WRITTEN BY
QUENTIN TARANTINO
INT. COFFEE SHOP - DAY
A coffee shop somewhere in New Mexico. 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.
MABEL
Apple, pecan, cherry, and key lime.
MICKEY
Which do you recommend?
MABEL
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.
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 saunter past the COWBOY playing pinball. As his eyes
follow Mallory, he loses his ball.
She walks to the jukebox in the back, inserts the quarter,
selects a song, punches the buttons, a needle lands on a record,
and a good God almighty rockabilly tune cuts through the coffee
shop.
Mable brings Mickey his pie and milk.
CAMERA moves around to a CU of Mickey. This is the first time
we see him. As he takes a bite of green pie:
Pinball Cowboy and Mabel are starting to wonder just who the
hell these people are.
Mickey isn't paying much attention. He's too busy enjoying his
pie and milk.
EXT. COFFEE SHOP - DAY
A dirty pickup truck, sporting a Confederate flag decal, pulls
up to the coffee shop. SONNY, OTIS, and EARL, three
tough-looking rednecks, pile out. Steam rises from beneath the
pickup's hood.
The LOUDNESS of the Rockabilly song slaps Sonny and Otis in
their faces as they walk inside the door. The sexy sight of
Mallory doing the ubang stomp stops them in their tracks.
OTIS
That's a bitch outta hell, son.
Otis and Sonny exchange looks
Otis heads toward Mallory. Sonny moves over to the counter next
to Mickey.
SONNY
Miller, Mabel.
MABEL
Comin' up.
Otis stands in front of Mallory, trying to copy what she's
doing. Her eyes are closed at the moment, so she doesn't see
him.
Mabel sets the Miller down in front of Sonny. Sonny takes a
swig, enjoying the floor show.
SONNY
(to Mickey)
That's some sweet piece of meat, ain't
it?
Mickey turns from his pie and looks at Sonny. His expression
betrays nothing.
MICKEY
Her name's Mallory.
Mallory opens her eyes and sees Otis.
OTIS
Hells Bells! Don't stop now sugar.
I'm just getting warmed up
Sonny gurgles out a laugh.
SONNY
Hey, I think she's sweet on you.
Sonny spews his mouthful of Highlife.
Mallory grabs the back of Otis' head and SMASHES it down on the
table, cracking the linoleum.
Otis buckles, dropping to his knees.
Sonny jumps off the counts stool, but Mickey's hand clutches
hold of his shoulder.
Sonny spins around toward Mickey, loaded for bear, and points
his finger at him, threateningly.
Before any threat can be made, Mickey whips a large buck knife
out from its sheath, and in a flash, SLICES off Sonny's finger.
Sonny's finger drops on his boot. He grabs his aching hand.
Blood flows from the wound.
MICKEY
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 Sonny. Finally, blood flows from the slices
made in his face and chest. Sonny collapses.
The SHORT-ORDER COOK charges out of the kitchen at Mickey,
wielding a meat cleaver and screaming.
Mickey whips out a .45 automatic from a shoulder holster inside
his jacket and FIRES.
BULLET'S POV: Heading fast toward Short-Order Cook's face. It
HITS. 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 op of Otis, SLAMMING
his head repeatedly on the floor.
!IR"
MICKEY
Honey.
Mickey trains his .45 on Pinball Cowboy, who's shaking in his
cowboy boots. Mickey aims at Mabel, who's clutching he coffee
pot, crying.
MICKEY
(to Mallory)
Pick one.
Mallory does eanie, meanie, minie, moe, pointing back and forth
from Mabel to Pinball Cowboy.
MALLORY
Eanie, meanie, minie, moe, catch a
nigger by the tow. If he hollers, let
him go. Eanie. meanie. minie, moe. My
mom told me to pick the best one and
you are it.
MABEL
NO!
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.
!IR"
MALLORY
When you tell people what went on here,
tell 'em Mickey and Mallory Knox did
this. Understand?
The two killers plant a big wet kiss on eachother's mouths.
Then, holding hands, Mickey and Mallory walk out of the cafe.
INT. COUPE DE VILLE - MOVING - DAY
Mickey and Mallory in a flashy '68 Cadillac Coupe De Ville.
Duane Eddy's "REBEL ROUSER" blares on the soundtrack. The B.G.
is an outrageous PROCESS SHOT. The titles splash over this
image 50's style.
When this sequence is over, we CUT TO BLACK.
END CREDIT SEQUENCE
Over black screen, we hear:
CAPTAIN SQUERI
Send Scagnetti in here.
CAMERA is position in the middle of the office. The door is in
the middle of the frame.
JACK SCAGNETTI flings the door open and steps inside Squeri's
office. Squeri's never seen.
SCAGNETTI
You wanted to see me, Capt'n?
CAPTAIN SQUERI (O.S.)
Scagnetti, go up to interrogation room
C. Dwight McClusky, chairman of the
prison board, is waiting to meet you.
You're gonna deliver two prisoners from
the county jail to Nystrom Insane
Asylum in Bakersfield.
SCAGNETTI
This is bullshit. I'm a detective.
You want an errand boy, call Jerry
Lewis.
CAPTAIN SQUERI (O.S.)
Jack!
Police Detective Scagnetti walks rapidly down the hallway,
wearing an old, wrinkly, black suit jacket.
PEOPLE walk by in the F.G. and B.G. Scagnetti slips an already
tied tie over his head.
INT. INTERROGATION ROOM C - DAY
DWIGHT MCCLUSKY, a man in his fifties, wearing a business suit,
stands in the F.G. reading a book with his back to the door.
In the B.G., Scagnetti enters the room.
SCAGNETTI
Jack Scagnetti. You wanted to see me?
McClusky turns toward Scagnetti.
MCCLUSKY
Congratulations on the Curtis Fox case,
Scagnetti. You put an end to a
nightmare. The ladies of this city can
get to sleep again, and they have you
to thank.
SCAGNETTI
Thank you, sir.
MCCLUSKY
Dwight McClusky of the California
Prison Board. Take a seat please.
MCCLUSKY
I think you'll find that good reading
as well. Mickey and Mallory's file.
You familiar with them?
Scagnetti opens it. It's the files, reports, and photographs
of Mickey and Mallory Knox. Scagnetti's face lights up.
SCAGNETTI
Who isn't?
MCCLUSKY
You been followin' the news coverage?
SCAGNETTI
They've been separated since their
incarnation in a couple of
penitentiaries---
MCCLUSKY
Susanville, Soledale.
SCAGNETTI
They've killed a shitload of inmates
and guards---
MCCLUSKY
Five inmates, eight guards and one
psychiatrist all in one year's time...
Very good. You do keep up with the
headlines.
MCCLUSKY
Look, our situation in a nutshell is,
no prison wants 'em, no prison will
take 'em. I'm even talkin' hellholes,
where the warden's as hard as a bar of
iron. No one wants those fuckin'
assholes behind their walls, dealin'
with 'em day in, day out.
SCAGNETTI
I can appreciate that.
MCCLUSKY
So can we. So the solution to out
little problem is we had them deemed
crazy. And we're shippin' 'em to
Nystrom Asylum for the criminally
insane.
SCAGNETTI
Lobotomy bay?
MCCLUSKY
You've heard of it?
SCAGNETTI
So, how do I fit into this scheme?
MCCLUSKY
The public loves you Jack... You don't
mind if I call you Jack, do you?
SCAGNETTI
By all means.
MCCLUSKY
You're a celebrated cop. Twenty-six
years on the force, a best-seller out on
paperback...
MCCLUSKY
A modern day Pat Garret. A hell bent
lawman with a deadly axe to grind with
maniacs.
McClusky lowers the book.
MCCLUSKY
You're a breathing icon of justice and
that's why you were chosen to deliver
Mr. and Mrs. Knox. We, the prison
board we, knows that once you get them
on the road if anything should happen,
an escape attempt, an accident, fire,
anything... Jack "Supercop" Scagnetti
would be there to look out for his
public's best interests.
SCAGNETTI
I see.
MCCLUSKY
You write the script Jack, call it,
"Showdown in Mojave: The extermination
of Mickey and Mallory", whatever...
Have we found our man?
Hold on Scagnetti.
CUT TO:
INT. COUNTY JAIL - CELL BLOCK CORRIDOR - DAY
SCAGNETTI'S POV: McClusky stands next to a big iron door. He
BANGS on it with is fist. We stay on Scagnetti's POV through
this scene.
MCCLUSKY
Pete, open it up! I'm comin' through
with a visitor!
McClusky opens the door and we follow him down the corridor. As
soon as the door opens, we can hear a female voice singing the
song "Long Time Woman".
McClusky turns to Scagnetti as they walk.
MCCLUSKY
Well, Jack, I'll tell ya, in all my
years with the penal institution, and
I'll tell ya that's no small number,
Mickey and Mallory Knox are without a
doubt the most twisted, depraved group
of fucks it's ever been my displeasure
to lay my eyes on. I mean, those two
rat shits are a walkin' reminder of
just how fucked up our system really
is.
SCAGNETTI (O.S.)
Who's the song bird?
MCCLUSKY
Mickey's better half herself. Mallory
Knox. This little lady drowned her
father in a fish tank.
CU of a home aquarium with fish swimming around. Suddenly
Mallory's FATHER'S head is shoved into the tank.
BACK TO: PRISON CORRIDOR
MCCLUSKY
While the two together burned her
mother alive in her bed.
MEDIUM CU of Mallory's MOTHER lying asleep in bed, mouth open.
What looks like a gas nozzle appears at the top of the FRAME,
pouring gasoline all over her face. She coughs and gags.
CAMERA PANS up and we see Mickey holding a gas can.
CU of Mallory with a lit match by her face. She tosses it in
front of her. We hear the SOUNDS of Mallory's mother igniting.
BACK TO: PRISON CORRIDOR
Still SCAGNETTI'S POV:
SCAGNETTI (O.S.)
Why?
MCCLUSKY
Because they wouldn't give them their
blessing for marriage.
SCAGNETTI (O.S.)
Ain't love grand.
MCCLUSKY
Ain't love grand. That's a good one.
As we read the remarks, we hear a DOCTOR'S VOICE read aloud.
FEMALE PSYCHIATRIST (V.O.)
When pressed about the reason for the
murders. . .patient became hostile. . .
Looking trashy, wild, and animalistic, Mallory's a sex machine
dressed in a prison gown. She sits in a chair, looking directly
at the CAMERA.
MALLORY
I don't owe you an explanation! I don't
owe you shit! I'm not here for you
entertainment. If I don't tell you
what you wanna hear, what are you gonna
do? Throw me in jail? I'm already
there, you stupid pigfucker. You gonna
give me some more time? I've already
got life. What else you got to
threaten me with? Death? I'd like to
see you fuckin' try. I haven't met one
motherfucker here who's shown me shit!
Still on SCAGNETTI'S POV:
Wee look up from the fill and see McClusky's leaning against a
cell door.
We hear somebody signing "Long Time Woman" inside the cell.
We move to McClusky, who looking into the CAMERA, gestures
toward the cell.
MCCLUSKY
Here she is . . . you know her, you
love her, you can't live without
her . . . Mallory Knox.
We PAN from McClusky to the inside of the cell where we see
Mallory, her back to us, singing and dancing.
INT. PRISON (MALLORY KNOX'S CELL) - DAY
CU of Mallory's face singing "Long Time Woman".
MALLORY
(singing)
99 years is a long, long time. Look at
me, I will never be free, I'm a long time
woman . . .
MCCLUSKY (O.S.)
Hey, Knox! Somebody out here wants to
meet you.
Mallory just keeps on truckin'.
MALLORY'S POV: We stare a 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!
MCCLUSKY
Don't worry about it. She does that
all the time.
MCCLUSKY (O.S.)
Follow me.
CAMERA is at the end of a long corridor. McClusky and Scagnetti
approach from the other end. Scagnetti's studying the files.
PHIL WURLITZER comes up behind the two men.
WURLITZER
You duckin' me Dwight?
MCCLUSKY
Hey, Phil, how the hell are ya?
WURLITZER
(to Scagnetti)
This son of a bitch is chairman of the
prison board, but it's like pullin'
teeth to get him down to a prison.
MCCLUSKY
The only reason I'm here now is to set
him straight, and I'm on the next
flight out.
(to Scagnetti)
Jack, this is the superintendent of the
jail. Phil Wurlitzer. He's the man
who's got the power of the pen here.
Wurlitzer shakes hands with Scagnetti.
WURLITZER
Pleased to meet ya, Jack. I read your
book. I'm impressed. Good work on
Curtis Fox.
SCAGNETTI
Thanks.
MCCLUSKY
From now on, you'll be dealin' with
Phil. He can answer all the questions
you got about the arrangements. I'm
gonna be bidding you good luck and
adieu in about twenty minutes. My
flight back to Sacramento leaves LAX in
a hour.
WURLITZER
And I want you to know, we'll all cry a
river when you're gone.
SCAGNETTI
What's the travelling arrangements?
WURLITZER
Well, Mickey and Mallory can't be
together. So, we'll put you on one of
our prison busses and you'll take
Mallory first, then you'll come back
for Mickey.
SCAGNETTI
And where do you keep Mickey?
WURLITZER
We got his stinkin' ass in the deepest,
darkest cell in the whole place. But
it just so happens that right now he's
got a special visitor.
SCAGNETTI
Who?
WURLITZER
Wayne Gayle.
SCAGNETTI
(surprised)
Wayne Gayle!
WAYNE GAYLE, a young, energetic, commando journalist a'la
Geraldo Rivera is sitting on the visitor side of the county jail
visiting area. Wayne is alone and the visiting area is empty.
Apparently some arrangement was made for the visit. Wayne has a
miniature tape recorder in his hand and is testing it.
The door opens on the prisoner side and Mickey Knox is lead into
the room by two SHERIFF'S DEPUTIES. Mickey's wearing the country
jail blue jump-suit. He has a thick and wide leather belt around
his waist with a metal ring built into each side. Long sturdy
chains with handcuffs on each end are wrapped across his body
and through the rings, binding his arms to his sides. His hands
and feet are double cuffed.
The Deputies both have their guns drawn, ready to blow Mickey in
half at the slightest provocation. For a man wrapped and bound
in chains, Mickey seems strangely in control of his environment.
Even restrained as he is by the symbols of society (the chains,
jail, guards, guns, jump-suit), he remains a dangerous,
intimidating, and fascinating figure.
Wayne takes in the image of Mickey.
WAYNE
(to himself)
Showtime.
MICKEY
Everybody knows who you are. You're
famous.
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 Nielson 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
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 fuckin' window.
You and Mallory may be killers, but
you're not insane. You belong in a
prison, not in 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 Dwight 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. I have
an interview with both the judge of
your trail, 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 fell 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 bitch out the 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?