Natural Born Killers Page #9

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CUT TO:

47.

INT. EDITING ROOM -DAY

Wayne enters an editing room where filmmaker NEIL POPE

is working at a movieola.

WAYNE (V.O.)

We talked with Neil Pope, writer

and director of Thrill Killers

for his take on the Mickey and

Mallory phenomena.

Pope stops the movieola, turns TOWARD the CAMERA, and

greets Wayne MOS.

CUT INTO:

INTERVIEW:

NEIL POPE:

It is my belief that Mickey and

Mallory Knox are a cultural

phenomena that could only exist

in our sexually-repressed society.

A flower that could only bloom

amidst a grotesque fast food

culture. And what I tried to do

with Thrill Killers was trace the

root of the problem all the way

down the vine to the original

bad seed. Yet amidst the violence

and murder and carnage, you've got

the structure of a Wagnerian love

story.

EXT. ALLEY -DAY

In a back alley, the conclusion of Thrill Killers plays

out. The sound of SIRENS and CHOPPERS are NEARING.

Movie Mickey, shotgun in hand, runs down the alley

stopping at a dumpster, where the wounded and bloody

Movie Mallory sits propped up against a brick wall. On

the bottom of the SCREEN, the SUBTITLE appears: SCENE

FROM "THRILL KILLERS" (1990).

MOVIE MALLORY:

Mickey, honey, listen to me.

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

does.

MOVIE MALLORY:

I can't go. I'm too f***ed up.

(CONTINUED)

48.

CONTINUED:

MOVIE MICKEY:

I'm not saying it's not gonna

hurt, but -

MOVIE MALLORY:

I can't run with you, Mickey! I

really want to. If I could, I

would, but I can't. I gotta

stay here. But you can still get

out of here.

MOVIE MICKEY:

No f***in' way! No f***in' way!

MOVIE MALLORY:

If you stay, they'll catch you,

and they don't have to catch you -

MOVIE MICKEY:

No f***in' way!

MOVIE MALLORY:

Mickey, you're wasting time!

MOVIE MICKEY:

I don't give a damn if a million

United States Marines, all

whistling "The Halls of Montezuma,"

are gonna come marchin' down this

alley any second. There ain't no

f***in' way in hell I'm leaving

you. And that's that!

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

crying.

The SIREN and CHOPPER sounds are getting CLOSER.

MOVIE MALLORY:

Mickey, my love, if you leave me,

they'll catch me and take me to

the hospital. If you stay, you'll

make 'em kill you. Then it'd be

like I killed you. I could bear

anything, but I couldn't bear

that. So please, please, please,

please, for me, my handsome

husband, run for your life.

The SIRENS and CHOPPERS draw nearer.

(CONTINUED)

49.

CONTINUED:

MOVIE MICKEY:

I can't do it. You're my wife,

you're my partner. A fella

doesn't run when his partner

can't run with him. Mallory,

my angel, if I could of left

ya, I'd of left ya a long time

ago.

They kiss.

MOVIE MALLORY:

Well, hell, if you won't leave,

give me a gun so I can go out

shooting.

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

MOVIE MICKEY:

Sit tight. I'm gonna make it a

little tougher for 'em.

Movie Mickey runs to the end of the alley, peers around

the corner at the arriving cops.

MOVIE MICKEY:

(to himself)

Time to get naked and boogie.

Movie Mallory is out of Movie Mickey's view. She c*cks

the .44, then places the barrel under her chin.

MOVIE MALLORY:

Mickey!

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

MOVIE MICKEY:

Yeah, baby.

MOVIE MALLORY:

You made every day like kindergarten.

Movie Mallory pulls the trigger. BANG!

DOLLY DOWN the alley TO a CLOSEUP ON Movie Mickey as he

spins around.

Movie Mallory literally blew her head clean off. Her

headless body, gun in hand, remains upright in her

sitting position.

(CONTINUED)

50.

CONTINUED:

Movie Mickey runs toward her, screaming her name in

SLOW MOTION.

MOVIE MICKEY:

Mallory!

CUT BACK TO:

POPE INTERVIEW:

WAYNE (O.S.)

Why did you kill Mallory? Both of

them are still alive.

NEIL POPE:

It was dramatic license, no doubt.

But I felt an operatic love story

needed an operatic ending. The

two of them kill for each other.

They offer the death of their

victims to each other like other

lovers offer flowers or bon bons.

So what more natural, what more

organic, what more poetic than

Mallory offering her death to

Mickey? It's where it's been

leading since day one. We worked

it in the movie by using a what

if they escaped situation. I

think it works beautifully. You'd

be surprised. People come up to

me at the end of the movie in

tears.

EXT. PARKING LOT -DAY

Actor JESSIE ALEXANDER WARWICK sits on his motorcycle

and talks TO the CAMERA. He's dressed in a Levi jacket,

jeans, a bandana is wrapped around his head, and as he

talks he bogarts a smoke. His name appears at the bottom

of the SCREEN.

JESSIE (MOVIE MICKEY)

One thing about Mickey fer sure,

he's definitely a man who has his

moments. It was wild playin' him.

It was one of those get-it-out-of

your-system performances.

51.

INT. BUFFY ST. MCQUEEN'S HOME -DAY

This interview is shot in Buffy's house a la Barbara

Walters. BUFFY sits on the couch in her living room with

a cat in her lap. From time to time, she sips from a

coffee cup. Her name appears at the bottom of the

SCREEN.

BUFFY (MOVIE MALLORY)

I didn't play Mallory, the

murderer. I didn't play her as a

butcher. I played her as a woman

in love, who also happens to

murder people. I didn't want her

to be at arm's length from the

audience or myself. If you play

her as this wild maniac, the

audience never has to deal with

her. If you see a decapitation

in a movie, you just say 'Oh wow,

a neat special effect.' Because

you can't relate to a decapitation.

It doesn't mean anything to

anybody because it's not personal.

Decapitations don't fall into most

people's realm of life experiences.

But if you show somebody in a

movie getting a paper cut, the

whole audience squirms. Because

everybody can relate to a paper

cut.

WAYNE (O.S.)

Did you meet the real Mallory

Knox?

BUFFY:

I tried to, but she wouldn't see

me. But I read some letters she

wrote to Mickey before the murder

spree. They helped me out a lot.

EXT. PARKING LOT -DAY

Jessie talks TO CAMERA.

WAYNE (O.S.)

You met Mickey Knox, didn't you?

JESSIE:

Yeah, I visited him when he was up

in Susanville. He's a little

cerebral for my taste, but all in

all, we got along.

52.

INT. OFFICE -DAY

Wayne, sitting in a chair in front of a desk, interviews

DR. REINGHOLD, who sits behind the desk.

WAYNE (V.O.)

To get a psychiatric view on the

strange attraction Mickey and

Mallory seem to have, we talked

with Doctor Emil Reinghold, noted

psychologist and author.

Wayne begins his interview.

WAYNE:

Can you shed some light, Doctor

Reinghold, on why the public has

taken a pair of sociopaths so close

to their bosom?

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