"NATURAL BORN KILLERS" (1994)

NATURAL BORN KILLERS

by

Quentin Tarantino

November 1990 Revised Third Draft

FOR EDUCATIONAL

PURPOSES ONLY

FADE IN:

A coffee shop somewhere in New Mexico. MICKEY KNOX, his back turned TO us, is sitting at the counter finishing a meal. We hear the PING... BANG... of a PINBALL MACHINE being played O.S.

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

Mabel turns to her right.

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.

Mabel EXITS FRAME.

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.

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.

CAMERA MOVES AROUND TO a CLOSEUP of Mickey. This is the first time we see him. As he takes a bite of green pie:

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.

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.

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.

Otis and Sonny exchange looks.

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

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.

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

The needle lifts off the record. The SONG ENDS.

Mallory opens her eyes and sees Otis.

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

Sonny gurgles out a laugh.

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

Sonny spews a mouthful of Highlife.

Mallory grabs the back of Otis's 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 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.

BACK TO SCENE

Short-order cook puts his hands to his face and falls to the ground, screaming.

Mickey spots Earl, who's standing outside the plateglass 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 Earl's back. He hits the ground dead.

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

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 her coffee pot, crying.

Mallory does eanie, meanie, minie, moe, pointing back and forth from Mabel to pinball cowboy.

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

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.

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.

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 '50s-style.

When this sequence is over, we:

CUT TO BLACK.

END CREDIT SEQUENCE.

OVER BLACK SCREEN, we hear:

FADE IN:

CAMERA is positioned 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 spins around and leaves the room, slamming the door shut behind him. Captain Squeri shouts after him.

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.

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.

McClusky turns toward Scagnetti.

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

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.

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

Scagnetti nods.

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

McClusky lowers the book.

HOLD ON Scagnetti.

POV - DAY

McClusky stands next to a big iron door. He bangs on it with his fist. We STAY ON Scagnetti's POV through this scene.

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.

The song "LONG TIME WOMAN" is getting LOUDER as they proceed.

FLASHBACK - INT. LIVING ROOM - CLOSEUP OF HOME AQUARIUM - NIGHT

with fish swimming around. Suddenly, Mallory's father's head is shoved into the tank.

PRISON CORRIDOR (PRESENT)

FLASHBACK - INT. BEDROOM - MED. CLOSEUP OF MALLORY'S MOTHER - NIGHT

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.

CLOSEUP 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.

STILL SCAGNETTI'S POV - PRISON CORRIDOR (PRESENT)

McClusky's still walking ahead of us.

McClusky laughs.

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.

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.

Still on SCAGNETTI'S POV:

We look UP FROM the file and SEE McClusky's leaning against a cell door.

We hear somebody singing "LONG TIME WOMAN" inside the cell.

We MOVE TO McClusky, who, looking INTO the CAMERA, gestures toward the cell.

We PAN FROM McClusky TO the inside of the cell where we see Mallory, her BACK TO us, singing and dancing.

CLOSE ON Mallory's face singing "Long Time Woman."

Mallory justs keeps on truckin'.

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.

MED. TIGHT SHOT - FLOOR

Mallory falls INTO FRAME, out cold.

CLOSE ON SCAGNETTI

THROUGH the cell bars.

CAMERA PANS OVER TO CLOSE ON McClusky.

BACK TO MALLORY

on the floor, still unconscious with blood trickling down her scalp.

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 shakes hands with Scagnetti.

They all laugh.

WAYNE GAYLE, a young, energetic, commando journalist ala 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 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 pocket.

The door opens on the prisoner side and Mickey Knox is lead into the room by two SHERIFF'S DEPUTIES. Mickey's wearing the county jail blue jumpsuit. 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, jumpsuit), he remains a dangerous, intimidating and fascinating figure.

Wayne takes in the image of Mickey.

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 pauses and retorts.

Mickey is silent.

Mickey shakes his head no.

No response from Mickey.

Mickey cracks a smile.

The guards come over to take him away.

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

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

MED. CLOSEUP of Mickey curled up by his bed, writing Mallory a letter.

WIDE SHOT - CELL BEHIND MICKEY

We slowly DOLLY BACK.

CLOSE ON LETTER

being written.

EXTREME CLOSEUP - MICKEY

mouthing the words as he writes. We can hear MALLORY'S LAUGH -- a distant haunting ECHO.

We hear the ECHO of TELEVISION LAUGHTER.

The sound of the COUPE DE VILLE SWELLS until we...

FLASHBACK - 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.

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

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

Not knowing where we are, CAMERA MOVES ACROSS a wall INTO a CLOSEUP of Mallory.

When the letter is finished, Mallory gets off her bunk and goes to the middle of the cell. She starts moving her body to music only she can hear, she begins to sing the song "Groove Me" in a slow a capella, using the cell as her stage and a man who isn't there as her audience.

The song is completed in a single shot.

holding a piece of paper in front of his face and reading from it outloud. We hear Wayne's voice OVER MALLORY'S SINGING before the last scene dissolves.

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

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 disheveled film types are all in their twenties and are a marked contrast to Wayne's stylish yuppie demeanor.

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

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

Everybody laughs.

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

Wayne's team all spit out mouthfuls of champagne.

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

Scott closes his eyes in concentration, and repeats Wayne.

Wayne closes his eyes.

Wayne pounds on the table.

CLOSEUP OF JULIE

writing in her notebook: "Film... film... film!"

BACK TO SCENE

INSERT - TITLE CARD: "TOMORROW"

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

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 and Unruly Julie grab chairs and sit.

CLOSEUP OF VIDEO MONITOR SCREEN

We see a show rewinding.

CLOSEUP OF ROGER'S HAND

pressing a play button.

STATIC.

Then the opening slate for "AMERICAN MANIACS" FILLS the SCREEN.

BEGIN: "MICKEY & MALLORY'S REIGN OF TERROR"

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 walks TOWARD the CAMERA. We DOLLY BACK.

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.

A. HOME MOVIE -- Mickey shaking hands with the judge who

married them. Mallory stands happily by Mickey's side.

B. HOME MOVIE -- Mallory hamming up the sex angle, as

she poses by Bob's Big Boy.

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

home.

D. HOME MOVIE -- Closeup on Mallory asleep in bed.

Mickey (holding camera) tickles her under her chin. Mallory slaps herself in the face with a handful of shaving cream.

E. HOME MOVIE -- Mickey and Mallory posing with Santa

Claus.

F. HOME MOVIE -- Mickey being surprised on the toilet.

G. PHOTO -- Black & white photos of bloody victims --

men and women.

H. PHOTO -- Black & white photos of a blood-stained

police chalk outline.

I. HOME MOVIE FOOTAGE -- 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.

J. PHOTO -- Color postcard of Los Angeles.

K. Wayne Gayle stands in front of a Circle K convenience

store. He speaks to us.

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 him, 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.

MONTAGE

A. NEWSPAPER -- Newspaper or magazine color ad for a

7-Eleven store.

B. NEWSPAPER -- Newspaper or magazine color ad for a

gas station.

Wayne Gayle walks down the street. The CAMERA WALKS WITH him. He speaks INTO the CAMERA.

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

This scene is shot through the store's black & white video surveillance camera. The date and time of day are burned into edges of the FRAME.

Mickey and Mallory charge into a 7-Eleven store, cocking their shotguns and shouting things.

Mickey SHOOTS a customer who lies on the ground screaming.

Mallory BLASTS a female customer, holding a Big Gulp. She flies into the comic book rack.

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

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.

SMILING PHOTOS

of other victims. We CUT FROM each photo TO the next photo after SHOTGUN FIRE.

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

INSERT - PHOTO

Black & white snapshot of Mickey and Mallory standing next to each other, guns in hand, smiling for the camera.

INSERT - PHOTO

Police academy black & white snapshot of Officer Gerald Nash.

INSERT - PHOTO

Black & white photo of Gerald Nash and his partner Dale Wrigley, dressed in their uniforms, arms around each other.

INSERT - PHOTO

Black & white snapshot of donut shop.

INTERVIEW - DALE WRIGLEY

Dale's name appears below him ON the SCREEN.

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.

Wayne talks to us.

MONTAGE

of newspaper front page stories and headlines of family households butchered by the Knoxes.

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.

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

Wayne talks to us.

Wayne interviews JUDGE BURT STEINSMA in his den at home.

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

Wayne's with Bisbing.

Wayne talks TO us.

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

WAYNE

interviewing MORGAN and PAGE, two young girls.

NEW SHOT - WAYNE

interviewing an INTENSE COP.

NEW SHOT - WAYNE

interviewing RUSSEL VOSSLER, Harvard law student.

LONG-HAIRED GUYS

Chuck, Jeff & Steve as Wayne speaks.

WAYNE

talking with MARVIN, a black man.

TWO YOUNG GIRLS

Morgan & Page as Wayne speaks.

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

EXTREME CLOSEUP - SIMON HUN/NORMAN HUN

two brothers/bodybuilders, in a HEAD SHOT.

The CLOSEUP of the brothers ZOOMS BACK.

CAMERA has ZOOMED BACK to reveal that both Simon and Norman are in wheelchairs (their legs maimed or gone).

The brothers pause, then turn to Wayne.

Wayne talks.

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 ala 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."

STILLS

of Movie Mickey and Movie Mallory holding weapons, posing together, creating mayhem.

MOVIE TRAILER FOR THRILL KILLERS - SHOT OF MOVIE MICKEY

dressed in a fast-food uniform.

He rips off his uniform.

SHOT OF MOVIE MALLORY

on her hands and knees crawling TOWARD CAMERA.

SHOT OF MOVIE MICKEY AND MOVIE MALLORY

driving fast and laughing their heads off.

SHOT OF MOVIE KNOXS

FIRING GUNS.

SHOT OF MOVIE MICKEY AND MOVIE MALLORY

kissing.

SHOT OF MOVIE MALLORY

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

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

Pope stops the movieola, turns TOWARD the CAMERA, and greets Wayne MOS.

INTERVIEW

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

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

The SIREN and CHOPPER sounds are getting CLOSER.

The SIRENS and CHOPPERS draw nearer.

They kiss.

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

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

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

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

Movie Mallory pulls the trigger. BANG!

DOLLY DOWN the alley TO a CLOSEUP ON Movie 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.

POPE INTERVIEW

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

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.

Jessie talks TO CAMERA.

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

Wayne begins his interview.

TWO LONDON TEENS

BOY and GIRL, dressed like the Knoxes.

TITLE CARD: "LONDON"

TWO JAPANESE TEENS

a BOY and GIRL, dressed like the Knoxes. They speak in Japanese, which is translated in English.

TITLE CARD: "JAPAN"

As Japanese Boy and Girl speak, we hear:

TWO FRENCH TEENS

a BOY and girl, dressed like the Knoxes. They speak in French, and we hear the translation in English.

TITLE CARD: "FRANCE"

CLIP

from the Redd Kross video of "Natural Born Killers."

WAYNE'S STUDIO

FRONT PAGE NEWSPAPER

Headline reads: "MICKEY AND MALLORY KILL SIX TEENS DURING SLUMBER PARTY!" In smaller bold face under it: "One Teen Escapes Killers' Clutches." On the front page is a photo of the teen who escaped. It's seventeen- year-old Grace Mulberry. CAMERA MOVES INTO CLOSEUP of the photo.

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.

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

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 ape shit.

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.

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

Mallory playfully elbows Mickey in the ribs.

All the reporters in unison:

Wayne by himself standing on the courthouse steps.

SERIES OF COURT SKETCHES

An artist's sketch of Mickey cross-examining Grace on the stand.

Mickey looking like the devil himself.

A terrified Grace. CAMERA CLOSES ON Grace's face.

Close on Grace staring intently. CAMERA WIDENS to include Bisbing standing before the bench as Mickey sits with Mallory at the defense 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.

O.S.: 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 in a while Mallory takes the pencil and adds some touches, as Grace finishes her tearful testimony.

An emotional pause, then silence.

Mickey scratches out the drawing. Still holding the pencil, he stands and LEAVES FRAME.

NOTE: The following scene is to be played in extreme closeups. Not once is the courtroom seen in detail. However courtroom sound can be heard vividly in b.g.

CLOSEUP - MALLORY

who grins at Mickey like a Cheshire Cat.

CLOSEUP - GRACE'S EYES

as they look downward.

CLOSEUP - JUDGE STEINSMA

as he shuffles paper on his bench.

CLOSEUP - MICKEY'S FEET

crossing the court floor.

CLOSEUP - BISBING

as her eyes follow Mickey across the court. Mickey ENTERS the FRAME, with a pencil pressed to his lips in thought. Mickey is looking straight INTO the CAMERA.

MICKEY'S POV

of Grace sitting on the witness stand, staring into her lap.

EXTREME CLOSEUP - GRACE'S FINGER

rolling a large, male-style, high school class ring around her palm.

CLOSEUP - MICKEY

glancing to the ring. Mickey smiles.

MICKEY'S POV

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.

CLOSEUP - MICKEY

as he walks forward towards Grace.

CLOSEUP - GRACE

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

BACK TO GRACE

as we DOLLY FROM a MEDIUM CLOSEUP INTO an EXTREME CLOSEUP.

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

EXTREME CLOSEUP 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.

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

CLOSEUP of Grace in a daze.

MICKEY

waits for an answer that doesn't come.

BACK TO GRACE

BACK TO MICKEY

BACK TO GRACE

CLOSEUP - BISBING

listening. Grace is doing better than she thought.

CAMERA PANS FROM shadows to find Mickey. PAN CONTINUES through his line.

PAN CONTINUES back INTO shadows, then 180 DEGREES to find Grace.

PAN CONTINUES back INTO the shadows, then...

CAMERA PANS FROM darkness INTO a well lit martial arts' classroom in full session. TIM MULBERRY, an expert martial artist, is competing against a lesser opponent while their master looks on.

CAMERA PANS INTO darkness.

CAMERA PANS FROM darkness and LOCKS ON a CLOSEUP of Mickey.

CLOSEUP of court clerk's hands typing in SLOW MOTION.

Mickey points at Grace with the pencil in his hand.

CLOSEUP of Mickey's hand holding the pencil.

CLOSEUP of Mallory cracking a slight smile.

CAMERA MOVES INTO a TIGHT CLOSEUP of Grace. Her eyes widen.

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

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.

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

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

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.

CLOSE ON MICKEY

as he brings the knife INTO FRAME.

CLOSE ON BISBING

as she stands.

BACK TO SCENE

Mickey is locked on Grace.

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

Mickey locks eyes with Grace.

Mickey is on top of her.

Grace collects herself.

CLOSE ON BISBING

looking on for an answer.

The Judge looks down at Grace. Grace looks back into her open palm.

CLOSEUP - 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.

Mickey smiles.

Bisbing hides her disappointment by looking down.

Mickey straightens up as Grace continues.

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

CLOSEUP - MICKEY

smiling down at her.

CLOSEUP - MALLORY

smiling proudly at Mickey.

CLOSEUP - JUDGE STEINSMA

betraying no emotion looks down at Grace.

CLOSEUP - GRACE

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

MICKEY

rolls his pencil in his hand then CAMERA TILTS UP as he leans INTO a CLOSEUP.

BACK TO SCENE

Mickey smiles.

GRACE

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

CAMERA WHIPS TO CLOSEUP of Bisbing jumping up screaming as pandemonium breaks out behind her in SLOW MOTION.

CLOSEUP - PENCIL

puncturing Graces' blood-soaked chest in SLOW MOTION.

CLOSEUP - JUDGE STEINSMA

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

CLOSEUP - SHERIFF DEPUTIES

are running to Mickey in SLOW MOTION.

EXTREME CLOSEUP - GRACE

A tear rolls out of her widen eye in SLOW MOTION.

CLOSEUP - MICKEY

His attack is unending in SLOW MOTION.

MEDIUM SHOT

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

CLOSEUP - BLOODY ERASER

End of the pencil in Mickey's hand in SLOW MOTION.

SIDE ANGLE

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

CLOSEUP - MICKEY'S TORSO

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

CLOSEUP - GRACE'S HAND

dropping INTO FRAME and as her fist opens, the ring falls in SLOW MOTION.

CLOSEUP - RING

hitting the floor and rolling OUT OF FRAME.

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

EXTREME CLOSEUP - MICKEY'S EYES

looking down at his feet.

EXTREME CLOSEUP - MICKEY

dropping the bloody pencil stub. CAMERA FOLLOWS it in SLOW MOTION.

EXTREME CLOSEUP - BLOODY PENCIL STUB

hitting the floor next to the ring in SLOW MOTION.

CLOSEUP - MICKEY

looking over to Mallory.

CLOSEUP - MALLORY

surrounded by Sheriff Deputies. She smiles at Mickey.

Mickey smiles and glances toward judge.

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 Lights out, Prick.

Deputy swings the club.

CUT TO BLACK:

FADE IN:

Mickey, dressed in county blues, is led out of the court- room by sheriff's 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.

Interview with Judge Steinsma in his den at home.

MOS SHOT of Wayne and Judge talking.

BACK TO SCENE

The interview:

Mallory, in tears, hysterical 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.

INSERT - PHOTO

Mickey in prison uniform being led by guards.

INSERT - PHOTO

Shot through bars of Mallory in her cell. Her back is to the camera.

INSERT - FRONT PAGE OF NEWSPAPER

"MICKEY AND MALLORY TO BE TRANSFERRED TO ASYLUM."

CAMERA MOVES INTO the picture of Mickey and Mallory on the front page of the newspaper.

INSERT - PHOTO

of Dewight McClusky.

Wayne's interviewing McClusky.

INSERT - PHOTO

of Dr. Albert Rodriquez.

INSERT - PHOTO

of Dr. Felix Vargus.

Back with Dr. Rheingold. He's laughing.

FREEZE FRAME ON Dr. Reinghold.

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

Wayne puts his arm around Unruly Julie.

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

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

MICKEY - LATER

MICKEY - LATER

MICKEY - LATER

MICKEY - LATER

MICKEY - LATER

pretending he's calming down a hysterical audience.

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.

Roger's picking through a box of donuts. Scott PANS OVER TO him, then SLOWLY ZOOMS IN ON him.

CLOSEUP - ROGER

looking INTO CAMERA.

Wayne starts talking. We PAN FROM Roger TO a CLOSEUP of Wayne.

We PAN BACK TO CLOSEUP of Roger.

We ZOOM BACK TO a WIDE SHOT.

Wayne starts laughing. We hear SCOTT LAUGH, too.

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

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

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

Wurlitzer reaches them and shakes Wayne's hand.

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

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.

CAMERA MOVES TO Wayne and Scott.

Wayne grabs Scott and walks him to the left.

He walks Scott to the window.

END of a SINGLE SHOT.

Wulitzer's talking with deputies.

Wayne walks over to Wurlitzer and deputies.

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

Wayne gives Wurlitzer a moment to digest this.

Wayne gives Wurlitzer a chance to take this in.

Suddenly, things get short between the two men.

Now they're out and out angry.

Wayne scans the room, counting the deputy sheriffs.

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.

O.S. the CELL DOOR SLAMS closed.

asleep in her bunk. The ECHO of Mickey's CELL DOOR wakes her with a jolt.

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.

CLOSEUP 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 takes a long drag.

Mallory looks straight ahead.

Mallory shows no emotion, just keeps on walking.

Mallory lets out a big yawn.

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

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's team disburses.

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.

CAMERA HOLDS ON Mickey standing still as the two deputies remove the chains.

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 wrist.

Mallory's silent.

Scagnetti leans up against the wall, smoking his cigarette.

Mallory does.

Binghim and Washington move to the door.

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.

Mallory's steel eyes glare at Scagnetti.

Mallory doesn't respond. Scagnetti takes the cigarette from his mouth puts it between Mallory's lips. HOLD ON CLOSEUP of Mallory.

Scagnetti appears AT the SIDE OF FRAME next to Mallory.

Scagnetti changes to Mallory's other ear.

Scagnetti presses closer.

Mallory spits the lit cigarette into Scagnetti'e face. Scagnetti spins her around and slaps her.

Scagnetti has Mallory clutched tightly by her shoulders.

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

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

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.

Washington comes over to him and helps him up.

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.

CLOSEUP - SCAGNETTI

He's a hand grenade with the pin pulled.

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 down her body.

Mallory crumples to the floor, screaming in agony.

TWO SHOT - 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.

CLOSEUP - SCAGNETTI

His 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.

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.

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.

Unruly Julie shrugs her shoulders like "what ya gonna do" and continues applying pancake.

Wayne and Wulitzer talk.

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

Wayne exits to reveal Mickey in b.g.

Wurlitzer's speaking with his four deputies.

BACK TO MICKEY

alone IN FRAME, sitting in a chair and eating a donut. He takes a big bite.

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

Mickey bites into the donut.

Roger joins him IN FRAME and adjusts the mike.

Wayne ENTERS FRAME.

Roger EXITS FRAME.

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

Wayne smiles and EXITS FRAME.

LATER)

Scene is now SHOT THROUGH Scott's CAMERA which holds an EXTREME CLOSEUP of Mickey's eye. CAMERA FOCUSES then PULLS OUT to include his whole face.

Mickey looks to Wayne OFF SCREEN and nods.

Camera slate reading "KNOX INTERVIEW -- ROLL #1" is thrust INTO VIEW and clapped. The CAMERA ZOOMS OUT to include Wayne IN the FRAME.

Mickey breaks out laughing.

Mickey's laughing slowly runs its course.

A deputy comes INTO FRAME, hands Mickey a cigarette, then lights it. Deputy EXITS FRAME.

Mickey takes a drag from his cigarette.

CAMERA ZOMMS IN ON Mickey's face. Mickey looks at Wayne, takes a slow drag off his cigarette.

The image on the screen begins to flutter, and then jams.

White leader fills the screen.

We're BACK TO COLOR 35 mm.

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:

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

The crew laughs (O.S.)

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.

Scagnetti walks into the supply room. Mickey is explain- ing to Wayne "Why he's killed all those people."

Scagnetti can't believe what he's seeing; the entire room is in rapture.

Wurlitzer sees Scagnetti's bandaged face.

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.

SAME SCENE

SHOT THROUGH Scott's CAMERA.

MEDIUM CLOSEUP ON MICKEY

BACK TO color 35 mm.

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

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

Scagnetti and Wultizer talk to each other.

In b.g., Unruly July takes Scott's and Roger's orders.

Unruly Julie walks up to the two men to take their order. In the b.g., we hear the wall PHONE BUZZ.

Unruly Julie walks away. A deputy yells for Wurlitzer.

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

Wulitzer rushes to the phone, grabs the receiver.

Wulitzer rushes to the phone, grabs the receiver.

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.

O.S. the PHONE RECEIVER being SLAMMED down.

The room reacts.

We hear Wurlitzer and Deputy Yates walk out.

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

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

CAMERA FOLLOWS Julie out the door and INTO...

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.

CAMERA PANS FROM blackness TO WIDE ANGLE of a dark jail wall masqued 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 beats him mercilessly before moving on.

CAMERA TILTS DOWN TO a CLOSEUP OF a thin stream of blood crawling across the floor.

SHOT THROUGH Scott's camera:

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

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

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

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

Mickey, as Little Johnny, starts squeezing imaginary breasts.

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

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

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

Everybody 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.

CLOSEUP - 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.

CLOSEUP - SCAGNETTI'S FACE

CLOSEUP - MICKEY'S FACE

CLOSEUP - SCAGNETTI'S FINGER

Putting pressure on the trigger, then CAMERA MOVES UP to a --

CLOSEUP - PROFILE OF SCAGNETTI

OVERHEAD SHOT - MICKEY

CAMERA MOVES DOWN in front of him INTO a --

CLOSEUP - SCAGNETTI'S FACE

Mickey rises.

DOLLY IN ON Scagnetti's gun in f.g., past the gun, to his face.

CLOSEUP - BARREL OF SHOTGUN

DOLLY CONTINUES CLOSING IN ON Scagnetti's face.

Wayne watches, wide-eyed.

EXTREME CLOSEUP - MICKEY'S FACE

MEDIUM SHOT - SCAGNETTI

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

Scagnetti does. The shells fall out.

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

Scagnetti does.

Scagnetti does.

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

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 bends over Scagnetti and takes hold of his right hand.

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

Scagnetti screams.

Mickey snaps the trigger finger on Scagnetti's left hand.

Scagnetti screams.

Mickey's still bent over Scagnetti.

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

Mickey stands straight, looks toward Wayne and Roger.

Roger's checking the camera. He TURNS ON the MOTOR. It sounds like a lawn mower.

CUT TO BLACK:

Wurlitzer steps INTO the BLACK FRAME. This scene becomes a...

TRAVELLING CLOSEUP - WURLITZER

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 walks over to a table and looks down.

CAMERA FOLLOWS Wurlitzer as he heads another direction.

Wurlitzer snatches a walkie talkie.

Wurlitzer looks to his right.

SCREEN FILLS WITH STATIC.

INSERT - TITLE CARD

"SPECIAL REPORT"

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.

(NOTE: The video footage is all HAND-HELD and harshly lit, until otherwise specified.)

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

Mickey ENTERS the FRAME with shotgun in hand, pushing Wayne OUT.

CAMERA ZOOMS INTO a...

CLOSEUP - SCAGNETTI

The CAMERA shuts off. SCREEN FILLS with STATIC.

Tony Chavez speaks INTO CAMERA.

INSERT - TITLE CARD

"SPECIAL REPORT"

WIDE SHOT - MICKEY

Holding his shotgun. He walks over and grabs the shot- gun 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.

Scagnetti rises, insecurely. He presses his back against Mickey's.

Scagnetti's back-to-back with Mickey. His arms flank Mickey.

Wayne ENTERS FRAME. Mickey extends the shotgun.

Wayne does.

Wyane does and Mickey quickly binds their arms together with gaffer's tape, forming a two-man rind around him.

WAYNE & SCAGNETTI Yes.

Mickey tucks the tape roll into his shirt.

The hostage train starts moving. Wayne's walking back- wards 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.

Mallory's sitting Indian style, singing Girl Scout songs to herself, and doing the hand motions.

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.

CLOSEUP - MALLORY

She can't believe her eyes.

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 are enraptured, too. CAMERA does a 360 AROUND the loving couple.

A sheet of paper flashes THROUGH FRAME.

CAMERA TILTS TO Wurlitzer reading, then looking up.

Wurlitzer reads the list to himself as he paces.

Wurlitzer drops into a chair, exhausted. He rubs his face with his hands.

Wurlitzer looks up, then looks back down.

Wurlitzer looks up.

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.

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 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.

Wayne points to Roger. Roger digs through his pocket and tosses the keys to Mickey.

Duncan begins to cry.

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.

Scagnetti gulps, then rises knowing that he has fucked with the wrong woman.

Mallory walks up to him with pistol in hand.

She raises Scagnetti's pistol, aiming it at its former owner. Scagnetti flinches and squirms.

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.

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...

There are even more Deputy Sheriffs in the corridor.

CROSS FIRE whistles by as Roger dodges to catch up with the caravan.

This footage is very similar to Vietnam footage. It's shaky, real, harsh, and it captures the pandemonium of battle.

The soundtrack is a mad 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.

Roger's CAMERA RUNS along WITH them.

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.

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, then THUNKING to the ground. Roger SCREAMS O.S.

CAMERA LIES ON the floor, video still transmitting. Roger rolls INTO FRAME screaming.

BACK TO COLOR 35mm

As Mickey FIRES cover for her, Mallory swipes the camera from Roger's side.

The Knoxs start running again, still holding Wayne and one last hostage.

Deputies are lying on the ground, wounded and screaming, or dead and silent.

The caravan bursts into the stairwell. Mickey turns to Duncan, the remaining hostage deputy.

Duncan is hyper-ventilating. Mickey pushes him against the wall.

Duncan nods frantically.

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 arm wrapped around his neck, holding him close to her.

None of the deputies lower their guns, but they appear less likely to start shooting.

Wayne screams.

Wayne continues begging.

Wurlitzer steps forward.

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.

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.

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.

Mallory leans up against the wall, holding her side with her hand. Blood trickles out between her fingers. We now see she's been shot.

Over Duncan's impassioned clamor they can hear Wurlitzer yelling from below.

Mickey sits down, utterly exhausted. Mallory sits down next to him. She winces in pain. He puts his arm around her.

Suddenly, Mickey's exhaustion lifts. He has a plan.

Mickey stands.

Mickey confronts the two hostages. He points at Duncan.

Duncan nods pathetically.

SERIES OF SHOTS

Deputies with guns in their hands, just itching to kill Mickey and Mallory. We hear Mickey's voice OVER this SHOT.

BACK TO PRISON STAIRWELL

Mickey is squatting in front of Wayne.

Mickey pulls the roll of gaffer's tape from his shirt and starts tearing strips of tape and sticking them to the wall.

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.

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 stands with Wayne as he tapes his trigger hand to the stock of the shotgun.

Mickey grabs the camera, and lifts it to his shoulder before shouting to Duncan.

Duncan can't answer, Mallory has gagged him with tape. Mallory grabs Duncan by the collar and lifts him off the floor before reading his name badge.

Wurlitzer and the deputies are deciding their next move when they hear:

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 or 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 focuses the camera on Wurlitzer. Duncan simply cries and begs for his life to be spared.

Mickey knew what he was doing. This has an effect on the deputies.

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.

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.

Wayne starts up again.

The deputies are completely frustrated. Mickey and Wurlitzer are nose to nose.

Mickey LEAVES FRAME.

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:

WIDER ANGLE

Image...

IMAGE (BLACK AND WHITE)

Before BURNING INTO WHITE LEADER.

The WHITE LEADER is DISRUPTED by a:

FOGGED IMAGE (BLACK AND WHITE)

The image settles into an:

EXTREME CLOSEUP - WAYNE

He's begin filmed by a 16mm CAMERA that he is presently balancing on a fence post.

NOTE: This entire scene is played out cinema verite. the sound is not in sync as Wayne steps back into a:

MED. SHOT - WAYNE

He looks directly INTO the CAMERA.

Mickey screams O.S.

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.

Mickey can be heard faintly in the b.g.

Mickey's snapping his fingers in the b.g.

Mickey approaches Wayne. CAMERA goes a LITTLE HAYWIRE as Wayne lowers it from his eye.

Mickey takes the camera from Wayne, and while he speaks, he balances it on a fence post.

Wayne forces a chuckle. Mickey steps AWAY FROM the CAMERA into a:

THREE-SHOT

The news van is parked in the b.g.

Mickey pumps the slide on his shotgun. Mallory grabs her shotgun from off the ground.

Wayne is shaking.

Wayne is grasping for anything.

Mickey turns to Mallory.

The two interview subjects start PUMPING ROUNDS into Wayne, whose 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 lays peacefully IN FRAME until the CAMERA eventually ROLLS OUT OF FILM.