"NATURAL BORN KILLERS"


                     SCREENPLAY BY QUENTIN TARANTINO,
                     DAVID VELOZ, RICHARD RUTOWSKI,
                     AND OLIVER STONE







     DRAFT FIVE
     MAY 11,1993






     NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS
     AND SOME "OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR THIS
     SOFT COPY.




     EXT. NEW MEXICO DESERT HIGHWAY - DAY (PRESENT)

     A black scorpion crawls towards us on hot tarmac.  The sound of
     an approaching PICKUP.  A tire crushes the life from the
     scorpion, CAMERA rising from it to reveal a desolate DINER in the
     middle of nowhere.

     INT. DINER - DAY

     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
                Well, 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 hard-hitting rockabilly TUNE cuts through the coffee shop.
     (Suggestions: "Let 'er Roll" by Sid King or "Red Hot"/"The Way I
     Walk" by Robert Gordon)

     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.

     EXT. COFFEE SHOP - DAY

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

                          EARL
                Goddamn this sonbitch 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.

                          OTIS
                Take a run at 'er, kiddo.

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

                          OTIS
                Miller, Mabel.

                          MABEL
                Comin' up.

     Sonny 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 Otis.  Otis takes a swig,
     enjoying the floor show.

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

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

                          MICKEY
                Her name's Mallory.

                          OTIS
                Mallory, whatever -- who gives a shit.  I call
                it pussy.

     The needle lifts off the record.  The song ends.

     Mallory opens her eyes and sees Sonny, grinding up against her,
     grabbing for her tits.

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

     Sonny gives her his best shit-eating grin before turning to Otis.
     Otis gurgles out a laugh.

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

     Sonny turns to Mallory.

                          MALLORY (sweet)
               Oh, are you flirting with me?

     She starts to sing "Shitlist" by L7.  Sonny doesn't understand as
     she punches him hard in the face, spinning him around.  More
     punches follow as she wallops him all over the diner.

     A new song automatically drops on -- Patti Smith's "Rock 'n Roll
     Nigger" or L7's "Shitlist" pumping the room to a new peak of
     murder and insanity.

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

                          MALLORY
               Don't fuck with my dance! Goddamnit Mickey, why
               do they fuck with my dance, goddamn is it be-
               cause I'm so cute? Why are they fucking with me?

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

     Otis 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 Otis' finger.

     Otis' 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 Otis.  Finally, blood flows from the slices made
     in his face and chest.  Otis collapses.

     The SHORT-ORDER COOK in a hairnet 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 top of Sonny, SLAMMING
     his head repeatedly on the floor. He's dead, she's still singing.

                          MALLORY
                ..."you made my ... shitlist!"

                          MICKEY
                Honey.

     Mallory looks up at Mickey.  She gets off Sonny 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. Twice the jingle lands on the
     cowboy, but Mallory adds another phrase...

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

     ...so that she ends on Mabel.  Mabel's dodging around screaming.

     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 was here. Say it.

                          COWBOY
                Mickey and Mallory Knox.

                          MALLORY (to Mickey)
                I love you Mickey.

                          MICKEY
                I love you Mallory.

     They kiss.  Holding hands, Mickey and Mallory walk out of the
     cafe.

     TITLE SEQUENCE

     INT. CONVERTIBLE CAR - MOVING - DAY (PROCESS SHOT)

     "Rock 'n Roll Nigger"/"Shitlist" blends into a PROCESS SHOT of
     plates of the Southwest USA (Shiprock, buttes, mesas, Rio Grande,
     Indian Reservation), mixed with the Midwest, Alaska -- the
     country on the move.

     The Song Track acquires a second and possibly third song, all
     clashing on the track at the same time (possibly older fare like
     Duane Eddy's "Rebel Rouser" or Shangri-La's "Leader of the Pack"
     with some "Madame Butterfly" thrown in).  The TITLES splash over
     this with big Rock Hudson/"Giant" '50's-style block lettering.

     In the foreground (possibly grainy, black-and-white 16 mm,
     "Breathless" style cinema verite), MICKEY drives a 70's type
     American muscle car fast (Suggestions:  a Plymouth Cuda, Dodge
     Challenger, Coup de Ville Cadillac).  Buffalo grass blurs by.
     White clouds.

     Then some RAIN.  The top is down.  They are wet and laughing.  A
     bottle of tequila lays between them.  She turns the radio up
     louder...and louder.  Micket drives faster ... and faster.  The
     car feels like it's taking flight.  The wind, the music --
     everything merges.

     The CAR crashes off the road, through a barbed wire fence,
     fishtails -- races on, mowing through brush.

     Mickey floors it and howls to get 400 horses under control.
     MALLORY yells.  Can you believe?  Can you see Life in Death?

     EXT. NIGHT - STARS

     A vault of Southwest Stars, clean as milk, pouring down on the
     TWO LOVERS in the middle of nowhere.  Mickey peeing in the dark.
     Softer Music (Cowboy Junkies' "Sweet Jane" style).

                         MICKEY
               Goddamn!  Looks like the world's comin' to an
               end, Mall.

     Mallory is dancing barefoot on the hood of the car. As she
     sings/talks, the stars become light-moving explosions into the
     earth.

                         MALLORY
                         (dreamy, looking up)
               I see angels Mickey ... comin' down for us from
               heaven.  I feel their feathered wings ... I see
               you ridin' a red horse, drivin' the horses,
               whippin' 'em -- they're spittin', frothin' all
               over the mouth -- comin' right at us...I see
               the future...and there's no death
               Mickey...cause you and I are angels.

     She gets out of the car. Mickey, buttoning up, turns to look at
     her for a moment.

                         MICKEY
               That's goddamn poetry...damn I love you Mall.

     In the shadows, we see her little devil grinning back at him, as
     she pees.  Light on her flanks. She's singing "Ain't Nobody's
     Business" by Billy Holiday.

     TITLES END.

     EXT. WINSLOW/GALLUP - DAY

     MICKEY and MALLORY drive into a quiet one-street town on Rt. 666.

     EXT. MOTEL - NIGHT

     The car is parked outside a cheap MOTEL in the middle of nowhere.
     The sign reads "FREE HBO."

     INT. MOTEL ROOM - NIGHT

     MALLORY is drying her hair, in a slip.

                         MALLORY
               You wanna go out?  Get somethin' to eat?

     No answer.  The TV's on to "Thelma and Louise" blasting it out
     with the cops.  MICKEY has a copy of TV Guide in his hands, worn
     out.

                         MICKEY
               Nah, let's stay in, (he looks off to the
               corner) we got plenty action here.

                         MALLORY (stepping out of the bathroom)
               You know what I been thinkin' bout?

                         MICKEY
               Course I know.  You been thinkin' bout rollin'
               round that big sunflower patch outside Tulsa.

     He flicks the channel.  To "Badlands" -- another shootout.

                         MALLORY (pleased)
               How'd ya know?

                         MICKEY
               And you been thinkin' bout cutting your hair
               short.

     She steps on the bed and sits on her knees, snuggles.  She puts
     her head on his shoulder and he traces the line from her eyebrows
     down through her nose and chin.  She's like a cat, purring,
     nestling for his warmth.

                         MICKEY
               And you been thinkin' bout us settlin' down --
               on a boat in the middle of a big lake, with a
               dog and a juke box.

     Mallory wraps her arms around his chest, nibbles his neck. What
     she never felt in her father's house -- a warmth.

                         MALLORY
               Oh, Mick, I love it when you can read my mind.
               I bet I know what you been thinkin' bout?

     Mickey flicks to "Scarface" -- the chainsaw scene.

                         MICKEY
               Yeah, why they make all these fuckin' stupid
               movies. Don't they believe in kissin' anymore!
               I tell ya out there in Hollywood somebody's a
               taco short of a combo plate.

     He gives her a big kiss.  She smiles.

                         MALLORY
               Oh mercy.

                         MICKEY (laughs)
               You're so cute. I love you, right down to
               your... (notices)... where is it?

     Her wedding ring is missing.  He glares at her hard, grabbing
     her wrist.

     The CAMERA suddenly hauls ass from the bedroom back through the
     bathroom door and careens towards the sink.  It STOPS at a soap
     dish.  There, bigger than life, is Mallory's WEDDING RING.  A
     diamond to light up the sky.

     Her hand comes into FRAME, grabs it and exits FRAME.

     Mallory jumps back in bed with Mickey, waving her ring.

                         MALLORY
               Calm down Mickey!  I just took it off so it
               wouldn't snag when I washed my hair, goddamn.

     Mickey flicks the remote to a "Game Show" -- a new refrigerator,
     a miniature swimming pool, and a new car are given away in a
     rapid sequence. Mickey throws her perturbed looks inbetween:

                         MICKEY
               Even if that ring pulls out every hair on your
               head, it never comes off.  If it scratches my
               face, it never comes off.  If it tears out my
               eyes, it never comes off.  Every great thing we
               do, starts with these.

     Mickey clicks their wedding rings together.  Mallory, excited,
     kisses him in great slurps of lust as Mickey flicks to a "Nature
     Show" -- Insects devour insects.  Who eats who, and where.

                         MALLORY (sexy)
               If you put it that way.

     She makes love to him under the sheets.

     On the TV, a praying mantis swallows a bug.

     Mickey, a love crazed guy, splits his looks between the TV and
     something in the corner.

                         MICKEY (to TV)
               "Jeesus, look at that...my god!"

                         MALLORY
               Stop lookin'...will you stop lookin' at her!

     It could be the TV he's looking at; we're not sure.

     Mallory stops humping him, looks at her ring.  He blows some hair
     out of her eyes.

     Mallory, frustrated, gets off him, throws a jacket over her slip,
     adjusts her highheels.

                         MALLORY (going out)
               I'm goin' for a ride.  See ya' later.

                         MICKEY
               Hold it? Weren't we going to do something with her?

     CAMERA PANS, with Mallory on the way out to the corner of the
     motel room.  A young GIRL is tied up, her mouth taped shut, her
     eyes bugging out of their sockets, she's so scared.

                         MALLORY (going out)
               Later...

                         MICKEY
               Prude.

     Mickey closes his eyes.  The TV light washing his face with
     another trip to Hawaii.

     EXT. EDGE OF TOWN - NIGHT

     MALLORY drives, top down, through a truckstop town. It's a hot
     night.

     EXT. GAS STATION - NIGHT

     COYOTE catch MICE drawn to the street lights. A little outside
     town, MALLORY'S pulled into an all-night gas station.  Bugs fly
     around the neon.  The radio in the car is on to something like
     "Ted Just Admit It" from Jane's Addiction.

     A YOUNG GAS ATTENDANT slides out from under a Corvette he's
     working on in the garage.  He puts on his greasy cowboy hat and
     walks up to her car.

                         MALLORY
               Fill 'er up.

                                                          TIME CUT:

     He pumps the gas.  She walks over to check out the Corvette.  As
     he comes over,

                         MALLORY
               Nice 'vette.

                         ATTENDANT (nods)
               That'll be seventeen bucks lady. Say, don't I
               know you?

     Mallory leans into his face, a yearning.  She takes his hand,
     feels it.

     He looks, wondering, surprised.  There's something so needy, so
     desperate in Mallory's child-like eyes.

     She takes his hand and runs it up inside her shirt, muttering.

                         MALLORY
               Why don't you just feel me...tell me you want
               me...think I'm sexy?

     His hands feel her up.  She presses her lips to his neck,
     nibbling.

     A brief flashing image of MICKEY passes before her eyes.  It's
     him in front of her.

                         MALLORY
               ...come on, say it more...

     His hands get rough, taking the lead.  She doesn't want that.
     She pushes his head down, deflecting his agressivity.  (..."go
     down")  Camera dwells on her leaning back on the Corvette as he
     is he is beneath her.

     But he is rough, and pops his head back up and smothers her on
     the top of the hood.  His blackened hands starting to push and
     knead her roughly.

                         ATTENDANT
               Oh baby!  You are sexy!

     She is increasingly agitated, coming out of her reverie.  This is
     obviously not Mickey.

     He spreads her hard across the hood and spreads her legs in a vee.

                         ATTENDANT
               Holy shit!  I can't believe this...can I get ya
               autograph?  You're Mallory Knox ain't yal

                         MALLORY
               Yeah.  And you're dead.

     She kicks him hard, freeing her legs.  He falls off the hood. She
     gets the gun from her purse and fires an angry SHOT into him.

     She is ranting as she kicks him and steps over him.

                         MALLORY
               Next time don't be so fuckin' eager...that was
               the worst fuckin' head I've ever had in my life.

     She scoops the cash out of the night register at the pump.

                         MALLORY
               Goddamn! You deserve to fucking die!

     INT. GAS STATION - DAY

     Peering at Mallory's underwear, JACK SCAGNETTI expresses
     reverence, moving his attention to the hood of the Corvette,
     dusted with crime powder.  He's a cop, one of the best.  He
     consults a LOCAL COWBOY SHERIFF.

                         SCAGNETTI
               Jesus, a perfect ass... you can even see the
               crack... that's the back ... arm...her
               head...fuckin' dry saliva drops still on the
               fender.

     He drops down to examine the DEAD ATTENDANT.

                         SCAGNETTI
              ...poor bastard was eatin' her when she did 'im.

     He looks in the attendant's mouth, pulling out a small pocket
     knife.  Using the tweezers, he removes a pubic hair from the dead
     man's mouth. He holds it to the light, looking at it intensely.

                         SCAGNETTI
               Mallory Knox...meet Jack Scagnetti.

     INT. MICKEY CAR - (MOVING) - INDIAN RESERVATION - DAY

     CU of a rear view mirror -- MALLORY'S eyes looking.

                         MALLORY
               Fuck...fuckin' cheese!

     The camera now revolves in the mirror to rack MICKEY, driving,
     also peering seriously into the mirror.

                         MICKEY
               This fuckin' guy's got me worn down to a bare
               fuckin' nub.

     The mirror -- A NAVAJO PATROL CAR is shadowing them.

     INT. INDIAN CAR - DAY

     Closer -- stoic INDIAN EYES under a tribal baseball cap.  Just
     looking, tagging -- not on the radio or anything.

     INT. MICKEY'S CAR - DAY

     CU on a state road MAP showing Indian Reservation symbols.  Up to
     MALLORY.

                         MALLORY
               Be cool -- take the next right.  Looks like a
               town out there.

                         MICKEY
               All I see is desert.

     MICKEY turns onto a dirt road off the Highway.  A cloud of dust.

     They look back.

     The Indian slows to a crawl, watching them...then goes past, down
     the main road.

                         MICKEY (relieved)
               That's right Cochise, go eat some more fried
               bread...Gimme some more mushrooms.

     Mallory reaches for the mushrooms -- gives him a couple of dry
     chewy puips.  He gnashes on them.  The radio's been playing
     something zonal like "Alive" by Pearl Jam or "Dizz Knee Land" by
     Dada.

     EXT. DIRT ROAD - LATER - DAY

     They have run out of gas in the middle of nowhere.  Red earth.
     Sky.  Clouds.  A thrush calls out a song.

     MICKEY is staggering, besotted with mushroom power.  Sticks his
     gun in his belt, begins walking up the road looking for gas.

                         MICKEY
               Shit. Right now I'd go down on a lawman for a
               gallon of gas...do I have something on my nose?

                         MALLORY (sings it)
               "Guess it's farther than I thought."

                         MICKEY
               Snakes, birds, nothin' out here. "Turn right?"
               Turn right to what? You fuckin' stupid bitch.

     She punches him right in the face.  Then she kicks him to the
     ground.  On the ground he tries a savate kick. She sees it
     coming, jumps over him and lands right on him, gun in his
     forehead.

                         MALLORY (mocking)
               "You stupid bitch!  You stupid bitch!  You stupid
               bitch!!" Don't call me bitch.  My father called me that.
               Once too much.  You're losing it, Mickey.

     He has a tooth loosened.

                         MICKEY
               Sure Mall, take it easy...it's me, your lover,
               not some demon.

                         MALLORY
               How do I know that? Take off your pants and
               gimme your money...now.  I'm serious.

                         MICKEY
               Mall! I don't have to be dictated to by a woman...

                         MALLORY
               Shoes too.

     She fires. Into the ground. Right next to him. He hops to comply.

                         MICKEY
               What are you gonna do?  Leave me. Just cause I
               don't have the goddamn same puritanical belief
               systems you do!  What the fuck is that gonna...

     She fires again.  Speed it up.  He senses she's really pissed.

                         MALLORY
               Mickey, you gotta get respect for me...turn
               around and drop your knickers.  I want to see
               your ass up in the air.

                         MICKEY
               Mall!  What the hell game is this!

     She fires again. The shots bring the sound of BELLS jingling.
     They look.

     On a KNOLL fifty feet away stands a flock of RAMS.

     Conversely, the Rams' POV is of a near-naked man and a woman with
     a gun in the desert. The Chief RAM tears out after Mickey.

                         MICKEY
               What the fuck!

     He starts to run.

                         MICKEY
               Shoot it!  Goddamn Mall, shoot the fucker!!

     Mallory laughs as the ram closes on Mickey.  But the Ram comes to
     an abrupt stop as it hears the WHISTLE.

     A FIGURE now stands at the top of the knoll with the flock of
     sheep and a YOUNG BOY.  The ram trots back towards him.

     Mickey looking.  Mallory puts away the gun.

     The Figure is an OLD INDIAN.

     Mickey crossing himself, half joking.

                         MICKEY
               Rejoice...for he hath found his sheep which
               were lost in the desert
                    (pointing)
               Hey, Chief, we ran outta gas...our car's up the
               road apiece.

     The Indian knows something. He says nothing, continuing down the
     hill and across the road with the Young Boy, the ram and about 30
     sheep.

     Mickey, throwing on his clothes, follows with Mallory, their
     dispute forgotten for now.

     EXT. DESERT HOGAN - DAY

     MICKEY AND MALLORY approach a hogan -- a mud and log structure,
     twenty feet across.  A PICKUP is parked nearby.  A scruffy DOG
     alongside a PICKUP barks as they approach; a DONKEY is tied to a
     pinon tree and SHEEP wander.

     The YOUNG BOY stands in the breeze watching them.

     Mickey knocks at the open door.

                          MICKEY
               Hi...so look we got tobacco, lots of tobacco...
               you got any gasoline we can buy?

     No answer.

                          MICKEY (looking at the donkeys, to Mallory)
               We can always snatch the donkey and ride outta
               here.

                          MALLORY
               Maybe he don't speak English.

                          INDIAN
               Come on in.

     Mallory and Mickey look at each other and step inside.

                          INDIAN (his only English)
               Come on in.

     INT. HOGAN - DAY

     It's dim inside but cozy.  The old INDIAN sits on a rickety old
     bed with a horsehair mattress, sheep skins and an Indian blanket.
     A worn aluminum kitchen table occupies the middle of the room.

     Bays of dried ears of corn, squash, melon and beans lay on the
     dirt floor.  Chilies and dry mutton hang on wire strung on one
     side of the room.  A pile of cedar wood is stacked by an old
     franklin stove, a covered pot on top.  Scraps of cotton hang over
     the windows, various photos of family and friends, and feathered
     Indian gear hang from nails pounded into the wall.  It's very
     quiet.

                         INDIAN
               Come on in.

     He motions for them to sit in an overstuffed chair.

                         MALLORY
               Thank you (pointing to herself)  I'm Mall-o -
               ry...That's Mi...ckey.

     Everyone nods and smiles.  MICKEY and MALLORY show another side
     of sweetness and politeness.  The YOUNG KID coming in and sitting
     down next to the OLD MAN.

                         INDIAN (in navajo)
               When are you leaving?

     Mallory signals they don't understand.

                         INDIAN (in navajo to the Boy)
               Good looking woman...uh...Man's got things in
               his head he can't get out...demons.  Too much
               TV...Trouble follows that one.

                         MICKEY (to Mallory)
               This is like the twilight zone or something.

     The Old Man walks over to some pictures on the walls, hands one
     to Mallory of a YOUNG COUPLE back in the 1940s or 50s.


     [PAGE 17 MISSING]


                         INDIAN BOY (navajo)
               Can you help them grandpa?

                         INDIAN (navajo)
               Maybe they don't want to be helped.  They both
               fly too close to sun.  Now they are falling to
               earth.  That is why they have come here.  My
               prayers would mean nothing in their world.

     He stokes the fire, feeds the snake again. He studies a crystal
     in his hand.

                         INDIAN (navajo)
               Once there was a woman who went out to collect firewood.

     The snake is crawling over to the Indian who reaches down and
     picks it up and puts in his lap.

                         INDIAN (navajo)
               You want to hear the story too don't you old
               man... O.K. (continues)  She came upon a
               poisonous snake frozen in the snow.  She took
               the snake home with her.  She put the frozen
               snake on her favorite blanket by the warm fire.
               She fed it and nursed it back to health.  One
               day she picked the snake up and it bit her on
               the cheek.  As she lay dying she asked the
               snake, I loved you, why have you done this to
               me?  The snake answered, "look bitch, you knew
               I was a snake."

     He chuckles, as does the Boy. It's very quiet. The sound of the
     fire.

     Mickey has fallen asleep.  The Old Indian begins to SING.

     Mallory is awake, watching the Indian.  The room, shadows
     dancing.  It is the first time she can remember feeling peace,
     almost like family.  She starts to drift off.

     Mickey is dreaming out loud.

     The Old Man stands and takes the snake to the door.  Opening it,
     he lets the snake out.

                         INDIAN (navajo)
               Go be a snake.

     Mickey's nightmare is getting heavier.  He's moaning and sweating.
     The Old Indian takes his feathered hat of f the wall and puts it
     on.  He opens a wooden box and takes out a white eagle feather
     and a bundle of medicine.

     EXT. HOGAN - NIGHT

     The OLD MAN and the BOY with him now make offerings to the four
     directions, to the grandfather spirit, the stars, the earth, the
     mother, praying, singing.  His face and hands are marked with
     white ash and colors so the spirits will recognize him.

     INT. HOGAN - NIGHT

     As we hear the mounting sounds of the prayer, we see MICKEY'S
     face dreaming, sweating.

     The OLD MAN is now leaning over Mickey and MALLORY in half light,
     shaking the rattle and waving the burning sage over Mickey to
     chase the demons.

     We push into Mickey's eyes.

     DREAM IMAGERY -- death, murder, shit...a WAR FOOTAGE.  In
     Bosnia...a decapitated BODY sitting in the corner of the room,
     just sitting as if alive, as if about to rise up...A MAN slaps a
     WOMAN. A BABY cries...shooting...a MURDER VICTIM screaming "Oh
     god no! Please no!" BIRDS fly backwards...A MONSTER with a knife
     in its hand coming at us, the face of the Demon!

     Suddenly TWO SHOTS explode off the walls of the hogan.

     Mickey is awake, stunned, sweating -- the gun in his hand.

     Mallory sitting up.

     The OLD INDIAN stands still over Mickey.  Everything stops.

     Then staring into the Beyond, he falls to the ground.

     Mickey is shocked, howls.

                         MICKEY
               Ahhhhhhhhh!

                         MALLORY (screaming, feeling the merge)
               Ooohhh my God... Mickey YOU KILLED HIM!!!

     They look down at the dying Chief.

                         INDIAN (quietly, in navajo)
               You thought coming here was an accident...this
               was no accident...I saw this demon in my dream -
               - 20 years ago.  I was waiting...I forgive you.

     The Old Indian dies.

                         MALLORY
               This is bad Mickey.

     Mickey walks outside, in circles, ranting to himself.

     EXT. HOGAN - NIGHT

     The last of the moon is disappearing behind the earth.  The lone
     dog howls.

     MICKEY with the gun in hand runs to the Indian's PICKUP truck,
     jumps in.  It won't start. He catches a glimpse of something in
     the rear view mirror.  The DEMON FACE over his own.

                         MICKEY (spooked)
               SHIT!

     He leaps, scrambles out of the truck, looks in the back for gas.
     A 5 gallon can.  He shakes it.  Half full of gas.

                         MICKEY
               Mallory!

     INT. HOGAN - NIGHT

     MALLORY is covering the dead INDIAN with his blanket.

                         MICKEY (O.S, desperate)
               Mallory!

     EXT. HOGAN - NIGHT

     On the horizon, we see the YOUNG BOY standing there looking.  He
     runs away.

     MALLORY walks past MICKEY, heading elsewhere.

                         MICKEY (carrying the can)
               We got gas, baby.

     She says nothing, pissed.

                         MICKEY
               Come on Mall -- it was an accident.  This whole fucking
               thing is crazy (catches up to her, spins her).

                         MALLORY
               Don't you feel anything!...Something else has
               taken over Mickey. I don't know what's real
               anymore. I'm scared. That was bad! Maybe we were
               led into the wilderness by the demon.


                         MICKEY
               There's no demon -- just us.

     She looks at him.

                         MICKEY
               I'm sorry bout the old man.  I really am.  But
               you gotta be strong Mall.  I need ya.  Now come
               on.  The car's this way.

     Mallory walks away.

                         MALLORY
               I felt at peace last night. It's over Mickey!
               I'm going any place but with you.  You got no
               real feelings. You're just as dead as all of 'em!

     Mickey follows.  A sudden rattle in the night.

                         MICKEY
               Wait a minute!

     Mickey flicks a lighter.

     A big RATTLESNAKE.

     They walk around it.  She wants to get away from him, doesn't pay
     attention.

     He flicks his lighter again.

     MORE SNAKES.

     Mallory keeps walking faster and faster.  Mickey tries to grab
     her.  She breaks away.

                         MALLORY
               Lemme alone!  I'm outta here.

     We hear another RATTLER.  Mallory screams out.  She's bit!

                         MICKEY
               OH GOD NO!

     He starts shooting into the ground.

     Mallory lies there stunned, hands to her ears.

                         MALLORY
               Stop it...STOP IT.

     Mickey rips off his shirt and wraps it around a stick, soaks it
     in the gasoline and lights it, making a big torch in the night.

     There are SNAKES coming at them from all directions.

                         MICKEY
               Holy Shit!  What the fuck have we done!

     Lighting the way with his torch, he hauls Mallory up and hotfoots
     it out of there, snakes popping their rattlers everywhere.

     A huge RATTLER sinks its fangs into Mickey's leg.  They're both
     bit.  He keeps moving, spitting the torch into the snake's face.

     INT. CAR - MOVING - HIGHWAY - NIGHT

     Mickey driving past a ROADSIGN saying "GALLUP."

     MALLORY is delirious.

                         MICKEY
               You'll make it Mall.  Badasses don't die ...
               Indians got a saying I read.  It says you're
               either stronger than the poison or you die.  They
               get bit, they run... fast as they can.  They
               either drop dead right then and there...or they
               live.  We're gonna live Mall -- a long, long time.

     PAST A CHEAP MOTEL on the outskirts of town -- says "U SLEEP
     MOTEL. $7.50 the night.  Free Hot Tubs.  Porno Films on Cable."
     The CAMERA stays with the motel, letting the car whip past.

     INT. MOTEL ROOM - NIGHT

     JACK SCAGNETTI, in undershorts on the bed, is drunk, sweating,
     eyeballing a friendly YOUNG WOMAN.  She's awkward, a little
     nervous but she's down to her undergarments, looking at the
     CLIPPINGS of "Mickey and Mallory" spread over the table and
     dresser, pictures of crime scenes and his book -- "Scagnetti on
     Scagnetti."  A half empty bottle of vodka.  A gun, handcuffs and
     a police badge.

                         PINKY (worried)
               ...my name's Pinky...
                    (no answer)
               Say are you a real cop?  Or are you some kinda
               freak or something?  I don't want no trouble.

                         SCAGNETTI (mumbles)
               Ya...I'm a real cop.

     Pinky smiles.  The light from the TV fills the room with a
     strange aura.  The sound is off.  We hear MUSIC from the next
     room.  TRUCKS pass by outside.

                         PINKY
               You're not qonna hurt me are you?

                         SCAGUETTI
               I never hurt anybody in my whole life. I'm the
               law.  I'm your protector. You don't ask me any
               more questions, Pinky...step up on the
               bed...move slowly.

     Not sure what he wants, Pinky steps barefoot up onto the bed,
     standing over him, a foot on either side of his torso...she's
     slowly bending, spreading, arching like a young woman remembering
     childhood ballet dreams, her eyes closed...

     He moves his hands up her legs and ass, exploring, continuing up
     across her shoulders.  Around her neck, bringing her down. Closer.

                         SCAGNETTI
               Come here, give big Jack a kiss...just keep
               lookin' at me now...just keep lookin'...don't
               close your eyes...y'ever been strangled?

     Head LIGHTS wipe across the wall.  A TRAIN passes.

     A different rhythm now.  Her eyes.  His hands around her neck.
     Strangling her.  She is terrified, struggles.

     An ankle with a thin gold chain.  A flailing arm kicks over the
     night stand and lamp.

     Falling, rolling.  Stale green motel carpet...she heaves,
     staring.  Slender leg kicking, fists pound at his face as he gets
     on top of her.  Fingers tear flesh.  Not a word is spoken. Her
     eyes never close. Fingers tear at his cheeks.

     The TRAIN has passed.  Silence.  The TV blinks.  The radio plays
     softly in the next room (people partying, laughing).

     His face.

     EXT. GARBAGE DUMP - EDGE OF TOWN - NIGHT

     The HOOKER'S separated body vanishes in plastic bags in a large
     dumpster.

     SCAGNETTI looks around, impeccable in a clean suit, shiny
     cufflinks.  He crosses back to his car, revealing an ancient
     DRIVE-IN next door.

     EXT. DRIVE-IN MOVIE - NIGHT

     The last show.  A Goldie Hawn-Steve Martin picture is playing --
     giant closeups, a comedy.

     MICKEY and MALLORY are slumped against the driving wheel,
     delirious, struggling for breath, sweating heavily.

                         MICKEY
               When's this over?  We gotta get outta here,
               Mall...we...

                         MALLORY
               Angels Mickey... I see angels

        On Goldie Hawn. (ANIMATION SEQUENCE begins here -- TBD)

                         MICKEY
               Ya, I see em.

                         MALLORY
               They're guarding us.  Each step we're
               together...Oh God...it's perfect.  We're gonna
               make it Mickey...we're gonna...

                         MICKEY
               Goddamn Mall, that's poetry.

     Mickey slams the car into drive, plowing forward out of the
     parking spot, smashing the movie meter.

     He sideswipes into another car, screams, anger. A PERSON stepping
     out to confront.

     Mickey slams his car backwards into the angry person, crushing
     him.  Then he zigzags his way through the parking lot past the
     faces of Goldie and Steve.

     EXT./INT. "DRUG ZONE" - NIGHT

     It towers over the deadbeat western landscape like a vision of
     the future -- gleaming white cube of fluorescent power -- sacred
     Aztec Gods within -- offering aisle after aisle of nicely colored
     packages of American D...R..U...G...S.

     HIGH ANGLE moving on MICKEY staggering down one aisle ... looking
     (presumably) for snake venom.

     The same goes for MALLORY in her aisle -- face now green with the
     sickness, cotton-mouthed. Time is running out...her breathing
     labored, short -- a sound from hell.

                         MALLORY (pleading)
               Mickey, I'm so cold...I'm goin' now...

     Staggering, falling in the aisle...

                         MICKEY
               No you're not! No you're not! Get angry!  Mall--

     Mickey in his aisle looking through the rubbers, pulling out a
     handful, staggering down a football-field aisle towards the
     counter that looks as far as an oasis in the Mojave.

     ON TV:

     At the CONTTROL BOOTH,  a nine-inch COLOR TELEVISION plays in
     CLOSE UP.  A pumped up MUSIC CUE peaks as we see:

     PHOTO:  Charles Manson
     TITLE:  "AMERICAN MANIACS"
     PHOTO:  Charles Whitman
     PHOTO:  Richard Ramirez
     PHOTO:  Ted Bundy
     TITLE:  HOSTED BY WAYNE GALE
     PHOTO:  David Berkowitz
     PHOTO:  Henry Lee Lucas
     TITLE:  PRODUCED AND DIRECTED BY WAYNE GALE

     Following a series of shots of WAYNE GALE in the field (VIDEO
     SEQUENCE), the young commando journalist stands on the yellow
     line of Highway 58. His accent AUSTRALIAN STREET:

                         WAYNE TV
               Welcome to another episode of "American
               Maniacs," where we chronicle the mayhem, the
               brutality, and the violence of that peculiarly
               American creation -- the serial killer.

     PULL BACK to reveal an enormous POLYNESIAN DRUGGIST, 300
     pounds, watching a portable TV on the counter of the control
     booth.  He's behind a hi-strength glass and raised up a couple of
     steps.  His eyes, at this late hour, nervously wander to his
     SURVEILLANCE SCREEN -- revealing:

     ON SURVEILLANCE MONITOR:

     Mickey and Mallory, separate aisles, alone in an enormous sea of
     fluorescence, foaming.

     ON THE TV:

                         WAYNE TV
               Tonight I'm standing on Highway 666 -- running
               through towns like Cortez, Colorado, Shiprock,
               and ending in Gallup, New Mexico.  To some it's
               a beautiful stretch of the American landscape,
               but to Mickey and Mallory Knox, who are still
               at large, it is literally a candy lane of
               murder and mayhem...

     The moments are expanding in the Pharmacist's eyes as -- not
     yet, but almost -- thoughts begin to cross over into neighboring
     compartments.

     HOME MOVIE MONTAGE -- TV

     On the TV -- a MONTAGE OF Home Videos.  These are films of Mickey
     and Mallory living a normal life.

     -- MALLORY -- very introverted -- with her PARENTS who look
     really weird -- doing something weird like feeding the fish.  Or
     all three are smiling, Mallory in the middle.  Her father holds a
     chicken drumstick.  Mallory's taking a bite out of it.

     -- MICKEY in his high school yearbook photograph or elementary
     school.  Very innocent, sweet.  Possibly a photo in Santa's lap.

                         WAYNE TV
               Once they were average citizens, living drab,
               nothing-ever-happens lives, but then these
               sweethearts began a cross-country murder spree
               that has lasted only three terrifying weeks but
               has left.

     -- PHOTOS: BLACK & WHITE of bloody VICTIMS -- both men and women

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

                         WAYNE TV
               ...forty eight known bodies in its wake.
               Including...

     TIGHT over the DRUGGIST in enormous diopter as MICKEY approaches
     the CONTROL BOOTH, staggering.

     A PHOTO OF MALLORY'S PARENTS -- MOM and POP.

                         WAYNE TV
               Mr. and Mrs. Ed Wilson -- who are -- or rather
               "were" -- Mallory's Mom and Dad!

     The Pharmacist's terrified eyes carry from the television to
     Mickey trying to get his attention out the booth.  Up close
     Mickey looks like shit, pale, sweating, waving a handful of
     rubbers at the Druggist.  His mouth voicing words through the
     ventilated "bullet-proof" glass:

                         MICKEY
               Hey you... 'scuse me?  Aloha?

     The Pharmacist in zombied terror approaches.

                         MICKEY
               Hey!  Chief -- this rattlesnake took a chunk
               out of us a ways back. My lady friend and I are
               pretty sick...I think we're dyin', but you
               never can tell these things... so how's 'bout
               ungluing your fat ass from the boob tube and
               getting us some snakebite juice, okay??

     The Pharmacist nods and silently pushes the ELECTRONIC ALARM
     beneath the counter with his fat finger.  In a daze of his own,
     he complies with Mickey's request, meandering to the medicine
     shelves.

     ON THE TV:

     WAYNE in front of a 7/11 store.

                         WAYNE TV
               Mickey and Mallory started off as armed
               robbers, but their idea of robbery is a little
               different than you or I -- in fact it is an
               assault.

     ON TV CONT.

     INT. 7/11 STORE - DAY

     This scene is shot through the store's black and white
     SURVEILLANCE CAMERA high angle corner.

     MICKEY and MALLORY are in the 7/11, cocking their shotguns and
     shouting things.

                         MICKEY (on video)
               Money! Money!  Money!  Fast!  Fast!  Faster!
               Faster!

                         MALLORY
               Mickey!

     Mickey shoots a CUSTOMER.

     Mallory blasts the Young CLERK who flies into a comic book rack.

                         MICKEY (not noticing the TV, impatient)
               You fuckin' find it yet?

     The Pharmacist, stalling, fiddling with bottles, ultranervous
     about the naked TV staring at Mickey, trying to distract him.

                         PHARMACIST
               Have...have you tried the hos... hospit...tal
               yet.

                         MICKEY
               What the hell is this?
                    (sicker)
               You fuckin' find it yet!

                         WAYNE TV
               They'd storm in with shotguns and kill every
               customer in the place without hesitation.  But
               they always leave one clerk alive.  To tell the
               tale of...

     ON TV --

     The surveillance camera revealing Mickey and Mallory tearing out
     the 7/11 leaving one OLD INDIAN behind.

     CUTTING to PHOTOS, BLACK and WHITE, of:

     MICKEY and MALLORY -- high school sweetheart photos

     Staring right back at him.  It finally reaches MICKEY who can't
     help but be flattered.

                         WAYNE TV
               Mickey and Mallory!

                         MICKEY
               I'll be damned. (then) You piece of shit!

     He goes for his gun.

     The Pharmacist, all 300 pounds of him, hits the floor in one
     giant sumo fireball.

     Mickey blasting the window with his gun -- bullets careening off
     the hi-strength glass.

                         MICKEY (come alive)
               MALL!!!  COPS!  Get the fucking car out front!
               I'll get the snakeshit!

     Mallory, reinvigorated by the mention of "cops!" -- gets back to
     her feet and with pure, groggy will tears herself outside like a
     cyborg.

     Mickey with successive gunblasts, shatters the COUNTER GLASS and
     climbs in...

     The Pharmacist, hands hitting the ceiling, begs for his life.

                         PHARMACIST
               Ppppppplllll.....eeeezzzee.

                         MICKEY
               Snake juice!

     The Pharmacist shits --

                         PHARMACIST
               We don't carry...hosppp...ital... I'm the only
               clerk left...I'm the onnnnlllly clerk left ...

     Mickey trashing the counter in any case, cramming every
     prescription drug into a shopping bag, comes close.

                         MICKEY
               Yeah, but you forgot one thing...

                         PHARMACIST
               Whhhaaaat's th...thhhaaaat?

                         MICKEY
               If I don't kill you, there's nothing to talk
               about, is there?

     The Pharmacist gets it.

                         MICKEY
               Fuckin' squid!

     Blows his 300 pounds through the gut.  Octopus flesh flying in
     gobs in every direction.  Mickey tears out of there...

     FLYING POV CAMERA -- ripping down the aisle, Mickey's POV --
     there's a honk from outside.

     Mickey tearing past vitamin displays, knocking down a rack of
     stuffed animals.  His strength is fading.  Snake juice coursing
     through his veins.

     FLASH -- THE DEAD INDIAN

     FLASH -- THE SUN.  BUDDHA...some sign of spiritual hope.

     He gets to the door, swings out through the glass.  Sees it:

     EXT. PHARMACY AND PARKING LOT - NIGHT

     Mallory is slugging it out toe to toe with a COP.  Another COP
     lies on the ground at her feet, dead.  TWO COP CARS.

     THREE MORE COPS in windbreakers are tearing up - simultaneously
     spot MICKEY in the doorway.  They hit the pavement pulling their
     guns.

     Mickey is faster.  Whipping down, his .45 out, blazing away...

     Tearing a hole through one COP...

     Taking out ANOTHER with a headwound.

     Bullets CRASHING through the pharmacy glass, shattering the
     frontage of the store.

     INT./EXT. PHARMACY - NIGHT

     MICKEY scrambling back into the aisle, protected.  Looks back and
     sees:

                         COP (O.S.)
               Throw your gun down!  And get on the floor!
               Now!

     AN EXIT PATH -- out the rear of the store.

     But back to MALLORY as she is engulfed by TWO MORE COPS,
     altogether beating the shit out of her with guns, fists,
     nightsticks, and dragging her behind one of their cars.

     The look on Mickey's face.  Heartbroken.  He's gotta stay.  He's
     gotta go down with her.

                         MICKEY
               Awright!  Awright!  I'm coming!! But don't
               fucking touch her!  You hear me or you got a
               few more dead pigs on your hands!

     COPS, crouched behind protection, looking at each other.

                         MALLORY (yells)
               Mickey!  Take off!

                         COP (O.S. to Mickey)
               Okay! Okay! She's secured!

     Their POV -- Mickey's TWO GUNS come skittering out from behind
     the aisle.

     Mallory, blood pouring out of her, looks, moved by his action --

                         MICKEY
                    (standing, arms in the air, full exposure)
               So...come'n get the big bad wolf.

     SCAGNETTI suddenly appears from behind one of the cars -- nice
     suit, a gun in his hand, the "look." Even down to the fingernail
     scars on his cheek.

     A LIGHT pops on.  A LOCAL NEWSCREW filming as:

     Three more COP CARS arrive.  POLICE are pouring in.

                         SCAGNETTI
                    (on bull horn)
               Put your hands where I can see them.  Step out
               into the light and lay down on the ground.
               Now...

     With Scagnetti in the lead, the video camera tracks behind the
     THREE COPS in windbreakers crashing towards Mickey, guns drawn,
     overdoing it a bit for camera in a "COPS" TV docudrama style.  A
     "recreation" already of an event that is just traspiring.

     Mickey has a smile on his face as Scagnetti hauls him around and
     cranks up his arms behind his back, trying to cuff him.

                         SCAGNETTI
               You're outta business Knox you fuckhead!
               You're gonna die, you piece of shit!

     Mickey, never out of surprises, joker smile and all, wrenches one
     hand free.  He whips out his BUCK KNIFE and swings it behind him.

     He hits COP 1 in the eyes.  COP 1 screams and falls on the
     ground.  Blood smears his face and hands.

                         COP 1
               My eyes!  My fuckin' eyes are out!

     Scagnetti has jumped back, alarmed.

                         SCAGNETTI
               Don't kill him! I wanna fuck him! He's mine!

     Mickey stands there, knife in hand, toying with them.  As he
     drops the knife:

     The TWO OTHER cops pull out their TASER GUNS and fire lots of
     volts into Mickey's torso.  It's an extraordinary sight!

     CU on Mickey on fire, electrified, spinning, spinning...till he
     sees stars, millions of stars.

     The CAMERA WHIRLING with Mickey as he crashes to earth.

     Unsatisfied, the Cops pull out their clubs and beat him
     mercilessly -- with all the pent-up righteous rage of so many
     good men killed in the line of duty against this raging
     psychopath asshole.  Galaxy bandit.  Forever outlaw to the race
     of man.

     The NEWS CREW films.  In the wake of Rodney King, the Cops don't
     really pay attention.

     Mallory, bloodied to her pulp, watches from the ground, on her
     knees, arms squeeze-cuffed behind her, a nightstick through her
     elbows.  She SINGS to herself.

     Scagnetti crosses to her, jerks her up by the hair, examines her
     as coldly as a bug.

                         MALLORY (sings, ignoring him)
               "These boots are made for walkin
               That's just what they're gonna do
               One of these days these boots are gonna
               walk over you"

     She doesn't bother to look at him.

                                                     FADE TO BLACK:

                              ACT TWO

     EXT. BATONGA PRISON - DAY

     SUBTITLE:  "A YEAR LATER"

     TWO MEN move toward us -- SCAGNETTI and a Deputy Warden,
     WURLITZER, in uniform.

                         WURLITZER
               ...always wanted to meet you Scagnetti.  I
               respect you and you know what, I even bought
               your book and I read the whole goddamn thing!

     As they walk past us, revealing the medieval-looking prison in
     background, they come to a standing tower of a man, Warden
     DWIGHT McCLUSKY -- suit and tie, a man of iron from another era
     -- with another Deputy Warden, KAVANAUGH, in uniform.

                         WURLITZER (introducing)
               Warden...Jack Scagnetti.

     McClusky giving him an iron handshake.

                         MCCLUSKY
               ...Dwight McClusky.  Welcome to Hell.

     Scagnetti playing top dog, supercop cool.

                         SCAGNETTI
               Good to meet ya Dwight.  How the hell are my
               two favorite assholes?

                         MCCLUSKY
               We got the two rat fucks back in there.  I
               guess you wanna see  em.

     INT. PRISON CORRIDORS - DAY

     A door slams, giant reverb down the halls.  Echoes of keys
     clinking, eyes of GUARDS.  McClusky waves his arms as he moves
     and gates slide.

     As they move, we sense a tense prison -- the nervous demeanors
     and eyes of GUARDS, silent scary PRISONERS in close proximity.
     The TWO DEPUTIES, Wurlitzer and Kavanaugh, tag along, wary
     protection, despising the inmates, ADLIBBING to their many
     requests.

                         MCCLUSKY
               I seen you on TV.  I even went and read your
               goddamn book.  I'm impressed.  That E. Scarwin
               case was something.  You put an end to a
               nightmare, Scagnetti...

                         SCAGNETTI
               It was no big deal, Warden, just business as usual.

                         MCCLUSKY
               I'm surprised Hollywood ain't found you yet.
               Your story would make a better movie than that
               "Serpico" shit.  But I tell ya Scagnetti, in
               all my years in the penal business -- and I
               tell ya that's no small number    Mickey and
               Mallory Knox are without doubt the most
               twisted, depraved group of shitfucks it's ever
               been my displeasure to lay my eyes on.  I mean,
               these two rat fucks are a walkin' reminder of
               just how fucked up our system really is.

                         SCAGNETTI
               Don't get me started, Warden.

                         MCCLUSKY
               Dwight, you call me Dwight, Scagnetti. You up
               to date?

                         SCAGNETTI
               They been separated since incarceration --
               couple of places?

                         MCCLUSKY
               Semanko and Jessup...

                         SCAGNETTI
               They killed a shitload of inmates and guards?

                         MCCLUSKY
               Three inmates, five guards and a shrink all in
               one years' time.

                         SCAGNETTI
               Psychiatrist?

                         MCCLUSKY
               Yeah.  Mickey's better half -- Miss Mallory
               strangled his ass when he made the dumbass
               mistake of askin' her what her parents done to
               her -- and she done it all shot up on
               tranquillizers!

     FLASHBACK -- PRISON CELL - DAY

     The dead PSYCHIATRIST lying on the floor, tongue sticking out of
     his face.  MALLORY cuffed to a chair, beaten, right into CAAERA
     at the milling, freaked out COPS:

                         MALLORY
               You gonna give me some more time?  I already
               got life.  What else you got?  Death?  I'd like
               to see you fuckin' try!  I haven't met one
               motherfucker here who's shown me shit!!

     They WHACK her good.

     BACK TO:

     INT. PRISON CORRIDORS - DAY

                         SCAGNETTI (sarcastic)
               Oh yeah.  Her parents.  Her father was doin'
               her.  So she drowned him in a fish tank.

     FLASHBACK - INT. MALLORY LIVING ROOM - NIGHT

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

                         SCAGNETTI
               The mom they stuffed a sock in her throat and
               torched the bitch!
                    (laughs, cynically)
               Her kid brother they left alive.

     FLASHBACK - INT. MALLORY'S PARENTS' BEDROOM - NIGHT

     Mallory's MOTHER mouth is stuffed with a sock, held down.  A gas
     nozzle pouring gasoline all over her.

     BACK TO:

                         MCCLUSKY
               Yeah.  My old man beat the tar out of me -- but
               I didn't kill him.

                         SCAGNETTI
               Well, it was because they wouldn't give 'em
               their blessing to get married.

                         MCCLUSKY
               You gotta be kidding!

                         SCAGNETTI
               No.  Ain't love grand?

                         MCCLUSKY (roars)
               "Ain't love grand."  Ain't that the truth!
               It's like that other lie -- "love makes the
               world go round."

     They laugh together as they go past a new door. A nervous GUARD
     whispers to Deputy Wurlitzer.

     Suddenly FOUR GUARDS come out of a cell, carrying a badly bloodied
     PRISONER.  He's been stabbed over and over.  They hustle him past
     McClusky and Scagnetti who keep talking, ignoring the filthy looks
     thrown at McClusky from every PRISONER in the cell block.

                         MCCLUSKY
               ...so how does a guy like you become a
               specialist in psychos?

                         SCAGNETTI
               Well, Dwight, for starters I'd recommend having your
               mother killed by one. After that happened, I developed
               a rather keen interest in the subject.

                         MCCLUSKY
               What the hell happened?

                         SCAGNETTI
               I was born and spent the first part of my life in Texas.

                         MCCLUSKY
               You don't have an accent?

                         SCAGNETTI
               I don't wanna talk like those assholes.

                         MCCLUSKY
               My mammy was from Texas.

                         SCAGNETTI
               I meant y'know, the assholes I grew up with who
               beat the shit outta me...Anyway, one day when I
               was five, my mother took me out to play in the
               park.  Well, that just so happened to be the
               same day that Charles Whitman climbed up to the
               top of University of Texas tower and started
               shooting strangers.

                         MCCLUSKY
               You was with her?

                         SCAGNETTI
               Sure was.  You see, the thing is I didn't hear
               the shots.  I didn't hear any of 'em.  One
               minute I'm walking with my mother and then all
               of a sudden her chest explodes.  She hits the
               ground, right?  I'm just lookin' at her.  Her
               forearm flies off.  Then her hip explodes.
               Now, I'm not hearing any of these shots.  All I
               know is my mother is falling apart in front of
               my eyes...

                         MCCLUSKY
               What about you, son?

                         SCAGNETTI
               Some hero grabbed me and threw me behind a
               bush.  It took them all goddamn day to get
               Charlie.  So, that meant I spent all Goddamn
               day lyin' flat on the grass, being eaten alive
               by fuckin' ants and thinkin' "What the fuck
               happened to my mom?"  Ever since I've had a
               strong opinion about the psychopathic fringe
               that thrives today in America's fast food
               culture.  I tend not to exhibit self-discipline
               becoming of a peace officer.

                         MCCLUSKY
               You got a right Jack.  Say, you don't mind,
               d'you, if I call you Jack--?

                         SCAGNETTI (ignores the question)
               Not at all. But I tell you what it is.  These
               fucks think they're special -- Daddy yanked
               their dicks, Momma never game 'em a hug  -- so
               they have carte blanche to take innocent life.
                    (McClusky nods intensely)
               They think they're invincible.  I never caught
               a killer yet who ever dreamed he might get
               caught.  And they all look the same when I
               catch 'em -- like little kids with their hands
               in the cookie jar.

                         MCCLUSKY
               That's my observation as well.  We have an army
               of shrinks who talk about mania and
               schizophrenia and multiphrenia and obsessions.
               But it's all bullshit.  It's Pride!  Arrogance!
               Somewhere, somehow they get the idea they're
               better than everyone else -- it makes me sick.
               And Mickey and Mallory Knox are the sickest
               I've ever seen.

     INT. DINING AREA - DAY

     They walk through the spotless dining area.  The PRISONERS eat
     silently, each one more uptight than the one before him.

     The Guards on the catwalks above sense something in the air,
     nervous, nodding to the Warden who makes AD LIB INQUIRIES as he
     moves.

                         MCCLUSKY (to prisoner)
               Y'all right.

                         WURLITZER (nervous)
               Don't go down that corridor, chief.

     McClusky changes direction.

                         KAVANAUGH (whispers)
               Not there either, boss.

     MCCLUSKY waits.

                         SCAGNETTI (shrewd)
               So why me, Dwight?  What's this really about?

                         MCCLUSKY
               You feel the silence, Jack!  The silence in the
               air?

                         SCAGNETTI
               ...yeah?

                         MCCLUSKY
               The one thing you don't want in prison, Jack,
               is silence.

     Camera coming to rest on a huge BLACK INMATE.  He's not eating.
     He's not chewing.  He's not blinking.  The inmates on either side
     of him look like they might shit their pants.

     The MAN he's looking at is nervous, jacked up on speed.

                         NERVOUS MAN
               Don't focuking you look at me, motherfucker!

     The Black Guy goes for him --lunging across the table with a fork
     aimed at the jacked up guy's throat.

     But McClusky beats him to the punch -- twisting a personalized
     medieval instrument of torture -- a thumb cracker or something,
     over the inmates' fingers -- breaking them backwards.

     The Black Inmate's face shows the agony he is feeling.  As he
     finally releases the fork.

     GUARDS now surround the TWO PRISONERS and cart them away.

     As McClusky renews his walk with Scagnetti, reinvigorated by the
     incident.

                         MCCLUSKY (to Guards)
               Put him in F Block for the month.  Then bring
               him to me.

                         SCAGNETTI (impressed)
               Jesus Dwight! You should be on "American
               Gladiators."

                         MCCLUSKY
               ...30 minutes every day, just shake and roll it.
                    (shaking his body tai-chi style)
               ...doesn't take much...someone goes for you,
               you go right for the throat Jack!
                    (feints for Scagnetti's throat with a flat palm)
               ...a chop that paralyzes...you know I got an
               office I'm gonna show ya Jack, it's so good I
               don't wanna go home at night.  I got a
               secretary 23 fuckin' years old.

                         WURLITZER
               Yolanda Bingham.

                         MCCLUSKY
               Got an ass on her like...

                         KAVANAUGH
               ...two perfectly round scoops of vanilla ice
               cream.

                         MCCLUSKY
               My coffee cup...

                         WURLITZER
               ...which says The Boss on it,

                         MCCLUSKY
               ...might as well be a bottomless pit.

                         KAVANAUGH
               She puts the fuckin' waitresses at Sambo's
               shame.

                         WURLITZER
               And we ain't talkin' lukewarm water poured over
               old grounds.

                         MCCLUSKY
               So, tell me why would I want to leave paradise
               to come down here and breathe this air and
               smell the smell of a bunch of losers?
                    (pauses, holds Scagnetti's eye)
               Cause of you, Jack...
                    (indicates the prisoners)
               Mickey and Mallory did this to 'em.  Got my
               whole prison worked up.

                         WURLITZER
               Like sharks to chum bait.

                         MCCLUSKY
               Smell of blood drives 'em nuts.

                         WURLITZER
               80 percent of these assholes are violent offenders...

                         KAVANAUGH
               We're over 200 percent capacity.

                         MCCLUSKY
               This ain't a prison anymore Jack -- it's a timebomb.

                         SCAGNETTI
               So ship 'em out.

                         KAVANAUGH
               Nobody wants 'em

                         WURLITZER
               No state!

                         MCCLUSKY
               I'm even talkin' hellholes where the warden's
               hard as a bar of iron.  No one wants these
               assholes behind their walls, dealing with 'em

                         WURLITZER
               Day in

                         MCCLUSKY
               Day out.

                         SCAGNETTI
               So fry 'em.

                         MCCLUSKY
               Fuck we tried!  And each fuckin' time they kill
               somebody new we got to start the whole legal
               process all over again.

                         WURLITZER
               It eats up two to three years.

                         KAVANAUGH
               Mickey is fuckin' diabolical.

                         MCCLUSKY
               He knows...

     INT. WOMAN'S CELL BLOCK - DAY

                         MCCLUSKY
               What's his name?

                          KAVANAUGH
               Pete.

                          MCCLUSKY
               Pete, open it up. We got a visitor for the song
               bird.

     A BUZZER sounds.  A door clanks open.  Soon as it does we hear a
     FEMALE VOICE singing "Walking after Midnight" by the Cowboy
     Junkies.

                         SCAGNETTI
               So, sounds like a hemorrhoid you can't get rid
               of, Dwight.

                         MCCLUSKY (smiles)
               Even hemorrhoids can be cut out Jack.  That's
               why we're shipping 'em for testing to Nystrom
               with you.

                         SCAGNETTI
               Nystrom?  Lobotomy Bay?

                         MCCLUSKY
               Vegetable land.  Home of the criminally insane.

                         SCAGNETTI
               That hasn't been done in years.

                         MCCLUSKY
               We got a first stage ruling.  It won't stick
               with all these asshole do-good shrinks around,
               but it gets them under your control for a few
               hours.

                         SCAGNETTI
               Yeah?  And then...?

                         MCCLUSKY
               The public loves you Jack...youre a celebrated
               lawman.  You busted "M&M."  Twenty six years on
               the force, a bestseller out in paperback.

                         WURLITZER
               A modern day Pat Garret with a deadly axe to
               grind with maniacs...
                    (Scagnetti puffing up)

                         MCCLUSKY
               You're a livin' breathing icon of justice and
               that's why you were chosen to deliver Mr. and
               Mrs. Knox.  We -- the Prison Board -- we know
               that once you get 'em on the road...if anything
               should happen...

                         WURLITZER
               an accident

                         MCCLUSKY
               a fire

                         KAVANAUGH
               an escape attempt

                         ALL
               ...anything...

                         MCCLUSKY
               Jack "Supercop" Scagnetti would be there to
               look out for his public's best interests.

                         SCAGNETTI
               I'm getting the picture here.

                         MCCLUSKY
               ...and of course nobody in their right mind
               would cry for those two pigfuckers if they
               happened to take some lead.  A lotta lead.
                    (Scagnetti thinking)
               You write the script, Jack, call it "Showdown
               in Mojave:  The Extermination of Mickey and
               Mallory," I don't give a shit ... I'll give you
               my two best men (indicating) Kavanaugh and
               Wurlitzer. (corrects their names and faces).

                         WURLITZER
               We got a special dislikin' for these punkolas.

                         MCCLUSKY
               Have we found our man?

     Hold on Scagnetti as he walks up to Mallory's glassed cell --
     very white, very medical.  Inside we hear singing.  An old
     friend.  Still fascinating to Jack.

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

     INT. MALLORY KNOX CELL - DAY

     MALLORY (a year older) sings.

                         MALLORY
               "I go out walkin' after midnight
               in the moonlight just like we used to do."

                         MCCLUSKY
               Hey Knox!  Somebody out here wants to meet you.

                         MALLORY
               "I'm always walkin' after midnight
               searchin' for you..."

     Mallory just 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.

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

     CU on Scagnetti through the cell bars.

                         SCAGNETTI
               Jesus Christ!

     CAMERA PANS to McClusky smiling.

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

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

                         MCCLUSKY (O.S.)
               Follow me.

                         SCAGNETTI
               So, uh...where do you keep the other half, Warden?

     McClusky walking through ANOTHER DOOR.

                         MCCLUSKY
               We got his stinkin' ass in the deepest, darkest
               cell in the whole dungeon.  But it just so
               happens we can't see him right now.  Cause he's
               got a special visitor.

                         SCAGNETTI
               Who's that?

                         MCCLUSKY
               Wayne Gale.

                         SCAGNETTI (surprised)
               Wayne Gale!  That TV scumbag.

                         MCCLUSKY
               We call 'em "Media," Jack.  Why, you don't like
               the media?

                         SCAGNETTI
               A worm in my blood stool's got more attraction
               to me.  This guy lives to fuck cops over.

                         MCCLUSKY
               Can't say no to the media.  You want the job
               Jack?  Then come say hello.

     INT. JAIL -- SPECIAL VISITING ROOM - DAY

     WAYNE GALE,  the young, energetic commando journalist is testing
     a small tape recorder, accompanied by a FEMALE ASSISTANT, JULIE,
     and TWO GUARDS.  His Australian accent on, he manages to include
     everyone in his monologue.  Including his face -- which he likes
     to bounce off every reflecting surface he sees, continually
     checking himself.  A natural-born narcissist. A BLACK INMATE is
     working in the room.

                         WAYNE (sympathetic)
               How ya doin' brother?  Doin' some hard time?
               What you in for?

                         INMATE
               Murder.

                         WAYNE
               I'm with you.  (into recorder)
               Testing one...two...three...over.  Oh man this
               place brings back memories.  I did my first
               network interview in this place.  Remember
               Sonny "The Beast" Maricopa.

     They shake their heads.

                         WAYNE
               Years ago.  Great welterweight.  But dumb --
               like all these killers, couldn't count the eyes
               in his head.  Beat his bimbo girlfriend to
               death, then mutilated her.  Ever box?

                         DEPUTY WARDEN
               A little.  Back when...

                         WAYNE
               Yeah.  I was nowhere near as good as Sonny
               but...I could hit.  I had some power.  Some
               moves.  I was a dancer...

     FLASHBACK - INT. GYM - DAY

     A sudden disconnected image of WAYNE beating a bag, lathered
     up, a real anger expressing itself.

     BACK TO WAYNE - PRESENT

                         WAYNE (Cont.)
               Anyway there I was just another punk kid from
               the streets of New York, got a free ride to
               Columbia, got out of school, kissed some ass
               over at CBS, and my first pony out the gate I
               get to interview Sonny Maricopa.  That was
               something.

     During this, Wayne's expression tightens as he hears the
     approaching SLAM of doors and the CLANKING of chains and now the
     sound of "his" FOOTSTEPS:

                         WAYNE
               Ohhhkkkaaaay.....showtime

     The gate slides open.  MICKEY KNOX is led in by TWO DEPUTIES,
     wearing a blue jumpsuit with a thick and wide leather belt around
     the waist and metal rings 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 have their guns drawn, ready to blow Mickey in half
     at the slightest provocation.  Yet for a man wrapped and bound in.
     chains, Mickey seems strangely in control of his environment.

     He is seated roughly on the prisoner's side of the glass.

     Wayne starts to smile but something weird happens.  The smile
     gets stuck on his face.  He can't stop smiling his all-American
     you-must-love-me smile.  It just hangs there, embarrassing and
     noticeable to everyone in the room.

     Mickey waits -- what's wrong with this guy?

     Finally Wayne gets control of his nerves.

                         WAYNE
               Hi, Mickey. We've never been introduced, but I'm...I'm
               Wayne Gale. (starts to laugh again) Oh jeesus! Oh god!

                         MICKEY (cutting it short)
               Hey.  I know who you are.  You're famous...

                         WAYNE
               Hey I could say the same about you. (smiles) I
               want to thank you for seeing me. (Mickey waits)
               I have a television show.  Every few weeks as
               part of our look at current America we profile
               a different serial killer.  You don't mind if I
               call you a serial killer, do you?

                         MICKEY (shrugs)
               Technically, mass murderer.

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

                         MICKEY
               Y'ever do one on John 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 Nielsen 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 (indicating Julie)
               Julie, my producer...and I...
                    (Julie nods; she's mute)
               ...we've been waiting to do a follow-up episode
               on you for a long time.  And that time has
               definitely come
                    (encouraged, Julie makes a strange, grunting sound
                    of approval)
               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 nuts, insane? NOT.  You're being
               railroadedinto a hospital for the sole purpose
               of turning you into a vegetable.  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 -- or dump me in syndication -- because
               they feel what I say is dangerous.  Where does
               it all end?  That's my angle.

     No response from Mickey.

                         WAYNE (looks at Julie and back to Mickey)
               My problem Mickey, is you don't exactly inspire
               empathy.  I'm all alone on this.  I need your
               help.  I have interviews with the Prison Board,
               with Warden Dwight McClusky -- and I'm telling
               ya Mickey, they look bad.  The two
               psychologists they used for their kangaroo
               court won't talk to us -- which also looks bad.
               I have an interview with the judge at your
               trial Bert Steinsma, and the psychologist and
               famous author Emil Reignold -- both of which
               discount the notion you're insane.  What we
               need now is YOU.  You haven't talked to the
               press since your trial.  Now a few days before
               you get transferred to an asylum, you give an
               exclusive to Wayne Gale.  We're talking a media
               event here.  A 40/50 share.  We run this during
               the Sweeps, the network'll be creaming for it,
               promos on the Super Bowl -- (new idea) hey,
               I'll even ask 'em to program it same day as the
               Super Bowl!  Right after it!  They might go for
               it. Television history.  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 Wallace with Noriega, Elton
               John confessing his bi-sexuality to Rolling
               Stone, this is the Maysles Brothers at
               Altamont, this is the Nixon/Frost interviews.

     INT. OBSERVATION BOOTH - DAY

     Watching them through one-way glass are the WARDEN and SCAGNETTI.

                         WAYNE
               Every sonofabitch out there witha TV's gonna be
               looking at you Mickey, listening to your words.
               Sell 'em on your sanity.  You're composed, you're
               articulate, you may be a cold-blooded killer but
               you're obviously not a nut.  We'll shame 'em into
               dropping the whole thing.  Whattaya say?

                         MICKEY
               You got any gum?

     Wayne has a duty free bag filled with items -- gum, multi-
     vitamins, fruit shakes, health food.

                         WAYNE
               Gum, spearmint, big red? Multi-vitamins? I even
               got a fruit shake.

                         MICKEY
               You got a guitar you can give me?

                         WAYNE (hopeful)
               I'll bring a guitar next time!

                         MICKEY (pause)
               You talked to Mallory about this?

                         WAYNE
               She won't see me Mickey.  Now you're not
               supposed to know anything about what's going on
               with her, but since you two been sentenced,
               Mallory hasn't spoken one word.  All she does
               is sing.

                         MICKEY
               She sings?  What does she sing?

                         WAYNE
               Songs.  "He's a Rebel" "Leader of the pack,"
               that Dusty Springfield tear-jerker, "I Only
               Want To Be With You."  Her behavior's the main
               thing the doctors used against you.  So even if
               she'd see me which she won't, I can'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 GUARD comes over to take him away.

                         DEPUTY
               Time, motherfucker!

                         WAYNE (jumping up)
               Wait a minute!  Wait a minute!  Civilization
               rules here, civilization!  Let him answer
               me...Come on Mickey, whaddaya say?  Time is
               running out...

     Pause.  Mickey being pulled up by the Guards, strangely in
     control.  CAMERA suddenly TRUCKING in on him -- a bizarre sound
     as if a plan has now kicked off in his malevolent mind.

                         MICKEY (quietly)
               I say, go for it...

     He exits with Guards. Wayne stunned, turns to Julie.

                         WAYNE
               "Yes!"  Am I God or what!  This saves us,
               Jules, this saves us.  That asshole didn't know
               it but we were over, we were history,
               shitcanned.  This gives us another whole
               season!  Takes us to the end of the year!  I'll
               renegotiate with network, million dollars more
               on the contract, maybe Sunday night, maybe you
               get a little more money...One fucking "Yes,"
               Yes! Yes! Yes!

     INT. OBSERVATION BOOTH - SIMULTANEOUS DAY

     SCAGNETTI has the opposite reaction.

                         SCAGNETTI
               Why the hell you lettin' that scumbag do this,
               Dwight?

                         MCCLUSKY
               Relax. If I don't, we'll be excoriated in the
               press. If I do, it'll be weeks before they
               clear it.

                         WURLITZER
               Legal, appeals.

                         MCCLUSKY
               And M & M are gonna be post toasties before
               that ever happens, right Jack?  And no one's
               gonna give a flying fuck about two dead losers.

     INT. VISITING ROOM - DAY

     The WARDEN, followed by SCAGNETTI, enters the room, smiling.

                         MCCLUSKY (to Wayne)
               Everything all right Mr. Gale?

     WAYNE, seeing the Warden, switches character instantly.

                         WAYNE
               Warden McClusky -- a man made for the camera.
               Too bad James Arness just kicked off. And Ted
               Danson's busy.  He would've been just perfect
               for your life story.

                         MCCLUSKY (chuckling)
               How 'bout Johnny Cash? Is he available? Maybe
               you know Jack Scagnetti -- he's gonna be
               helping us with the transfer.

     Wayne, affable, shakes hands.  Scagnetti treats him like vermin.

                         WAYNE
               Of course.  America's favorite cop.  "Scagnetti
               on Scagnetti" great book -- makes me want to do
               one of my own.  You paved the way Jack...

                         SCAGNETTI
               And you shit on it you little turkey-neck.

                         WAYNE
               Turkeyneck, eh? Am I? You better get back on
               the stairmaster, Scagnetti.

                         MCCLUSKY
               Boys boys.

                         WAYNE
               Heh heh Jack isn't too fond of our show; we
               sometimes give the B.O.D. to the defendants.
               You know "human rights" --

                         MCCLUSKY
               B.O.D.?

                         WAYNE
               "Benefit of the doubt"

                         SCAGNETTI
               What doubt?  Mickey and Mallory are turds, you
               little sissy. Australia is a penal colony,
               isn't it.  The only doubt I got is you --

                         MCCLUSKY (contains him)
               Uh Jack! ... Jack's sort of our avenging angel
               you might say.

                         WAYNE
               In any case, he says yes.

                         MCCLUSKY
               I figured he would.  But I want to keep contact
               with the population to a minimum.

     EXT. PRISON CORRIDOR - DAY

     The WARDEN shuttling the GROUP back out into the CELLBLOCKS,
     towards the exit.

                         MCCLUSKY (Cont'd)
               They hate Mickey Knox in here.  They see him as
               a publicity hound.  It's bound to stir 'em up.
               It's gotta be done my way.

                         WAYNE
               No problem.  Just give me a big room and I'll
               take it from there.  We're "stealth"
               journalists.

     As they walk off, we hear:

                         WAYNE (Cont'd)
               My crew is the crew that got inside the Shining
               Path for a face to face with Abimayel Guzman
               while the BBB was stuck at the airport
               scratching their nuts.  If I were you, chief,
               I'd worry more about the promos that start
               hitting the air next week.  You're a
               national face, Warden -- a real hero to the
               American public.  You run a
               damn impressive ship here.  And...frankly, who
               knows?  Something like this could launch a new
               career in public office for you.  So I'll have
               my producer Julie call you in the morning to
               work out the details.  I got a plane to catch
               right now to New York.

                                                            CUT TO:

     INT. MICKEY KNOX CELL - DAY

     CAMERA drifting to MICKEY lying on his bunk. A high security
     single cell. Lawbooks, no pinups, a fax, a telephone,
     television.  He writes Mallory a letter.

                         MICKEY (V.O.)
               Dearest Mallory...You once told me I had no
               feelings.  You were right and you were wrong.
               I got more feelings now than I ever had before.
               I never missed someone like I miss you.  My
               cell is so cold.  At night I get the chills.
               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...

     WIDE SHOT off the cell.

                                                     DISSOLVING TO:

     INT. MALLORY'S CELL - DAY

     Not knowing where we are, CAMERA moves across a wall into a CU of
     MALLORY.

                         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.

     INT. MICKEY CELL - DAY

     CLOSE UP of the LETTER being written over the WIDE SHOT of the
     cell.

                         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 (V.O.)
               I remember every meal we ever ate.  I remember
               your cooking.  I remember watching David
               Letterman.

     We hear the echo of television laughter.

                         MICKEY (V.O.)
               I remember driving fast behind the wheel of the
               Dodge Challenger.

     The sound of the Dodge Challenger swells as we...

                                                       INTERCUT TO:

     INT. MALLORY'S CELL - DAY

     MALLORY is moving her body in the middle of the cell to a music
     only she can hear, then begins to sing "All of Me" (B. Holiday)
     in slow acapella, using the cell as the stage and a man who isn't
     there as her audience.

                         MALLORY (singing)
               I'm no good without you
               Take my lips I want to lose them
               Take my arms I'll never use them
               You took the part that once was my heart
               So why not take ALL OF ME.

                         MICKEY (V.O.)
               You, baby, by my side.  Your bare feet up on
               the dash, singing along with the radio, "He's A
               Rebel,"  "Ring of Fire," "Groove Me,"...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:

     FLASHBACK

     INT. MALLORY'S PARENTS' LIVING ROOM - NIGHT

     The set is sitcom TV format.  The lighting is flat, the
     performances and timing are TV.  It is SHOT in three camera
     SITCOM FORMAT -- possibly BLACK and WHITE, harkening back to an
     earlier era in Mickey's mind.  The time when he first saw TV.

                         MICKEY (V.O.)
               ...they're not just memories.  I feel that joy
               again.  And I am no longer in prison.  We're
               together again.  And when my head hurts and I
               can remember no longer, I write you letters and
               send them telepathically to your heart.

     MALLORY gets a big handful of AUDIENCE APPLAUSE as she comes down
     the stairs, dressed to the nines, punky, sexy, ready to trot --
     yet a sweet girl's expression, maybe with braces.

                         MALLORY
               Hello Dad, how was work?

     DAD is a strange-looking hombre, seated at the table, exhausted
     and angry in a dirty undershirt.

                         DAD
               Work?  What work! I'm unemployed.  Three years.
               I'm unemployed.
                    (LAUGHTRACK)

     MOM is always-smiling with cracked-egg eyes, serving him a large
     salt cracker with pea soup.

                         MOM
               You look nice, Mallory.

     Her younger brother, KEVIN, is doing his homework at the table.

                         KEVIN
               Yuck. She looks like...uccckkk.
                    (LAUGHTRACK)

                         MALLORY (ignoring Kevin)
               Thanks Mom.  I'm late. I'll be back by midnight.

                         DAD
               What are you wearing? A broom stick in a trash
               bag.  A few pounds lighter and you'd be Miss
               Ethiopia. Where the hell do you think you're
               going?

                         MALLORY
               To the John Lee Hooker concert.  With Donna.  I
               told you yesterday.

     Dad rises and tracks her across the living room.  She's evidently
     not going anywhere tonight in his mind.

                         DAD
               First off, you don't tell me anything, you ask
               my permission.  Second, you can't go out in
               that whorehouse dress.  Third, you can't go out
               at all.  You didn't mow the yard.

     Mom keeps her smile intact.  But Mallory loses her schoolgirl
     sheen and becomes the Mallory we know and love.

                         MALLORY
               That piece of shit lawnmower is fucked!  How am I
               supposed to use it?

     Dad backs her into the wall, puts his hand on her face, his thumb
     on her lip.  She's scared.

                         DAD
               You fuckin' little douchebag cunt, you watch your
               language in front of your mother.  I'll kick the
               shit outta you just like I do her.  Just remember
               you stupid bitch, you shit brown just like me.

     Mom just shakes her head at Dad's shenanigans and keeps setting
     the table.

                         BROTHER KEVIN
               Mom do we have any croutons?

                         MOM
               Sure Kevie.

     At the base of the stairs, Dad feels around Mallory's ass.  She
     writhes in disgust.

                         DAD
               This is my house.  It doesn't matter how much you
               wag your ass in my face.  If it's in my house,
               it's my ass.  Got it?  So take it upstairs and
               take a shower.  Make sure it's a good shower.
               Cause I'm coming up after to see how clean you are.

     Mallory runs upstairs really upset.  Dad reconfigures himself,
     sits back down at the table.

                         MOM
               Don't you think you were a little hard on her, dear?
                    (LAUGHTER)

                         BROTHER KEVIN
               Yeah Dad.  Mallory can't fix a broken bobbypin.
               How's she gonna fix a lawnmower? (LAUGHTER)

                         DAD
               I'll show her a...little "tenderness" after I eat (wink).
               When I get up there, she won't see my face for an hour.

     LAUGHTER.  The DOORBELL ringing.  Dad gets up but Mom stops him.

                         MOM
               That's probably Donna.  I'll break the news to
               her.  Don't let your macaroni get cold, Ed.

     But when Mom opens the door, it's MICKEY who steps in, dressed as
     a meatman with a big box of beef, blood all over his apron.  The
     APPLAUSE is deafening.  GIRLS in the audience SCREAM his name.
     Mickey hangs five for the recognition as he puts down the beef.

                         MICKEY
               Delivery for Ed Wilson.

                         MOM
               What on earth is it?

                         MICKEY
               It's beef lady.  Fifty pounds of beef.

                         MOM
               Well...wait here.  I need to have a word with
               my husband (exiting to kitchen).

     Mallory stands on the stairs, getting a good look at him.  His
     apron smeared with old blood.

                         MALLORY
               Who are you?

                         MICKEY
               I'm Mickey.  Who are you?

                         MALLORY
               I'm Mallory.

                         MICKEY
               You're "beautiful."
                    (Mallory melts at the appreciation, a look of
                    embarrassment at the camera)
               You a big meat eater, Mallory?

                         MALLORY
               I can be.

                         MICKEY
               You always dress like that, or were you waitin' for me?

                         MALLORY
               Why would I be waitin' for someone I don't even
               know?

                         MICKEY
               Well...maybe something's inside you told you to
               get ready...ever think about that?...Fate.  You
               believe in fate, Mallory?

                         MALLORY
               Maybe..

                         MICKEY
               You don't look too happy.  How bout we go for a
               ride?...Talk about it.

     She smiles.

     INT. KITCHEN - NIGHT

     MOM is scolding DAD, her hands on her hips.

                         MOM
               You promised your doctor, Ed -- no more meat.

                         DAD
               I eat what I want! So what! This food here (her
               food) you pray after you eat.

     Mom cries.

                         MOM
               I just don't want your arteries to clog up and
               then you'll keel over at the table.

                         DAD
               Don't fuckin' cry.  It turns me off!

                         MOM
               I haven't cried in 20 years and you still
               haven't touched me...
                    (big laughter)

                         DAD (pointing at Kevin)
               What about him?

                         MOM
               You thought you were in Mallory's room.  That's
               why we have Kevin.

                         KEVIN
               What?

                         MOM
                    (going back to the Living Room)
               I'm sending it back.  I don't care what you do
               to me.

     The SOUND of BURNING RUBBER.

     INT. LIVING ROOM - NIGHT

     MOM and DAD RUN out.  The beef remains, with a note which Dad
     grabs.

                         DAD
               "Out with the meat man.  Back before dawn.
               Love Mallory."...that cunt!

                         MOM (at the window)
               They stole your car!

                         DAD
               That meatman cocksucker!  I'll get him too.
               Call the cops!

     INT. PRISON -- VISITING ROOM - DAY (TWO YEARS LATER)

     MALLORY, 2 years older, the braces gone, is visiting her love,
     MICKEY, who's taking on convict mannerisms -- early stages that
     are refined into the later, more famous Mickey.  He's doing 2
     years for car theft.  They are embracing, sitting down, in a room
     full of reunited FAMILIES.

     NOTE:  The shooting style reverts back to 16 mm black and white --
     two young lovers.

                         MICKEY
               Everything I see, I see you Mall.

                         MALLORY
               I know baby.  I'm goin' crazy too...

                         MICKEY
               Even ugliness looks beautiful cause of you.  Even
               though I'm here, I visit you every night.

                         MALLORY
               I know Mickey...I can't break away from you
               either, but you gotta listen...My Dad is moving
               us away so you can't never find us.  He's
               insane...He knows you're getting out next
               month.  He got a doctor to say you raped me and
               he's gonna bring more charges.

                         MICKEY
               He can't keep me away from you.

                         MALLORY
               He says if you ever show up he'll kill you.

                         MICKEY
               When's this supposed to happen?

                         MALLORY
               He won't say.  Look, I've gotta go.  If he
               finds out I'm gone he'll beat me...I just
               wanted to see you...I love you Mickey.  Please
               don't forget me.

                         MICKEY
               It's cool.  It won't matter where he takes you,
               to Timbuktu...I told you we're fate. They can't
               stop fate...Nobody can...it won't matter.

     She looks at him deeply.

                         MALLORY
               Bye.

                         MICKEY
               One of these nights, I'll be coming to see ya.

     On Mickey's face as she exits.

     EXT. FARMLAND - DAY

     A BLACK CLOUD rolls in.  The WIND is blowing.  A STORM is brewing.

     MICKEY is part of a Jail WORKCREW breaking MUSTANGS -- guarded by
     ARMED MEN on horseback (with shotguns)

     Suddenly a large FUNNEL CLOUD touches down. A TORNADO zigzags
     crazily up the road--more and more immense. The end of the world.

     The WORKBOSS is yelling for the men to get back to the bus.

     EVERYONE is running for the road.

     The TORNADO is moving in fast.

     But Mickey, lost in all the blowing and confusion, has taken off
     down the road, heading straight at the tornado.

     One of the GUARDS takes off after him...fires a shot.

     Mickey is running his ass off, straight into the twisting
     devil...obviously a PROCESS SHOT is looming here.

     The HORSEMAN is gaining on Mickey, fires again.  But the horse is
     spooked by the storm and THROWS the Guard.

     As the Man hits the ground, he discharges the shotgun right into
     himself -- blowing his chest out.

     Mickey is last seen as a tiny man disappearing into the TORNADO --
     arms extended as if he were embracing Death itself.

     INT. MALLORY'S BEDROOM - NIGHT

     She lays in bed, hears a car SCREECH up.  Knows it's him.  Runs
     downstairs.  Tonight will be the night!

     INT. LIVING ROOM - NIGHT

     DAD is watching wrestling on TV in his underwear ("go on, break
     his arm!  Do something!  What do we got here...2 fuckin' faggots!
     Kill each other!") But it is no longer the sitcom style -- we are
     in 16 mm hard-edged film format.

                         DAD (to Mallory running to the door)
               Where the fuck do you think you're going! Get
               back upstairs!

                         MALLORY
               I'm going OOOUT!!

     The door BLASTS OPEN.  MICKEY -- all fucked up from the storm,
     cuts, bruises, is on Dad like lightning struck a demon.
     Hitting him with a tire iron.

                         MICKEY
               Hey Jack, Mickey's back.

     But Dad doesn't go down.  He fights back.

     Tipping the scale, Mallory jumps on her dad's back -- liberated
     at last -- kicking him, tearing his eyes out!  It goes round and
     round.

     Mickey hits him again. Dad's dazed.

     They stuff his head in the fish tank.  They hold him down.  Dad
     drowns.

                         MICKEY
               Where's the old bag?

     INT. MOTHER'S BEDROOM - NIGHT

     MOM comes awake from an open-mouthed snore -- terrified eyes as:

     MICKEY stuffs a sock, soaked in gasoline, into her throat,
     shutting her up.

     The rest of her is sprayed with gasoline from the can Mickey is
     holding.

     CLOSE UP of a MATCH being lit.

     MALLORY holds it in front of her face for a moment.

     MOM begging for her life with her daughter.  Her words muffled by
     the sock:

                         MOM
               Oh God.  Don't please don't Mallory!

     Mallory tosses the match.  We hear ignition.

     INT. STAIRS/HALLWAY - NIGHT

     Mickey and Mallory exit the room on the run, freezing as
     Mallory's little brother, KEVIN, stares at them in his nightshirt
     from the hallway.

     Mallory makes a farewell gesture.

                         MALLORY
               You're free!

     They run out.

     EXT. MOVING CAR - NIGHT (PROCESS SHOT)

     MICKEY and MALLORY flying blind to their freedom.  Outrageous
     STARS whirl and collide above them.

                         MALLORY
               Wherever we go, whatever happens Mickey, when I
               look up at the stars, I'll know you're looking
               at the same ones.

                         MICKEY (sweet)
               The same ones, baby.

                         MALLORY
               Mickey.

                         MICKEY
               Yeah.

                         MALLORY
               You make every day like kindergarten.

     EXT. RIO GRANDE GORGE - DAY

     They're standing by an old iron BRIDGE looking down into an enormous
     100-foot drop into the feisty waters of the Rio Grande.

     All their last clothes and possessions sail over.

     MALLORY even lets her favorite teddy bear go.

     MICKEY takes both her hands.

                         MICKEY
               Mall, it's time to grow up, we got the road to
               hell in front of us...will you marry me?

                         MALLORY
               Oh Mickey I been ready for so long, but where
               we gonna have our wedding Mickey?

                         MICKEY
               Right here. This is our church, Mall.

     They notice, for the first time, the beauty of the land and water
     around them.  They look at each other.

                         MALLORY
               Oohh.  I'm so excited!
                    (goes to the car and pulls out a headdress)
               I got the perfect thing.

     Mickey takes out his knife and slits his left hand.

     He takes Mall's right hand and slits it.

                         MALLORY
               Oh, it's not what I had in mind.

     They clasp their hands, mixing blood. He hikes Mall and himself
     up closer to the railing so they are looking directly down into
     the plummeting gorge.

     They watch as the blood drips from their hands into the river
     below (ANIMATION OPTION). Mickey pulls out the two wedding rings
     he's been saving.

                         MALLORY (quietly)
               ...we'll be livin' in all the oceans now.

                         MICKEY
               God...before you and this river and all the
               things we don't know about...Do you Mickey take
               Mallory to be your wife, to stay with her and
               treat her right -- till you die?
                    (answering himself)
               I do.

     A TRUCKLOAD OF INDIANS drive by looking at these gringos.

                         MICKEY (Cont'd)
               Mallory, do you take Mickey to be your husband,
               and love him till you die?

                         MALLORY
               For all eternity until you and I and you die and die
               and die again. Till death do us part! Yes, yes, yes.

                         MICKEY
               Then baby...we're man and wife.

     He puts the rings on their fingers. And they kiss joyfully.

     INSERT - TELEVISION FILM - "AMERICAN MANIACS"

     WAYNE GALE is once again standing on HIGHWAY 666 right next to a
     shot-up roadsign.

                         WAYNE TV
               ...after that there was no stopping Mickey and
               Mallory.  They tore up the countryside with a
               vengeance right out of the Bible.  In the
               course of 3 weeks that stretched down this
               Highway -- 666 -- to some a beautiful stretch of
               American landscape, to others the fastest
               distance between Cortez and Gallup, but to
               Mickey and Mallory a candy lane of murder
               and chaos.  As they slaughtered 48 people --
               innocent people, people they never met before,
               total strangers -- all killed to fill the
               fantasies of these love-crazed narcissist
               psychopaths...

     INT. TELEVISION STATION - DAY

     WAYNE GALE is looking at himself on tape with his CAMERA and
     EDITING CREW and JULIE, the assistant.  They're in an editing
     "session," rolled up sleeves, coffee, cigarettes, donuts, bagels.
     A mirror is close by.

                         WAYNE (involved)
               ...not bad, not bad.  Maybe trim that look...
               and go for the close-up there when I say "love-
               crazed-narcissistic etcetera."

                         DAVID (bright young editor)
               ...we really raped and pillaged the first show
               to do this.

                         ROGER (cameraman)
               ...but we changed the order around so it wasn't
               super obvious.

                         DAVID
               ...it still needs a new intro in my opinion
               Wayne, you can't cannibalize yourself all the
               time or...

                         WAYNE
               Repetition works, David, you think those
               schmucks out there in zombieland remember
               anything.  It's junkfood for the brains.  It's
               filler, fodder -- just build for the interview.
               Keep using that word -- "Live Interview."
               Anticipation, David -- that's all it's about,
               the next bite of chocolate, the next car, the
               next vacation, the next life, next -- that's
               all.  'Just do it.'

                         DAVID (making a tape cut)
               Heil, mein Fuhrer!

     DEBORAH, another assistant, hands him a cellular phone.

                         DEBORAH
               Your sensei...

     ON TV

     INSERT COLOR POSTCARD OF CHICAGO

                         WAYNE TV (V.O.)
               ...they began their crime wave in the poorer
               suburbs of Chicago...and they finally caged
               here at this All-Nite Pharmacy in the small New
               Mexico town of Jerome -- not far from the
               Navajo Indian Reservation.

     EXT. PHARMACY (REPEAT) - NIGHT

     Actual NEWS FOOTAGE of the apprehension, repeated.  Tracking in
     wildly behind the THREE WINDBREAKER COPS & SCAGNETTI on MICKEY,
     clobbering him for camera.

     PHOTO:  Police Academy BLACK and WHITE PHOTO OF OFFICER GERALD
     NASH.

                         WAYNE TV
               Patrolman Gerald Nash was just the first of
               twelve peace officers that Mickey and Mallory
               murdered during their reign of terror.

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

                         WAYNE TV
               Gerald and his partner Dale Wrigley were parked
               at...

     PHOTO:  BLACK & WHITE snapshot of DONUT SHOP.

                         WAYNE TV
               ...this donut shop, Dales Donuts.  When --

     INT. DALE WRIGLEY HOME - DAY

     Interview with the real DALE WRIGLEY.  His name appears below him
     on the screen.

                         DALE
               ...This '68 Cadillac Coupe De Ville (or
               alternative) pulled up about three spaces away.
               Gerald -- three weeks out of the Academy
               came walking out with our coffee and --
                    (begins to tear up)
               my bear claw.  When the driver of the car asked
               him something...

     EXT. DONUT SHOP - DAY

     A cinema verite recreation of the crime, a la "COPS," shot in 16
     mm color.  Moving in fast on TV GERALD, who has little
     resemblance to the photograph of Real Gerald.

                         DALE (V.O.)
               Gerald started giving him what looked like
               street directions.  When he finished, the
               driver waved him "thanks," brought up a shotgun
               and --

     Pandemonium!  The shadowed figures of TV MICKEY and TV MALLORY
     firing a blast.  TV Gerald flying backward with pumped "sound"
     effects.

     TV DALE, another actor type with little resemblance to the real
     Dale, is jumping out of his car, gun pulled, in futile anger as:

     TV Mickey peels his car out -- leaving a really bloodied corpse
     of TV Gerald on the pavement, bear claws and donuts and coffee
     heaped over him.

     BLACK & WHITE PHOTO of Alfie's DONUT SHOP.  A white grease
     pencil circles where REAL GERALD is shot.  We hear another
     shotgun BLAST and a SCREAM over this.

     BLACK & WHITE PHOTO of MICKEY and MALLORY standing next to
     each other, guns in hand, smiling into camera.  We hear
     LAUGHTER and a car PEELING OUT over this.

     INT. COP CAR - MOVING - HIGHWAY - DAY

     TV DALE is pursuing MICKEY and MALLORY -- FIRING rounds out his
     side window as he drives.

                         TV DALE (into radio)
               I am currently in high pursuit!  Send back up!
               Send back up!

     INT. MICKEY CAR - MOVING - HIGHWAY - DAY

     TV MICKEY is weaving back and forth on the road like Steve
     McQueen in "Le Mans."  TV MALLORY is hanging out the window,
     FIRING her shotgun, laughing her head off.  She sees something
     that gets her attention.

                         WAYNE TV (V.O.)
               ...in the ensuing chase, they even managed to
               kill American marathon bicyclist, Bryan Smyj,
               who was in the wrong place at the wrong time,
               only because...

     Mallory passing a BICYCLIST decked out in colors, flying down
     the road, sucking on a water bottle.  Threatened by the vehicles
     barreling down the road at war, he shoots Mallory the finger.

     Like a skilled trap-and-skeet shooter, Mallory whips her shotgun
     left, tracks the fast-moving target, and gleefully BLASTS the

     Cyclist off the bike, then whips her shotgun back onto the
     oncoming Cop.

     EXT. HIGHWAY - DAY

     As the CYCLIST flies off the road, the TWO CARS whip through the
     FRAME, one at a time, SPITTING gunfire.

                         REAL MALLORY (V.O.)
               ...well I always wanted to take a shot at one
               of 'em...they're not so easy to hit.

     ON TV (CONT'D):

     EXT. BLEACHERS - DAY

     TV WAYNE stares at us a few beats, sitting in some school
     football bleachers.

                         WAYNE TV
               Sick, isn't it?
                    (mournful pause)
               Renaissance psychopaths that they were -- and
               obviously bored with conventional robbery and
               murder, they would always leave one clerk or
               one policeman alive...to tell the tale...of
               Mickey and Mallory.

                         WAYNE (between dialogue, on the cellular)
               And cut there.  Pop to the "Maniacs" logo,
               ding, ding, two commercials, AT & T and Reebok
               with any fucking luck, and we come back on:  da
               da introducing "The Schmuck Fans"
                    (into phone)
               ...sensei...Taru pleeze. How can you even think
               that?  I would never advance to a brown belt
               without doing the work, I would not!...Please
               let me come in and talk to you, please.  I feel
               like shit...Network just told us we're goin'
               live next week -- Super Bowl Sunday.  80-100
               million people.  I gotta be together for this
               one, taru...Stress?  I invented the word.
               Please don't turn me away...sensei?...sensei?
                    (cuts off, to Julie)
               My life's falling apart.  I sense it.  It's
               coming to an end.

                         JULIE (sign language)
               You're so dramatic.

     ON TV

                         WAYNE TV
               ...and famous they became.  Worldwide, loved,
               adored by their fans, driven by the madness of
               media, the dragon grew more and more heads ...

     EXT. COURTROOM STEPS (MICKEY'S TRIAL) - DAY

     In a LARGE CROWD gathered outside Mickey's and Mallory's trial,
     WAYNE interview THREE LONG HAIRED GUYS, cinema verite style,
     jumpcutting their response time.

                         KID 1
               Hot.

                         KID 2
               Hot.

                         KID 3
               Totally hot.

                         KID 1
               Mickey and Mallory are the best thing to happen
               to mass murder since Manson.

                         KID 2
               But they're way cooler...

                         KID 3
               They're romantic, I dunno...

                         KID 1
               I'm not saying y'know I believe in mass murder
               or that shit, but...

                         KID 2
               Don't get us wrong.

                         KID 3
               We respect human life and all...

                         KID 1
               Yeah it's a tragedy but...if I was a mass
               murderer, I'd be Mickey and Mallory.

                                                           JUMP TO:

     EXT. LONDON STREET - DAY

     "Man in the Street" interview style.  TITLE CARD reads "LONDON."
     A BOY and a GIRL, dressed like the Knox's.

                         LONDON BOY
               You take all the great figures from the
               States.. Elvis, Jack Kerouac, James Dean, Jim
               Morrison, Jack Nicholson...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!

     EXT. TOKYO STREET - DAY

     TWO JAPANESE TEENS dressed like the Knox's speak in Japanese
     which is translated in English.

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

     EXT. PARIS STREET - DAY

     TWO FRENCH TEENS, also dressed like the Knox's, speak in English.

                         FRENCH BOY
               Mickey and Mallory have a love that's L.A.M.F.

                         FRENCH GIRL (in English)
               They are super cool!

     INT. PSYCHIATRIST OFFICE - DAY

     WAYNE is interviewing Dr. EMIL REINGOLD who talks to us with an
     impressive manner. His name on a TITLE CARD underneath.

                         DR. REINGOLD
               ...Mickey and Mallory's operatic devotion to each
               other. In a world where people can't seem to make
               the simplest of relationships work and the slightest
               emotional commitment is considered devastating,
               Mickey and Mallory have a do or die romance of a
               Shakespearian magnitude. To the country's youth, 75
               percent of whom are coming from broken homes, they
               have an us-against-the world posture which youth
               loves. And they've taken that posture 10 steps
               beyond. Mickey and Mallory have shocked a country
               ntimb with violence. They've created a world where
               only two exist and anybody who inadvertently enters
               that world is murdered...

     Wayne going at it on a cellular conference call.

     He knows the footage, bored.

                         WAYNE (in phone)
               Bill...Bill listen to me...if you advertise that we'll
               hit a 75 awareness. By Wednesday!  By Saturday we'll be
               85, 90 climbing...by Sunday morning only homeless
               morons living in parks won't know we're there! We'll
               eviscerate "60 Minutes" -- they'll be a spark in a
               distant galaxy fart. We're LIVE Don, hello! Anybody in?
               Right after the Superbowl! We got 'em in their houses,
               angry, the Game's just sucked (it always does), and
               they wanna see this guy Mickey. What makes him tick! Is
               he like me! The guy wants to tear apart his wife! His
               best friend he wants to kill. Recent statistics show
               that more husband-wife beatings take place during and
               after sports events than at any other...listen, Bill,
               this is Don King and Muhammed Ali in the Jungle,
               Michael Jackson at the SuperBowl! The most talked about
               event in television history. Books will be written ...
               So?  Who cares, it's a book for chrisakes, who the fuck
               reads a book. Don Don listen to Jim, talk to Don -- who
               can stop live TV? Nobody. You blow this and NBC'll be
               eating your lunch next season, and I'll be there too
               ... With Letterman.  And you'll be cleaning out gorilla
               shit and reptile cages in pet stores, you better
               fuckin' believe me for once.  Cause ... 'cause I am
               outta here!...I'm out unless...unless yeah...you
               know...yeah...at least a mill...maybe 2 we're talkin'
               now...should've signed me a month ago. Peanuts!  Fox
               was offerin' more.  Lobotomy Bay.  Right...yeah right...

     ON TV CONT'D:

                         DR. REINGOLD (Cont'd)
               Insane, no.  Psychotic, 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.

                         WAYNE TV (in front of courthouse)
               It was Dr. Reingold who Mallory Knox strangled
               six months after this interview.

     FREEZE FRAME ON REINGOLD

                         WAYNE (to the editors)
               Rrrrrnnnnggg. Commercial.  How to brush your
               teeth. How to get an enema, how to live
               longer. Fanfuckingtastic! But less of the
               shrink.  Keep the teens, the long hairs, love
               the cop at the donut shop, love the Warden,
               he's so dumb McClusky, he still thinks he's the
               good guy. Cut in right when he's on that
               horrific fuckin' laugh. Freeze frame on the
               laugh (the Warden displays a rictus of francis
               bacon madness on his face)...don't even let him
               answer. Fuck him. He's such an idiot. Then cut
               to me talking with the Huns...

                         JULIE (sign language, subtitled)
               Should we shoot film on Mickey?  For posterity?
               Maybe a PBS; gives us library value; give us
               some respect for a change, maybe an Emmy?

                         DAVID
               Fat fuckin' chance.

                         WAYNE
               Yes!  Great idea Julie!  Same time as the video. I
               see... high contrast sixteen millimeter black and white.
               And I mean black and white, where the black's black and
               the white's white.  For history.  For prosperity.

                         DAVID
               Posterity.

                         WAYNE
               You're right, David.  Prosterity. Film!

     ON TV (CONT'D):

     INT. GOLD'S GYM - DAY

                         WAYNE TV
               ...Even their victims fell in love with Mickey
               and Mallory!

     WAYNE'S standing in a GYM.  Behind him MUSCLE MEN and WOMEN are
     working out; their GRUNTS fill the BG.  Wayne turns off camera
     into an ECU of two heads belonging to the famous bodybuilder
     twins, SIMON and NORAAN HUN.  Their names appear in a subtitle
     card below screen.

                         WAYNE
               Simon and Norman Hun, what do you think of
               Mickey and Mallory?

                         SIMON
               I admire them.

                         NORMAN
               I do, too.

                         WAYNE (confused)
               But how can you say that?

                         SIMON
               They're mesmerizing.

                         NORMAN
               Have you seen "Pumping Iron?"

                         WAYNE
               Yes.

                         SIMON
               Then you've seen the scene where Arnold
               Schwarzenegger is talking to Lou Ferigno.

                         WAYNE
               Yes.

                         NORMAN
               Through the power of the simple word --

                         SIMON
               And a snake-eye glare --

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

                         SIMON
               He squashed him mentally before physically
               defeating him.

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

                         SIMON
               Mickey and Mallory have that edge.

                         NORMAN
               They've hypnotized the nation.

                         SIMON
               Schwarzenegger was the king of the edge before
               they came along

     ZOOM BACK to WAYNE.

                         WAYNE
               Yet you two are both victims of Mickey and
               Mallory?

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

                         SIMON & NORMAN
               Yes.

                         WAYNE
               How can you say 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 that 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
               Obviously 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.

                         WAYNE
               How so?

                         SIMON
               By taking away our legs.  Now we have to fight
               harder to get ahead than anyone else in the
               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
               And that's the way of the world.

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

                         SIMON
               Survival of the fittest.

                         WAYNE
               One last question, boys.  Usually Mickey and
               Mallory kill all their victims except for the
               lucky one.  How come they let you two survive?

     The brothers pause, turn to Wayne.

                         NORMAN
               They had us hogtied down during one of their
               house-raids, and they were taking chainsaws to
               our legs before they were gonna kill us.

     FLASHBACK - INT. HUN BROTHERS' HOUSE - NIGHT

     MICKEY and MLLLORY are carving the BROTHERS up with chainsaws --
     hidden in shadows.  A demonic humor to the scene.

     BACK TO SIMON.  The sound of the CHAINSAW echoes over:

                         SIMON
               Just for fun, I guess.

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

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

     FLASHBACK -- Micky's look of genuine admiration as he stops
     the sawing.

                         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.

                                                           CUT TO:

     ON TV

     EXT. COURTHOUSE - DAY

     WAYNE standing outside the deserted COURTROOM.

                         WAYNE TV
               ...The couple proved so popular, a motion
               picture glamorizing their exploits is now in
               the works with Bruce Willis and Demi Moore and
               Brad Pitt starring...and even MTV got into the
               act with the new hot single, debuting at number
               32 in the charts and climbing now to
               #3... "Murder Me!"

     MUSIC pumps in (possible L7's "Shitlist" or Pearl Jam's "Alive")

     MTV MONTAGE

     TO BE DETERMINED, in conjunction with the Clip/Song (that could
     be titled "The Ballad of Mickey and Mallory" or "Natural Born
     Killers.")  In this spoof, we see a VIDEO MICKEY and a VIDEO
     MALLORY -- they dance, they kill, they kiss. Moody atmospheric
     lighting.

     AD LIBS to be determined.

     During this, WAYNE is on the phone in a corner with his WIFE.

                         WAYNE (softly)
               ...look honey, I don't know what you think you
               found...but it isn't what you think it
               is...There is no Mai Ly -- that's a restaurant!
               What do you mean going through my drawers?...
                    (firmly)
               Look we'll discuss this later.  Put Jimmy on.
               I'll be home late...About ten.  I got network
               to see tonight...I'll tell you later but it
               means big bucks.  Yeah!  Put Jimmy on...
                    (pause, his son comes on)
               ...hi Jimmy, it's your Pop!  Yeah so, you going to
               Judo?  When...Oh I thought that was today...how
               was school?...Oh next time, you kick his ass.
               Daddy'll show you...Daddy loves you very much.
                    (gooing and kissing sounds)

     ON THE TV:

     WAYNE outside the COURTROOM (PRESENT).  The MUSIC gathering like
     an ominous cloud.

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

                                                          JUMP TO:

     FILE FOOTAGE (Mickey's Trial): -- grainy large CROWD
     circling the courthouse, a very mixed bag.

                         WAYNE TV (V.O.)
               As spectators, reporters, law students,
               tourists, gawkers, the devoted and the demented
               were drawn to the Illinois courthouse like
               moths to a flame.  The Mickey and Mallory Knox
               murder trial was such an event that it made the
               crime spree that preceded it pale by
               comparison.  The nation caught Mickey and
               Mallory fire.

                                                           CUT TO:

     CLOSE UP -- an INTENSE COP in the CROWD outside the COURTHOUSE.
     WAYNE interviewing him live (FILE FOOTAGE)

                         INTENSE COP
                    (referring to crowd behind him)
               And these assholes (BLEEP) are making heroes
               out of this scum sandwich.  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 these two scum-sucking
               (BLEEP) degenerate douche bags! (BLEEP BLEEP)

                                                           CUT TO:

     EXTERIOR COURTROOM (PRESENT) - DAY

     WAYNE walking, into camera, looking back at the courthouse.  The
     location is desolate.

                         WAYNE TV
               The very first thing that was strange was the
               decision of Mickey's to act as his own counsel.
               Now this in itself is not unheard of; for
               instance, Ted Bundy acted as his own counsel as
               well.  What was unexpected was how spectacular
               Mickey's performance would be.

     INT. JUDGE'S DEN - DAY

     WAYNE interviews JUDGE BERT STEINSMA in his courtroom office.

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

                         JUDGE STEINSMA TV
               When he said that I got a headache that
               lasted five days.  But I breathed a sigh of
               relief when Mickey showed up and he was very
               prepared, and proved to be an excellent amateur
               lawyer.

     INT. WANDA BISBING'S OFFICE - DAY

     WAYNE interviews state prosecutor WANDA BISBING, a stern woman in
     her forties.

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

                         BISBING TV
               Oh that's rich.  Considering that Mickey Knox turned 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 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. TELEVISION STATION - DAY

     WAYNE is back on the phone, very secretive.

                         WAYNE
               ...something wrong? What?...she's not onto it,
               no.  You're paranoid.  Look...Mai Ly, Mai Ly!
               Just don't put anything on paper -- ever...I
               gotta see you...tonight!...I got the watch, it's
               the Ebell...don't worry -- it's got 3
               carots...all right 10 o'clock!

     ON THE TV

                         WAYNE TV
               ...but of course the twist to the tale
               is...Grace Mulbery.

     FRONT PAGE NEWSPAPER HEADLINES read:  "MICKY AND MALLORY KILL SIX
     TEENS DURING SLUMBER PARTY!"  In smaller bolder face under it:
     "One Teen Escapes Killer's Clutches."  On the front page is a
     PHOTO of the teen who escaped.  It's seventeen-vear old GRACE
     MULBERRY.  CAMERA moves into a CU of the photo.

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

     EXT. COURTHOUSE - (MICKEY'S TRIAL) - DAY

     As it was then.  A circus.

     GRACE, her FATHER and BISBING emerge from the sedan in front of
     the COURTHOUSE and start up the steps.  Microphones and cameras
     are thrust in their faces.

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

                         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!

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

     Grace and her Father shove their way through the crowd.  We hear
     the cry of:

                         VOICE (O.S.)
               Mickey and Mallory!

     CAMERA whips towards the bottom the steps as MICKEY and MALLORY
     step out of the van, in chains.  The REPORTERS race down the
     stairs.  The FANS go apeshit.  As they are led up the stairs by
     SHERIFF DEPUTIES.

                         REPORTER 3
               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 turnout Mallory?

                         MALLORY
               I never had so much fun.

     WAYNE -- a year younger -- is there alongside Mickey and Mallory

                         BLACK REPORTER
               What's your favorite pastime?

                         MICKEY
               You mean aside from what I'm being tried for?
               (Mallory elbows him in the ribs playfully)  Oh
               I'd say watching TV.

     The REPORTERS in unison:

                         REPORTERS
               What's your favorite show?

                         MICKEY
               "Have Gun Will Travel."

                         WAYNE
               Do you have any regrets Mickey?

                         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 else.

                         WAYNE
               But if you had to do it all over again, would
               you do anything different?
                    (swinging the mike to Mallory; CAMERA following)

                         MALLORY
               Yeah, I'd kill the jury.

                         CUTE REPORTER 4
               Do you have anything to say to your fans!

                         MICKEY
                    (looking into CAMERA; big smile)
               You ain't seen nothin' yet.

     EXT. COURTHOUSE (PRESENT) - DAY

     WAYNE by himself on the courthouse steps, to CAMERA:

                         WAYNE TV
               No, apparently not. Grace Mulberry gave her
               tearful testimony.  Then it came time for
               Mickey Knox's cross-examination.

     INT. WANDA BISBING OFFICE - DAY

                         BISBING TV
               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.

                                                            CUT TO:

     INSERTS -- COURT SKETCH shows Bisbing standing at the bench in
     front of Judge Steinsma with Grace on the stand.  Mickey sits
     with Mallory at the defense table.

                         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.

     INSERT COURT SKETCH of Mickey looking like the devil incarnate,
     cross-examining Grace.

     INSERT COURT SKETCH of a terrified Grace. CAMERA closes on her
     face. The distinct sounds of a court in session can be heard in
     the BG.

                         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 (MICKEY'S TRIAL) - DAY

     The camera cranes up over the sketch to GRACE, in tears.

                         WANDA BISBING (wrapping up)
               No further questions your Honor.

     CAMERA dollies towards a MEDIUM OVERHEAD TWO SHOT of MICKEY and
     MALLORY.  Mickey pauses, sketching something on a piece of paper.
     Mallory looks over at it, still unseen.

                         JUDGE STEINSMA
               Defense?

                         MICKEY (extending the moment)
               As a matter of fact, your Honor, I do...have
               some questions ...

     Holding the pencil to his lips, he stands and leaves the drawing
     behind, exiting FRAME.

     Mallory looks at it.  A SKETCH of a man stabbing a woman.

     CLOSE on Mickey as he crosses to GRACE.

     CLOSE on GRACE'S eyes as they look downward.

     CLOSE on JUDGE STEINSMA as he shuffles paper on his bench.

     CLOSE on BISBING as her eyes follow Mickey across the court.

     CLOSE again on Mickey studying Grace, the pencil pressed to his
     lips in thought.

     CLOSE on Grace as she pulls from a reserve of strength. Clenching
     her hands, her eyes come up and lock hatefully on Mickey.

                         MICKEY
               That's one helluva story, Miss Mulberry.

                         GRACE
               Maybe to you.

     Mickey paces in front of her, like a caged tiger.

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

     CAMERA dollies tighter on Grace.  Once locked onto her eyes, her
     head drops forward and we:

     FLASHBACK

     INT. GRACE'S HOME - NIGHT

     ECU of GRACE'S eyes as her head is yanked back into frame.  The
     CAMERA pulls back to reveal her eyes wide with fear, a gag in her
     mouth and a knife pressed against her throat.  SOUNDS of
     squealing murder victims in adjacent spaces. The night of the
     murder.  A slaughter-fest of squealing TEENAGERS.

     MALLORY'S got the knife to her neck.

     MICKEY is wandering around, in a daze, in a black leather jacket
     over a white t-shirt covered with blood.  Blood on his face, a
     knife in his hand.  He turns to camera with the same deadcalm:

                         MICKEY (at the murdersite)
               Grace...I hope you don't mind if I call you
               Grace.

                                                           BACK TO:

     INT. COURTROOM - DAY

     CLOSE on GRACE in a daze.

     CLOSE on MICKEY smiling at her.

                         MICKEY
               Grace?

               Uh...yes.

                         MICKEY
               I'd like to ask you about your murdered
               brother...Tim?  His martial arts abilities?
               How long had he been studying?

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

                         MICKEY
               And what was the color of Tim's belt?

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

     CLOSE on BISBING listening. Grace is doing better than she
     thought.

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

                         GRACE
               It 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.  That why Tim studied it.  Because it was
               Bruce Lee's fighting style.

     CLOSE on the COURT CLERK'S HANDS typing.

                         MICKEY
               Now, I think it would be safe to say that
               anybody who studied the fighting style that
               Bruce Lee developed -- arguably the greatest
               fighter in the history of martial arts --
               anybody who studies that 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 and feet
               considered weapons like guns or knives?  Am  I
               correct on that point?

     Grace's eyes on -- a CU of Mickey's HAND holding the pencil.

                         GRACE
               Yes, you are.

     CU of MALLORY listening.

                         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.

     FLASHBACK -- INT. GRACE'S HOME - NIGHT

     TIM, in a rage, cuts loose and hammers MICKEY with four punishing
     kicks in the head!

     BACK TO COURTROOM - CLOSE ON MICKEY

                         MICKEY
               ...and his trained Bruce Lee kicks had little
               or no effect.

     FLASHBACK - INT. GRACE'S HOME - NIGHT

     CAMERA is LOW ANGLE as TIM backs up after his attack.

     We INSERT a High School class 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.

     BACK TO COURTROOM

     CLOSE on GRACE.  We move down and see she is twisting the same
     High School RING nervously in her hand.

     CLOSE on MICKEY noticing the Ring and her attachinent to it.

                         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.

     FLASHBACK - INT. GRACE'S HOME - NIGHT

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

     BACK TO COURTROOM

     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 your
               brother limb from limb.  And your brother,
               whose hands are lethal weapons--

     CLOSE on WANDA BISBING as she stands.

                         BISBING
               Objection, defense 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 defense.

                         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?

     CLOSE on MALLORY watching.

                         GRACE (yelling)
               I don't know!

     Mickey locks eyes with Grace, moves very close.

                         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 your brother Tim Mulberry in the
               manner described?

     Bisbing waits for the answer.

     The Judge looks down at Grace.

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

     Mickey bearing down on her, waiting.

     We DOLLY tighter on Grace as 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 figger' is you're not human...You're a
               vampire, or the devil or a cyborg or something
               like that.  But you're not human.

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

     Mickey rolls his pencil in his hand, then CAMERA tilts up as he
     leans down into a CU, smiling at her.

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

                         GRACE (softly, into her lap)
               What!...

     Mickey smiles.

                         MICKEY
               Do you believe in fate?

                         GRACE
               What?  I don't know.

                         MICKEY
               Well do you believe you have any choice when
               it's time for you to die?

                         BISBING
               Objection.  What does this have to do with
               Grace Mulberry?

                         MICKEY
               You know what this has to do with Grace
               Mulberry?  I'll tell ya what it has to do with
               Grace Mulberry.  It's her time!

     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 a CU of Bisbing jumping up screaming as
     PANDEMONIUM breaks out in the courtroom in SLOW MOTION.

     CU pencil puncturing Grace's blood-soaked chest.

     CU Judge Steinsma slams his gavel, directing the Sheriff DEPUTIES
     in SLOW MOTION.

     CU of the DEPUTIES running towards Mickey in SLOW MOTION

     ECU of Grace.  A Tear rolls out of her widened eyes in SLOW MOTION

     CU of Mickey.  His attack is unending.

     Grace goes limp.

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

     SIDE ANGLE as Grace's head falls back into a CU.  As 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 Deputies wrestle him away from Grace.
     The bloody broken stump of the pencil in his hand.

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

     CAMERA follows Mickey's bloody pencil stub falling from his hand.
     Flitting the floor next to the ring in SLOW MOTION.

     CU of Mallory jumping up and down on the table like a puppet,
     singing "Mickey and Mallory sittin' in a tree..." Deputies
     grabbing her.

     Mickey turning to the Judge.

                         MICKEY
               No further questions your Honor.

     Mickey's POV of a large DEPUTY stepping in front of him with a
     riot club.

                         LARGE DEPUTY
               Lights out prick!

     Deputy swings the club.

                                                      CUT TO BLACK:

                       ACT THREE

     EXT. PRISON - DAY

     SUBTITLE READS:  "SUPERBOWL SUNDAY"

     WAYNE unloads his cameras with CREW and VANS.  A major mobile
     setup, yards of cable, lights.

     INT. MICKEY'S CELL - DAY

     MICKEY'S pacing back and forth in his cell, talking to himself in
     the mirrors, over the washbasin.

                         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.'

     LAUGH SOUNDTRACK -- the sitcom running in his head.

                                                           JUMP TO:

                         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!'

     LAUGH SOUNDTRACK

                                                          JUMP TO:

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

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

     KAVANAUGH opens the cell door.

                         MICKEY (hands in the air)
               How ya doin' today Kavanaugh?

     INT. PRISON CORRIDOR - DAY

     WARDEN McCLUSKY strides through his kingdom, trailed by SCAGNETTI
     -- in a foul mood of indigestion and nausea. WURLITZER follows.

                         SCAGNETTI
               How the hell did you let it go "live" Dwight --
               for chrisake!!

                         MCCLUSKY
               I couldn't stop it, it just got out of hand.
               It don't change a thing Jack! We're gonna move
               the scumbags tomorrow morning -- a little ahead
               of schedule, that's all.

                         SCAGNETTI
               You know Dwight--when I do these two ratfucking
               douchebags, I'm going right up there with Jack
               Ruby. In the Hall of Fame. I'll be world famous.

                         MCCLUSKY
               You'll be bigger, Jack -- Oswald was a pussy...
               (cocking his ear) Do you hear it, Jack?

                         SCAGNETTI
               Oswald might've been a pussy but he was a great
               shot (listens)...yeah, it's...

                         MCCLUSKY
               ...dead quiet.

     Now we notice it.  Like the vacuum before the storm.

     INT. INTERVIEW ROOM - DAY

     McCLUSKY and SCAGNETTI enter, past the TECHNICIANS setting up two
     cameras, lights, cable; ASSISTANTS, GUARDS all over the room.

     WAYNE is checking his makeup and stubble in a mirror with a
     MAKEUP PERSON as he walks and talks with his cameraman, ROGER.

                         WAYNE
               Then maybe take him to the window, Rog...
                    (pretending the cameraman is Mickey)
               So, Mickey, 'if you were let outta jail today,
               what's the first thing you'd do?'
                    (pause)
               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 kinda feel...Hi
               Dwight.  How goes?  Can I just have a little
               word?

     He takes the WARDEN aside; Scagnetti dropping back.

                         SCAGNETTI
               So Dwight, I'm gonna catch myself a little word
               With Mallory.  The air in here's...y'know, a
               little phoney for my taste.

     Scagnetti exits.

                         WAYNE (to Scagnetti)
               Yeah, you do that Jack.  Nice suit.
                    (to Warden)
               Now Dwight, I don't know if you've ever been on
               a set before --

                         MCCLUSKY (proud)
               Ya know, I was. I was...

                         WAYNE (acting surprised)
               Really?

                         MCCLUSKY
               I was on the 'Dukes of Hazzard' set about 8
               years ago.  I knew this guy who...

                         WAYNE
               Well...small world. Well then you know how it
               works.  What we're about in this talk business
               is intimacy, Dwight.  We're about two people
               having a conversation.  I want a trust to
               develop.  If you're thinking about all this...
                    (indicating the bustle of the room)
               you're not going to relax, we'll be talking
               at each other instead of "to" each other...
                    (pauses, Dwight waits; Wayne switches gears)
               Which brings me to ... what I wanted to talk to you
               about...I have to get Mickey Knox to relax-- to
               share what he's never shared before. How Dwight
               can we expect him to do that when we got more
               deputies per cubic inch looking up his asshole
               with shotguns than he has photosynthetic spores?

                         MCCLUSKY (turning on Wayne, short)
               Well, just what the hell do you expect me to
               do, Wayne?

                         WAYNE
               Lose 'em.  Leave 'em outside.  I'm getting rid
               of my crew.  Just me, the cameraman, the
               soundman, that's it.  Intimate.  Dark.
               Shadows.  Truth.

                         MCCLUSKY
               Wayne, do you have the slightest idea how
               dangerous Knox is?

                         WAYNE
               Dwight, I assure you I am very familiar with
               Mickey's career.

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

                         WAYNE
               I'm sure I know the facts as well as you do
               Dwight.

                         MCCLUSKY
               Well lemme clue you in on one fact you don't
               know.  If I take my men out, Mickey Knox is
               gonna snap your pencil fuckin' neck like a
               fuckin' twig.

                         WAYNE (sensitive)
               Dwayne...Dwight...One--fuckin' I grew up in a
               very tough neighborhood in Sydney, and I've
               handled some pretty rough customers in my day.
               Mickey Knox don't scare me.

                         MCCLUSKY
               You're a dreamer, son...you're a dreamer.

                         WAYNE
               Two--I'm a journalist, and I'm prepared to take
               that risk. Grenada, Panama; I was dodging 'scuds
               in Baghdad, Dwight. Three--it ain't gonna happen.
               Believe me when I tell you, it's in Mickey Knox's
               best interest to play this game according to
               Hoyle. (pause) Wait a minute.  Wait a minute.
               We've gotten into an adversary relationship here,
               which is not what I want...

                         MCCLUSKY
               No!

                         WAYNE
               Seriously Dwight, look at this...
                    (counting the DEPUTIES in the room)
               Six...seven.. eight.  Jesus Christ Duane, they
               hate him.  He hates them.  We got hate in the
               air.  Even you and I feel it.  I gotta explore
               Mickey.  Columbus didn't know he was looking
               for America. He was looking for India.  He
               needed to be left alone, trusted, he...

                         MCCLUSKY
               What in the goddamn hell are you talking about?

                         WAYNE
               Two guys?

                         MCCLUSKY
               Okay.  I'll take two guys off.

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

                         MCCLUSKY
               I can't do that.  Five guys.

                         WAYNE
               Three.

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

     INT. RECREATION ROOM - PRISON - DAY

     Elsewhere in the prison, the boring SUPERBOWL winds down with the
     Quarterback dropping to his knees, running out the clock and
     "timeouts" being taken.

     A LARGE CROWD of silent PRISONERS is gathered as the "AMERICAN
     MANIACS" PROMO comes on:

     INSERT TELEVISION FOOTAGE -- LOGO

     A SHOTGUN GRAPHIC explodes through the screen and reveals file
     footage of MICKEY and MALLORY, supering to WAYNE GALE waiting,
     standby, "live."

                         TV ANNOUNCER
               Right after the "Game," stay tuned for a special
               "American Maniacs" on W-A-T-C-H. Mickey Knox is
               the most dangerous man in America, but Wayne Gale
               isn't afraid to meet him one on one to learn what
               48 people died for: is this man insane or does he
               belong where he sent so many others: in the
               grave? Be sure to stay tuned for...

     The SCREEN of the TV EXPLODES as something heavy (a machine tool
     wrench) is thrown through it.  We hear an INMATE:

                         INMATE
               Mother fucker!

     The INMATES are throwing whatever they can now at the TV as the
     WHISTLE goes and the GUARDS rush in with sticks.

     INT. INTERVIEW ROOM - DAY

     TV INSERT -- LOGO for "AMERICAN MANIACS" rolls to loud cue-in
     MUSIC and ANNOUNCER.

                         TV ANNOUNCER
               ...and now Wayne Gale goes one to one with
               Mickey Knox.  Straight from Batongaville
               Penitentiary -- on the eve of Mickey Knox's
               lobotomy.  Is he or isn't he?  Let America be
               the Judge...

                                                            CUT TO:

     MICKEY'S face -- in a chair, real calm, no handcuffs, a pleasant
     smile.

                         MICKEY (TO THE GUARD)
               How ya doin' today?

     Across from him is WAYNE, with a serious intensity, half-glasses,
     consulting his yellow legal pad notes, Mike Wallace-style.

                         WAYNE TV
               Mickey Knox.  Thank you for this time.  I have
               a few questions I'd like to start with, do you
               mind?

                         MICKEY TV (smiles)
               Let's roll the fuckin' (BLEEP) dice, Wayne.

                         WAYNE TV
               Mickey Knox, when did you first start thinking
               about killing?

     CAMERA now in the room, rolling off Wayne to reveal Mickey and the
     setup. It's made to look like a one on one but we now see
     McClusky's DEPUTIES, among them WURLITZER and KAVANAUGH, are quite
     close, just out of camera range. Mickey is cool as a feather.

                         MICKEY
               Birth... I was thrown into a flaming pit of
               scum...forgotten by God (laughs).

                         WAYNE
               What do you mean by that?

                         MICKEY
               What do I mean?...I mean I came from
               violence... it was in my blood.  My Dad had it.
                    (chuckles)
               You know.  Eat, Shit, Fuck, Kill, Die... it was
               all my fate...my fate.

     INSERT TV MONITOR -- the words are BLEEPED immediately.

     Wayne's excited, Mickey's rolling right out the gate.

                         WAYNE
               No one is born evil Mickey, it's something you
               learn...Let's talk about your father? How he was
               murdered? You were 10 years old when he died is that...

     Mickey's mood immediately changes, darkens.

                         MICKEY TV
               I didn't kill my father...and I don't want to
               talk about that shit...

     He throws a box of donuts at the camera.

     JULIE signals excitedly from the monitor - a head set sending
     messages to her.  More people turning on.  Thumbs up to WAYNE,
     excited.

                         MICKEY
               Please.

                         WAYNE TV

               OK OK Mickey, let's go on to something else. I
               understand Mickey Knox is reading the Bible these
               days?

                         MICKEY
               Ya?

                         WAYNE
               The teachings of the Bible seem inconsistent
               with your actions -- Christian values.

                         MICKEY
               I don't know why.  The Bible's full of killings.

                         WAYNE
               But what about God, does he have the right to
               judge you?

     Wayne's eyes scooting everywhere, motioning to McClusky to get
     his men out of the background when Mickey's on camera.

                         MICKEY
               God created me...if what I did was so bad why
               didn't he stop me...why didn't he protect me
               when I was a kid...He's doing it, not me.

                         WAYNE
               Mickey, how can you look at an ordinary
               innocent person...a guy with kids...and shoot
               him to death... how can you do that?

                         MICKEY
               Innocent?  Who's innocent Wayne?...it's just
               murder man.  Everyone does it, all God's
               creatures ...in one form or another...I know a
               lotta people deserve to die...
                    (a look at McClusky who is impervious)

                         WAYNE
               Why do they deserve to die?

                         MICKEY
               Everybody got somethin' in their past, some
               guilt, some sin, some awful secret thing...I
               think people who deserve to die are those
               people who are not living in the first place.
               I think there's a lotta people walkin' round
               right now who are aiready dead and need to be
               put outta their misery.

                         WAYNE
               ...sort of "everyone meets their serial killer
               half way"?  Is that what you're saying?. The
               theory that the Jews wanted to be victims
               walking into the gas chambers at Auschwitz;
               that even genocide at some level's agreed
               upon...?

                         MICKEY
               The wolf don't know why he's a wolf, and a deer
               don't know why he's a deer...God just made it
               that way...

                         WAYNE
               ...You're talking now about "predators" Mickey.
               You're saying the world itself is predatory.
               When a mountain lion takes down an elk, it's
               because it's the elk's time to go, and all the
               b.s. liberal agenda about saving the animal
               herds only overpopulates the balance of nature?
               Maybe you're right Mickey Knox, maybe you're
               right....  Corporate
               predators.  Enviromental predators.  Nuclear
               predators. Life is a hunt.  I've seen it
               Mickey.  I was there.  When the shit (BLEEP)
               hit the fan.  At Grenada.  I saw it all go down
               at Grenada...

     Mickey bored.  Julie signalling frantically to Wayne to cut the
     jab.  Wayne sees the signal,

                         WAYNE
               ...so tell me Mickey, any regrets?  Three
               weeks. 47 people, not cool.

                         MICKEY (corrects)
               ...48. Ya, I'm sorry I got Mallory into this
               mess.  Prison and all.  She doesn't really
               deserve it.

                         WAYNE
               Anything else?

                         MICKEY
               I'm sorry the Indian got killed.

                         WAYNE (consulting his notes)
               The next to last victim.  The one whose
               grandson testified at the trial that his
               grandfather was trying to help you...

                         MICKEY
               He saw it...

                         WAYNE
               He saw what?

                         MICKEY
               The Demon...He saw the Demon.

     Mickey is deep into the memory.  Wayne's puzzled.

                         WAYNE
               So what happened?

                         MICKEY
               The whole deal was a mistake. I didn't mean to
               kill him...The old man was trying to help us...

                         WAYNE
               So what happened?
                    (fiercely, aside, to McClusky)
               Dwight, will you get those two assholes outta
               there!  It's supposed to look like me and
               Mickey alone!

                         MCCLUSKY (aside)
               Don't call my men assholes.

                         WAYNE (aside)
               Shhh! I didn't mean they were assholes.  I mean
               "get 'em outta here!"

     McClusky signalling to Kavanaugh and Wurlitzer to step back.

     Julie signalling fiercely for quiet.

                         WAYNE (to himself, re: McClusky)
               Asshole.

                         MICKEY (meanwhile deep into it)
               ...there was a fight in my dream, see...it's
               the same dream I've had since I was a
               kid...it's hard to move...like I'm made of
               lead...I taste metal in my mouth...Then...the
               Demon comes after me.

                         WAYNE
               What does it want...your soul?
                    (no answer)
               What does it do?

                         MICKEY
               It kills in this case something good.

                         WAYNE
               So as long as you're bad...it won't kill you.

                         MICKEY (somewhere else)
               ...after the old man, we were gonna stop
               killin'.  The old man took it out of us.

                         WAYNE
               ...but you both've killed on the inside?

                         MICKEY
               The Demon lives in here.  Everyone's got the
               demon.  It feeds on their hate, it cuts, rapes,
               kills...it's the alien man, it uses your
               weakness, your fear...only the vicious survive.

                         WAYNE (skeptical)
               So that's why you're reading the Bible, you're
               looking for help?  Hard to believe, Mickey.

                         MICKEY
               You mean if Jesus could raise Lazarus from the
               dead maybe he could help me?...No dice. (pause)
               You know the only thing that kills the Demon?
               ...Love.  That's why I know Mallory is my
               salvation.  She was teaching me how to love.
               It's like being in the Garden of Eden...

                         WAYNE
               "Only love can kill the demon." Hold that thought.

     COMMERCIAL MUSIC cues in. Pause for a BREAK.

                                                                 CUT TO:

     INT. MALLORY CORRIDOR - DAY

     The silence is vast...As SCAGNETTI'S feet go past, drawn
     inexorably to her cell.  TWO GUARDS accompany him.

     INT. MALLORY CELL - DAY

     DOORS open -- SCAGNETTI'S POV marching in.

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

     MALLORY, asleep on the bunk, springs into a fighting stance.  If
     you've seen a panther in a zoo, you understand the attitude
     Mallory brings with her everywhere she goes.

     CAMERA whips back to Scagnetti and the TWO GUARDS -- with
     shotguns trained on her.

                         GUARD
               Turn around and face the wall!

                         SCAGNETTI (approaching her)
               That's all right fellows, we want to have a
               little talk is all...

     Pulls a chair out, indicates for her to sit.  She doesn't.

                         GUARD (nervous)
               Mr. Scagnetti, don't get close to her.  She'll
               kill you!...One way or the other, she'll kill ya!

     Scagnetti ushers them to the door.

                         SCAGNETTI
               Relax fellows, read my book.  Now I met some
               women were really crocodiles in my time but
               this little lady--I think she's gotta sweet
               streak for me.

     Scagnetti pulls his gun out and gives it to the Guard, pushing
     the door closed on him.

                         GUARD
               Sir, we're not allowed...

     Scagnetti closes the door on them.  Alone with Mallory.

                         SCAGNETTI
               Smoke?  (she stares)
               I know you smoke.

     A look of steel.  He gets closer, gentle.

                         SCAGNETTI
               You know I'm not here to hurt you, Mallory. I
               wanna be your friend. And if I ever met a girl
               who needs a friend, it's you. You're a very
               pretty girl...but I'm sure people tell you that
               all the time.

     Mallory doesn't respond.  Scagnetti takes the cigarette from his
     mouth, puts it between Mallory's lips.  She smokes.

     Scagnetti relaxes.  Step one.  Hold on a C.U. of Mallory.

                         SCAGNETTI (O.S.)
               I was reading the file on you.  You know what
               it said?  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
               Mickey your Charles Manson? Or does he just got
               a big dick?  That's it, isn't it?  Mickey's got
               a big donkey dick. But you ain't seen mine. You
               never been fucked by the real Prince Charming.

     Scagnetti changes to Mallory's other ear.  He's playing with a
     cobra here, and he knows it.  It turns him on, deeper into his
     sexual obsession with murder.

                         SCAGNETTI (pressing close)
               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 thinking 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.  Course you're not gonna
               give a particular shit either.  Cause when the good
               doctors get through givin' you the zap...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 looks at him with steel, then yawns.  Drops the cigarette
     on the floor

     CU of cigarette hitting the floor in SLOW MOTION.  We can still
     see the red, burning end.

     CU of Mallory's bare foot rising off the floor in SLOW MOTION

     CU at floor level of Mallory's foot coming down on top of the
     cigarette, then grinding it out -- SLOW MOTION.

     Scagnetti watches this, gulps.

     INT. RECREATION ROOM - DAY

     Where the television was first smashed; the tone has shifted from
     insurrection to riot  Instead of subduing the PRISONERS, the
     SEVEN GUARDS are now in full retreat, swinging nightsticks over
     shield.  The Prisoners, all desperate angry men, attack them --
     bring them down.

     INT. LAUNDRY ROOM - DAY

     The RIOT is spreading.  The MEN take one of the GUARDS and throw
     him into a huge spinning WASHING MACHINE and slam the door on
     him, watching him go round and round.

     INT. INTERVIEW ROOM - DAY                                    162

     The interview winds down.  JULIE very pleased -- a big "thumbs
     up" for WAYNE who gleams.  Dollar signs all over his brain.

                         WAYNE
               You have ultravision Mickey...you see things
               others don't. You see the shadows.  Tell us.
               Describe Mallory, Wayne...I mean Mickey.

                         MICKEY
               Describe Mallory?  Okay.  She's my wife, she's
               pretty, she's got brown hair, two eyes, two
               feet...

                         WAYNE
               Don't play dumb with me Mickey.  You know what
               I mean.  Describe Mallory.
                    (points to his head)
               What's up there?
                    (points to 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 Government of America.

                         MICKEY (laughs)
               When have they ever been right?

                         WAYNE (pressing)
               Then was it really 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
               Do you think up all these question or does it
               come from some central casting for reporters?

                         WAYNE
               No Mickey, I can't let you get away with
               rhetoric.  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 that instant of purity?  The bodies
               you left behind?

                         MICKEY
               That's only part of it.  I mean, its a 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 48 people who
               are no longer on this planet because
               they met you and Mallory? What's so fucking
               (BLEEP) pure about that? How do you do it!!

     CAMERA ZOOMS in on a pore-catching CU of Mickey.  Pause.

     ECU profile of DEPUTY WURLITZER on the intercom, hearing the news
     of the riot for the first time.  His expression shows.  He
     signals to MCCLUSKY who goes to the phone.

                         MICKEY (meanwhile)
               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 an ape...I'm
               here...I'm still evolving...and you, you're stuck
               somewhere else man.  You're presenting a reflection
               of yourself. You buy and sell the Fear. You say
               why?  I say why not?

                         WAYNE (with Mike Wallace intensity)
               Awright, Mickey...now let's cut the BS, let's
               get real.  Why?  Why this "purity" you feel
               about killing?  Why forchrissake, why!!!!

                         MICKEY (laughs)
               ...I guess...Wayne...you just gotta hold that
               ol' shotgun in your hand and it all 'comes
               clear to you like it was for me that first
               time.  That's when I knew my one true calling
               in life.

                         WAYNE
               And what's that Mickey?

                         MICKEY (smiles)
               Shit, I'm a natural born killer.

     COMMERCIAL MUSIC plugs in.

                         WAYNE (ecstatic, to himself)
               GREAT!! Oh fuckin' brilliant! DID YA GET THAT!

                         JULIE (sign language)
               Through the roof!  The whole country was
               watching.  I heard 80, 90 share!!!

                         WAYNE
               Oh Jesus, we'll be famous...how can I top this!

     McClusky freaking out on the phone.

                         MCCLUSKY
               Where! For the love of Pete! Shitfire Leroy!
               Okay...Okay.. Mobilize the men. I'm on my way.

     Hangs up, to the room.
         
                         MCCLUSKY
               CLOSE DOWN ALL THE CAMERAS!  We got a riot
               going on in the Rec Room in B Wing.

                         WAYNE
               Is this a joke?  Are we finished!  We're live
               for chrisake.  We got another 10 minutes!  200
               million Americans are...!!

     MICKEY takes it all in.

                         MCCLUSKY
               You sure as hell are finished!  They got guns,
               hostages, explosives.  Close it down now!

                         WAYNE (disappointed as hell)
               Then could we go with you and film it?
               Dwight, forchrisake!  "Live!"

                         MCCLUSKY
               You stay here and you shut up!  I got to see what
               the hell's going on down there before I can let
               you film anywhere, it all started cause of your
               goddamn peckerhead show in the first place!

                         WAYNE
                    (following him out, trying to grab Roger)
               But the world is watching Dwight -- you can
               never get 'em back!  You'll be famous.  It's
               history!  Dwight!

                         MCCLUSKY (to Kavanaugh and his men)
               This asshole's still tryin' to tell me what I'm
               gonna do in my jail.  Fuck him!  This
               nanderfuck don't know what he's dealing with
               here, but we do.  And he ain't gonna be
               responsible, we are.  So keep your shotguns on,
               your fingers on the triggers, and be ready to
               fire at a moment's notice!  Phil, Frank you
               come with me! Jim you stay here. Let's go!

     McClusky, Wurlitzer and DEPUTIES 3, 4 exit--leaving THREE GUARDS
     and Kavanaugh with the LIVE CREW...and Mickey who pops gum,
     smiles...

     INT. RECREATION ROOM - DAY

     Pandemonium.  PRISONERS holding GUARDS hostage, working their way
     out the ROOM, into a CORRIDOR.

     INT. CORRIDOR - DAY

     The PRISONERS storming the GUARD CONTROL CENTER.  SHOTGUN blasts
     from the GUARDS kill SEVERAL MEN but they are so desperate they
     get into the Tower anyway, piling over the bodies of their dead
     comrades.

     INT. CONTROL CENTER - DAY

     The MEN ransack the keys, hitting the electric locks and controls
     -- kicking open several NEW CORRIDORS at once. Men running in
     all directions.

     INT. MAIN TIER - DAY

     TWO INMATES chase a SNITCH -- throw him off a railing.

     INT. MAIN TIER - DAY

     The "telegraph" hits the 5-Tier MAIN ROOM.  The MEN there start
     to go crazy, running down from all levels, attacking the GUARD
     TOWER in the center of the room.  SHOTGUN BLASTS are fired.

     CAMERA TRACKING OUT -- the noise of a buffalo stampede grows
     through the prison.  Madness is coming!

     INT. INTERVIEW ROOM - DAY

     Everyone's nervous, locked in, hearing the noise.  WAYNE stares,
     dying to get out, be part of the action.

     JULIE nervously eats donuts.

     The THREE GUARDS shift nervously, shotguns ready, eyes looking
     out.

     MICKEY strolls a bit, smoking, in the middle of a stupid joke no
     one really listens to, stretching.

                         MICKEY
               ...so the mother says to the sister 'Okay, you
               can go to the drive-in movie with Bobby as long
               as you take Little Johnny.'  The sister 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?'  Johnny who
               can't talk, goes...

     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, squeezes imaginary breasts.  The guards
     relax, listening.  It gets their minds off the outside riot.

                         MICKEY (surprised)
               '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, pantomimes a fucking motion.

                         MICKEY (angry)
               'They did that!  What were you doing?'

     Mickey, as Little Johnny, vigorously jacks off.

                         MICKEY (as Mother)
               'Little Johnny, NO!!!

     Everybody in the room breaks up. As Mickey finishes the punchline
     he steps in front of KAVANAUGH, laughing, and SLAMS his elbow in
     his face. Kavanaugh staggers. Mickey grabs his shotgun, rips it
     from his grasp, then bashes him in the face, swivelling to
     confront:

     The THREE other GUARDS reacting.

     Mickey SHOOTS DEPUTY 1 in the chest, blowing him off his feet.
     He flies across the room and lands in a thudding heap.

     DEPUTY 2 raises his gun, fires.

     Mickey fires simultaneously, dropping to a crouch.

     Deputy 2 crumples into the wall, firing off another blast -- SLOW
     MOTION.

     The stray blast takes the SOUNDMAN right in the chest, blowing
     him across his equipment.

     Mickey takes a hit in the shoulder, spins, pumping the slide.

     DEPUTY 3 fires, missing -- hitting one of the TWO VIDEO CAMERAS.
     It cracks.

     Wayne terrified, running for a corner.

     ANOTHER CREWMEMBER, the boom guy, goes crashing down, hit,
     screaming

     CU of ceiling being blasted.

     Mickey spinning on Deputy 3.

                         MICKEY
               Drop it -- put the gun down.

     Deputy 3 (DUNCAN HOMOLKA) is a tired and old guard, very scared.
     He drops it.

                         MICKEY
               Smart move ... open the chamber.  Empty the
               shells!  Everyone raise your hands.

     SEVERAL TECHNICIANS shoot up their hands.

     HOMOLKA's shells hit the floor.

                         MICKEY
               Wayne!  Where the fuck are you?

     Wayne in the corner, cowering, thinks Mickey's gonna kill him.

                         MICKEY
               Get up!  Get a camera.

                         WAYNE
               Uh...uh...where's Scotty?

                         ROGER
               He's dead.

                         MICKEY
               ... and unless you wanna play follow the leader,
               shut up and do as you're told.
                    (to Homolka)
               You...toss it.

     Homolka tosses his shotgun over to Mickey.

                         MICKEY
               Hands behind the head!

     Mickey grabs the burly Kavanaugh, who's on his knees, by the
     collar.

                         MICKEY
               On your belly, Kavanaugh, the fun's just
               beginning.

                         KAVANAUGH
               You'll never get out of here, Knox.  You're
               dreaming -- they'll mop you in a bucket.

     The battered Kavanaugh glares back at him, drops down.  Mickey
     bends over him and takes hold of his right hand.

                         MICKEY
               I am the most dangerous man in the world,
               Kavanaugh.

     Mickey snaps the trigger finger on Kavanaugh's right hand.
     Kavanaugh screams.

                         MICKEY
               And when the most dangerous man in the world
               tells you to do something, you oughta think
               twice before refusing.

     Mickey snaps the trigger finger on Kavanaugh's left hand.
     Kavanaugh screams. ("Fuck you!")

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

     Kavanaugh shuts up.

                         MICKEY (to Roger)
               You...you got a camera?

                         ROGER
               Uh, both cameras are shot to shit!

                         MICKEY
               Too bad for you.

                         ROGER (quick change)
               Uh uh we can get an image.  Got a video
               shoulderpack!  Remote Beta.

                         MICKEY
               Good.  Put it on your shoulder.  We're going
               out.  All of us.  One big party.  Shoot
               everything I do.  (pregnantly) Got it?

                         ROGER
               You bet.

                         MICKEY
               Wayne, tell your station we're going to resume
               our broadcast "alive."  Make it happen Wayne.

                         WAYNE (with feigned enthusiasm)
               No problem, chiefo, you got it!

     As Wayne reaches for his cellular phone, Mickey notices something
     in the back of his belt, under his loosened and frayed shirt.
     Mickey reaches for it.

                         MICKEY
               What the hell is this Wayne!

     It's a 40 calibre Glock semi-automatic.  States of the art.  But
     Wayne will not give it up so easy.  Quick as a wink, Wayne goes
     for Mickey's wrist -- tries to put him into an aikido sweep-down
     move -- accompanied by a fierce SHOUT.

                         WAYNE
               Eeeeeeyaaahhhhhh!

     Nothing happens.  Mickey just stands there, grins -- then smashes
     Wayne in the face with a straight arm.

     Wayne hits the floor, in GROANING pain.

     Mickey brandishes Wayne's gun.

                         MICKEY
               You're a naughty boy bringin' this in here,
               Wayne.  What would the lawman say?

     Turning his attention back to Kavanaugh, Mickey propells him out
     the door.

                         MICKEY
               Get me to Mallory -- and she better be in one
               piece.

     INT. MALLORY'S CELL - DAY

                         SCAGNETTI
               OK, spread um!...I'll show ya I'm the bad
               motherfucker here!

     MALLORY smiles and suddenly starts to dance.  Spreading her arms,
     undulating her belly.  She's a natural born dancer.

     SCAGNETTI watches her, fascinated, misunderstanding.  He peels
     off his shirt.

                         SCAGNETTI (changing tone, intimate)
               I know you... I saw what you did to that kid at
               the gas station... I know what you like.

                         MALLORY
               Yeah?...what do you think about...right now?

     Mallory is weaving like a cobra around him, getting close but
     never touching him, making him sweat. Pulling his pants down half
     way, he takes her seat.

                         MALLORY
               Tell me what you want...

     Scagnetti is screaming with lust and murder.  His head revolving
     360 degrees around the back of the chair to watch her.  He can't
     help himself.  He's not thinking straight.  He's lost it.

     She gets in his face, very close.  About to kiss him first with
     her belly, then with her lips.

     We even think she might be going along with him.  He's moving his
     lips closer to hers.  She smiles -- that long slow orgasm of a
     smile.

     Then she nails him.  Smashing into his face with a headbutt.
     Breaking his nose in an explosion of blood and pain.  Scagnetti
     lets out a horrible SCREAM.  She tears into him.

     EXT. MALLORY CELL - DAY

     The TWO GUARDS fumble with the keys to open the cell door.

     INT. MALLORY CELL - DAY

     The TWO GUARDS 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 GUARDS are on top of her like tornadoes, beating the shit
     out of her with their shotguns.

     She slugs it out with them.  Is Scagnetti alive...   Barely
     crawling on the floor, a crumpled wormlike moan escapes his lips.

     INT. PRISON CORRIDOR - DAY
 
     MICKEY at the helm of WAYNE, JULIE, TWO HOSTAGE DEPUTIES and a
     party of FOUR TECHNICIANS hustles down a corridor of the prison
     past SCREAMING INMATES flying in all directions.

     INT. PRISON KITCHEN - DAY

     A SHADOW of a PRISON GUARD stumbles into frame, followed by a MOB
     of other SHADOWS carrying nightsticks and bars.  Suddenly we are
     out of shadows as:

     The MOB catches the PRISON GUARD and stuffs him, mercilessly into
     one of the LARGE OVENS, turning up the heat.  He SCREAMS
     horribly, the sound carrying over:

     INT. ANOTHER CORRIDOR - MAIN TIER - DAY

     This SCENE is a TRAVELLING CU that never leaves MCCLUSKY --
     trailed by WURLITZER and STAFF.  We can make out activity on the
     edges of frame and we can vividly hear the sounds of chaos all
     through the prison.

                         MCCLUSKY
               Get two men up on that tier.  And I want men
               with rifles all along the walkway.

                         WURLITZER
               Capt'n

                         MCCLUSKY
               Where do the air ducts lead?

                         SMITHY
               Over there.  But they'll hear somebody
               approaching thru 'em.

                         MCCLUSKY
               Then turn the power back on.  The machines
               supply us with the cover noise we need.
               Smithy, get on it.

                         SMITHY
               Right away Capt'n!

     McClusky snatches the walkie talkie from him, talks into it.

                         MCCLUSKY
               Bergman, you in place?

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

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

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

                         MCCLUSKY
               It's that or death, Bergman!  Do it!

     CAMERA follow MCCLUSKY as he heads in another direction.

                         MCCLUSKY
               Wurly, are the sharpshooters in place?

                         WURLITZER
               Yeah.

                         MCCLUSKY
               You sure?

                         WURLITZER
               I think --

                         MCCLUSKY
               Never say you think when you know, or you know
               when you think...What do you think, Wurly?  How
               many explosives do you think they have in there?

     McClusky now reveals the MAIN TIER in utter pandemonium. He barks
     out.

                         WURLITZER
               It's hard to say Capt'n.

                         MCCLUSKY
               Take a wild stab!

                         WURLITZER
               I'd say enough to destroy this wing.

                         MCCLUSKY
               The entire wing?

                         WURLITZER
               That's my opinion.

                         MCCLUSKY
               Jesus Harold Christ.  How'd I let this happen!  I
               was too soft, Wurly...When I get my prison back,
               there's gonna be hell to pay!

                         WURLITZER
               There's gonna be hell to pay!

                         MCCLUSKY
               Pure Hell!

                                                           CUT TO:

     ON TV:

     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
     BG.  News Anchor ANTONIA CHAVEZ is lowering herself behind a desk
     while adjusting her earphones.

                         CHAVEZ TV
               Good afternoon, I'm Antonia Chavez and this is
               an W-A-T-C-H Special Report. (fingering earphone)
               I'm being told that we're taking you right now
               live to Batonga Penitentiary where Wayne Gale
               continues his interrupted interview in the
               middle of a full-scale riot.

     INT. PRISON CORRIDOR - MALLORY WING - DAY

     VIDEO FOOTAGE of WAYNE caught in MICKEY'S HOSTAGE TRAIN ~- is all
     handheld and harshly lit.  Wayne's crouched, moving backwards,
     trying to reassert control over the situation as well as his own
     terror.  The relationship he has to his mike and the camera
     certainly helps.

                         WAYNE (into camera)
               This is Wayne Gale reporting live from Batonga
               where you can tell by the blood and carnage all
               around me that the final chapter in the book
               called Mickey and Mallory has not yet been written.
               An incredible war has broken out here in Batonga,
               unlike anything I've ever seen!  Grenada.  The
               Gulf...Batonga will stand alongside them as...

     The CAMERA swings wildly on ROGER's shoulder to catch MICKEY
     edging up to the exterior of MALLORY'S CELL -- about to break in.
     CONVICTS screaming continue to run by CAMERA without direction
     occasionally flitting to a stop to stare or to make a face in the
     camera, chased off by Mickey's gun.

     INT. MALLORY'S CELL - DAY

     SCAGNETTI is holding his bloody nose, screaming, blood all over
     his face.

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

     He glares over at MALLORY who lies with the shit beaten out of
     her in the corner.

     GUARD 1 has his shotgun barrel placed in her mouth.

     CU on Scagnetti.  He's a hand grenade with the pin pulled as he
     walks over to her.

                         SCAGNETTI
               Hold her!

     He grabs a can of MACE from GUARD 2's belt and brings it up to
     Mallory's face, as she's propped up by the Guards.

     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, SCRAAMING in agony.

     TWO SHOT of the Guards looking down at her.  We can hear
     Scagnetti still SPRAYING her.  They can't look at this anymore.

     Mallory wiggles on the floor as Scagnetti keeps spraying her.

     CU of Scagnetti's bloody face smiling.

     The DOOR whips open and MICKEY steps through aiming the shotgun.

                         MICKEY (to Mallory)
               Honey I'm home!!

     He blows GUARD 1 away.

     CU of Mallory -- she hears it, but can't yet see.

     GUARD 2 is whipping up his gun, FIRES a round as he is hit and
     BLOWN across the room.

     Right next to Mickey, TECHNICIAN 4 (we will work backwards as
     they are eliminated) takes a hit in the gut.  Mickey spins to
     confront:

     The CAMERA dollying down to the "Scag" crouched over Mallory, his
     gun pointed right at Mickey about to fire.

     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, inside the room
     now, filming this LIVE.  They both hit the deck flat, as do the
     OTHER HOSTAGES.

     Just the Two Men.  The Showdown.

     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 of his face.

                         MICKEY
               Looks like we got a Mexican standoff.

                         SCAGNETTI (not backing down)
               Slide the shotgun over here, asshole, put your
               hands behind your head, your forehead on the floor

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

                         SCAGNETTI
               I've never wounded anything in my life.  I got
               you locked right between the eyes, Knox. I've had
               you locked from the "jump" you fuckin' phony.

                         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 FG, past the gun, to his face
     CU of barrel of shotgun.

                         MICKEY (O.S.)
               Two...

                         SCAGNETTI
               Come on! Shoot me! I was just fuckin' your
               girlfriend. She came so hard she broke my nose.

     DOLLY continues closing on Scagnetti's face

     Wayne watches, beyond himself.  Television nirvana.

     Roger filming

     ECU on Mickey's face

                         MICKEY
               Okay Scagnetti...you win.

     Scagnetti is in pig heaven as MALLORY, reddened with mace, looms
     up behind him with a prison fork clasped in her hand.  She yanks
     Scagnetti back by the neck and drives the fork deep into his
     throat.

     ECU the back part of his head.  We hear the sickening sound of
     the fork plunging into his throat.  His head jerks back
     violently, farther into frame, still held by Mallory

     ECU of Scagnetti as his face is racked with pain. He gurgles,
     eyes bulging.

     She lets him go, stands.

     Wayne and his TV audience unbelieving.

     She looks down at him.  Raises her foot and pitches him over onto
     the floor, trembling, still alive.  He tries -- through the
     remainder of the scene -- to get back up on his knees, the CAMERA
     trembling from his POV on:

     Mallory running 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.

                         WAYNE (on TV, getting into it)
               This kiss has been a year coming.  They're doing
               something everybody told them they would never do again.
               At this moment they are the only two people on earth.

     We are enraptured too. Roger's CAMERA does a 360 around the
     loving couple.

                         MALLORY (inbetween kisses)
               It's taken you so long to come to me.

     Scagnetti from a FRONTAL ANGLE spoils the scene with his GURGLING
     SOUNDS as he climbs to his knees. The two lovers look down at him.

     Mickey, distracted, cracks open his shotgun, showing it to be
     empty as he reloads it.

                         MICKEY (smiles)
               Lost your touch Jack. You had me. Two shells.
               Two guards.

     Scagnetti realizing it.  His POV:

     Mallory looms over him.

                         MALLORY
               Get the picture, ya fuckin' squid?

     She lifts her foot and sets it down on the CAMERA, covering the
     FRAME.

     CU of Scagnetti as his face is shoved down to the floor by
     Mallory's foot.  She grinds her foot into his face.  Scagnetti
     gives up the ghost in that position.

     INT. PRISON CORRIDOR - MAIN ROOM - DAY

     CU of MCCLUSKY'S SHOES cutting a mean path down the hallway.
     CAMERA rising to his face.  A computer printout of several
     hundred pages in his hands.

                         MCCLUSKY (O.S.)
               What's this?

                         WURLITZER (O.S.)
               A list of prisoners.

     TILT UP to McClusky's face, exasperated.

                         MCCLUSKY
               What the fuck do I need this for -- I asked for
               a list of hostages.

                         WURLITZER
               The hostages?  How'm I supposed to know.

                         MCCLUSKY
               Just get it! What I gotta tell you everything!

                         WURLITZER
               I'm working on it.

     INT. CONTROL ROOM - DAY

     MCCLUSKY turning into a GROUP of DEPUTIES clustered around the
     VIDEO MONITORS

                         MCCLUSKY (urgent to Deputy)
               What are those, gates? Try closin' 1-2-3 again.

                         GUARD (at controls)
               They're still jammed open sir...(rapid fire)
               We got fires in 5-6 north...the Psych unit
               looks like a zoo.  They're slaughtering each
               other.  All our informants are being tortured.

     ON THE FIVE MONITORS:

     MCCLUSKY sees mayhem:  Cons fighting cons, fires, yelling, water
     flowing from broken toilets and sinks.  Cons are pounding out
     steel mesh windows with pipes.  Rape and murder.  In the Psych
     Unit:  violence, sexual perversion, people dancing, crying,
     climbing.  Everyone feels the demon's arrival.

     Even McClusky.

                         NAPALATONI (O.S.)
               Capt'n!

     McClusky glances at him, then back at the monitors.

                         MCCLUSKY
               What is it, Napalatoni? (mispronounces name)

                         NAPALATONI (corrects name)
               Mickey and Mallory Knox are loose.

     McClusky looks, remembers.

                         MCCLUSKY
               What do you mean they're loose?

                         NAPALATONI
               They're armed, they got the Wayne Gale crew and
               Kavanaugh and Homolka.  Scagnetti's dead.  They
               got cameras and they're on TV right now!

     McClusky holds a frozen look, as if a fuse has blown and his mind
     has shut down.

                         MCCLUSKY
               Jesus Harold Christ on a fuckin' crutch, is
               this happening to me?

                                                           CUT TO:

     INT. MALLORY CELL - DAY

     DIOPTER SHOT - Wayne's personal phone rings loudly.  Everyone
     looks at it.  Wayne slams it to his ear.

                         WAYNE
               Yeah!

     MICKEY uses the camera crew's gaffer tape to tie the HOSTAGES (3
     TECHNICIANS, WAYNE, JULIE, KAVANAUGH and HOMOLKA) to each other,
     in a train pattern. ROGER is given a short leash with camera.

                         MICKEY
               What's your name?

                         HOMOLKA
               Duncan...Duncan Homolka.

                         MICKEY
               Okay, Duncan Homolka, step forward.  Keep
               coming.  Put your solar plexus right against
               Kavanaugh's butt... Grab his arms...

     They squeeze together.  He wraps them.

                         MICKEY
               We're gonna go through some heavy fire. We're
               gonna march down the hall and right out the
               building.

                         KAVANAUGH
               You don't have a chance in hell. If they have
               to kill us all they will.

                         MICKEY
               Police psychology, Kavanaugh.  You know the way
               I feel about cops, but you don't know how I
               feel about my father.  So when you sound like
               him, that makes me feel like hurting you...

     A tense moment.

                         MALLORY
               Come on Mickey -- we don't have time for this
               shit.  I wanna get outta here before this
               place blows up.

     During this Wayne is pleading on the phone, guietly.  Mickey in
     BG, tying the hostages, casts an amused glance.

                         WAYNE
               ...look honey, nothing happened, I swear! I've
               been faithful...since that incident...I don't
               know what you think you found.  Look we'll talk
               about it when I get home...about two hours...is
               Jimmy okay?...Of course I'm not okay...this is
               worse than Baghdad...listen if I get through
               this Delores, it's all straight sailing from
               now on... I love you.

                         MICKEY (to Wayne)
               Hey Romeo, you say something about a news van.

                         WAYNE (clicking the phone off)
               Sure Mickey, we have a van.

                         MICKEY
               Where's it parked?

                         WAYNE
               Out front.

                         MICKEY
               Let me have the keys.

     Wayne point to JULIE, who digs through her pockets and tosses the
     keys to Mickey.

                         MICKEY
               How come you never talk?

                         ROGER (the cameraman)
               She was born without a tongue.

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

     Julie shrugs her shoulders like "what're ya gonna do" as Mallory
     tapes her up.

     Wayne approaches Mickey like he is insane and has to be handled
     gently.

                         WAYNE
               Mickey, can I talk to you alone?

                         MICKEY (taping a hostage)
               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!

                         MICKEY
               Exciting, isn't it?

     Duncan Homolka starts to cry.  Wayne's cellular phone RINGS again
     in his pocket.  Everyone stares.

                         WAYNE (interrupted)
               SHIT! No one has this number!
                    (slamming the receiver to his ear)

                         MICKEY (continuing to the others)
               Now, when we get out there, you do what we say
               or it's shotgun city.  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?

     During this, Wayne pleads on the phone with 'the other one.'

                         WAYNE
               ...She called you???...Oh shit! She doesn't
               mean that...Mai Ly, it's not "either-or,"
               that's bullshit...It's not evidence...Mai Ly I
               can't talk to you like this...look I'll be
               there as soon as I can...Two, maybe three
               hours, we'll settle this, I promise...I
               promise...what do you mean 'is this real?'  Do
               you think this is a show?  They're dead people
               here, honey.  I gotta go!

                         MICKEY
               Wayne! Wagons, hoooaaa!

     The hostage train moves out!  Roger hauling the video camera.
     Mallory grabs Wayne around the neck and jams her pistol up to his
     head as he pockets the cellular phone.

                         MALLORY
               Let's go.  Tongue in two faces.

     INT. MAIN TIER - DAY

     CAMERA flies down CONVICTS running.  They hang a GUARD off the
     railing by his neck.  He dangles there.

     INT. BARBER SHOP - DAY

     CONVICTS are cutting the throats of the SNITCHES in the barber
     chairs.  Smoke is pouring out everywhere.

     INT. MAIN TIER - DAY

     TEARGAS is fired at the CONVICTS as the GUARDS rush the 5-story
     MAIN TIER, retaking it.

     A CONVICT FIRES a teargas grenade right into the head of ANOTHER
     CONVICT.

     Out of this morass of smoke and gas, MICKEY and MALLORY lead
     their CARAVAN, blasting both GUARDS and CONVICTS who try to
     attack them.

     CAMERA MOVES with them through smoke, flame, gas, dying bodies --
     as if it were a process shot behind them.  There is no stopping
     Mickey and Mallory.

     TECHNICIAN 3 and TECHNICIAN 2 go down, dead, wounded, dropping
     out of the caravan.

     KAVANAUGH is wounded

     JULIE is wounded, but can't yell out. It's sad

     ROGER'S VIDEO captures it all.  The FOOTAGE we see through his
     camera 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.

     MORE DEPUTIES appear, tracking them.

     The wild CARAVAN runs in the other direction, FIRING behind them.
     TECHNICIAN 1 goes down and Mickey's HIT in the leg, but keeps on
     running and FIRING. Mallory sees this and screams.

                         MALLORY
               Mickey!

                         MICKEY
               Don't stop.

     Roger's CAMERA right alongside them.

                         ROGER
               Man, oh man!...this is better than Vietnam!

     INT. CORRIDOR OUTSIDE MAIN TIER - DAY

     MORE DEPUTIES appear at the other end of the HALLWAY, catching
     Mickey and his crew in a treacherous CROSSFIRE.

     Mickey and Mallory get back to back with each other, using their
     SHIELDS firing from the rear and the front.

                         DUNCAN (hysterical)
               Please don't kill me! Don't kill me!

     Wayne's hit in the ass and ear. Anger in his face. ("Fuck! Fuck!")

     Julie is killed, geysering blood all over Mickey and Mallory.

     Roger's camera WHIP PANS from that to catch a DEPUTY hopping
     around the corner.  The SCREEN FLASHES WHITE with a BLAST.

     Roger's HIT, and the VIDEO CAMERA goes haywire, reeling out of
     control, then THUNKING to the ground.  Roger screams O.S.

     CAMERA lies on the floor, video still recording. Roger rolls into
     FRAME screaming.

                         MICKEY
               Get the camera!  Get the fucking camera!

     Wayne, angry beyond his character, reaches down inside himself
     and grabs the gun off a dead Deputy -- and fires a blast at an
     oncoming DEPUTY who drops.  He fires at another, and another!

                         WAYNE
               YOU BASTARDS! YOU FUCKSHITEATIN BLOODY BASTARDS!!

     As Mallory swipes the camera from the dying Roger

     Mickey firing cover for her, sees Wayne has gone nuts.

     Kavanaugh is hit again, looks like he's dying.  It looks bad for
     the hometeam, but suddenly:

     OWEN is there.  A mild looking man in convict's uniform, calm,
     emotionless, with his thinning hair he could pass for an
     accountant.  In one arm is a 12-gauge.  On his other arm is a gas
     grenade launcher.

     He's blasting down the approaching DEPUTIES, letting gas grenades
     blur the corridor.

     The Deputies scatter.

     Through the smoke, Owen looks down at Mickey.

                         OWEN
               Come on.  This way!

     The Knox's jump up and holding Duncan and propping Kavanaugh,
     with Wayne tailing, they run down a NEW CORRIDOR that Owen leads
     them to.

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

     INT. TUNNEL - DAY

     On the run:

                         MICKEY
               Who the fuck are you?

                         OWEN
               I'm Owen.

                         MICKEY
               What do you want from us?

                         OWEN
               I want you to take me with you.

                         MICKEY
               Right now we're not goin' fuck anywhere.

                         OWEN (smiles enigmatically)
               Follow me!

     Turns into a stairwell.

     INT. STAIRWELL - DAY

                         MICKEY
               Where does this go?

                         OWEN
               To the front entrance.  The ground floor.

     A look between MICKEY and MALLORY.  They can smell it -- Freedom!

     DUNCAN is hyper-ventilating against the wall.  KAVANAUGH looks
     like he's dead.

     WAYNE is pumped, yelling.

                         WAYNE
               It was great!  It was fuckin' great!

     Mickey patches his shoulder up.

                         MICKEY
               I'm proud of ya! (gives him a high five) got
               the feeling now??

                         WAYNE
               I'm alive! For the first fucking time I'm alive! Thank
               you Mickey. Let's kill all these motherfuckers!

     Mallory takes the gun away from him, gives him the video.

                         WAYNE
               No! No!

                         MALLORY
               Sorry Wayne, you're not centered. You keep
               shooting with that.

                         MICKEY (grabbing Kavanaugh)
               Let's go!!!

     They tear down the STAIRS.  Two flights.  Freezing as:

     INT. LOWER STAIRWELL

     MCCLUSKY stands at the bottom of the stairwell, surrounded by a
     TEAM OF DEPUTIES, their guns pointed right at MICKEY and the
     Caravan.

                         MCCLUSKY
               End of the line, Knox.  Drop 'em!

     Mickey grabs KAVANAUGH, props him.  HOMOLKA tries to make a run
     for it but MALLORY grabs him. OWEN has suddenly vanished.

     McClusky's POV -- Kavanaugh dies right then and there.

                         MCCLUSKY
               He's dead, dickweed! You got shit, asshole! Fire!

     Several shots are fired.  Mickey discards Kavanaugh and grabs for
     Homolka.  But Mallory is faster, grabbing Wayne and propelling
     herself in front of Mickey on the narrow stairs.

                         MALLORY
               Back off ya squids 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 (begs)
               Don't shoot! I beg you, don't shoot! Please,
               please, please.

                         MCCLUSKY (steps forward)
               Shut up Gale!  Ya prick! Now Mickey, Mallory,
               just let me say --

                         MALLORY
               You shut up!  I don't wanna hear it.

                         MCCLUSKY
               I'm sure you realize Mallory if you kill this
               prick, you...

                         MALLORY (jerks Wayne)
               Put your hand up!!

     Wayne automatically sticks his right hand up

     Mallory SHOOTS a hole in it. Wayne SCREAMS bloody murder. The
     deputies jump back.

                         MALLORY
               ...I said SHUT UP!

     McClusky shuts up.  There's a silent standoff.

     Tears are streaming down Duncan's face as the Caravan retreats
     back up the stairs to the next flight.

     Owen runs up again out of nowhere, mysterious.

                         OWEN
               I made a path!

                                                            CUT TO:

     INT. PRISON SHOWER - DAY

     OWEN leads into a SHOWER--dead people everywhere, water gushing
     from the broken showers. MICKEY wonders, with a look at Owen, who
     did this.

     DUNCAN is out and out hysterical, urine stains on the front of
     his uniform

     WAYNE furious at MALLORY, staunching the blood from his hand with
     a piece of his shirt.

                         WAYNE
               Goddamit what the hell's wrong with you!  I was
               beggin for you guys.

     Mickey's pacing, ignoring his wound.

                         MICKEY
               Think...think...think.

     Wayne's cellular phone RINGS once more. Exasperated he grabs it
     with his bloody hand.

                         WAYNE
               YEAH...

     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 hear McClusky YELLING
     up the stairwell.

                         MCCLUSKY
               Sixty seconds and I'm coming up!

     INT. LOWER STAIRWELL - DAY

                         WURLITZER
               Dwight, forchrissake!  The fuckin' zoo's
               explodin' and you're didlin' with these two
               pukes, we got more imp...

                         MCCLUSKY (grabs and shakes Wurlitzer)
               These TWO.  These are the ones. They are gonna
               die today!  You hear me, Wurly -- I'm gonna
               wipe this scum off the face of the earth if
               it's the last fucking thing I do.

     INT. PRISON SHOWER - DAY

     MICKEY ties off a tourniquet on his arm, next to MALLORY,
     totally exhausted.  Both of them shot, in pain.  He puts his arm
     around her.

     WAYNE is yelling over the dying cellular battery:

                         WAYNE
               Blow it off bitch!  You hear me...I ain't never
               comin' home.  I'm free of you.  I'm alive!  For
               the first fucking time I'm ALIVE.  So guess what
               -- You Piss Right Off!

     He cuts off and presses "recall" on another number.

     OWEN sidles up to Wayne.

                         OWEN
               You're the greatest, Mr. Gale...you've done a
               lot for people.

                         WAYNE
               That's okay mate, thanks a lot.

     "Mai Ly" comes on the line.

                         WAYNE
               I finally done it.  I left my wife!

                         MICKEY (to Mallory)
               You done good Mall!  Whatever happens, know I
               love you...know I loved you more'n I ever loved
               myself...

                         MALLORY (tender)
               I know...(then) We're not getting outta here,
               Mick! 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, an' take as many
               of these motherfuckers with us as we can.

     Lovey, dovey now, they touch and feel each other. Mickey cries,
     then laughs.

                         MICKEY
               That's poetry...but we'll do that when all else
               fails.

     He has a plan, his exhaustion lifting.  He stands, confronts the
     hysterical DUNCAN HOMOLKA.

                         MICKEY
               You married?

                         DUNCAN
               Oh I don't wanna die!

                         MICKEY
               Are you married?  Do you have kids?

     Duncan nods pathetically.

                         MICKEY
               Good.

     Mickey squats in front of Wayne who finishes his call.

                         WAYNE (on phone)
               Mai Ly, we're gonna fuck all night scuba
               fuckin' doo!!

     Mickey takes a roll of gaffers' tape from his shirt, sticks
     strips of them to the wall.

                         MICKEY (to all)
               ...the only way we're gonna get all the way to
               the front door is if they don't want to kill
               you two more than they want to kill me.
                    (to Wayne)
               On your knees, journalist --
                    (Wayne complies)
               Now, say I tell those guys down there if they
               shoot or make a move, I'm killing Wayne Gale.
               And they shoot or make a move anyway.  Now say
               by some freak accident, you don't die, you
               live through it.  What would you do?

     While Wayne speaks, Mickey props his shotgun under Wayne's chin
     and wraps the gaffer tape around the barrel of the shotgun.  Then
     he wraps it around Wayne's neck.

                         WAYNE (going with it)
               What would I do?  Me and my Network would sue
               the entire Sheriffs Department and Prison
               Administration for flagrantly disregarding my
               safety.  I would go straight to my buddy, the
               Governor, I'd go to "Bill" himself, I'm a
               friend of Bill's, I'd go to Mike at 60 Minutes,
               I'd expose myself, I'd make sure everyone of
               these sons of bitches down there ends up on the
               unemployment line.  In fact I'd sue every man
               down there personally.

     Mickey tosses the tape roll to OWEN and Mallory and gestures to
     Duncan.

                         WAYNE (Cont'd)
               ...I would make it my life's ambition to bring
               Dwight McClusky and the entire prison system to
               its knees.  I would do expose after expose on the
               brutality and the conditions and the inhumanity
               that exists here. Just take me with you!

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

                         MICKEY
               Calm down Wayne. That's what I thought. And
               how many people watch "American Maniacs"?

                         WAYNE
               On average forty million.

                         MICKEY
               'Every week by forty million people'!  Have you
               won any awards?

                         WAYNE
               Are you kidding?  The Golden Globe.  The Edward
               R. Murrow Award...Working on a Pulitzer.

     Owen and Mallory are taping Duncan similarly.

     Mickey grabs the video camera and lifts it to his shoulder.

                         MICKEY
               'Respected journalist' -- you wanted reality?
               You got it.

     He pushes Wayne down the stairwell.

     INT. PRISON STAIRWELL (GROUND FLOOR) - DAY

     MCCLUSKY waits with his DEPUTIES.

     Empty FRAME on STAIRWELL

                         VOICE OF WAYNE
               My name is Wayne Gale!  I am the star of
               'American Maniacs.'

     WAYNE comes into view, camera in his hands -- filming himself.
     MICKEY'S right hand is taped to the trigger and stock of the
     shotgun that's wrapped firmly to Wayne's neck.

                         WAYNE (Cont'd)
               ...watched by 40 million people every week!  I
               am a respected journalist, winner of the Edward
               R. Murrow Award among others!

     McClusky freezes, not knowing what to do except throttle Mickey
     with his bare hands, which he would do if WURLITZER were not
     holding him back.

     His Deputies pause, hesitating, as they realize if they take out
     either MICKEY or MALLORY, that Wayne or DUNCAN would die.

     NOTE:  The scene's intercut between VIDEO FOOTAGE and color 35 mm.

                         WAYNE (Cont'd)
               You are on camera.  We are Live (the camera
               barely turning).  If anybody puts me in danger,
               my network will sue Dwight McClusky and the
               entire Sheriff's Department and the Governor
               himself.  My estate will sue every officer
               personally who fires.  The network's law firm
               is Sinclair, Marshall, and Milchan.

     OWEN whips his gun left and right in clownlike loops like Harpo
     Marx, smiling. DUNCAN HOMOLKA simply cries and begs for his life
     to be spared.

                         DUNCAN HOMOLKA (indecipherable)
               PPPleeezzeee dddooonn'tt killl meeee!

     But Mickey knows what he's doing.  This has an effect on the
     Deputies.

                         MALLORY (yelling)
               Make a path!

     The wall of Deputies starts moving backwards.

     INT. FINAL CORRIDOR - RECEPTION AREA - DAY

     It has become a dance.  The CARAVAN on one side taped to the mast
     of their ship, moving as if under one tent -- MICKEY, DUNCAN,
     MALLORY, WAYNE, OWEN and their guns and eyes...

     Across from them a PHALANX of GUNS and LAWMEN -- moving in
     syncopated unison, a parallel track out the STAIRWELL into the
     FINAL CORRIDOR approaching the RECEPTION AREA to the prison.
     Freedom!

     Wayne keeps yelling, Duncan blubbering; the Deputies keep their
     guns trained but they give ground -- parting like the Red Sea.

     Mickey's eyes see ut.

     So do Mallory's.  They share a look.

     OUTSIDE.  Birds.  Trees.  No bars.  CAMERA moving on it.  Coming
     to MCCLUSKY who stands his ground at the door.

                         MCCLUSKY
               How far do you think you're gonna get?

                         MICKEY
               Right out the front door.

                         MCCLUSKY
               That'll never happen.

                         MICKEY
               It is happening.

     The Caravan marches forth.  Wayne and Duncan keep shouting their
     mantras.  Nobody dare to move on them.

     Wayne stops his speech to take a breath.

                         MALLORY
               Don't stop!

     Wayne starts up again.

     The Deputies are completely frustrated.  Mickey and McClusky are
     nose to nose.

                         MCCLUSKY (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 (cool)
               Another day perhaps, but not today, Warden.

     Mickey leaves FRAME.

     McClusky looks like he's going to pop his cerebral cortex.  He
     begins a heart attack.

     Mickey and all exit the building.

     The Warden, bucking with pain, looks up the Corridor where Mickey
     and Mallory have just come from.  What he sees is his worst
     nightmare.

     Coming right at him are a HUNDRED ANGRY PRISONERS, shotguns,
     sticks, numbchuks, razors, broken chairs waving, climbing over
     the corpses of their fallen comrades, withstanding the hail of
     fire from the Guards -- reaching for Dwight McClusky who is
     lifted over their heads, having his heart attack, moved from hand
     to hand like at a rock concert, then all we see are the tops of
     his shoes as he is held upside down and torn to pieces.

                                                            CUT TO:

     EXT. WOODS - DAY

     A fogged moment of light strikes film and settles into an ECU of
     WAYNE -- gasping a little too dramatically from his wounds.

     Mallory's pointing the camera at him; she's laughing at what he
     says.

     The Scene that follows intercuts a normal format with cinema
     verite style shot through the video camera. Sometimes the lip
     sync is off.

                         WAYNE
               This is Wayne Gale -- unfortunately no longer
               "live."  I'm wounded and all my crew is dead.

                         MALLORY
               Look up, look at me.  That is so good.

                         WAYNE
               Mickey Knox's plan worked.  We walked out the
               front door, into a news van, and made our get-
               away.  When we were followed by patrol cars,
               Mallory Knox killed Deputy Sheriff Duncan
               Homolka and tossed his body out the back.

     The wind is blowing through the pine trees above.  Insects buzz.
     A vee of wild geese fly overhead honking, heading north for the
     summer.

                         WAYNE
               Mickey told authorities over my police band
               that I would surely be next if they didn't give
               up the pursuit. Why helicopters weren't
               employed, I don't know.  My only thought is
               that 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' dayl

                         WAYNE
               Without any further ado, Mickey and Mallory...

     Wayne takes the CAMERA from MALLORY, while MICKEY, his wounds
     like Mallory's taped, paces in and out of FRAME; in the BG,
     gradually leaving frame, is OWEN.

                         WAYNE (O.S.)
               Mallory, what did you think of Mickey's plan?
               Did you think it would work?

                         MALLORY
               Well, it wasn't 'till we got to that ground
               floor that I totally realized they weren't
               gonna shoot 'less we shot first.  When we got
               out of the stairwell, I remember thinkin:  'Oh
               my God.  This just might work.' But Mickey knew
               it would work all along.  There wasn't any
               doubt in his mind.

                         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?

                         MALLORY
               We had nothing to do with that riot.  That riot
               was just -- whatchamacallit --

     Mickey can be heard faintly in the BG.

                         MICKEY
               Fate.

                         MALLORY
               What he said.  We just didn't know jack shit
               about any riot.  How are we supposed to organize
               a riot when we've been in fuckin' isolation for
               the past year, Wayne?  Just bleep out the fucks
               and jack shits. Fuck, fuck, shit shit.
                 (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,
               Wayne.  But the truth is...it was fate.

                         WAYNE
               ...and Fate it was!...and this is "American
               Maniacs."

     Mickey's snapping his fingers in the B.G.

                         MICKEY
               C'mon, c'mon, let's hurry this up.

                         WAYNE (O.S.)
               So, what's next?

                         MALLORY (holding Mickey's hand)
               Well, now me and Mickey are gonna take it easy.
               Just enjoy each other's company...

                         MICKEY
               Gotta go...

                         WAYNE (O.S.)
               Wait! But 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 waitin' 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.

                         WAYNE
               So...

                         MICKEY
               Okay, end of interview.

     Mickey approaches Wayne. CAMERA goes a little haywire as Wayne
     lowers it.

                         WAYNE
               Okay, just let me swing around and film myself
               asking the questions.  And then I'll do my
               little wrap up and we're off.

     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
               Wayne.  But it won't be you starin' in the camera,
               lookin' dumb, and actin' 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 THREESHOT.  Actually a FOUR SHOT with Owen there at first,
     but again he slides out.  The NEWS VAN is parked in the EG.

                         WAYNE
               That's a joke right?

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

                         WAYNE
               Just wait one fucking minute.

                         MICKEY
               I said I'd give you an interview. Now unless
               I'm mistaken, we just did an interview
                    (to Mallory)
               We did an interview, didn't we?

                         MALLORY
               Looked like an interview to me.

                         WAYNE (sincere)
               Wait!  I don't know, but I kinda felt during
               this ...this whole escape that a kind of bond --
                    (Wayne is shaking)
               ...developed between the three of us.  We're
               kinda in this together, don't ya think?

                         MICKEY
               No. Not really.  You're scum Wayne.  You did it
               for ratings.  You poured gasoline on the fire.
               You didn't give a shit about us or about
               anything Wayne except yourself.  That's why
               nobody really gives a shit about you Wayne.
               That's why they didn't deploy helicoptors!

                         WAYNE
               Mickey! What about the Indian?

                         MICKEY
               What about him?

                         WAYNE
               Didn't you say you were finished with killin'?
               "Love beats the demon?"

                         MICKEY (sharing a look with Mallory)
               I am. And it will...
                    (pause)
               It's just that you're the last one, Wayne. You
               gonna feed on your own misery.

                         WAYNE (new tone)
               So big fuckin' deal, that's show business. Who
               cares, so I'm a parasite....it's a "cruel
               world" out there.  You were wronged. So what
               else is new? The day you killed, your ass
               belonged to us.  You did what you had to do.
               So did I. We're married.
                    (Mallory laughing)
               Think about it.  The point is we can do a
               Salmon Rushdie thing next, books, talk shows,
               all remote, we move around, duckin' and
               bobbin', then we come up for air once in a
               while.  Donahue, Oprah, Playboy...the mystery
               avengers, do you know how big you could be?

                         MALLORY
               Does he have an "off" button? Can we take out
               his batteries?

                         MICKEY
               We got a better idea.  How bout we kill you?

                         WAYNE (incensed)
               Jesus Christ! What are you nitwits? You can't
               kill me!  Without television you're nothing,
               nothing...two kids, I made you Mickey, you owe
               me.  Without me you're on the bus to fuckin'
               diznee land.

                         MICKEY
                    (John Wayne voice to Mallory)
               Let's make a little music Colorada.

                         WAYNE
               Wait! Wait! Don't Mickey and Mallory always
               leave somebody alive to tell the tale??

                         MICKEY
               We are.
                    (points in camera)
               Your camera.

                         WAYNE
               NO!!!!  You can't shoot me.  I AM WAYNE GALE.
               My lawyers...

     Mickey and Mallory PUMP rounds into Wayne, whose body dances like
     a puppet before collapsing to the ground.

     Mickey and Mallory kiss each other passionately.

     Mickey slips a new WEDDING BAND on her finger -- and one for
     himself.  Mallory is really happy.

     They climb into the News Van.  They drive away.

     Wayne's body lies peacefully in FRAME as the CAMERA rolls out of
     film.

                                                         FADE IN:

     INT. "AMERICAN MANIACS" NEWSVAN - DAY

     MICKEY drives. MALLORY rides shotgun. The CAMERA moves and
     reveals OWEN in back. Mallory strums Mickey's guitar.

                         OWEN
               I liked Wayne.

                         MICKEY
               He's resting, Owen.

                         OWEN (cryptic)
               You know he'll never die...This is exciting!
               How'd I do back there?

                         MICKEY
               Not bad for a first timer

                         MALLORY
               You got a real mean streak in ya, Owen.
               That'll get you where you wanna go.

                         OWEN
               I never knew I had it in me. Comin' as I do
               from the fire and all... (a look) What about
               you folks? You think you'll be able to lie low?

                         MICKEY
               We're gonna give it a try, we love each other,
               that's fo' sure.

                         OWEN
               Love -- you can't beat that.

                         MALLORY
               I had a dream last night.  We stood on the back
               porch for a long time...(looking at Mickey)
               listening to the rain and thunder...the sky lit
               up...we was feelin' the warm air from Mexico...

                         MICKEY
               Poetry...

                         OWEN (grinning)
               Mexico? Never been...

                         MICKEY
               And you ain't goin' either, Owen.  We promised
               you a ride out, that's it.  We're droppin' you
               next town.

                         OWEN
               But you promised you'd take me with you!

                         MICKEY
               I lied...

                         OWEN (very disappointed)
               Too bad...I'll tell you what I'd really like,
               though.

                         MICKEY
               What's that?

                         OWEN
               I'd really like a taste of old Mallory over
               there.  I never got with the wild kind before.

     Mickey turns his head to see if Owen's joking.

                         MICKEY
               You can't talk like that, Owen.  Mean streak or
               not, I don't wanna hear that kinda talk.

                         OWEN
               I'm serious though.  I'd love to take her for a
               test drive.  What do you say, Mallory? Are you
               interested?

     Mallory turns around with her gun loosely pointed at Owen.

                         MALLORY (mocking singsong)
               Oh god -- can you feel my breasts? Can you
               spread my ass? How's your pussy looking? Is
               this for real? I swear I'd love to contain
               myself but people like you...

     Owen pulls his own gun up.

                         OWEN
               Now, there's no reason to talk angry, Mallory.
               You'll make me think you don't desire me.

                         MICKEY
               All right!  That's enough bullshit!  I don't
               like the fact you induced my wife to talk this
               way...Put the guns down and can it.

     Mallory puts her gun down.  Owen doesn't.

                         OWEN
               Do you do everything he tells you?

                         MALLORY
               Oh yeah, like a dog on a leash.
                    (to Mickey)
               Oh my god this is like Murphy's Law.
               Everywhere we go, there's some weirdo.

                         OWEN
               Is that what's standing between you and me?
               Mickey telling you what to do?

                         MALLORY
               You better pull over and dump this prick before
               I really get mad, Mickey

     Mickey pulls to a severe stop, turns.

                         MICKEY
               All right Owen...

     He is staring down the barrel of Owen's gun. Owen has a crazy
     grin on his face.

     SPECIAL EFFECT: Owen now has the face of the DEMON!

     Mickey understands.  He laughs.

     Owen pulls the trigger, a BLAST fills the screen.

     Mallory turns in STOP MOTION, looking at Owen with vengeance in
     her eyes. She SCREAMS at what she sees.  ANOTHER BLAST fills the
     screen.

                                                      CUT TO BLACK:

     MUSIC UP -- Patti Smith.





                             THE END