Natural Born Killers Page #4

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(CONTINUED)

18.

CONTINUED:

MICKEY:

Yeah, it's pretty hard to beat the

king.

WAYNE:

We've been waiting to do a follow

up episode on you for a long time.

And that time has definitely come.

(pause)

I feel it's apparent to anyone

who's hip to what's going on that

the prison board has thrown the

constitution straight out the

f***in' window. You and Mallory

may be killers, but you're not

insane. You belong in a prison,

not an asylum. The prison board

is blatantly railroading you into

a hospital for the sole purpose of

turning you into vegetables. Now

some people are saying, 'so what?'

I am not one of those people. If

we avert our eyes while they do

this to you, we give them

permission to do it again whenever

they see fit. Today they wipe

clean your mind because they feel

your actions are dangerous,

tomorrow they wipe clean my mind

because they feel what I say is

dangerous. where does it all

stop?

No response from Mickey.

WAYNE:

My problem, Mickey, is that you

don't exactly inspire empathy.

I'm all alone on this. I need

your help. I want what the

prison board is doing to be the

focus of our follow up episode.

Now I have interviews with

chairman of the prison board

Dewight McClusky about this issue.

And I'm tellin' ya, Mickey, he

looks bad. The two psychologists

they used for their psychiatric

kangaroo court won't talk to us,

which always looks bad.

(MORE)

(CONTINUED)

19.

CONTINUED:

WAYNE (CONT'D)

I have an interview with both the

judge of your trial, Bert Steinsma,

and the psychologist and author,

Emil Reinghold, both of which

discount the notion that you're

insane. You put that all together,

and what the state is doing

becomes obvious. But the network

isn't satisfied. They feel the

show needs another element. It

needs you. In order to put the

show on the air, I need to get an

interview with you. You haven't

talked to the press since your

trial. Now, a few days before you

get transferred to an asylum, you

grant an interview on television

with Wayne Gayle. We're talkin' a

media event here. Every son of a

b*tch out there with a TV set's

gonna tune in to see that. We'll

make their motives so blatant,

we'll shame 'em into dropping the

whole thing. At least for a

little while, the publicity would

keep them from just giving you and

Mallory lobotomies. Well, whatta

ya say?

MICKEY:

Have you talked to Mallory about

this?

WAYNE:

She won't even see me, Mickey.

Now you're not supposed to know

anything about what's going on

with her, but I'm gonna tell ya

somethin'. Since you two've been

sentenced, Mallory hasn't spoken

one word.

MICKEY:

She doesn't talk?

WAYNE:

Not to anybody. She sings.

MICKEY:

She sings? What does she sing?

(CONTINUED)

20.

CONTINUED:

WAYNE:

Songs. 'He's A Rebel,' 'Leader

Of The Pack,' 'Town Without Pity,'

that Dusty Springfield song 'I

Only Want To Be With You.' That's

what I hear anyway. Her behavior

was the main thing the doctors'

report used against you. So even

if she would see me, which she

won't, I couldn't put her on

camera anyway. If I ask her,

'Mallory, are you insane?' And

she starts singing 'Dead Skunk In

The Middle Of The Road,' that

blows our whole case.

Mickey cracks a smile.

The guards come over to take him away.

DEPUTY SHERIFF (O.S.)

Time, motherf***er!

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

stands.

WAYNE:

Wait a minute, Mickey, I need an

answer.

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

WAYNE:

(yells after him)

Just think about it. But don't

think too long.

INT. MICKEY'S CELL -DAY

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

Mallory a letter.

MICKEY (V.O.)

Dearest Mallory. My cell is so

cold. At night I get the chills.

I pretend you're lying next to me,

holding me from behind with your

leg draped over mine and your arms

wrapped tightly around me. I lie

in my cell...

DISSOLVE TO:

21.

WIDE SHOT -CELL BEHIND MICKEY

We slowly DOLLY BACK.

MICKEY (V.O.)

... and imagine kissing you. Not

making love, just kissing for

hours and hours on end. I

remember everything about our

time. I remember every joke you

ever told.

CLOSE ON LETTER:

being written.

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.

EXTREME CLOSEUP -MICKEY

mouthing the words as he writes. We can hear MALLORY'S

LAUGH --a distant haunting ECHO.

MICKEY:

I remember every meal we ever ate.

I remember your cooking. I

especially remember your

casseroles. I remember watching

David Letterman.

We hear the ECHO of TELEVISION LAUGHTER.

MICKEY:

I remember driving fast... faster,

man, fast behind the wheel of the

Coupe de Ville.

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

CUT TO:

FLASHBACK -EXT. COUPE DE VILLE -NIGHT

CAMERA SITS ON the hood LOOKING DOWN AT Mickey and

Mallory, driving fast --SLOW MOTION. A hurricane of

wind whips through their hair. Mallory laughs wildly

as she wraps her arms around Mickey and kisses.

(CONTINUED)

22.

CONTINUED:

MICKEY (V.O.)

You, baby, by my side. Your bare

feet up on the dash, singing along

with the radio, 'Needles And Pins,'

'He's A Rebel,' 'You're My World,'

'Ring Of Fire,' 'Love Grows Where

My Rosemary Goes,' 'Groove Me.'...

DISSOLVE TO:

EXT. COUPE DE VILLE -NIGHT

Coupe de Ville parked on the road side. Mickey is in the

driver's seat with his feet on the dash watching Mallory

dance on the hood of the car.

MICKEY (V.O.)

And your dancing, my God, your

dancing. I lie on my bed and go

over every day, every minute of

our happiness. Every day take a

day of our time and go through

it hour by hour. I don't jump

ahead either. I take it as it

comes, and I live that day again.

That way when I get to our first

kiss...

DISSOLVE TO:

INT. BEDROOM -NIGHT

The SCREEN erupts with fire. Mickey and Mallory's faces

appear in the flame kissing passionately.

MICKEY (V.O.)

The killing of your parents, our

wedding... They're not just

memories. I feel that joy again...

DISSOLVE TO:

INT. MALLORY'S CELL -DAY (PRESENT)

Not knowing where we are, CAMERA MOVES ACROSS a wall

INTO a CLOSEUP of Mallory.

(CONTINUED)

23.

CONTINUED:

MICKEY (V.O.)

I experience a chunk of the

emotion I felt then. 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.

When the letter is finished, Mallory gets off her bunk

and goes to the middle of the cell. She starts moving

her body to music only she can hear, she begins to sing

the song "Groove Me" in a slow a capella, using the cell

as her stage and a man who isn't there as her audience.

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