| "NATURAL BORN KILLERS" | 专题辅导
 推荐资源
 英语影音范听 |
|||||||||||||||||||||||||||||||||||||||||||||||
点击进入论坛 |
||||||||||||||||||||||||||||||||||||||||||||||||
| 日期：2006-8-8 20:23:24 | ||||||||||||||||||||||||||||||||||||||||||||||||
| 3个月讲一口流利英语，100%保证！点击进入 | ||||||||||||||||||||||||||||||||||||||||||||||||
"NATURAL BORN KILLERS"
SCREENPLAY BY QUENTIN TARANTINO,
DAVID VELOZ, RICHARD RUTOWSKI,
AND OLIVER STONE
DRAFT FIVE
MAY 11,1993
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) | ||||||||||||||||||||||||||||||||||||||||||||||||
 新版美剧 |
 英语听力 |
 经典美剧 |
 英文名著 |
|
翻译辅导 |
考试题库 |
阅读进阶 |
下载中心 |
VOA英语广播收听技巧（2）
FlashFXP下载