Mickey showed
                    up very prepared and proved to be an
                    excellent amateur attorney.

                               BISBING
                    Oh, that's rich. Well, considering
                    that Mickey Knox turn his court into
                    a mockery and personally made him look
                    like a fool, I'd say that's very
                    benevolent of Judge Steinsma. As far
                    as Mickey being an excellent amateur
                    lawyer, maybe I'm old fashioned, but
                    when I went to law school, we were
                    taught the object was to win the case,
                    which I did.

     INT. WAYNE'S STUDIO - DAY

     Wayne talks to us.

                               WAYNE
                    The nation caught fire to Mickey and
                    Mallory fever, Mickey and Mallory
                    mania, if you will, as the merits to
                    Mickey's talent as a defence attorney
                    became apparent.
                    Law students from all ends of the
                    country converged on Los Angeles as
                    legal history took a new course. But
                    that was only the lemon next to the
                    pie. And that pie is you, the American
                    people. That pie is the way the
                    strangely charismatic, and make no
                    mistake, they are charismatic, Mickey
                    and Mallory have captured the public's
                    interest, fear, and in some cases,
                    admiration.

                                                    CUT TO:

     EXT. COURTHOUSE STEPS - DAY

     Wayne interviews three long-haired guys: CHUCK, STEVE, and JEFF.

                               WAYNE
                    What do you think of Mickey and
                    Mallory?

                               CHUCK
                    Hot.

                               JEFF
                    Hot.

                               STEVE
                    Totally hot.

                               CHUCK
                    Mickey and Mallory's the best thing to
                    happen to mass murder since Manson.

                               STEVE
                    Forty-eight people known. They're way
                    cooler than Manson.

     CUT TO: Wayne interviewing MORGAN and PAGE, two young girls.

                               WAYNE
                    What do you think of Mickey and
                    Mallory?

                               MORGAN
                    Well, he's just...I dunno...
                    charismatic.

                               PAGE
                    They're so romantic.

     CUT TO: Wayne interviewing an INTENSE COP.

                               INTENSE COP
                    I'm here to watch the judge give those
                    two shit asses (BLEEP) the stiffest
                    sentence the law allows. I want to see
                    their faces when the state says 'they
                    are the worst scum sucking, degenerate,
                    douche bag, filthy, I don't know what's
                    ever shit (BLEEP) out.
                         (referring to crowd
                         behind him)
                    And these assholes (BLEEP) are making
                    heroes outta sickos. You wanna know
                    who a hero is? You wanna know? I'll
                    tell ya who a Goddamn hero is. Mike
                    Griffin. Mike fuckin' (BLEEP) Griffin
                    is who these misguided assholes (BLEEP)
                    should be revering. You know why Mike
                    Jerome Griffin is a hero? I'll tell ya
                    why. Because he was killed in the line
                    of duty. Do you want to know how he
                    died?

                               WAYNE
                    Yes.

                               INTENSE COP
                    I'll tell you. Mike Jerome Griffin was
                    killed in the line of duty by those two
                    anti-heroes.

     CUT TO: Wayne interviewing RUSSELL VOSSLER, Harvard law student.

                               WAYNE
                    Tell me, Mr. Vossler, how many days of
                    the trial have you attended?

                               RUSSELL
                    Ahhh yesss, I've been fortunate enough
                    to attend two days. Law history in the
                    making. I've been a participant.

                              WAYNE
                    And you being a Harvard law student,
                    what is your opinion of Mickey Knox's
                    performance?

                               RUSSELL
                    Ahhh, Mickey's pistolero savvy in the
                    courtroom trial rivals, dare I say
                    conquers that of master Melvin Belli.
                    He's like a magnificent loose cannon,
                    firing point blank in the prosecutor's
                    face. It is my anticipation---

     BACK TO: The long-haired guys, Chuck, Jeff & Steve as Wayne
     speaks.

                               WAYNE
                    You're talking about a man and a woman
                    who killed innocent people.

                               STEVE
                    Don't get us wrong...

                               CHUCK
                    We respect human life an' all.

                               JEFF
                    It's a tragedy.

                               STEVE
                    But...if I was a serial killer,
                    which I'm not, but if I was, I'd be
                    like Mickey.

     CUT TO: Wayne talking with MARVIN, a black man.

                               MARVIN
                    They're like that crazy mother in the
                    first Dirty Harry movie. Member that
                    crazy ass mother? They're like him.
                    Mickey and Mallory be doin' some
                    cold-blooded shit. When I hear about
                    some of the shit they be doin' on TV, I
                    say 'Damn, that's fucked (BLEEP) up.'

     BACK TO: The two young girls, Morgan & Page as Wayne speaks.

                               PAGE
                         (laughing and blushing)
                    We sit in the courtroom all day and try
                    to catch Mickey's eye.

                                                    CUT TO:

     INT. GOLD'S GYM - DAY

     Wayne's sitting in the gym. Behind him MUSCLE MEN are working
     out. Their GRUNTING sounds fill the background. Wayne looks up
     and just OFF CAMERA to the people he's interviewing.

                               WAYNE
                    What do you think of Mickey and
                    Mallory?

     ECU on SIMON and NORMAN HUN, two brothers/bodybuilders, in a
     head SHOT.

                               SIMON
                    I admire them.

                               NORMAN
                    I do, too.

                               WAYNE
                         (confused)
                    But how can you say that?

                               SIMON
                    They're mesmerising.

                               NORMAN
                    Hypnotizing.

                               SIMON
                    Have you seen 'Pumping Iron?'

                               WAYNE
                    Yes.

                               NORMAN
                    Then you've seen the scene where Arnold
                    Schwartzenegger is talking to Lou
                    Ferigno.

                               WAYNE
                    Yes.

                               SIMON
                    Through the power of the simple word---

                               NORMAN
                    And a snake-eye glare.

                               SIMON
                    ---and a snake-eye glare, Arnold was
                    able to totally psyche out any
                    confidence Ferigno had.

                               NORMAN
                    He squashed him mentally before
                    physically defeating him.

                               SIMON
                    He had the edge. The mind's edge.

                               NORMAN
                    Mickey and Mallory have that edge.

                               SIMON
                    Only on a much grander scale.

                               NORMAN
                    They've hypnotized the nation.

                               SIMON
                    Schwartzenegger was the king of the
                    edge before they came along.

     The CU of the brothers ZOOMS back.

                               WAYNE
                    You say this and yet...you two are
                    both victims of Mickey and Mallory.

     SHOT has zoomed back to reveal that both Simon and Norman are in
     wheelchairs (their legs maimed or gone).

                               SIMON
                    Yes.

                               NORMAN
                    Yes.

                               WAYNE
                    How can you say that you 'admire' them?

                               NORMAN
                    It's like this, Wayne. Two people are
                    standing in a dark room waiting for the
                    other to attack. These two people
                    can't see each other, yet they know
                    they're there. Now, they can either
                    stand in the dark room forever waiting
                    until they die of boredom, or one of
                    them can make the first move.

                               WAYNE
                    Why can't they just shake hands and be
                    friends?

                               NORMAN
                    They can't because neither knows if the
                    other is a deranged senseless killer
                    like the Knoxs. So, you may as well
                    make the first move.

                               WAYNE
                    And they made the first move?

                               NORMAN
                    Unfortunately, yes.

                               SIMON
                    But you see, that's okay, Wayne.

                               WAYNE
                    Why?

                               SIMON
                    They passed the 'edge' along to us.

                               WAYNE
                    How so?

                               SIMON
                    By taking away our legs. Now we have
                    to fight harder to get ahead than
                    anyone else you'll find in this gym.
                    Probably the whole city. They gave us
                    the fighting spirit. Before this
                    happened I was content. Now I'm pissed
                    off. Now I'm half a man and I've got
                    to work like the devil to get whole
                    again.

                               WAYNE
                    But you'll never be whole again.

                               SIMON
                    Never is a very long time, Wayne. A
                    word only the weak use. I'm not a sore
                    loser. Even if I don't have a leg to
                    stand on, I'm going to get up and fight
                    this world until I'm on top again.

                               NORMAN
                    That's the Mickey and Mallory way.

                               SIMON
                    That's the way of the world.

                               NORMAN
                    They're shocking the world into
                    remembering the primal law.

                               SIMON
                    Survival of the fittest.

                               WAYNE
                    One last question. Usually Mickey and
                    Mallory kill all of their victims. Why
                    did they let you two survive?

     The brothers pause, then turn to Wayne.

                               NORMAN
                    They had us tied down during one of
                    their house raids, you've seen the
                    headlines, and they were taking a
                    chainsaw to our legs before they were
                    gonna kill us.

                               SIMON
                    Just for fun, I guess.

                               NORMAN
                    And then Mallory stops Mickey and says,
                    'Hey, these are the Brothers Hun.'

                               SIMON
                    Mickey stops sawin' on my leg and says,
                    'Oh my God, I'm your biggest fan!'

                               NORMAN
                    Apparently, they've seen all our films.

                               SIMON
                    They were especially influenced by
                    'Conquering Huns of Neptune.'

                               NORMAN
                    So, Mallory calls 911 and they took
                    off.

                               SIMON
                    They actually apologized.

     INT. WAYNE'S STUDIO - DAY

     Wayne talks.

                               WAYNE
                    The couple proved so popular that a
                    motion picture glamorizing their
                    exploits was made...

     CUT TO: A POSTER for the Mickey and Mallory movie called 'Thrill
     Killers' is shown. It has a drawing of the Movie Mickey and
     Movie Mallory in a romantic pose a'la 'Gone With The Wind,' both
     with guns in their hands. Around them are smaller drawings of
     cars, people shooting, people fighting, explosions, etc.

     The adlines are: 'RIPPED FROM TODAY'S HEADLINES --THE TRUE STORY
     OF MICKEY AND MALLORY.' 'THE COUPLE THAT LIVED FOR LOVE AND
     LOVED TO KILL.'

     The poster lists the credits: 'Starring Jessie Alexander
     Warwick and Buffy St.McQueen.' 'Written and Directed by Neil
     Pope.'

                               WAYNE (V.O.)
                    The Movie 'Thrill Killers' proved to be
                    a tremendous box office success, making
                    stars out of the before then unknown---

     CUT TO: STILLS of Movie Mickey and Movie Mallory holding
     weapons, posing together, creating mayhem.

                               WAYNE (V.O.)
                    ---actors Jessie Alexander Warwick and
                    Buffy St.McQueen.

                                                    CUT TO:

     MOVIE TRAILER FOR 'THRILL KILLERS':

     SHOT Movie Mickey dressed in a fastfood uniform.

                               ANNOUNCER (V.O.)
                    Meet Mickey Knox!

                               MOVIE MICKEY
                    I'm gettin' off this minimum wage
                    train. Break my back for you and throw
                    away my youth for nothing. when I'm
                    thirty, have a big wall drop down in
                    front of me called the future. Realize
                    I've been doin' time in a burger
                    flippin' jail.

     He rips off his uniform.

                               MOVIE MICKEY
                    Listen to me Jimmy-dick, I want cash,
                    lots of it, cars, fast cars! And I
                    want it now! Not later, now! I wanna
                    wail, baby, wail!

     SHOT of Movie Mallory on her hands and knees crawling toward
     CAMERA.

                               ANNOUNCER (V.O.)
                    And his lovely wife Mallory.

                               MOVIE MALLORY
                    I need ya, Mickey. I gotta have ya.
                    I'm no good for no one else. when I'm
                    with you, I burn, baby. Burn like blue
                    flame.

     SHOT of Movie Mickey and Movie Mallory driving fast and laughing
     their heads off.

                               ANNOUNCER (V.O.)
                    Together they're the Thrill Killers.
                    The true story of the couple that
                    shocked the world...

     SHOT of the Movie Knoxs FIRING guns.

                               ANNOUNCER (V.O.)
                    ...with a bloodlust of violence...

     SHOT of Movie Mickey and Movie Mallory kissing.

                               ANNOUNCER (V.O.)
                    ...and unbridled passion.

     SHOT of Movie Mallory with a knife to a COP'S throat. Movie
     Mickey holds a shotgun.

                               MOVIE COP
                    When society catches up with you, I'd
                    hate to be in your boots.

                               MOVIE MICKEY
                    Let me telly ya about society and its
                    boots. It uses those boots for
                    steppin' on people like me and her!

                                                    CUT TO:

     INT. EDITING ROOM - DAY

     Wayne enters an editing room where filmmaker NEIL POPE is
     working at a movieola.

                               WAYNE (V.O.)
                    We talked with Neil Pope, writer and
                    director of 'Thrill Killers' for his
                    take on the Mickey and Mallory
                    phenomena.

     Pope stops the movieola, turns toward the CAMERA, and greets
     Wayne M.O.S.

     CUT INTO INTERVIEW:

                               NEIL POPE
                    It is my belief that Mickey and Mallory
                    Knox are a cultural phenomena that
                    could only exist in our sexually
                    repressed society. A flower that could
                    only bloom amidst a grotesque fast food
                    culture. A what I tried to do with
                    'Thrill Killers' was trace the root of
                    the problem all the way down the vine
                    to the original bad seed. Yet amidst
                    the violence and murder and carnage,
                    you've got the structure of a Wagnerian
                    love story.

     EXT. ALLEY - DAY

     In a back alley, the conclusion of 'Thrill Killers' plays out.
     The sound of SIRENS and CHOPPERS are nearing. Movie Mickey,
     shotgun in hand, runs down the alley stopping at a dumpster,
     where the wounded and bloody Movie Mallory sits propped up
     against a brick wall. On the bottom of the SCREEN, the
     subtitle appears: SCENE FROM 'THRILL KILLERS' (1990).

                               MOVIE MALLORY
                    Mickey, honey, listen to me.

     Movie Mallory holds out her hand for him to take it. He does.

                               MOVIE MALLORY
                    I can't go. I'm too fucked up.

                               MOVIE MICKEY
                    I'm not saying it's not gonna hurt,
                    but--

                               MOVIE MALLORY
                    I can't run with you, Mickey! I really
                    want to. If I could, I would, but I
                    can't. I gotta stay here. But you can
                    still get out of here.

                               MOVIE MICKEY
                    No fuckin' way! No fuckin' way!

                               MOVIE MALLORY
                    If they stay, they'll catch you, and
                    they don't have to catch you---

                               MOVIE MICKEY
                    No fuckin' way!

                               MOVIE MALLORY
                    Mickey, you're wasting time!

                               MOVIE MICKEY
                    I don't give a damn if a million United
                    States marines, all whistling the halls
                    of Montezuma, are gonna come marchin'
                    down this alley any second. There
                    ain't not fuckin' way in hell I'm
                    leaving you. And that's that!

     Movie Mallory grabs his hand with both of hers. She's crying.

     The SIREN and CHOPPER sounds are getting closer.

                               MOVIE MALLORY
                    Mickey, my love, if you leave me,
                    they'll catch me and take me to the
                    hospital. If you stay, you'll make 'em
                    kill you. Then it'd be like I killed
                    you. I could bear anything, but I
                    couldn't bear that. So please, please,
                    for me, my handsome
                    husband, run for your life.

     The SIRENS and CHOPPERS draw closer.

                               MOVIE MICKEY
                    I can't do it. You're my wife, you're
                    my partner. A fella doesn't run when
                    his partner can't run with him.
                    Mallory, my angel, if I could of left
                    ya, I'd of left ya a long time ago.

     They kiss.

                               MOVIE MALLORY
                    Well, hell, if you won't leave, give me
                    a gun so I can go out shooting.

     Movie Mickey hands her his .44 Magnum from his belt.

                               MOVIE MICKEY
                    Sit tight. I'm gonna make it a little
                    tougher for 'em.

     Movie Mickey runs to the end of the alley, peers around the
     corner at the arriving COPS.

                               MOVIE MICKEY
                         (to himself)
                    Time to get naked and boogie.

     Movie Mallory is out of movie Mickey's view. She cocks the .44,
     then places the barrel under her chin.

                               MOVIE MALLORY
                    Mickey!

     Movie Mickey's busy. He doesn't turn around.

                               MOVIE MICKEY
                    Yeah baby.

                               MOVIE MALLORY
                    You made every day like kindergarten.

     Movie Mallory pulls the trigger. BANG!

     DOLLY down the alley to a CU on Mickey as he spins around.

     Movie Mallory literally blew her head clean off. Her headless
     body, gun in hand, remains upright in her sitting position.

     Movie Mickey runs toward her, screaming her name in SLOW MOTION.

                               MOVIE MICKEY
                    Mallory!

                                                    CUT TO:

     BACK TO: THE POPE INTERVIEW

                               WAYNE (O.S.)
                    Why did you kill Mallory? Both of
                    them are still alive.

                               NEIL POPE
                    It was dramatic license, no doubt. But
                    I felt an operatic love story needed an
                    operatic ending. The two of them kill
                    for each other. They offer the death
                    of their victims to each other like
                    other lovers offer flowers or bon bons.
                    So what more natural, what more
                    organic, what more poetic than Mallory
                    offering her death to Mickey? It's
                    where it's been leading since day one.
                    We worked it in the movie by using a
                    what if they escaped situation. I
                    think it works beautifully. You'd be
                    surprised. People come up to me at the
                    end of the movie in tears.

     EXT. PARKING LOT - DAY

     Actor JESSIE ALEXANDER WARWICK sits on his motorcycle and talks
     to the CAMERA. He's dressed in a Levi's jacket, jeans, a bandanna
     is wrapped around his head, and as he talks he bogarts a smoke.
     His name appears at the bottom of the SCREEN.

                               JESSIE
                    One thing about Mickey for sure, he's
                    definitely a man who has his moments.
                    It was wild playin' him. It was one of
                    those get-it-out-of-your-system
                    performances.

     INT. BUFFY ST. MCQUEEN'S HOME - DAY

     This interview is SHOT in Buffy's house a'la Barbara Walters.
     BUFFY sits on the couch in her living room with a cat in her
     lap. From time to time, she sips from a coffee cup. Her name
     appears at the bottom of the SCREEN.

                               BUFFY
                    I didn't play Mallory, the murderer. I
                    didn't play her as a butcher. I played
                    her as a woman in love, who also
                    happens to murder people. I didn't
                    want her to be at arm's length from the
                    audience or myself. If you play her as
                    this wild maniac, the audience never
                    has to deal with her. If you see a
                    decapitation in a movie, you just say
                    'Oh wow, a neat special effect.'
                    Because you can't relate to a
                    decapitation. It doesn't mean anything
                    to anybody because it's not personal.
                    Decapitations don't fall into most
                    people's realm of life experiences.
                    But if you show somebody in a movie
                    getting a paper cut, the whole audience
                    squirms. Because everybody can relate
                    to a paper cut.

                               WAYNE (O.S.)
                    Did you meet the real Mallory Knox?

                               BUFFY
                    I tried to, but she wouldn't see me.
                    But I read some letters she wrote to
                    Mickey before the murder spree. They
                    helped me out a lot.

     EXT. PARKING LOT - DAY

     Jessie talks to CAMERA.

                               WAYNE (O.S)
                    You met Mickey Knox, didn't you?

                               JESSIE
                    Yeah, I visited him when he was up in
                    Susanville. He's a little cerebral for
                    my taste, but all in all, we got along.

     INT. OFFICE - DAY

     Wayne, sitting in a chair in front of a desk, interviews DR.
     REINGHOLD, who sits behind the desk.

                               WAYNE (V.O.)
                    To get a psychiatric view on the
                    strange attraction Mickey and Mallory
                    seems to have, we talked with Doctor
                    Emil Reinghold, noted psychologist and
                    author.

     Wayne begins his interview.

                               WAYNE
                    Can you shed some light, Doctor
                    Reinghold, on why the public has taken
                    a pair of sociopaths so close to their
                    bosom?

                               DR. REINGHOLD
                    Well, for one, the media has done a
                    tremendous job of turning the husband
                    and wife mass murderers into
                    celebrities. But it's the country's
                    youth who have turned the couple into
                    the ultimate anti-heroes. Basically,
                    the very thing that makes them most
                    lethal is the exact same thing that
                    captures the public's hearts and
                    minds -- Mickey and Mallory's operatic
                    devotion to each other. In a world
                    where people can't seem to make the
                    simplest relationships work and the
                    slightest emotional commitment is
                    considered devastating, Mick and
                    Mallory have a do-or-die romance of a
                    Shakespearean magnitude. To the
                    country's youth, 75 percent of which
                    are coming from broken homes, that's
                    appealing. They have an 'us against
                    the world' posture which always appeals
                    to youth. And they've taken that
                    posture seventeen steps beyond.
                    It's not 'us against the world,' it's
                    'we're gonna kill the world.' They're
                    exciting. I read their file and I find
                    myself turning the page like it was a
                    paperback. Why do disillusioned youths
                    get into Mickey and Mallory? Why do
                    disillusioned housewives read romance
                    novels? Why are you filming this
                    special? Because you know as well as I
                    do, you say 'tonight at nine Charles
                    Manson speaks,' everybody's going to
                    tune in to hear what he says. Mickey
                    and Mallory have shocked a country numb
                    with violence. They've created a world
                    where only two exist and anybody who
                    inadvertently enters that world is
                    murdered.

     EXT. COURTHOUSE - DAY

     SHOTS of the crowd.

                               WAYNE (V.O.)
                    This attitude from the young towards
                    their ultimate anti-heroes is nation
                    wide. And spreading.

     TWO LONDON TEENS

     BOY and GIRL, dressed like the Knox's.

     TITLE CARD: 'LONDON'

                               LONDON BOY
                    You take all the great figures from the
                    States...Elvis, Jack Keroac,
                    Bukowski, James Dean, Jim Morrison,
                    Angela Davis, Jack Nicholson, Jim
                    Thompson, Martin Scorcese...add a
                    bloody pale of nitro and you got Mickey
                    and Mallory. They're like rebels
                    without a cause, except they have a
                    cause. Only nobody knows what it is.

                               LONDON GIRL
                         (screaming)
                    Their cause is each utter!

     TWO JAPANESE TEENS a BOY and GIRL, dressed like the Knox's.
     They speak in Japanese, which is translated in English.

     TITLE CARD: 'JAPAN'

     As Japanese boy and girl speak, we hear:

                               TRANSLATOR (V.O.)
                    Keep the faith, Mickey and Mallory,
                    keep the faith.

     TWO FRENCH TEENS a BOY and GIRL, dressed like the Knox's. They
     speak in French, and we hear the translation in English.

     TITLE CARD: 'FRANCE'

                               TRANSLATOR (V.O.)
                    Mickey and Mallory have a love that's
                    L.A.M.F.

                               FRENCH BOY
                         (in English)
                    They are super cool!

     INT. WAYNE'S STUDIO - DAY

                               WAYNE
                    And as to almost give this whole
                    misplaced admiration scenario a cherry
                    on the top, the rock band Redd Kross
                    entered the charts last week at number
                    13 with their song 'Natural Born
                    Killers, The Saga of Mickey and
                    Mallory.'

     CUT TO: A CLIP from the Redd Kross video of 'Natural Born
     Killers.'

     BACK TO: WAYNE'S STUDIO

                               WAYNE
                    The third wicked twist to this story is
                    Grace Mulberry.

                                                     CUT TO:

     FRONT PAGE NEWSPAPER - Headline reads: 'MICKEY AND MALLORY KILL
     SIX TEENS DURING SLUMBER PARTY!' In smaller bold face under it:
     'One Teen Escapes Killer's Clutches.' On the front page is a
     PHOTO of the teen who escaped. It's seventeen year old GRACE
     MULBERRY. CAMERA moves in CU of the photo.

                               WAYNE (V.O.)
                    Of the six teens murdered that night,
                    seventeen year old Grace Mulberry was
                    the lucky one left to tell the tale.
                    And this haunted young lady summoned up
                    the courage to take the stand, tell
                    what she saw that horrible night, and
                    then allow herself to be cross-examined
                    by the man who killed her brother and
                    girlfriends.

     EXT. COURTHOUSE - DAY

     All kinds of PEOPLE are gathered around. It's a real media
     event.

     Grace's sedan pulls up to the courthouse. The many spectators
     and reporters surround the car.

     Grace, HER FATHER, and BISBING emerge from the sedan, and start
     walking up the courthouse steps.

     Microphones and cameras are thrust at her as REPORTERS ask
     questions.

     Grace is afraid to face the crowd. Her head darts in the
     direction of each question, but she doesn't answer.

     She remains silent and scared.

                               FEMALE ORIENTAL REPORTER
                    Miss Mulberry! How does it feel to be
                    the only survivor of Mickey and
                    Mallory's reign of terror?

                               FAT MALE REPORTER
                    Miss Mulberry! Has the experience
                    marked you?

     Some scruffy TRANSIENT sticks his head in Grace's face.

                               TRANSIENT
                    Did ya watch your brother get stabbed
                    up?

                               WAYNE
                    How do you feel about Mickey cross-
                    examining you?

     Grace, her father, and Bisbing shove their way through the
     crowd. After Grace and her entourage enter the courthouse, we
     hear the cry of:

                               VOICE (O.S.)
                    Mickey and Mallory!

     CAMERA whips toward the bottom of the steps as the car carrying
     Mickey and Mallory pulls up. The reporters race down the steps
     they just raced up. The Mickey and Mallory fans go apeshit.

     Mickey and Mallory, handcuffed, are being led up the steps by
     SHERIFF'S DEPUTIES. Wayne Gayle and other reporters film them
     and shoot out questions. Microphones are thrust into their
     faces.

                               WAYNE
                    Mickey, how do you feel about cross-
                    examining Grace Mulberry?

                               MICKEY
                    I'm keen with anticipation.

                               FEMALE ORIENTAL REPORTER
                    What do you think of this turn out,
                    Mallory?

                               MALLORY
                    I ain't never had so much fun.

     A CUTE REPORTER, a Tawny Little type, steps forward.

                               CUTE REPORTER
                    Do you have any regrets?

                               MALLORY
                    Not a one.

                               MICKEY
                    Yeah, I always regretted we never got
                    around to looking up my old history
                    teacher, Miss Bainbridge. Now there's
                    a big bad bitch not good for herself or
                    nobody.

                               BLACK REPORTER
                    What's your favorite pastime?

                               MICKEY
                    You mean aside from what I'm being
                    tried for?

     Mallory playfully elbows Mickey in his ribs.

                               MICKEY
                    Oh, I'd say watching TV.

     All the reporters in unison:

                               REPORTERS
                    What's your favorite show?

                               MICKEY
                    'Have Gun Will Travel.'

                               CUTE REPORTER
                    Do you have anything to say to your
                    fans?

                               MICKEY
                         (looking in CAMERA)
                    You ain't seen nothin' yet.

                                                    CUT TO:

     EXT. COURTHOUSE - DAY

     Wayne by himself standing on the courthouse steps.

                               WAYNE
                         (to CAMERA)
                    No, apparently we had not seen
                    everything. Grace Mulberry gave her
                    tearful testimony. Then it became
                    Mickey Knox's turn for cross-
                    examination.
                       
                                                    CUT TO:

     COURT SKETCHES: An artist SKETCH of Mickey cross-examining
     Grace on the stand.

                               BISBING (V.O.)
                    Grace was terrified of Mickey. You
                    have to understand most of their
                    victims were normal people with normal
                    lives that nothing out of the ordinary
                    ever happens to.

     COURT SKETCH of Mickey looking like the devil himself.

                               BISBING (V.O.)
                    Then out of the blue, they're dealing
                    with the devil incarnate. It was
                    extremely difficult for us to find
                    survivors who would take the stand and
                    testify when they knew Mickey would be
                    cross-examining them.

     COURT SKETCH of terrified Grace. CAMERA closes in Grace's face.

                               BISBING (V.O.)
                    Grace was every bit as terrified, every
                    bit as haunted. But she felt her
                    brother Tim and her five girlfriends
                    were counting on her.
                       
                                                    CUT TO:

     INT. COURTROOM - DAY

     COURT SKETCH - CU of Grace staring intently. CAMERA widens to
     include Bisbing standing before the bench as Mickey sits with
     Mallory at the defence table. Judge Steinsma looks down at
     Grace. The distinct sounds of a court in session can be heard
     in the B.G.

     The color of the scene FADES to Black & White as the CAMERA
     cranes up to reveal the COURT ARTIST drawing while court is in
     session.

     OFF SCREEN: Bisbing is wrapping up her examination of Grace who
     is at the witness stand. Judge Steinsma resides at his bench.

     CAMERA dollies into a MED. OVERHEAD TWO-SHOT of Mickey and
     Mallory who are sketching on a pad of paper. CAMERA reveals the
     drawing of a man stabbing a woman. Mickey is doing the actual
     drawing, but every once and a while Mallory takes to pencil and
     adds some touches, as Grace finishes her tearful testimony.

                               BISBING (O.S.)
                    No further questions, your honor.

     Emotional pause, the silence.

                               JUDGE STEINSMA (O.S.)
                    Would you care to cross examine the
                    witness, Mr. Knox?

     Mickey scratches out the drawing. Still holding the pencil he
     stands and leaves frame.

                               MICKEY (O.S)
                    As a matter of fact, your honor, I
                    would.

     NOTE: The following scene is to be played with EXTREME CLOSE
     UPS. Not once is the courtroom seen in detail. However
     courtroom sound can be heard vividly in the B.G.

     CU of Mallory, who grins at Mickey like a Cheshire cat.

     CU of Grace's eyes as they look downward.

     CU of Judge Steinsma as he shuffles paper on his bench.

     CU of Mickey's feet crossing the court floor.

     CU of Bisbing as her eyes follow Mickey across the court.
     Mickey enters the frame, with a pencil pressed to his lips in
     though. Mickey is looking straight into the CAMERA.

     Mickey's POV of Grace sitting on the witness stand, staring into
     her lap.

     ECU of Grace's finger rolling a large, male-style, High School
     class ring around her palm.

     CU of Mickey glancing to the ring. Mickey smiles.

     Mickey's POV of Grace as she pulls from a reserve of strength.
     Clenching the ring tight in her fist, her eyes come up and lock
     hatefully on Mickey.

     CU Mickey as he walks forward towards Grace.

                               MICKEY
                    That's one helluva story, Miss
                    Mulberry.

     CU of Grace.

                               GRACE
                    Yes it is.

     At this point Mickey begins to pace from right to left, but
     always remaining in CU.

                               MICKEY
                    Grace...I hope you don't mind if I
                    call you Grace...

     BACK TO: Grace as we DOLLY from a MED CU into a ECU.

                               MICKEY
                    Grace. I'd like to talk to you about
                    your late brother Tim, if you feel up
                    to it.

     CONTINUE DOLLY: Once locked onto her eyes, her head drops
     forward and we...

                                                    CUT TO:

     INT. GRACE'S HOME - NIGHT

     ECU of Grace's eyes as her head is pulled back into frame. Her
     eyes are wide with fear. The CAMERA pulls back to reveal a gag
     in her mouth and a knife pressed against her throat.

     She's back at the night of the murder.

     Mickey's wearing a black leather jacket over a white t-shirt,
     which is covered with blood. Blood is smeared on his face, and
     he's holding a knife pressed to his lips, also covered with
     blood. But he's walking and talking with the same manner and
     poise as in the courtroom.

                               MICKEY
                    Grace...I hope you don't mind if I
                    call you Grace...

     TWO SHOT revealing that Grace is bound and gagged with Mallory
     right behind her, holding the knife and cracking gum.

                               MALLORY
                    Naw, she don't mind.

                               MICKEY
                    Grace. I'd like to talk to you about
                    your murdered brother Tim, if you feel
                    up to it.

                                                    CUT TO:

     INT. COURTROOM - DAY

     CU of Grace in a daze.

                               MICKEY (O.S.)
                    Did you get along?

     Mickey waits for an answer that doesn't come.

                               MICKEY
                    Miss Mulberry?

     Back to Grace.

                               GRACE
                    More or less.

                               MICKEY
                    More or less...

     BACK TO: Mickey.

                               MICKEY
                    What do you mean by that?

     BACK TO: Grace.

                               GRACE
                    Well, he's my older brother. When we
                    were growing up, there were times we
                    could of very well done without each
                    other. But when it counted, we were
                    close.
                       
     CU of Bisbing listening. Grace is doing better than she
     thought.

     CAMERA PANS from shadows to find Mickey, the pan continues
     through his line.

                               MICKEY
                    I'd like to talk about Tim's martial
                    arts abilities. How long had he been
                    studying?

     PAN CONTINUES back into the shadows, then 180 degrees to find Grace.

                               GRACE
                    He started when he was in the seventh
                    grade, so that would make it nine
                    years.

     PAN CONTINUES back into shadows, then...

                                                    DISSOLVE TO:

     INT. MARTIAL ARTS SCHOOL - DAY

     CAMERA PANS from darkness into a well lit martial arts class
     room in full session. TIM MULBERRY and expert martial artist is
     competing against a lesser opponent while their master looks on.

     CAMERA PANS back into shadows, then...

                                                    DISSOLVE TO:

     INT. COURTROOM - DAY

     CAMERA PANS from darkness and locks on a CU of Mickey.

                               MICKEY
                    When you study the martial arts, they
                    give out belts that come in different
                    colors to signify what level you're at
                    in your training. Am I correct on that
                    point?

                               GRACE
                    Yes you are.

                               MICKEY
                    What was the color of Tim's belt?

                               GRACE
                    The style of fighting that Tim studied
                    didn't believe in belts.

                               MICKEY
                    Is that a fact? Well then, Grace,
                    could you tell us what form of martial
                    arts it was that Tim was schooled in?

                               GRACE
                    Tim studied several styles, but his
                    favorite was Jeet Kune Do.

                               MICKEY
                    Jeet Kune Do...Now I did some research
                    on that form of fighting, and I found
                    out that Jeet Kune Do was a style
                    developed by Bruce Lee. Did you know
                    that?

                               GRACE
                    Yes, I did. That's why Tim studied it.
                    Because it was Bruce Lee's fighting
                    style.

     CU of COURT CLERK'S HANDS typing in SLOW MOTION.

                               MICKEY
                    Now, while I freely admit total
                    ignorance on the subject, I have heard
                    of Bruce Lee. And I was under the
                    impression that Bruce Lee was one of
                    the, if not the greatest fighter in the
                    history of martial arts.

                               GRACE
                    That's what Tim said.

                               MICKEY
                    So, I think it would be safe to say
                    that anybody who studied the fighting
                    style that Bruce Lee, arguably the
                    greatest martial artist of all times,
                    developed for nine years, that would be
                    a fella who could defend himself.
                    Would you describe Tim that way, Grace?

                               GRACE
                    Yes, I would.

     Mickey points at Grace with the pencil in his hand.

                               MICKEY
                    Point of fact, weren't Tim's hands
                    registered as lethal weapons?

                               GRACE
                    Yes, they were.

     CU of Mickey's hand holding the pencil.

                               MICKEY
                    That means his hands are considered a
                    weapon like a gun or a knife. Am I
                    correct on that point?

                               GRACE
                    Yes, you are.

     CU of Mallory cracking a slight smile.

                               MICKEY
                    Yet, in your testimony just now, you
                    described that Tim...

     CAMERA moves into a tight CU of Grace. Her eyes widen.

                               MICKEY (O.S.)
                    ...kicked me four times in the head.

                                                    CUT TO:

     INT. GRACE'S HOME - NIGHT

     INSERT: The night of the Murder. Tim cuts loose and hammers
     Mickey with four punishing kicks to the head.

                                                    CUT TO:

     INT. COURTROOM - DAY

     CU of Mickey.

                               MICKEY
                    And his trained martial artists kicks
                    had little to no effect.

                                                    CUT TO:

     INT. GRACE'S HOME - NIGHT

     CAMERA is LOW ANGLE as Tim backs up after his attack. We notice
     the High School Ring he wears on his right fist as he steps into
     a fighting stance, ready for Mickey to drop.

     Mickey, however, spits out a stream of blood, and smiles at him.

                                                    CUT TO:

     INT. COURTROOM - DAY

     CU of Mickey.

                               MICKEY
                    Then, after shrugging off four blows to
                    the head like I was Superman, I lifted
                    Tim-nine-years-of-Jeet-Kune-Do-Mulberry
                    off the ground and threw him across the
                    room.

     Mickey, with arms raised over his head, pantomimes throwing
     Tim's body.

                                                    CUT TO:

     INT. GRACE'S HOME - NIGHT

     WIDE SHOT as Tim flies into FRAME, CRASHING into the living room
     wall.

                                                    CUT TO:

     INT. COURTROOM - DAY

     We quickly PAN down a number of items with white evidence tags
     on them. We stop at Mickey's Buck Knife. Mickey's hand comes
     into FRAME and picks up the knife.

                               MICKEY
                    Then I took...

     CU of Mickey as he brings the knife into FRAME.

                               MICKEY
                    ...this knife and proceeded to tear him
                    limb from limb. And this man, whose
                    hands are lethal weapons---

     CU of Bisbing as she stands.

                               BISBING
                    Objection, defence is intimidating the
                    witness with the murder weapon.

                               JUDGE STEINSMA (O.S.)
                    Sustained. Mr. Knox, put the knife
                    down.

     Mickey is locked on Grace.

                               MICKEY (cont'd)
                    --had little to no defence.

                               GRACE
                         (yelling)
                    I don't know how you did it, but you
                    did it!

                               JUDGE STEINSMA
                    Mr. Knox! The knife!

     Mickey glances to the judge, then slowly places the knife back
     on the table.

                               MICKEY
                    How do you think a human being could
                    possibly be capable of doing something
                    like that?

     Mickey locks eyes with eyes.

                               GRACE
                         (yelling)
                    I don't know!

     Mickey is on top of her.

                               MICKEY
                    Now...I don't believe that Grace. I
                    think you have a definite opinion on
                    how I was able to do those things you
                    described. Now, I'm going to ask you
                    again. And I want you to remember you
                    are under oath.

     Grace collects herself.

                               MICKEY (O.S.)
                    In your opinion, Miss Mulberry, how was
                    I able to murder you brother Tim
                    Mulberry in the manner you described.

     The Judge looks down at Grace.

     Grace looks back into her open palm. CU of the ring.

     BACK TO: Mickey bearing down on her, waiting for an answer.

     BACK TO: Grace as we slowly DOLLY closer she looks up at Mickey
     timidly.

                               GRACE
                         (softly)
                    You're not human.

     Mickey smiles.

                               GRACE
                    I thought about it a lot. And the only
                    thing I could figure is that you're not
                    human.

     Bisbing hides her disappointment by looking down.

     Mickey straightens up as Grace continues.

                               GRACE
                    You're a vampire, or the devil, or a
                    monster, or cyborg, or something like
                    that. But you're not human.

     Grace breaks down. Putting her hands to her head to stop the
     pain.

     CU of Mickey smiling down at her.

     CU Mallory smiling proudly at Mickey.

     CU Judge Steinsma betraying no emotion looks down at Grace.

     CU of Grace sobbing, she tries to collect herself by clutching
     the ring tighter.

     Mickey rolls his pencil in his hand the CAMERA tilts up as he
     leans into a CU.

                               MICKEY
                         (softly)
                    Thank you. Grace, there is one other
                    thing...

                               GRACE
                         (softly into her lap)
                    What...

     Mickey smiles.

                               MICKEY
                    You're right.

     Grace tearfully looks up and meets Mickey's demonic glare as he
     plunges his pencil deep into her chest. Grace's eyes go wide
     as Mickey's vicious attack continues.

     CAMERA whips to CU of Bisbing jumping up screaming as
     pandemonium breaks out behind her in SLOW MOTION.

     CU pencil puncturing Grace's blood soaked chest in SLOW MOTION.

     CU Judge Steinsma slams his gavel while directing the Sheriff
     Deputies in SLOW MOTION.

     CU of the Sheriff Deputies are running to Mickey in SLOW MOTION.

     ECU of Grace a tear rolls out of her widen eye in SLOW MOTION.

     CU of Mickey. His attack is unending in SLOW MOTION.

     MED Grace goes limp. As the Sheriff Deputies reach Mickey from
     all sides the pencil breaks off inside Grace in SLOW MOTION.

     CU the bloody eraser end of the pencil in Mickey's hand in SLOW
     MOTION.

     SIDE ANGLE as Grace's head falls back into a CU. Her mouth
     plops open and as her eyelids close, they pinch out a tear that
     rolls down her cheek in SLOW MOTION.

     CU of Mickey's torso as the Sheriff Deputies wrestle him away
     from Grace. Mickey still has the bloody end of the pencil.

     CU of Grace's hand dropping into frame and as her fist opens,
     the ring falls in SLOW MOTION.

     CU of the ring hitting the floor and rolling out of frame.

     DOLLY along side the rolling ring on the floor until it hits a
     shoe and stops.

     ECU of Mickey's eyes looking down at his feet.

     ECU of Mickey dropping the bloody pencil stub. CAMERA follows
     it in SLOW MOTION.

     CU of bloody pencil stub hitting the floor next to the ring in
     SLOW MOTION.

     CU of Mickey looking over to Mallory.

     CU of Mallory surrounded by Sheriff Deputies. She smiles at
     Mickey.

                               MALLORY
                    Show off.

     Mickey smiles and glances toward Judge.

                               MICKEY
                    No further questions your honor.

     Mickey turns forward still wrestling the Deputies.

     Mickey's POV of a Sheriff Deputy stepping in front of him with a
     riot club.

                               DEPUTY #1
                    Light's out Prick.

     Deputy swings the club.

                                                    CUT TO BLACK:

     EXT. COURTHOUSE REAR - DAY

     Mickey, dressed in county blues, is led out of the courtroom by
     sheriffs deputies. He's cuffed hand and leg. Reporters throw
     out questions, photographers shoot photos, Mickey is somewhere
     else, no mugging to the crowd this time.

                               WAYNE (V.O.)
                    After the deadly brewhaha in the
                    courtroom, the judge, honorable Burt
                    Steinsma, passed down a sentence that
                    was to make legal history.

     INT. JUDGE'S DEN - DAY

     Interview with Judge Steinsma in his den at home.

     M.O.S. SHOT of Wayne and Judge talking.

                               WAYNE (V.O.)
                    We spoke with retired Judge Steinsma at
                    his home in Baltimore, Maryland.

     The interview:

                               WAYNE
                    Was there any vengeance on your part
                    with your unique sentence?

                               JUDGE STEINSMA
                    Yes, unquestionably. After they did
                    what they did in my court, and judge
                    worth his robe will tell you the same
                    thing. It couldn't help but affect my
                    decision. That's why they have judges.
                    We're supposed to be fair to a fault,
                    but when it's showtime, we have to make
                    a decision. That's why we don't just
                    input all the facts into a computer for
                    the appropriate punishment. I couldn't
                    give them the death penalty. See,
                    California hops back and forth on that
                    issue. Mickey and Mallory went to
                    court when it was out of favor, which
                    is actually good because it leaves more
                    room for imagination. Anybody can give
                    somebody the chair. When you have
                    someone who deserves to die and you
                    can't kill them, you have to be
                    creative. And if the bastards had let
                    it stand, it would of been the perfect
                    sentence. It hit 'em right where they
                    lived. Far more punishing than the
                    death sentence.

                               WAYNE
                    Would you please describe for our
                    viewers what your sentence was?

                               JUDGE STEINSMA
                    Well, in a rogue's gallery of killers,
                    Mickey and Mallory are very unique.
                    I've seen a lot of killers in my day
                    and they're a very cold lot. They have
                    no more feelings about taking a
                    person's life than squashing a tiny
                    bug. It's all the same to them. Well,
                    Mickey and Mallory were that 'kill 'em
                    to watch their expression change'
                    attitude personified. Except with each
                    other. And, since they lived only for
                    each other, I wanted to attack that, at
                    its very root. So, in a nutshell, my
                    sentence was double life for each
                    without any possibility for parole.
                    That would be fairly standard in their
                    case. The twist I added was that the
                    husband and wife would have no contact
                    or correspondence with each other for
                    the rest of their lives. And they
                    would never receive any word or
                    information about the other.
                    So, basically once the cell door slams
                    shut, Mickey and Mallory will
                    completely disappear from each other's
                    life. They'll never know when the
                    other dies. But alas, the best laid
                    plans of mice and men...

                                                    CUT TO:

     EXT. COURTHOUSE REAR - DAY

     Mallory in tears, hysterically actually, is cuffed hand to foot,
     and being dragged by sheriff's deputies into the prison bus.
     Reporters throw out questions, photographers shoot photos, TV
     news people capture the moment on video.

     The bus pulls out onto the street.

                                                    CUT TO:

     PHOTO: Mickey in prison uniform being led by guards.

     PHOTO: Shot though bars of Mallory in her cell. Her back is to
     the camera.

                               WAYNE (V.O.)
                    The sentence was never to reach that
                    point. Because after only a year,
                    Mickey and Mallory created so much
                    mayhem that it was decided...

     INSERT: FRONT PAGE NEWSPAPER: 'MICKEY AND MALLORY TO BE
     TRANSFERRED TO ASYLUM.'

                               WAYNE (V.O.)
                    ...that they were mentally ill and
                    needed to be transferred to a state
                    mental hospital.

     CAMERA move into the picture of Mickey and Mallory on the front
     page of the newspaper.

                                                    CUT TO:

     PHOTO: of Dewight McClusky.

                               WAYNE (V.O.)
                    We talked with Dewight McClusky,
                    chairman of the California State Prison
                    Board, about this curious turn of
                    events in the Mickey and Mallory case.

     INT. MCCLUSKY'S OFFICE - DAY

     Wayne's interviewing McClusky.

                               WAYNE
                    Why are Mickey and Mallory being moved
                    to an asylum? And who made the
                    decision?

                               MCCLUSKY
                    The prison board made the decision. A
                    board of which I belong. We're the
                    who. The why is simple. Mickey and
                    Mallory are mentally ill and need to be
                    under a doctor's care, where hopefully
                    they'll receive the help they need.

                               WAYNE
                    Mickey and Mallory were deemed
                    competent in a mental examination
                    before their trial. I'm confused.
                    What's changed?

                               MCCLUSKY
                    Well, since that time, they've killed
                    one person during their trail. And
                    since their incarceration, they've
                    killed one psychologist along with
                    several guards and inmates.

                               WAYNE
                    When they were found competent before,
                    they had already killed fifty people.
                    Other than the fact they're a
                    disciplinary problem, which frankly
                    shouldn't surprise anyone, I still
                    don't see where this situation is any
                    different then it was before. So, I
                    ask you again, Mr. McClusky, what's
                    changed?

                               MCCLUSKY
                    What's changed, Mr. Gayle, is our
                    minds. We felt they were competent a
                    year ago. A year has passed, sir, a
                    year where they were under close
                    observation, day in and day out, and
                    their behaviour has led us to believe we
                    were wrong.

                               WAYNE
                    Who is we?

                               MCCLUSKY
                    The prison board and the doctors who
                    examined them.

                               WAYNE
                    Were any of the doctors who made the
                    first evaluation on the Knoxs mental
                    state asked to re-examine them?

                               MCCLUSKY
                    Using the same doctors is not common
                    practice.

                               WAYNE
                    I take it by your answer it was a whole
                    new team?

                               MCCLUSKY
                    Now that you bring it up, yes. They
                    were different men. I hadn't really
                    thought that much about it. Since many
                    psychiatric opinions are, by a rule,
                    sought out for this kind of situation.
                    What do you think normally happens?
                    The Knoxs are assigned a family
                    psychologist that takes care of them
                    throughout the rest of their lives?
                    The state doesn't work like that.

     PHOTO: of DR. ALBERT RODRIGUEZ.

                               WAYNE (V.O.)
                    The two psychiatric opinions the board
                    sought were those of Albert
                    Rodriguez...

     PHOTO: of DR. FELIX VARGUS.

                               WAYNE (V.O.)
                    ...and Dr. Felix Vargus. Both of the
                    good doctors, for whatever reason,
                    refused to be interviewed.

     INT. DR. REINGHOLD'S OFFICE - DAY

     Back with Dr. Reinghold. He's laughing.

                               DR. REINGHOLD
                    It's a funny situation actually. If
                    anyone besides Mickey and Mallory give
                    a damn, what the prison board is doing
                    would be considered an outrage. The
                    prison board is basically saying, 'We
                    can't handle these guys.' They've
                    moved 'em around twice since their
                    sentence started.
                    They were a handful everywhere they
                    went. Now the prisons they're at now
                    want them outta there. But no other
                    prison's gonna be stupid enough to take
                    'em. So the prison board is left
                    scratching their heads wondering what
                    they're gonna do. Well, what they
                    decided to do was to set up a kangaroo
                    medical court that found them crazy.
                    Then they get them transferred to
                    Nystrom Medical Asylum or Lobotomy Bay
                    as it's referred to in the psychiatric
                    circle. Put 'em on a strict dope and
                    electro shock diet, and Mickey and
                    Mallory cease to be a problem to
                    anybody except the orderlies who clean
                    out the bedpans, which if you want to
                    see them get theirs, that's all well
                    and good. But there's something being
                    said here. Forget the immorality for a
                    second. Forget the corruption and the
                    skulduggery involved. What the board
                    is saying is 'we give up.' Mickey and
                    Mallory ran amuck in polite society.
                    They were put in an alternative society
                    and they ran amuck there, too. All the
                    powers that be, can't deal with these
                    two kids. And whatever can't be
                    assimilated has to be terminated.

                               WAYNE
                    So, in your opinion Mickey and Mallory
                    are not insane?

                               DR. REINGHOLD
                    Insane, no. Psychotic, yes. A menace
                    to living creatures, yes. But to
                    suggest that they're insane gives the
                    impression that they don't know right
                    from wrong. Mickey and Mallory know
                    the difference between right and wrong.
                    They just don't give a damn.

     FREEZE FRAME on Dr. Reinghold.

     INT. EDITING BAY - DAY

     Wayne's just finished viewing the show. He puts his hands on
     Scott and Roger's shoulders.

                               WAYNE
                    Good work, my brothers. Fan-fuckin'-
                    tastic! I think that interview stuff's
                    too long, we can lose some of that.
                    Keep the girls, keep the long hairs,
                    keep the Hun brothers, keep the black
                    guy, keep the movie shit, and keep the
                    cop at the donut shop. Lose the rest.
                    And cut the interview with the prison
                    board fellow before that. Cut it after
                    I ask, 'I take it by your answer it was
                    a whole new team.' Don't even let him
                    answer. Fuck him. Then cut to me
                    talking about the two chicken shit
                    psychiatrists and straight in Dr.
                    Reinghold laughing.

                               SCOTT
                    Okay.

     Wayne puts his arm around Unruly Julie.

                               WAYNE
                    Children, we have a show.
                         (to Scott & Roger)
                    You two get some long well overdue
                    sleep. 'Cause tomorrow, bright and
                    early, county jail and then journey's
                    end...Mickey Knox.

                                                    CUT TO:

     TITLE CARD: 'TOMORROW--BRIGHT AND EARLY.'

     INT. MICKEY'S CELL - DAY

     Mickey's pacing back and forth in his cell, trying out different
     jokes.

                               MICKEY
                    There's this Italian guy, a French guy,
                    and a Polish guy. And they're all
                    talkin' about how they fuck their
                    wives---

     JUMP CUT:

                               MICKEY
                    ...You know, I'm gonna just rip off
                    your dress and squeeze your titties.
                    Then Little Red Riding Hood whips out
                    her .357, sticks it in the Big Bad
                    Wolf's face and says, 'No you're not.
                    You're gonna eat me...just like the
                    story says.'

     JUMP CUT:

                               MICKEY
                         (with a lisp)
                    ...Fairy boat! I knew things were
                    good in here, but I didn't know we had
                    our own Navy.

     JUMP CUT:

                               MICKEY
                    ...So this guy wants to take little
                    Johnny's sister to the drive-in. But
                    the mother says, 'Only if you take
                    little Johnny along---'

     JUMP CUT:

                               MICKEY
                    ...And the Polish guy says, 'That's
                    nothing. When I get through with my
                    Hanna, I get up, wipe my dick on the
                    curtain, and she hits the roof!'
                       
     JUMP CUT:

     Mickey's pretending he's calming down a hysterical audience.

                               MICKEY
                    No...please...thank you...you're
                    too kind...no...please...

     INT. NEWS VAN - MOVING - DAY

     Through Scott's CAMERA, we're filming this in BLACK AND WHITE -
     16mm.

     NOTE: Everytime we're viewing through Scott's CAMERA, we are
     filming handheld in 16mm BLACK AND WHITE. Until otherwise
     specified, the SHOTS stay in Scott's CAMERA.

     Scott's filming the back of the newsvan. Roger's sitting in the
     back eating donuts as is Wayne. Unruly Julie's up front
     driving.

                               WAYNE
                         (with mouthful of donut)
                    How's it working, Scotty?

                               SCOTT (O.S.)
                    Perfecto!

     Roger's picking through a box of donuts. Scott PANS over to
     him, then slowly ZOOMS in on him.

                               ROGER
                    Where the fuck's the chocolate cream
                    filled? Did anyone get my chocolate
                    cream filled? If you did, it's mine.

     CU of Roger, looking into CAMERA.

                               ROGER
                    I pointed at a chocolate cream filled.
                    You saw me do it, didn't you?

     Wayne starts talking. We PAN from Roger to a CU of Wayne.

                               WAYNE
                    You were there. Did you see him put it
                    in a box?

     We PAN back to a CU of Roger.

                               ROGER
                    At the time, I was too busy explaining
                    to Scott the finer points of film.

     We ZOOM back to a WIDE SHOT.

                               SCOTT (O.S.)
                    Yeah, right. You know what he said?
                    He said, Indiana Jones And The Temple
                    Of Doom is Spielberg's best film.

     Wayne starts laughing. We hear Scott laugh too.

                               WAYNE
                         (to Roger)
                    You can't be serious?

                               ROGER
                         (preoccupied)
                    I'm as serious about that as I am about
                    going back to the donut store, and
                    dipping that stupid Mexican's head into
                    the batter for forgetting my chocolate
                    cream filled. Gimme that other box.

                               WAYNE
                    Huh uh. This dozen is for Mickey.

                               ROGER
                    That dumbass probably put my chocolate
                    cream filled in there by mistake.

                               WAYNE
                    Roger, no.

                               ROGER
                    What's the big deal? Take out my
                    chocolate cream filled, put one of
                    these roasted coconut---

                               WAYNE
                    Roger, do you understand what the word
                    'no' means? It's important we
                    establish a rapport. Something as
                    simple as a dozen donuts can mean the
                    world to somebody who hasn't had a
                    donut in a year.

                               ROGER
                    So you're giving a man who butchers
                    whole families, little babies included,
                    my chocolate cream filled?

     Unruly Julie HONKS the horn. Wayne gets up and looks out the
     windshield.

                               WAYNE
                    Okay, guys, we're here. L.A. County
                    Jail. Julie, just park in the front.

                               ROGER
                    Wayne---

                               WAYNE
                    Roger, I'm starting to get pissed.
                    Just drop this fuckin' donut shit, and
                    gather your gear.

     The van stops. Wayne slides open the panel door, and steps out.

     EXT. LOS ANGELES COUNTY JAIL - DAY

     BACK TO: COLOR 35mm.

     Wayne hops out of the van and is approached by Superintendent
     Phil Wurlitzer who's followed by two DEPUTY SHERIFFS.

                               WAYNE
                         (aside to Scott)
                    Here's the welcome wagon.

     Wurlitzer reaches them and shakes Wayne's hand.

                               WURLITZER
                    Hello, Mr. Gayle. I'm Phil Wurlitzer.
                    We talked on the phone. It's a
                    pleasure to meet you.

                               WAYNE
                    Same here. Let me introduce my crew.
                    Scott...Roger...and Unruly Julie
                    ...this is...I'm sorry. What's
                    your title again?

                               WURLITZER
                    I'm the superintendent here at L.A.
                    County Jail. Me and my deputies are
                    who you'll be working with while you're
                    here.

                               WAYNE
                    That sounds great. Look, I don't want
                    any of this to intimidate you. This is
                    not going to be a big deal. This is
                    going to be very easy.
                         (to his crew)
                    I need to talk with Mr. Wurlitzer. You
                    guys get your equipment ready, power up
                    the van and confirm a transmission code
                    for the remote. Julie come with me.

     Julie tosses the keys to Roger and shadows Wayne as he speaks
     confidentially to Wurlitzer.

                               WAYNE
                    The main thing I need is a big room,
                    shut off from the population, so we can
                    get some privacy...with a few
                    electrical outlets.

     INT. SUPPLY ROOM - DAY

     Wayne and his crew have set up in the food supply room off from
     the cafeteria. Being big, roomy, and unpopulated, it's perfect
     for an interview. There's eight L.A. County DEPUTY SHERIFFS
     around the room along with Wurlitzer. Roger's setting up his
     sound equipment while Unruly Julie is checking her notebook.

     Wurlitzer and a few Deputies talk among themselves. CAMERA
     moves from person to person without cutting.

                               WURLITZER
                         (to two Deputies)
                    This is just for an interview, I was
                    on the set of 'Dukes of Hazzard' once.
                    It was a much bigger deal than this.
                    They had a crew of maybe seventy-five
                    people.

     CAMERA moves to Wayne and Scott.

                               WAYNE
                    We're gonna be talking over here. But
                    I want enough freedom so if I wanna get
                    up and move around, we can.

     Wayne grabs Scott and walks him to the left.

                               WAYNE
                    Take him and walk him over this way.
                         (pretending Scott's
                         Mickey)
                    So, Mickey, killing Mallory's parents,
                    what the hell was that all about?
                         (pauses--to Scott)
                    Then maybe take him to the window.

     He walks Scott to the window.

                               WAYNE
                         (pretending Scott's
                         Mickey)
                    So, Mickey, if you were let outta jail
                    today, what's the first thing you'd do?
                         (pause--to Scott)
                    Little shit like that. I don't wanna
                    have to feel I gotta stay in the
                    chairs. We're after a cinema verite,
                    anything can happen, truth twenty-four
                    times a second kindda feel.

     End of single SHOT.

     Wurlitzer's talking with Deputies.

                               WURLITZER
                    And when it's lunch time, they don't
                    just go to McDonalds. They got cooks
                    there servin' great food. Swedish
                    meatballs...

     Wayne walks over to Wurlitzer and Deputies.

                               WURLITZER
                    How's everything coming, Mr. Gayle?

                               WAYNE
                    Everything's coming along just fine.
                    Phil, I wanted to know if I could have
                    a small word with you.

                               WURLITZER
                    By all means.

     Wayne puts his hand on Wurlitzer's shoulder. They walk around
     the room.

                               WAYNE
                    You met the kids I have working for me?
                    Great bunch, aren't they?

                               WURLITZER
                    Oh yes, indeed. Top flight.

                               WAYNE
                    Scott, genius cameraman, Roger,
                    magician with sound. Unruly Julie, I
                    could sooner do without my arm than
                    Unruly Julie.

                               WURLITZER
                    Is that her real name?

                               WAYNE
                    Just a little nickname. Yep, they're
                    my kids and they're all I need. After
                    working together these past coupla
                    years, we're like well-oiled machinery.
                    No, more like a Formula race car. No,
                    scratch that one, too. What we're
                    really like is a Swiss watch. Small,
                    intricate, compact...it shouldn't
                    work as well as it does, but it does.
                    Because of the craftsmanship, the
                    expertise, and the artist's loving
                    hand.

     Wayne gives Wurlitzer a moment to digest this.

                               WURLITZER
                    I see.

                               WAYNE
                    Now, Phil, I don't know if you've ever
                    been on a set before---

                               WURLITZER
                         (proudly)
                    Ya know, I was.

                               WAYNE
                         (acting surprised)
                    Really?

                               WURLITZER
                    I was on the 'Dukes of Hazzard' set
                    about eight years ago.

                               WAYNE
                         (still acting surprised)
                    Well...small world. Well, then, you
                    know firsthand how Hollywood does
                    things. Lights all over the place,
                    generators, a hundred and fifty crew
                    members---

                               WURLITZER
                    Oh, that 'Dukes of Hazzard' show, there
                    was probably ninety-five people there,
                    maybe more.

                               WAYNE
                    See what I mean? It's a funny
                    business, isn't it?

                               WURLITZER
                    It sure is.

                               WAYNE
                    They got a asshole over here.
                         (pointing to his left)
                    A asshole sitting down reading a
                    magazine over there.
                         (points to his right)
                    A asshole perched up there.
                         (points straight up)
                    Assholes everywhere. Hey, maybe if we
                    were doin' that kiss, kiss, bang, bang
                    stuff we'd need all those assholes,
                    too. What we're about is intimacy.
                    We're about two people having a
                    conversation. Say I was interviewing
                    you. All I want you to worry about is
                    what I ask you. I want a trust to
                    develop. If you're thinking about all
                    this...
                         (indicates the hustle and
                         bustle of a set)
                    ...you're not going to relax, a trust
                    won't develop, we'll be talking a each
                    other instead of to each other, there
                    will be no chance for intimacy.

     Wayne gives Wurlitzer a chance to take this in.

                               WAYNE
                    That's why my crew is only three...an
                    invisible three.
                         (switching gears)
                    Which brings me to what I wanted to
                    talk to you about. I have to get
                    Mickey Knox to relax...Mickey Knox to
                    share what he's never shared before...
                    Mickey Knox to open doors which 'till
                    today have been closed. Well, how can
                    we expect him to do that when we got
                    Los Angeles County Sheriffs up
                    the walls.

     Suddenly, things get short between the two men.

                               WURLITZER
                         (snorts)
                    Well, just what the hell do you expect
                    me to do?

                               WAYNE
                    Lose 'em.

                               WURLITZER
                    Mr. Gayle, do you have the slightest
                    idea how dangerous Knox is?

                               WAYNE
                    Mr. Wurlitzer, I assure you, I am very
                    familiar with Mickey Knox's career.

     They're out and out angry.

                               WURLITZER
                    Since he and his wife have been in
                    custody, they've killed---

                               WAYNE
                    Don't recite the fact to me. I'm sure
                    I know 'em better than you do.

                               WURLITZER
                    Well, let me let you in on one more fact you
                    obviously don't know. If I were to
                    take my men away, Mickey Knox would
                    snap your neck like a twig.

                               WAYNE
                    One...I can take care of myself. I
                    grew up in a tough neighbourhood, and
                    I've handled some pretty rough
                    customers in my day. Mickey Knox
                    doesn't scare me. Two...I'm a
                    journalist, and I'm prepared to take
                    that risk. Three...it ain't gonna
                    happen. Believe me when I tell you, it
                    is in Mickey Knox's own best interest
                    to play this game according to Hoyle.
                         (pause)
                    Wait a minute. We've gotten into a
                    advisory relationship here, which is
                    not what I want.
                         (pause)
                    But seriously, Phil, look at this.

     Wayne scans the room, counting the deputy sheriffs.

                               WAYNE
                         (counting)
                    We got one...two...three...four
                    ...five...six...seven...eight.
                    I mean Jesus Christ, Phil, that's too
                    much. Let's lose some of these guys.

                               WURLITZER
                    Wayne, if it was anybody else---

                               WAYNE
                    Phil, I'm just scared he's gonna clam
                    up on me with all these sheriffs all
                    over the place. They hate him. He
                    hates them. What kinda intimacy am I
                    gonna create with all this hate in the
                    air. Even you and I feel it.

                               WURLITZER
                    What are we talking about?

                               WAYNE
                    Two guys?

                               WURLITZER
                    Okay. I'll take two guys off.

                               WAYNE
                    No, no, no, no, no, no, I mean only two
                    guys.

                               WURLITZER
                    I can't do that. Five guys.

                               WAYNE
                    Three.

                               WURLITZER
                    I'll cut it in half. Four guys, but
                    that's it.

     INT. MICKEY'S CELL - DAY

     Mickey lays on his bed with his hands behind his head.

     CAMERA DOLLIES BACK to include the bars of Mickey's cell door in
     the F.G. as two DEPUTY SHERIFFS enter FRAME and slide it open.
     The deputies each carry shotguns and a shit load of chains and
     shackles.

                               DEPUTY #1
                    On your feet! Turn your face to the
                    wall.

     Mickey gets up.

                               MICKEY
                    Now what you're supposed to say is:
                    'Five minutes, Mr. Knox.'

     OFF SCREEN the cell door slams closed.

                                                    CUT TO:

     INT. MALLORY'S CELL - DAY

     CU of Mallory asleep in her bunk. The echo of Mickey's cell
     door makes her up with a jolt.

                               SCAGNETTI (O.S.)
                    Rise and shine, Mallory!

     Mallory springs out of bed, and into a fighting stance.

     CAMERA WHIP PANS to Scagnetti, inside her cell, flanked by two
     deputies with shotguns. The deputies are BINGHAM and
     WASHINGTON.

                               SCAGNETTI
                    Beautiful day for a drive, isn't it?

                                                    CUT TO:

     INT. JAIL CORRIDOR - DAY

     CU of Mallory's bare feet walking in front of Bingham and
     Washington's shiny black shoes.

     The SOUND of Mallory's bare feet slapping the concrete floor,
     along with the clip-clop-clip-clop of the deputies' shoes,
     reverberates throughout the scene.

     Mallory walks slightly ahead of the two shotgun wielding
     deputies, when Scagnetti slips in beside her. He lights up a
     cigarette with his Zippo, and talks a long drag.

                               SCAGNETTI
                    It's a long trip to Bakersfield. Long
                    and hot. Ever been to Bakersfield?

     Mallory looks straight ahead.

                               SCAGNETTI
                    See, I've been there twice. And I'm
                    not lookin' forward to goin' back. But
                    I'm in and out. You, on the other
                    hand, sweetheart, are gonna spend the
                    rest of your life there. Now that's
                    what I call cruel and inhuman
                    punishment.

     Mallory shows no emotion, just keeps on walking.

                               SCAGNETTI
                    Course you're not gonna give a shit.
                    'Cause when the good doctor's get
                    through givin' you the zap...
                         (he puts his finger next
                         to his temple, pantomimes
                         being electrocuted)
                    ...You won't know where the hell you
                    are. They'll just put you on a window
                    sill, and water you every other day.
                       
     Mallory lets out a big yawn.

     INT. SUPPLY ROOM - DAY

     Wayne stands at the window speaking to Scott, Roger and Unruly
     Julie. One the other side of the room Wurlitzer and his
     entourage of deputies are yucking it up, and occasionally
     bursting into laughter.

                               WAYNE
                         (to his crew)
                    And when he gets here, its no dick'n
                    around time. Make him up, clip a mike
                    on him, then leave him alone. I don't
                    want you talking to him. I don't want
                    you getting in his face. I want you
                    hiding behind your gear. You are
                    invisible.

     CAMERA PANS to the door as two deputies lead Mickey into the
     supply room. Mickey is shackled head to toe, it's a wonder how
     he can still walk.

                               WAYNE
                         (to his crew)
                    Okay, break.

     Wayne's team disburses.

                               WURLITZER
                    Okay, boys, lets start undoing him.

     Two deputies hold shotguns to Mickey's head, while two others
     start unlocking the chains. As they do, Mickey looks at Wayne.

     Wayne approaches Mickey.

                               MICKEY
                         (to Wayne)
                    Okay now, before we get started here,
                    there's a few things we have to get
                    clear about.

                               WAYNE
                    All right, Mickey.

                               MICKEY
                    Let's discuss it when I'm unbound.

     CAMERA holds on Mickey standing still as the two deputies remove
     the chains.

     INT. HOLDING CELL - DAY

     CAMERA is inside a holding cell fixed on the cell door. The
     cell door is unlocked, then opened. The two deputies bring
     Mallory inside. Scagnetti wanders in, trailing behind.

     Bingham pumps his shotgun slide and places the barrel next to
     Mallory's head. Washington unlocks the cuffs around Mallory's
     wrists.

     Mallory's silent.

     Scagnetti leans up against the wall, smoking his cigarette.

                               BINGHAM
                    Turn around and face the wall!

     Mallory does.

     Bingham and Washington move to the door.

                               SCAGNETTI
                    Wait outside for a second, fellas.

                               BINGHAM
                    We're not supposed---

                               SCAGNETTI
                    Don't worry about it.

     Bingham and Washington move outside.

     Scagnetti takes out his gun and tosses it to Washington. Before
     they can protest, Scagnetti closes the door.

     Mallory stands in the middle of the cell, motionless, her back
     to him.

     Scagnetti walks up behind her.

     Mallory doesn't move.

                               SCAGNETTI
                    Want a smoke?

     Mallory's steel eyes glare at Scagnetti.

                               SCAGNETTI
                    C'mon, I already lit one for you. I
                    know you smoke.

     Mallory doesn't respond. Scagnetti takes the cigarette from his
     mouth and puts it between Mallory's lips. Hold on C.U. of
     Mallory.

                               SCAGNETTI
                    I was reading the file on you. You
                    know what it said during your
                    trial, whenever they put you on the
                    stand, no matter what they asked, your
                    answer was always the same...'I love
                    Mickey.' It also says that when they
                    gave you a polygraph, 'I love Mickey'
                    was the only thing you said that
                    registered as the truth.

     Scagnetti appears at the side of frame next to Mallory.

                               SCAGNETTI
                    Who are you supposed to be? Squeaky
                    Fromme? Is that it? Is Mickey your
                    Charles Manson? Is Mickey Jesus? Is
                    that the attraction? Or does he just
                    got a big dick?

     Scagnetti changes to Mallory's other ear.

                               SCAGNETTI
                    That's it, isn't it? Mickey's got a
                    big donkey dick.

     Scagnetti presses closer.

                               SCAGNETTI
                    Can you remember the last time you
                    fucked? Huh? What I want you to do is
                    close your eyes and remember...
                    remember the last time ol' Mickey gave
                    you the high hard one. Are ya thinkin'
                    about it? Good. Remember it. Don't
                    ever forget it cause it ain't never
                    gonna happen again. Cause when they
                    get through with all that electroshock
                    shit they got lined up for you two,
                    Mick's dick ain't gonna be worth shit.

     Mallory spits the lit cigarette unto Scagnetti's face.
     Scagnetti spins her around and slaps her.

                               SCAGNETTI
                    Look. You're gonna sit here for a
                    couple hours while I finish up the
                    arrangements. The reason they picked
                    me to be your chaperone is they know I
                    won't hesitate to put a bullet in you.
                     
     Scagnetti has Mallory clutched tightly by her shoulders.

                               SCAGNETTI
                    So, during our journey, if any wild
                    hairs spring up on your ass, you'd
                    better slap a muzzle on 'em! Fuck with
                    me, bitch, even a little bit, you're
                    gonna get accidentally shot!
                    Comprehende?

     Mallory looks at him for a moment, then gives his a massive HEAD
     BUTT. As we hear the CRACKING of his nose, Scagnetti lets out a
     horrible scream.

     EXT. HOLDING CELL - DAY

     Bingham and Washington fumble with the keys to open the cell
     door.

     INT. HOLDING CELL - DAY

     Bingham and Washington burst through the door to find Scagnetti
     face down on the ground.

     Mallory's standing, her foot pressed against the middle of
     Scagnetti's back, pulling his arms behind him trying to break
     his back. His body is bending like a branch, and he's
     screaming.

     The two deputies proceed to BEAT the shit out of her with their
     shotguns.

     Scagnetti rolls around in the B.G., holding his bloody nose,
     screaming.

                               SCAGNETTI
                    She broke my fucking nose! That bitch
                    broke my nose!

     Washington comes over to him and helps him up.

                               SCAGNETTI
                         (blood down his face)
                    She broke my nose.

                               WASHINGTON
                    I'll fix it.

     He grabs Scagnetti's nose, then SNAPS it back into place.
     Scagnetti lets out another horrible scream, and hops up and down
     from the pain.

     When the rush of pain passes, Scagnetti brings his hands down
     from his face, looking over at Mallory.

     Bingham has Mallory in the corner of the cell with the shotgun
     barrel placed in her mouth.

     CU on Scagnetti. He's a hand grenade with the pin pulled.

                               SCAGNETTI
                    Hold her, boys.

     Scagnetti walks to the corner where Mallory is. The shotgun
     barrel's out of her mouth. Bingham and Washington stand on
     either side of her, holding her in place.

     Scagnetti grabs a can of mace from Washington's belt, and brings
     it up to Mallory's face.

     Mallory and Scagnetti trade looks.

     Scagnetti gives her an intense blast of mace right in the face,
     eyes, and all over her body.

     Mallory crumples to the floor, screaming in agony.

     TWO SHOT of Bingham and Washington looking down at Mallory on
     the ground. We can hear Scagnetti still spraying her. They
     can't look at this anymore.

     Mallory wiggles on the floor as Scagnetti continues spraying her
     all over her body.

     CU of Scagnetti's bloody face smiling. We hear the SOUND of the
     can of mace running empty. It spurts to a stop.

     Scagnetti rises up to the two deputies. He hands the empty can
     back to Washington.

                               SCAGNETTI
                    I want this filled before we leave.

     The three men walk out of the holding cell, closing and locking
     the door behind them. We can still hear Mallory's screams of
     excruciating pain.

     INT. SUPPLY ROOM - DAY

     Mickey's sitting in a chair eating a donut. Roger's attaching a
     microphone to his shirt. Unruly Julie's applying make-up to
     Mickey's face.

                               MICKEY
                         (to Unruly Julie)
                    How come you never talk?

                               ROGER
                    She was born without a tongue.

                               MICKEY
                         (repulsed)
                    Oh my God!
                         (to Unruly Julie)
                    Sorry.

     Unruly Julie shrugs her shoulders like 'what are you gonna do' and
     continues applying make-up.

     Wayne and Wurlitzer talk.

                               WAYNE
                    So we got a deal. Four deputies---

                               WURLITZER
                    And me.

                               WAYNE
                    Why don't we make it three deputies and
                    you?

                               WURLITZER
                    Why don't I have Mickey thrown back
                    into his cell and we can forget the
                    whole thing?

                               WAYNE
                    Chill out, Phill. Four deputies and
                    you, I can live with that. We're about
                    ready to go here, so let's get rid of
                    these other assholes.

                               WURLITZER
                    Don't call my men assholes.

                               WAYNE
                    I didn't mean they were assholes. I
                    mean if they're leaving, get 'em outta
                    here.

     Wayne leaves Wurlitzer and goes over to Scott, who's setting up
     a light stand.

                               WAYNE
                    Okay, Scotty, we're stuck with four of
                    these assholes. Now I want to create
                    the illusion that this is just Mickey
                    and I chewin' the fat all by ourselves.
                    So make sure you don't film these
                    assholes. I don't want to see 'em on
                    film ever. Oh, and 'Live at Five'
                    slated our spot as human interest which
                    means we'll go live at just after
                    five-thirty.

     Wayne exits to reveal Mickey in B.G.

     Wurlitzer's speaking with his four deputies.

                               WURLITZER
                    This asshole's tryin' to tell me what
                    I'm gonna do in my jail. Fuck him!
                    This nanderfuck doesn't know what he's
                    dealin' with here, but we do. And if
                    shit happens, he ain't gonna be
                    responsible, we are. So keep your
                    shotguns out, your fingers on the
                    triggers, and be ready to fire at a
                    moment's notice.

     BACK TO: Mickey alone in FRAME, sitting in a chair and eating a
     donut. He takes a big bite.

                               ROGER
                    Say something.

                               MICKEY
                         (mouthful of donut)
                    What?

                               ROGER
                    Anything.

     Mickey swallows the bite of donut, pauses, then recites a poem.

                               MICKEY
                         (talking in rhyme)
                    I stand amid the roar
                    Of a surf tormented shore,
                    As I hold within my hand
                    Grains of the golden sand--
                    How few! yet how they creep
                    Through my fingers to the deep,
                    While I weep--while I weep!
                    O God! can I not save
                    One from the pitiless wave?
                    Is all that we see or seem
                    But a dream within a dream?

     Mickey bites into the donut.

                               MICKEY
                         (mouthful of donut)
                    How was that?

     Roger joins him in FRAME and adjusts the mike.

                               ROGER
                    Ah...fine. Let me make an adjustment
                    here, and we'll be ready to rock 'n
                    roll. Oh...uh, the dumbass at the
                    donut place put a chocolate cream
                    filled I asked for in your box.

                               MICKEY
                    There's a chocolate cream filled in
                    there?

                               ROGER
                    Yeah. Ya see, I ordered that special.

                               MICKEY
                    Tough titty, it's mine now.

                               ROGER
                    Look, I'll trade you.

     Wayne enters frame.

                               WAYNE
                    Roger, enough with the fucking donuts!
                    What did I tell you. Stop bothering
                    Mickey, and get behind your nagra.

                               ROGER
                         (to himself)
                    Fine. Roger, what the hell are you
                    doing? You're bothering the serial
                    killer.

     Roger exits FRAME.

     Wayne grabs a chair and sets it in front of Mickey.

                               WAYNE
                    Sorry about that.

                               MICKEY
                    Don't worry about it.

                               WAYNE
                    We're about ready to go here. Are you
                    ready?

                               MICKEY
                    Let's do it.

     Wayne smiles and exits FRAME.

                               WAYNE (O.S.)
                    Okay people! Let's start to settle
                    down here.

                                                    CUT TO:

     INT. SUPPLY ROOM - DAY

     16mm - BLACK & WHITE

     SCENE is now SHOT through Scott's CAMERA which holds a ECU of
     Mickey's eye.

     CAMERA focuses then pulls out to include his whole face.

                               WAYNE (O.S.)
                    Are you comfortable?

     Mickey looks to Wayne OFF SCREEN and nods.

                               WAYNE (O.S.)
                    Roger?

                               ROGER (O.S.)
                    Rockin'!

                               WAYNE (O.S.)
                    Scotty?

                               SCOTT (O.S.)
                    Rollin'...and speed!

                               WAYNE (O.S.)
                    Slate it.

     CAMERA SLATE reading 'KNOX INTERVIEW -- ROLL #1' is thrust into
     view and clapped. The CAMERA ZOOMS out to include Wayne in the
     FRAME.

                               WAYNE
                    So, Mickey, tell us what you do for
                    fun.

                               MICKEY
                    Aside from the obvious?

     Mickey breaks out laughing.

                               WAYNE
                         (not amused)
                    Yes. Aside from the obvious.

    Mickey's laughing slowly runs its course.

                               MICKEY
                    Okay, let me see now. What do I do for
                    fun?
                         (to people O.S.)
                    Does anybody got a smoke? You guys are
                    drivin' me crazy with your cigarettes.
                         (to camera)
                    Sorry out there in TV land. I'm just
                    sittin' here lookin'' at these deputies
                    smokin' up a storm, and it's really
                    doin' it to me.

     A deputy comes into FRAME, hands Mickey a cigarette, then lights
     it. Deputy exits FRAME.

                               MICKEY
                    Much obliged. What do I do for fun?
                    Do you want to know what I do for fun
                    or what I did for fun?

                               WAYNE
                    What? Oh, aaahhh, what you did for fun
                    for starters.

                               MICKEY
                    What I did for fun for starters.
                         (thinking)
                    Well, something I used to do...always
                    was a lot of fun...
                         (pause)
                    No, scratch that. Let me think of
                    something else. In fact, why don't we
                    come back to that question. Ask me
                    something else.

                               WAYNE
                    Do you miss Mallory?

                               MICKEY
                    Of course, I miss Mallory. She's my
                    wife. I haven't seen her in a long
                    time. What a stupid question.

                               WAYNE
                    Then was it worth it?

                               MICKEY
                    Was what worth it?

                               WAYNE
                    Was massacring all those people worth
                    being separated from your wife for the
                    rest of your life?

     Mickey takes a drag from his cigarette.

                               MICKEY
                    Do you think up these questions or the
                    girl with no tongue?

                               WAYNE
                    No, Mickey, I can't let you get away
                    with that shit. Answer the question.
                    Was it worth it? You haven't seen,
                    heard, or smelled Mallory in a year.
                    Was it worth it?

                               MICKEY
                    Was an instant of purity worth a
                    lifetime lie? Yeah, it was.

                               WAYNE
                    Excuse me, did you say an instant of
                    purity? What was the instant of
                    purity? The bodies you left behind on
                    your bloody trail?

                               MICKEY
                    That's only part of it. I mean, it's a
                    big, big, big part. But it's only the
                    chorus, it's not the whole song.

                               WAYNE
                         (passionately)
                    Please explain to me, Mickey, where's
                    the purity that you couldn't live
                    without in five year old Danny
                    Millhouse's blown off head? Where's
                    the purity in forty-eight people who
                    are no longer on this planet because
                    they met you and Mallory? What's so
                    fucking pure about that?

     CAMERA ZOOMS in on Mickey's face. Mickey looks at Wayne, takes
     a slow drag off his cigarette.

                               MICKEY
                    Where the purity comes into play---

     The image on the SCREEN starts to flutter, and then jams.

     WHITE LEADER fills the SCREEN.

                               SCOTT (V.O.)
                    Camera jam! I'm sorry Wayne. God.

                               WAYNE (V.O.)
                    Fucking dammit! Mickey hold onto that
                    thought. Reload, quick!

     INT. HOLDING CELL - DAY

     We're back to COLOR 35mm.

     WHITE LEADER FADES to reveal the wall of the holding cell.
     CAMERA pans onto Mallory on the floor, splashing water on her
     face from the holding cell toilet. The pain has started to
     subside.

     All wet, she lies down on the ground and sings:

                               MALLORY
                         (singing)
                    Love is a hurtin' thang,
                    and it leaves a fiery sting.

                               SCOTT (V.O.)
                    Okay. Okay, we're up again.

                               WAYNE (V.O.)
                    Roll it. Save the slate.

                                                    CUT TO:

     INT. SUPPLY ROOM - DAY

     16MM - BLACK & WHITE

     We're looking through Scott's CAMERA again on a new roll of
     film.

                               WAYNE
                    You just said an instant of purity was
                    preferrable to a lifetime lie. I don't
                    understand. What's so pure about
                    forty-eight dead bodies?

                               MICKEY
                    You'll never understand. Me and you,
                    Wayne, we're not even the same species.
                    I used to be you...then I evolved.
                    From where you're standing, you're a
                    man. From where I'm standing, you're a
                    ape. I'm here...I'm right here...
                    and you...you're somewhere else, man.
                    You say why? I say why not?

                               WAYNE
                    Tell me about the purity.

                               MICKEY
                         (laughing)
                    It's not that easy, Wayne. Donuts and
                    a smoke only get you so far. You're
                    gonna have to do your job.

                               WAYNE
                         (laughs)
                    Okay...okay...I'll buy that. We'll
                    move on and come back later.

                               MICKEY
                    I'm sure we will.

                               WAYNE
                    Describe Mallory.

                               MICKEY
                    Describe Mallory? Okay. She's pretty,
                    she's got blonde hair, two eyes, two
                    feet, two hands, ten fingers...

                               WAYNE
                    Don't play dumb with me, Mickey. You
                    know what I mean. Describe Mallory.
                         (points at his head)
                    What's up here?
                         (points at his heart)
                    What's in here?

                               MICKEY
                    That's indescribable.

                               WAYNE
                    Well, riddle me this, Batman. How do
                    you feel about the fact that you're
                    never gonna see Mallory again?

                               MICKEY
                         (smiles)
                    Says who?

                               WAYNE
                    Says the United States of America.

                               MICKEY
                         (laughs)
                    When have they ever been right?

     The crew laughs (O.S.)

                               MICKEY
                    Hey, just like Soupy Sales.

     INT. JAIL CORRIDOR - DAY

     Scagnetti walks down the hallway leading to the supply room.
     His face is a patchwork of medical tape, to set his broken nose.
     Bloody cotton protrudes from each nostril.

     INT. SUPPLY ROOM - DAY

     Scagnetti walks into the supply room. Mickey is explaining to
     Wayne 'Why he's killed all those people.' Scagnetti can't
     believe what he's seeing. The entire room is in rapture.

                               MICKEY
                    ...one night I was asleep, and a noise
                    wakes me up. I thought, 'Oh shit,
                    somebody's broken in.' I didn't own a
                    gun, so I go into the living room with
                    a fucking umbrella. Okay, it turned
                    out to be nothing. God made the noise.
                    Who knows?

                               SCAGNETTI
                         (whispers)
                    How's it goin'?

                               WURLITZER
                         (whispers)
                    Shhhh! I wanna hear this.

     Wurlitzer sees Scagnetti's bandaged face.

                               WURLITZER
                    What the hell happened to you?

                               SCAGNETTI
                    You should see the other bitch. What
                    time you got?

                               WURLITZER
                    Two-thirty. Shhh...

     CAMERA leaves them and travels the room, studying the faces of
     the deputies, Unruly Julie, Roger, and Wayne as they listen to
     Mickey's story.

                               MICKEY
                    But I came to the direction I need a
                    gun. Do, the next day I started off
                    early for work, and I'm gonna stop by a
                    gun shop and pick up a little home
                    protection. I walked into the place
                    and had never seen so many guns in all
                    my life. So, I'm lookin' around, the
                    this really nice sales guy comes up to
                    me. His name was Warren. I'll never
                    forget his name. He was really nice.
                    Anyway, Warren showed me all these
                    different models of guns. Magnums,
                    automatics, pistols, Walters. And I
                    ask to see a shotgun. He brings me a
                    Mossberg pump action shotgun. As soon
                    as I held that baby in my hands, I knew
                    what I was gonna do. It felt so good.
                    It felt like it was a part of me. They
                    had a mirror in the store. I looked at
                    myself holding it, and looked so
                    fuckin' good, I immediately bought it.
                    Bought a bunch of boxes of ammo.
                    Turned my car around, drove to
                    Mallory's house, we took care of
                    Mallory's parents, packed up the car,
                    and we were off.

                                                    DISSOLVE TO:

     SAME SCENE: SHOT through Scott's CAMERA:

     MEDIUM CU on Mickey.

                               MICKEY
                    Everybody thought I'd gone crazy. The
                    cops, my mom, everybody. But you see,
                    they all missed the point of the story.
                    I wasn't crazy. But when I was holding
                    the shotgun, it all became clear. I
                    realized for the first time my one true
                    calling in life. I'm a natural born
                    killer.

                               WAYNE
                    Okay, let's cut it.

     BACK TO: COLOR 35mm

                               WAYNE
                         (to Scott)
                    Did ya get that?

     Unruly Julie hands Wayne a notebook. He starts flipping pages.

                               SCOTT
                    It's gonna be beautiful.

                               WAYNE
                    Super cool.
                         (to Mickey)
                    This is great stuff. How ya doin'?

                               MICKEY
                    I could go for a Coke.

                               WAYNE
                         (yelling)
                    Could I get a Coke for Mickey?

                               WURLITZER
                    I'm not running out and getting that
                    piece of shit a Coke.

                               WAYNE
                    Fine.
                         (to Unruly Julie)
                    Julie, why don't you make a food run?
                         (to the room)
                    What's around here?

                               DEPUTY SHERIFF
                    There's an In and Out Burgers about a
                    block away on Olive. It's walking
                    distance.

                               WAYNE
                    Okay, Julie, take everybody's order.
                    I'll have a double double with cheese,
                    french fries, and a large Coke.

     Unruly Julie writes down Wayne's order in her notebook, then
     goes from person to person collecting their orders.

     Scagnetti and Wurlitzer talk to each other.

                               WURLITZER
                    Are you all set?

                               SCAGNETTI
                    Yeah. Bus is all gassed up and ready
                    to roll.

                               WURLITZER
                    I assigned you Bingham and Washington
                    to go along.

     In B.G., Unruly Julie takes Scott's and Roger's orders.

                               SCAGNETTI
                    Yeah, we met. They're good men.

                               WURLITZER
                    They're real Goddamn good. They'll be
                    there for when ya need 'em. Where
                    are they?

                               SCAGNETTI
                    Waitin' in the lounge.

                               WURLITZER
                    How 'bout Mallory?

                               SCAGNETTI
                    Coolin' her jets in a holding cell.

     Unruly Julie walks up to the two men to take their order. In
     the B.G., we hear the wall phone BUZZ.

                               SCAGNETTI
                    Nothing for me. I'm leavin'.

                               WURLITZER
                    Me, neither. I don't eat meat.

     Unruly Julie walks away. A deputy yells for Wurlitzer.

                               DEPUTY SHERIFF
                    Capt'n!

                               WURLITZER
                    Yeah?

     The deputy holds the receiver of the wall phone in his hand.

                               DEPUTY SHERIFF
                    They need you. Emergency!

     Wurlitzer rushes to the phone, grabs the receiver.

                               WURLITZER
                         (into phone)
                    Talk to me.
                         (pause)
                    Where?
                         (pause)
                    For the love of Pete...okay...okay
                    ...okay. Mobilize the men. I'm on
                    my way.

     CAMERA PANS away from Wurlitzer to the extremely curious
     eavesdroppers.

     CAMERA glides by all of them: Scagnetti, Wayne, Scott, Roger,
     Unruly Julie, and finally ends up on Mickey.

     CAMERA holds on Mickey as he contemplates Wurlitzer's
     conversation.

     OFF SCREEN the phone receiver being SLAMMED down.

                               WURLITZER (O.S.)
                    I'll be a son of a bitch. There's a
                    riot going on in the laundry room.

                               DEPUTY SHERIFF (O.S.)
                    Is it serious?

                               WURLITZER (O.S.)
                    It sure as hell is. They got guns,
                    hostages, and explosives.

     The room reacts.

                               WURLITZER (O.S.)
                    Jack, could you stay up here for a
                    while?

                               SCAGNETTI (O.S.)
                    Yeah, sure.

                               WURLITZER (O.S.)
                    I'm taking one of these men. Yates,
                    come with me.

                               WAYNE (O.S.)
                    Could we go with you and film it?

                               WURLITZER (O.S.)
                    Stay up here and finish your interview,
                    I've got to see what the hell's going
                    on down there before I can take
                    responsibility for you to film there.

     We hear Wurlitzer and Deputy Yates walk out.

     Unruly Julie walks into FRAME next to Mickey. She has her
     notebook.

                               MICKEY
                    I'll have a four by four. That's four
                    patty burgers. Now they don't have
                    that on the menu, but if you order a
                    four by four, they'll know what you're
                    talking about. A large Coke and two
                    orders of fries.

     When she finishes writing down Mickey's order, Julie walks off
     silently.

     CAMERA follows Julie out the door and into...

     INT. JAIL CORRIDOR - DAY

     CAMERA DOLLIES with Julie as she walks down the corridor.

     As DEPUTIES with shotguns and riot gear speed down the hall, the
     CAMERA passes Julie and speeds down the corridor, following the
     DEPUTIES into BLACKNESS.

     INT. LAUNDRY ROOM - DAY

     CAMERA PANS from blackness to WIDE ANGLE of a dark jail wall
     masques with shadows of prison bars. The surreal echoing sounds
     of a riot swell until...

     A SHADOW of a PRISON GUARD stumbles into frame, followed by a
     MOB of other SHADOWS carrying NIGHTSTICKS and BARS.

     The Mob catches the Prison Guard and beat him mercilessly before
     moving on.

     CAMERA TILTS down to a CU of a thin stream of BLOOD crawling
     across the floor.

                                                    FADE TO BLACK:

     INT. SUPPLY ROOM - DAY

     SHOT through Scott's CAMERA:

     FOCUSING on Mickey, who's standing in a MEDIUM SHOT.

                               MICKEY
                    You guys wanna hear a joke I heard?

                               WAYNE (O.S.)
                    Sure.

                               MICKEY
                    Now, I'm no comedian, but it's pretty
                    funny. It's a Little Johnny joke. Now
                    in the joke, Little Johnny can't talk.
                    And Little Johnny's teenage sister asks
                    her mother if she can go out on a date.

     As Mickey tells this joke, he moves around the room. Scott's
     CAMERA follows.

                               MICKEY
                    The mother asks, 'Where's he taking
                    you?' The sister says, 'The drive-in
                    movie.' The mother tells her she can
                    only go if she takes Little Johnny with
                    her. She says okay. They go to the
                    drive-in, they come back. The mother
                    gets Little Johnny and says, 'Okay,
                    what happened? Where did ya go?'

     Mickey, as Little Johnny, draws a square in the air, and acts
     like he's driving.

                               MICKEY
                    Mother says, 'The drive-in movie. What
                    did they do?'

     Mickey, as Little Johnny, acts like he's kissing.

                               MICKEY
                    'They kissed. What else?'

     Mickey, as Little Johnny, starts squeezing imaginary breasts.

                               MICKEY
                    'He felt her up? What else?'

     Mickey, as Little Johnny, acts like he's undressing.

                               MICKEY
                         (dumbfounded)
                    'They took off their clothes? What
                    else?'

     Mickey, as Little Johnny, vigorously acts as if he's having sex.

                               MICKEY
                    'They did it? What were you doing?'

     Mickey, as Little Johnny, vigorously acts as if he's jacking
     off.

     Everyone in the room breaks up. Wayne, the boys, the deputies,
     even Scagnetti cracks a smile.

     As Mickey was telling the joke, he stopped in front of Deputy #4
     during the punchline.

     While everybody's laughing, Mickey SLAMS his elbow in Deputy
     #4's face. Mickey grabs hold of the shotgun, rips it from
     Deputy #4's grasp, then BASHES him in the face three times with
     the butt.

     Deputy #4 drops, ugly and unconscious.

     Scott's CAMERA goes wild.

     BACK TO: COLOR 35mm.

     The other deputies react.

     Mickey pumps the shotgun slide and shoots, hitting Deputy #5 in
     the chest, BLOWING him off his feet. He lands on his back with
     a THUD.

     Deputy #3 raises his shotgun. Mickey drops to a crouching
     position and FIRES, BLASTING Deputy #3 in the groin.

     Deputy #3 crumples into the wall, FIRING his gun -- SLOW MOTION.

     The stray bullet THUNKS Scott right in the chest, BLOWING him
     out of FRAME.

     Deputy #3 drops to the floor, FIRING his shotgun straight up --
     SLOW MOTION.

     CU of ceiling being BLASTED.

     Chunks of plaster and rock rain down on Sheriff #3.

     Scagnetti has whipped out his gun and is bringing it up to
     fire -- SLOW MOTION.

     Mickey, still crouched down, spins around toward Scagnetti --
     SLOW MOTION.

     Scagnetti has his gun aimed at Mickey.

     Squatting, Mickey has the shotgun trained on Scagnetti.

     They're positioned across from each other on opposite sides of
     the room.

     Nobody fires.

     We DOLLY past the faces of both Wayne and Roger, who are flat on
     the ground, scared to death.

     CU on Scagnetti's face.

     CU on Mickey's face.

     CU on Scagnetti's finger putting pressure on the trigger, then
     CAMERA moves up to a CU profile of his face.

     OVERHEAD SHOT of Mickey. CAMERA moves down in front of him into
     a CU on his face.

                               MICKEY
                    Looks like we got a Mexican standoff.

                               SCAGNETTI
                    Slide the shotgun over here, put your
                    hands behind your head, put your
                    forehead on the floor.

                               MICKEY
                    Or what? You'll wound me? I can blow
                    you in half and you know it.

                               SCAGNETTI
                    I've never wounded anything in my life.
                    I got you locked right between the eyes.

     Mickey rises.

                               MICKEY
                    If you don't drop that toy, I'm blowin'
                    you in half on three. So, if you got
                    me locked, take the shot. One...

     DOLLY in on Scagnetti's gun in F.G., past the gun, to his face.

     CU of barrel of shotgun.

                               MICKEY (O.S.)
                    Two...

     DOLLY continues closing in on Scagnetti's face.

     Wayne watches, wide eyed.

     ECU on Mickey's face.

                               MICKEY
                    Three!

     MEDIUM SHOT on Scagnetti.

                               SCAGNETTI
                    Hold it! Don't shoot!

     He CLICKS the hammer back into place on his gun, then points the gun up.

                               MICKEY
                    Open the chamber. Empty the shells.

     Scagnetti does. The shells fall out.

     The shells fall on the floor at Scagnetti's feet -- SLOW MOTION.

                               MICKEY
                    Toss it.

     Scagnetti does.

                               MICKEY
                    Now put your hands behind your head.

     Scagnetti does.

     Mickey, holding the shotgun, walks up to Scagnetti. They stand,
     facing each other.

                               MICKEY
                    Did you ever see 'Eldorado?'

                               SCAGNETTI
                    What?

     Mickey CLOUTS him across the face with the shotgun. Scagnetti
     hits the ground. Blood coughs from his broken nose.

     Mickey looks at Wayne and Roger on the ground.

                               MICKEY
                    You guys stay on your bellies.

                               ROGER
                    Yes, sir.

     Mickey bends over Scagnetti and takes hold of his right hand.

                               MICKEY
                    I am the most dangerous man in the
                    world.

     Mickey SNAPS the trigger finger on Scagnetti's right hand.

     Scagnetti screams.

     Mickey's still bent over Scagnetti.

                               MICKEY
                         (points at Scagnetti)
                    You're the law.
                         (points at himself)
                    I'm the law breaker.

     Scagnetti's not going to give Mickey and more trouble.

     Mickey stands straight, looks toward Wayne and Roger.

                               MICKEY
                    Donut, get your camera. See if it's
                    broke.

                               WAYNE
                    Let me check on Scott. He's hurt bad.

                               MICKEY
                    Scott's dead. And unless you wanna
                    play follow the leader, shut up and do
                    as you're told.


     Roger's checking the camera. He turns on the motor. It sounds
     like a lawn mower.

                               MICKEY
                    How is it?

                               ROGER
                    Not good.

                               MICKEY
                    Do you have a back up.

                               ROGER
                    It's video.

                               MICKEY
                    Even better. Wayne call your station,
                    tell 'em we're going live a little
                    early today. Make it happen!

                                                    CUT TO BLACK:

     INT. JAIL LAUNDRY ROOM - DAY

     Wurlitzer steps into the BLACK FRAME. This SCENE becomes a
     TRAVELLING CU that never leaves Wurlitzer. Although we'll only
     see Wurlitzer, we can make out activity in the edges of the
     FRAME and we can vividly hear the SOUNDS of chaos around us.

                               WURLITZER
                    I want two men stationed in that tier,
                    and I want men with rifles all along
                    the walkway.

                               PITNEY (O.S.)
                    Capt'n!

     Wurlitzer walks over to a table and looks down.

                               PITNEY (O.S.)
                    Here's the layout of the laundry room.

                               WURLITZER
                    Where do the air ducts lead?

                               PITNEY (O.S.)
                    Here.

                               SMITHY (O.S.)
                    Problem is they'll hear somebody
                    approaching that way.

                               PITNEY (O.S.)
                    We turned off the power when they took
                    over the room.

                               WURLITZER
                    We turn it back on. The machines go
                    back on supplying us with the cover
                    noise we need. Smithy, do it.

                               SMITHY (O.S.)
                    Right away, Capt'n.

     CAMERA follows Wurlitzer as he heads another direction.

                               WURLITZER
                    Jonesy, are the sharpshooters in place?

                               JONESY (O.S.)
                    Yes.

                               WURLITZER
                    You sure?

                               JONESY (O.S.)
                    I think--

                               WURLITZER
                    Never say you think when you know, or
                    you know when you think.

     Wurlitzer snatches a walkie talkie.

                               WURLITZER
                         (into walkie talkie)
                    Bergman, you in place?

                               BERGMAN (O.S.)
                         (from walkie talkie)
                    Sure am, Capt'n. Nothin' clean yet.

                               WURLITZER
                         (into walkie talkie)
                    Pass this to your team...the second
                    they get a lock on a blue, they're to
                    take the shot. Do you understand?

                               BERGMAN (O.S.)
                         (from walkie talkie)
                    That's a big ten-four, Capt'n.

     Wurlitzer looks to his right.

                               WURLITZER
                    What do you think, Pitney? How much
                    Explosives do you think that they
                    really have in there?

                               PITNEY (O.S.)
                    It's hard to say Capt'n.

                               WURLITZER
                    Take a wild stab!

                               PITNEY (O.S.)
                    I'll say enough to destroy this wing.

                               WURLITZER
                    The entire wing?

                               PITNEY (O.S.)
                    That's my opinion.

                               WURLITZER
                    Jesus...

                                                    CUT TO:

     SCREEN FILLS WITH STATIC.

     INSERT TITLE CARD: 'SPECIAL REPORT'

                               TV ANNOUNCER (V.O.)
                    We interrupt this program to bring you a
                    Special Report.

     INT. NEWS ROOM - DAY

     Title Card recedes in FRAME to expose an active news room in the
     B.G. News Anchor TONY CHAVEZ is lowering himself behind a desk
     while adjusting his earphone.

                               CHAVEZ
                    Good afternoon, I'm Tony Chavez and
                    this is a KKTV Special Report. At this
                    moment we are receiving preliminary
                    reports of a hostage--
                         (fingering earphone)
                    I...I'm sorry. I'm being told that
                    we're now taking you live to L.A.
                    County Jail where Wayne Gayle is
                    standing by.

                                                    CUT TO:

     INT. SUPPLY ROOM - DAY

     VIDEO FOOTAGE:

     NOTE: The video footage is all handheld and harshly lit, until
     otherwise specified.

     Wayne, stands alone in FRAME, moments from when we last saw him.

                               WAYNE
                    This is Wayne Gayle reporting live from
                    the Los Angeles County Jail, where you
                    can tell from the bloody carnage behind
                    me that the final chapter in the book
                    called Mickey and Mallory has not yet
                    been written.

     Mickey enters the FRAME with shotgun in hand, pushing Wayne out.

                               MICKEY
                    Thank you, Wayne, but our little movie
                    just underwent a title change. It's
                    now called 'The Escape of Mickey and
                    Mallory.' Starring me, you, Mallory,
                    and special guest accomplice, Jack-
                    fucked-up-fingers-Scagnetti.
                         (into CAMERA)
                    Okay, Donut, move in for a close up. I
                    want this for prosperity.

     CAMERA ZOOMS into a CU of Scagnetti.

                               MICKEY (O.S.)
                    Okay, buddy boy, where ya keepin'
                    Mallory? I know she's still here, and
                    I know you know where. So, start
                    talking or my first work as a director
                    will be your death scene.

                               SCAGNETTI
                         (slightly out of it)
                    She's in the holding cell, on this
                    floor.

                               MICKEY (O.S.)
                    You're taking us to that holding cell
                    now.
                         (into CAMERA)
                    All right, Cut!

     The CAMERA shuts off. SCREEN fills with STATIC.

                                                    CUT TO:

     INT. NEWS ROOM - DAY

     Tony Chavez speaks into CAMERA.

                               CHAVEZ
                    Ladies and gentlemen, in case you have
                    just tuned in, it appears that a
                    hostage situation involving Mickey Knox
                    is developing presently at the Los
                    Angeles County Jail. We have seen that
                    he is armed and apparently there has
                    been some loss of life. We will try to
                    re-establish contact with Wayne Gayle
                    and bring you more on this late
                    breaking story. Please stay tuned.

     INSERT TITLE CARD: 'SPECIAL REPORT'

                               TV ANNOUNCER (V.O.)
                    This has been a KKTV Special Report.

                                                    CUT TO:

     INT. SUPPLY ROOM - DAY

     BACK TO: COLOR 35mm

     WIDE SHOT of Mickey, holding his shotgun. He walks over and
     grabs the shotgun from dead Deputy #5. Deputy #5 won't let go
     of the gun from his dead man's grip. Mickey finally yanks it
     loose. He extracts all the shells from the gun, picks them off
     the floor, and puts them in his pocket.

     Mickey picks up Scagnetti's gun, inserts the loose bullets and
     slips it into his pants.

                               MICKEY
                    Okay, Jack, this is what we're doing.
                    Stand behind me, put your back against
                    mine and extend your arms behind you.

     Scagnetti rises, insecurely. He presses his back against
     Mickey's.

                               MICKEY
                    Now if I feel your back move away from
                    mine, you're gonna be ripped apart.
                    Got it?

     Scagnetti's back to back with Mickey. His arms flank Mickey.

                               SCAGNETTI
                    Yeah.

                               MICKEY
                    Okay, Wayne, step forward.

     Wayne enters FRAME. Mickey extends the shotgun.

                               MICKEY
                    Keep comin'. Put your solar plexus
                    against the barrel.

     Wayne does.

                               MICKEY
                    Grab his arms.

     Wayne does and Mickey quickly binds their arms together with
     gaffer's tape, forming a two man ring around him.

                               MICKEY
                    Either one of you two move, it's gonna
                    be shotgun city. You understand?

                               WAYNE & SCAGNETTI
                    Yes.

     Mickey tucks the tape roll into his shirt.

                               MICKEY
                    You ready, Donut?

                               ROGER
                    Ready.

                               MICKEY
                    Wagons, hooaaa!

     The hostage train starts moving. Wayne's walking backwards with
     the shotgun barrel pressed against his midsection. Scagnetti's
     walking back to back with Mickey and his own pistol pressed to
     his neck.

     Roger follows with the camera.

     INT. HOLDING CELL - DAY

     Mallory's sitting Indian style, singing Girl Scout songs to
     herself, and doing the hand motions.

                               MALLORY
                         (singing)
                    Whataleeatcha, whataleeatcha
                    dodaleedo, dodaleedo.
                    Whataleeatcha, whataleeatcha
                    dodaleedo, dodaleedo. Simplest thing
                    there isn't much to it.
                    All ya gotta do is dodaleedo it. I
                    like the rest,
                    but the best part I like is
                    Whataleeatcha, whataleeatcha dodaleedo,
                    dodaleedo, do
                    quack, quack.

     The cell door opens and the hostage train of Wayne, Mickey,
     Scagnetti, Roger and the camera, and two DEPUTIES they picked up
     along the way enters the room. The hostages are all wrapped
     with tape.

     CU on Mallory. She can't believe her eyes.

                               MICKEY
                         (to Mallory)
                    Honey, I'm home.

     Mallory runs into Mickey's arms, passionately kissing. This
     kiss has been a year coming. Now they're doing something
     everybody told them they would never do again.

     For this moment they are the only two people on earth. We're
     enraptured, too. CAMERA does a 360 around the loving couple.

                               MALLORY
                         (in between kisses)
                    It's taken you so long to come to me.

                                                    CUT TO:

     INT. JAIL LAUNDRY ROOM - DAY

     A sheet of paper flashes through FRAME.

                               BAILEY (O.S.)
                    Here's the list of the rioters.

     CAMERA TILTS to Wurlitzer reading, then looking up.

                               WURLITZER
                    Wait a minute, Bailey. Where's the
                    list of the hostages?

                               BAILEY (O.S.)
                    I'm working on it Capt'n.

                               WURLITZER
                    Keep on it, son.

     Wurlitzer reads the list to himself as he paces.

                               WURLITZER
                         (reading the names)
                    Alvarado, Issacs, Julian, Martinez,
                    Newendyke, Olvera, Pool, Ramos,
                    Schmidt, Spivey, Walsh, Westerguard...

     Wurlitzer drops into a chair, exhausted. He rubs his face with
     his hands.

                               NAPALATONI (O.S.)
                    Capt'n.

     Wurlitzer looks up, then looks back down.

                               WURLITZER
                    What is it Napalatoni?

                               NAPALATONI (O.S.)
                    Mickey Knox is loose.

     Wurlitzer looks up.

                               WURLITZER
                    What do you mean he's loose?

                               NAPALATONI (O.S.)
                    He's armed, he's killed three deputies
                    and one of Wayne Gayle's guys. At the
                    moment, he's hold up with Mallory Knox
                    in her holding cell with Wayne Gayle,
                    another TV guy, that cop fella, and two
                    other deputies as hostages. And
                    Capt'n, they have one of them news
                    cameras goin' live to KKTV. They won't
                    stop playin' it. What do you want us
                    to do?

     Wurlitzer holds a frozen look, as if a fuse has blown and his
     mind has shut down. If he were to open his mouth now nothing
     would come out. He just sits.

                                                    CUT TO:

     INT. HOLDING CELL - DAY

     The hostages have been cut free from each other and sit against
     the wall. Roger cradles the Betacam in his lap, rocking slowly
     as if in a trance, while Scagnetti feebly splints his broken
     fingers with the tape that hangs from his wrists. Wayne is
     standing, alert and ready for action.

     As for the two deputies, HOSTAGE DEPUTY #1 sits in anger,
     tight-lipped and stoic. The other, DEPUTY DUNCAN HOMOLKA is
     panicked and jumpy, one may never see a more nervous man.

     Mickey and Mallory stand over them with their weapons drawn.

                               MICKEY
                    Okay, we're going out that door, and
                    we're gonna march down the hall and
                    right out of the building.
                         (to Wayne)
                    Donut said something about a news van.

                               WAYNE
                    Yeah, we have a van.

                               MICKEY
                    Where's it parked?

                               WAYNE
                    Out front.

                               MICKEY
                    Let me have the keys.

     Wayne points to Roger. Roger digs through his pocket and tosses
     the keys to Mickey.

                               WAYNE
                    Mickey, can I talk to you alone?

                               MICKEY
                    No.

                               WAYNE
                    This is crazy. You can't escape like
                    this.

                               MICKEY
                    Probably not, but we're gonna give it
                    the old college try.

                               WAYNE
                    We'll all be killed.

                               MALLORY
                    Exciting, isn't it?

     Duncan begins to cry.

                               MICKEY
                    Now, when we get out there, you do what
                    we say or it's curtains. If we say
                    move, you move. If we say left, you
                    move left. If we say right, you move
                    right. If we say mole, you dig a hole.
                    Got it?

                               MALLORY
                    Are we in a big hurry?

                               MICKEY
                    You got something you want to do?

                               MALLORY
                    Yeah.

                               MICKEY
                    By all means, knock yourself out.

                               MALLORY
                    Thanks. Roll 'em, Donut.

     Roger snaps up and hoists the camera to his shoulder.

     VIDEO FOOTAGE:

     Shot through Roger's CAMERA: IMAGE FOCUSES on Mallory as she
     points to Scagnetti sitting on the floor.

                               MALLORY
                    You! Stand up!

     Scagnetti gulps, then rises knowing that he has fucked with the
     wrong woman.

     Mallory walks up to him with pistol in hand.

                               MALLORY
                    You probably thought it was pretty
                    funny, didn't ya?

     She raises Scagnetti's pistol, aiming it at its former owner.
     Scagnetti flinches and squirms.

                               MALLORY
                    Can you remember the last time you
                    fucked with me? Close your eyes and
                    remember...Are ya thinking about it?
                    Good.

     Mallory fires three shots into Scagnetti's chest.

     Roger's CAMERA jumps, then follows the body to the floor. Roger
     HOLDS on Scagnetti slumped on the floor.

                               DUNCAN (O.S.)
                    Oh God! Oh God! Ohhhh...

                               MICKEY
                    We're sending out a hostage. Don't
                    touch him!

     OFF SCREEN the door is kicked open.

     Roger's CAMERA whips around to witness Mickey and Mallory
     jumping into the corridor, BLASTING with their guns while using
     the hostages for shields. Roger's CAMERA moves out of the cell
     and...

     INT. JAIL CORRIDOR (OUTSIDE THE HOLDING CELL) - DAY

     There are even more DEPUTY SHERIFFS in the corridor.

     CROSS FIRE whistles by as Roger dodges to catch up with the
     caravan.

     The footage is very similar to Vietnam footage. It's shaky,
     real, harsh, and it captures the pandemonium of battle.

     The soundtrack is a mixture of yelling, crying, laughing,
     and gunfire.

     HOSTAGE DEPUTY #1 is SHOT, and discarded by Mickey.

     The wild caravan runs down the hallway, FIRING behind them.

     Mickey's HIT, but keeps on running and FIRING. Mallory sees
     this and screams.

                               MALLORY
                    Mickey!

                               MICKEY
                    Don't stop!

     Roger's CAMERA runs along with them.

                               ROGER (O.S.)
                    Man, oh, man...this is better than
                    Vietnam!

     More DEPUTIES appear at the end of the hallway.

     Mickey and Mallory get back to back with each other, using
     DUNCAN as a shield in front of them and Wayne behind them.
     Mickey FIRES from the front, Mallory FIRES from the rear.

                               DUNCAN
                    Please don't kill me! Don't kill me...

     CAMERA WHIP PANS to catch a Deputy hopping around the corner.
     The SCREEN FLASHES WHITE with a BLAST.

     Roger's HIT, and the CAMERA goes haywire, reeling out of
     control, the THUNKING to the ground. Roger screams O.S.

     CAMERA lies on the floor, video still transmitting. Roger rolls
     into FRAME screaming.

                               MICKEY (O.S.)
                    Get the camera! Get the fucking
                    camera!

     BACK TO: COLOR 35mm.

     As Mickey FIRES cover for her, Mallory swipes the camera from
     Roger's side.

     The Knox's start running again, still holding Wayne and last
     hostage.

     Deputies are lying on the ground, wounded and screaming, or dead
     and silent.

                               MICKEY
                         (to Mallory)
                    This way.

     INT. STAIRWELL - DAY

     The caravan bursts into the stairwell. Mickey turns to Duncan
     the remaining hostage deputy.

                               MICKEY
                         (to Duncan)
                    Where does this lead?

     Duncan is hyper-ventilating. Mickey pushes him against to
     wall.

                               MICKEY
                    Where!?!

                               DUNCAN
                    Th-- the ground floor.

                               MALLORY
                    Is that the front door?

     Duncan nods frantically.

                               MICKEY
                    Let's go.

     Mickey grabs Duncan and the caravan starts running down the
     stairs. They go down a few flights.

     As they run down one last flight, they find Wurlitzer and a team
     of DEPUTIES waiting for them on the ground floor. The deputies
     raise their guns.

     Mallory grabs hold of Wayne, and gets behind him with one hand
     pressing the barrel of her gun against his temple and her other
     are wrapped around his neck, holding him close to her.

                               MALLORY
                    Back off or I'll blast him! Back off
                    or I'll blast him! Back off or I'll
                    blast him!

     None of the deputies lower their guns, but they appear less
     likely to start shooting.

     Wayne screams.

                               WAYNE
                    Don't shoot. I beg you, don't shoot!
                    Please, please, please...

     Wayne continues begging.

     Wurlitzer steps forward.

                               WURLITZER
                    Now Mickey, Mallory, just let me say---

                               MALLORY
                    Shut up! Don't talk, I don't wanna
                    hear it!

                               WURLITZER
                    You have to know---

                               MALLORY
                    I said shut up...

     Mallory quickly lowers her gun from Wayne's head and SHOOTS him
     in the thigh. She whips the gun back up to his head.

     Wayne's screaming in pain.

     The deputies jump back.

                               MALLORY
                    ...and I mean shut up!

     There's a bit of a silent standoff.

     Tears are streaming down Duncan's face as the caravan slowly
     retreats back up the stairs to the next flight.

     The deputies hold their present position.

                                                    CUT TO:

     INT. PRISON STAIRWELL - DAY

     The caravan goes up one flight, then stops. Mickey and Mallory
     let their two hostages sit down.

     Duncan is out and out hysterical, urine stains the front of his
     uniform.

     Mickey's pacing.

                               MICKEY
                    Think...think...think...

     Mallory leans up against the wall, holding her side with her
     hand. Blood trickles out between the fingers. We see now she's
     been shot.

     Over Duncan's impassioned clamour they can hear Wurlitzer yelling
     from below.

                               WURLITZER (O.S.)
                    Give up! There's no other way out!

     Mickey sits down, utterly exhausted. Mallory sits down next to.
     him. She winces in pain. He puts his arm around her.

                               MALLORY
                    Look, lover boy, we're not getting
                    outta here. So I say the hell with
                    going back to our cells. Let's do a
                    Butch Cassidy and the Sundance Kid.
                    Run down these stairs shootin', go out
                    in a hail of bullets, but take as many
                    of those motherfuckers with us as
                    possible.

     Suddenly, Mickey's exhaustion lifts. He has a plan.

                               MICKEY
                    We'll do that when all else fails.

     Mickey stands.

                               MALLORY
                    Hasn't it?

                               MICKEY
                    We still got a few tricks up our
                    sleeves.

     Mickey confronts the two hostages. He points at Duncan.

                               MICKEY
                    You married?

                               DUNCAN
                    Oh, I don't wanna die...

                               MICKEY
                    Are you married? Do you have kids?

     Duncan nods pathetically.

                               MICKEY
                    Good. People, we're goin' all the way
                    to the front door. Now, the only way
                    we're gonna get there is if they don't
                    want to kill you two more than they
                    want to kill us.

     INSERT:

     SHOTS of deputies with guns in their hands, just itching to kill
     Mickey and Mallory. We hear Mickey's voice over this SHOT.

                               MICKEY (V.O.)
                    Right now I find that highly unlikely.
                    So, let's help 'em out, shall we?

     BACK TO PRISON STAIRWELL:

     Mickey is squatting in front of Wayne.

                               MICKEY
                    Now, say I tell those guys down there
                    if they shoot or make a move, I'm
                    killin' Wayne Gayle. And they shoot or
                    make a move anyway. Now say by some
                    freak accident, you didn't die, you
                    live though it. What would you do?

     Mickey pulls the roll of GAFFER'S TAPE from his shirt and starts
     tearing strips of tape and sticking them to the wall.

                               WAYNE
                    What would I do? Me and my network
                    would sue the entire Los Angeles County
                    Sheriffs Department for flagrantly
                    disregarding my safety. I'd go
                    straight to my buddy, the mayor, and
                    make sure everyone of those son of a
                    bitches down there ends up on the
                    unemployment line. In fact, I'd sue
                    every man down there personally. I
                    would make it my life's ambition to
                    bring the LA County Jail to its knees.
                    I would do expose after expose on the
                    brutality, and the conditions, and the
                    inhumanity that exists here.

     Mickey tosses the tape roll to Mallory and gestures to Duncan.
     Mallory winks at Mickey. Mickey smiles and begins wrapping tape
     around the barrel of his shotgun.

                               MICKEY
                    That's what I thought. You tell them
                    that. When we go down those stairs, I
                    want you to scream what you just told
                    me. 'My name is Wayne Gayle! I am the
                    star of American Maniacs watched every
                    week by'-- how many people?

                               WAYNE
                    On average forty million.

                               MICKEY
                    'Every week by forty million people. I
                    am a respected journalist.' Have you
                    won any awards?

                               WAYNE
                    Are you kidding? The Golden Globe, The
                    Edward R. Murrow award...

                               MICKEY
                    'Respected journalist'-- On your
                    knees...

     Wayne kneels in front of Mickey. While Mickey speaks he props
     his shotgun under Wayne's chin and wraps the tape from the
     barrel around his neck.

                               MICKEY
                         (continues)
                    ...'Winner of the Golden Globe and the
                    Edward R. Murrow award among others.'
                    Tell 'em the name of your personal
                    lawyer, his firm, his address, and
                    phone number. Tell 'em about the mayor
                    and the unemployment lines. You
                    getting the idea?

                               WAYNE
                    Yes.

     Mickey stands with Wayne as he tapes his trigger hand to the
     stock of the shotgun.

                               MICKEY
                    Say it. Scream it. All the way out
                    the front door and into your van. And
                    if you stop screaming, I swear to God
                    I'll blow your head off.

                               WAYNE
                    Got it.

     Mickey grabs the camera, and lifts it to his shoulder before
     shouting to Duncan.

                               MICKEY
                    You! What's your name?

     Duncan can't answer, Mallory has gagged him with his tape. Mallory
     grabs Duncan by the collar and lifts him off the floor before
     reading his name badge.

                               MALLORY
                    Duncan...Homolka?

                                                    CUT TO:

     INT. PRISON STAIRWELL (GROUND FLOOR) - DAY

     Wurlitzer and the deputies are deciding their next move when
     they hear:

                               MICKEY (O.S.)
                    Start.

     Wayne and Duncan come into view with the Knoxs behind them.

     The deputies quickly raise their guns, but soon realize if they
     take out either Mickey of Mallory that Wayne or Duncan would
     die.

     Mallory's right hand is taped to the trigger and stock of the
     shotgun that's wrapped firmly to Duncan's neck. The pistol in
     her left hand is trained on Wurlitzer.

     Mickey's left hand masters the shotgun leash on Wayne, while he
     monitors the Deputies with the CAMERA on his right shoulder.

     NOTE: The following scene will intercut between VIDEO FOOTAGE
     and COLOR 35mm.

     Wayne starts belting out his speech as Mickey focus the CAMERA
     on Wurlitzer. Duncan simply cries and begs for his life to be
     spared.

                               WAYNE
                         (yelling)
                    My name is Wayne Gayle! I am the star
                    of 'American Maniacs', watched by forty
                    million people every week! I am a
                    respected journalist, winners of the
                    Golden Globe, the Edward R.
                    Murrows Award among others! If anybody
                    puts me in danger, my network will sue
                    The Los Angeles County Sheriffs
                    Department. My estate will sue every
                    officer personally who fires. The
                    network's law firm is Rowlands, Davis
                    and Sinclair...

     Mickey knew what he was doing. This has an effect on the
     deputies.

                               MALLORY
                         (yelling)
                    Make a path!

     The wall of deputies starts moving backward.

     The Knoxs and their hostages start moving forward with Wayne
     yelling all the way.

     The deputies keep their guns trained on the caravan, but they
     keep giving ground, until they reach the doors of the front
     lobby and they begin to part like the Red Sea.

     Wurlitzer stands his ground.

                               WURLITZER
                    How far do you think your gonna get?

                               MICKEY
                    Right out the front door.

                               WURLITZER
                    That'll never happen.

                               MICKEY
                    It is happening.

     The caravan marches forth. Wayne and Duncan keep shouting their
     speeches. Nobody dares to move on them, but the deputies keep
     their weapons ready.

     Wayne stops his speech to take a breath.

                               MALLORY
                    Don't stop!

     Wayne starts up again.

     The deputies are completely frustrated. Mickey and Wurlitzer
     are nose to nose.

                               WURLITZER
                         (to Mickey)
                    I will personally hunt you down, blow
                    the head off your fucking-whore-wife,
                    and plant your sick ass in the ground
                    all by myself.

                               MICKEY
                         (calmly)
                    Another day perhaps, but not today.

     Mickey leaves FRAME.

                                                    CUT TO:

     EXT. COUNTY JAIL - DAY

     The doors swing wide in SLOW MOTION as the caravan of Mickey,
     Mallory, Wayne and Duncan take their first step into the open
     air.

     A crescent of deputies frame the group in the B.G. while
     Wurlitzer stands, defeated, just behind Mickey.

     FREEZE FRAME on WIDE ANGLE.

     Image DISSOLVES to BLACK & WHITE before BURNING into WHITE
     LEADER.

     EXT. WOODS - DAY

     The WHITE LEADER is disrupted by a fogged image in BLACK &
     WHITE. The image settles into a ECU of Wayne. He's being
     filmed by a 16mm CAMERA that he is presently balancing on a
     fence post.

     This entire SCENE is played out cinema verite. The SOUND is not
     in sync as Wayne steps back into a MED SHOT. He looks directly
     into the CAMERA.

                               WAYNE
                    This is Wayne Gayle. I'm wounded and
                    my crew, Roger and Scott, are dead.
                    This may be out of sync 'cause we are
                    shooting with a wild camera and a
                    standard recorder we found in the van.
                    Mickey Knox's plan worked. We walked
                    out the front door, into my news van
                    and made our getaway. When we were
                    followed by patrol cars, Mallory Knox
                    killed Deputy Sheriff Duncan Homolka
                    and tossed his body out of the back.
                    Mickey told authorities over my police
                    band that I would surely be next if
                    they didn't give up the pursuit. They
                    took Mickey at his word and called off
                    the pursuit. Why helicopters weren't
                    employed, I don't know. My only
                    thought is it all happened too fast for
                    arrangements to be made. We've just
                    pulled off to the side of the road to
                    do this interview. Tensions run high--

     Mickey screams O.S.

                               MICKEY (O.S.)
                    We ain't got all fuckin' day!

                               WAYNE
                    Without any further ado, Mickey and
                    Mallory...

     Wayne steps forward and picks up the CAMERA and while conducting
     his interview, the CAMERA remains hand held.

     CAMERA focuses on Mallory sitting on a stump, while Mickey paces
     in and out of FRAME in the B.G.

                               WAYNE
                    Mallory, what did you think of Mickey's
                    plan? Did you think it would work?

                               MALLORY
                    It wasn't 'till we got on the ground
                    floor that I totally realized they
                    weren't gonna shoot unless we shot
                    first. When we got out of the
                    stairwell, I remember thinking, 'Oh my
                    God. This might work.' But
                    Mickey knew it would work all along.
                    There wasn't any doubt in his mind.
                    It's not like there was and he just
                    didn't show it. He knew it would work.

                               WAYNE (O.S.)
                    What did you think then?

                               MALLORY
                    I wondered how long it would be before
                    we'd get to be alone together. And I
                    wondered if I could wait that long.

                               WAYNE (O.S.)
                    Did you have anything to do with the
                    riot in the laundry room?

                               MALLORY
                    Haven't you been listening to a fuckin'
                    word I said? ...Oh, I'm sorry. Can
                    I say fuckin'? I can't, can I?

                               WAYNE (O.S.)
                    Try to keep it to a minimum.

                               MALLORY
                    We had nothing to do with that riot.
                    That riot was just -- whatchmacallit --

     Mickey can be heard faintly in the B.G.

                              MICKEY
                    Divine intervention.

                               MALLORY
                    What he said. We didn't know jack shit
                    about and riot. It just happened. It
                    was kismet. We didn't even know those
                    people. How are we supposed to
                    organize a riot when we've been in
                    fuckin' isolation for the past year?
                    Just bleep out the fucks and jack
                    shits.
                         (laughs)
                    I mean, it's not like we care. If they
                    wanna say we masterminded the whole
                    thing, let 'em. It won't exactly keep
                    us up at night. But you said you
                    wanted the truth, and the truth is we
                    were just lucky.

     Mickey's snapping his fingers in the B.G.

                               MICKEY
                    C'mon, c'mon, let's hurry this up.

                               WAYNE (O.S.)
                    So, what now?

                               MALLORY
                    Well, now me and Mickey are gonna take
                    it easy. Just enjoy each other's
                    company, stop and smell the roses,
                    notice the color purple, stuff like
                    that.

                               WAYNE (O.S.)
                    How do you intend to disappear? you're
                    probably the most famous couple in
                    America.

                               MALLORY
                    Well, back in slave times they had a
                    thing called the underground railroad.
                    And we got a whole fan club out there
                    just waiting to be conductors.
                         (to the camera)
                    So, you kids out there, keep the faith.
                    Cause Mickey and Mallory will be comin'
                    to your town real soon.

                               MICKEY
                    Okay, that's enough. End of interview.
                    We gotta move.

     Mickey approaches Wayne. CAMERA goes a little haywire as Wayne
     lowers it from his eye.

                               WAYNE (O.S.)
                    Okay, just let me swing around and film
                    myself asking the questions. And then
                    I'll do my little wrap up.

     Mickey takes the CAMERA from Wayne, and while he speaks, he
     balances it on a fence post.

                               MICKEY
                    Oh, we're gonna do a little wrap up,
                    all right. But it won't be you starin'
                    in the camera, looking dumb, and acting
                    stupid. Instead, you're gonna be
                    starin' down the barrels of our
                    shotguns and we're gonna be pullin' the
                    triggers.

     Wayne forces a chuckle. Mickey steps away from the CAMERA and into
     a THREE SHOT. The NEWS VAN is parked in the B.G.

                               WAYNE
                    That's a joke right?

     Mickey pumps the slide of his shotgun. Mallory grabs her
     shotgun from off the ground.

                               WAYNE
                    Just wait one fucking minute.

                               MICKEY
                    I said I'd give you a interview. Now
                    unless I'm mistaken, we just did a
                    interview.
                         (to Mallory)
                    We did an interview, didn't we?

                               MALLORY
                    Looked like an interview to me.

                               MICKEY
                    I said we'd give you an interview. I
                    never said we wouldn't kill you.

                               WAYNE
                    Wait! I don't know, but I kinda felt
                    during this...this whole escape that
                    a kind of bond--

     Wayne is shaking.

                               WAYNE
                         (continues)
                    ...developed between the three of
                    us. We're kindda in this together,
                    don't ya think?

                               MICKEY
                    No. Not really.

                               WAYNE
                    Don't touch those triggers! Please. I
                    think I've already proven that a live
                    Wayne Gayle is much more better that a
                    dead...Way-- Gayle. I was your
                    passport out of jail, not Duncan
                    Homolka. But me! I'll be your
                    passport outta---

                               MICKEY
                    Just save your breath, Wayne. We hate
                    you. If anybody in the fuckin' world
                    deserves to die, it's you.

     Wayne is grasping for anything.

                               WAYNE
                    Wait! You can't kill me. Mickey and
                    Mallory always leave somebody alive to
                    tell the tale.

                               MICKEY
                    We are.
                         (points to camera)
                    Your camera.

     Mickey turns to Mallory.

                               MICKEY
                         (John Wayne voice)
                    Let's make a little music, Colorada.

                               WAYNE
                    NO!!!

     The two interview subjects start PUMPING rounds into Wayne,
     who's body dances like a puppet before collapsing to the ground.

     Mickey and Mallory kiss each other passionately, then climbing
     into the news van, they drive away.

     Wayne's body lay peacefully in FRAME until the CAMERA
     eventually runs out of film.

     CUT TO BLACK:

                        A FILM DIRECTED BY
                           RAND VOSSLER

     A Noja Production.


TitleNatural Born Killers (1994)
TypeText
Size246.302 kB
Date Added2008-09-10
Views2141
CategoryMovie Scripts
Placement