We're back to COLOR 35mm.
WHITE LEADER FADES to reveal the wall of the holding cell.
CAMERA pans onto Mallory on the floor, splashing water on her
face from the holding cell toilet. The pain has started to
All wet, she lies down on the ground and sings:
Love is a hurtin' thang,
and it leaves a fiery sting.
Okay. Okay, we're up again.
Roll it. Save the slate.
INT. SUPPY ROOM - DAY
16MM - BLACK & WHITE
We're looking through Scott's CAMERA again on a new roll of
You just said an instant of purity was
preferrable to a lifetime lie. I don't
understand. What's so pure about
forty-eight dead bodies?
You'll never understand. Me and you,
Wayne, we're not even the same species.
I used to be you. . .then I evolved.
From where you're standing, you're a
man. From where I'm standing, you're a
ape. I'm here. . .I'm right here. . .
and you. . .you're somewhere else, man.
You say why? I say why not?
Tell me about the purity.
It's not that easy, Wayne. Donuts and
a smoke only get you so far. You're
gonna have to do your job.
Okay. . .okay. . .I'll buy that. We'll
move on and come back later.
I'm sure we will.
Describe Mallory? Okay. She's pretty,
she's got blonde hair, two eyes, two
feet, two hands, ten fingers. . .
Don't play dumb with me, Mickey. You
know what I mean. Describe Mallory.
(points at his head)
What's up here?
(points at his heart)
What's in here?
Well, riddle me this, Batman. How do
you feel about the fact that you're
never gonna see Mallory again?
Says the United States of America.
When have they ever been right?
Hey, just like Soupy Sales.
Scagnetti walks down the hallway leading to the supply room.
His face is a patchwork of medical tape, to set his broken nose.
Bloody cotton protrudes from each nostril.
INT. SUPPLY ROOM - DAY
Scagnetti walks into the supply room. Mickey is explaining to
Wayne "Why he's killed all those people." Scagnetti can't
believe what he's seeing. The entire room is in rapture.
... one night I was asleep, and a noise
wakes me up. I thought, `Oh shit,
somebody's broken in.' I didn't own a
gun, so I go into the living room with
a fucking umbrella. Okay, it turned
out to be nothing. God made the noise.
How's it goin'?
Shhhh! I wanna hear this.
Wurlitzer sees Scagnetti's bandaged face.
What the hell happened to you?
You should see the other bitch. What
time you got?
But I came to the direction I need a
gun. Do, the next day I started off
early for work, and I'm gonna stop by a
gun shop and pick up a little home
protection. I walked into the place
and had never seen so many guns in all
my life. So, I'm lookin' around, the
this really nice sales guy comes up to
me. His name was Warren. I'll never
forget his name. He was really nice.
Anyway, Warren showed me all these
different models of guns. Magnums,
automatics, pistols, Walters. And I
ask to see a shotgun. He brings me a
Mossberg pump action shotgun. As soon
as I held that baby in my hands, I knew
what I was gonna do. It felt so good.
It felt like it was a part of me. They
had a mirror in the store. I looked at
myself holding it, and looked so
fuckin' good, I immediately bought it.
Bought a bunch of boxes of ammo.
Turned my car around, drove to
Mallory's house, we took care of
Mallory's parents, packed up the car,
and we were off.
SAME SCENE: SHOT through Scott's CAMERA:
MEDIUM CU on Mickey.
Everybody thought I'd gone crazy. The
cops, my mom, everybody. But you see,
they all missed the point of the story.
I wasn't crazy. But when I was holding
the shotgun, it all became clear. I
realized for the first time my one true
calling in life. I'm a natural born
Okay, let's cut it.
Did ya get that?
It's gonna be beautiful.
This is great stuff. How ya doin'?
I could go for a Coke.
Could I get a Coke for Mickey?
I'm not running out and getting that
piece of shit a Coke.
(to Unruly Julie)
Julie, why don't you make a food run?
(to the room)
What's around here?
There's an In and Out Burgers about a
block away on Olive. It's walking
Okay, Julie, take everybody's order.
I'll have a double double with cheese,
french fries, and a large Coke.
Scagnetti and Wurlitzer talk to each other.
Are you all set?
Yeah. Bus is all gassed up and ready
I assigned you Bingham and Washington
to go along.
Yeah, we me. They're good men.
They're real Goddamn good. They'll be
there for when ya need 'em. Where
Waitin' in the lounge.
How 'bout Mallory?
Coolin' her jets in a holding cell.
Nothing for me. I'm leavin'.
Me, neither. I don't eat meat.
They need you. Emergency!
Talk to me
For the love of Pete. . .okay. . .okay
. . .okay. Mobilize the men. I'm on
CAMERA glides by all of them: Scagnetti, Wayne, Scott, Roger,
Unruly Julie, and finally ends up on Mickey.
CAMERA holds on Mickey as he contemplates Wurlitzer's
OFF SCREEN the phone receiver being SLAMMED down.
I'll be a son of a bitch. There's a
riot going on in the laundry room.
DEPUTY SHERIFF (O.S.)
Is it serious?
It sure as hell is. They got guns,
hostages, and explosives.
Jack, could you stay up here for a
I'm taking one of these men. Yate,
come with me.
Could we go with you and film it?
Stay up here and finish your interview,
I've got to see what the hell's going
on down there before I can take
responsibility for you to film there.
Unruly Julie walks into FRAME next to Mickey. She has her
I'll have a four by four. That's four
patty burgers. Now they don't have
that on the menu, but if you order a
four by four, they'll know what you're
talking about. A large Coke and two
orders of fries.
CAMERA follows Julie out the door and into...
INT. JAIL CORRIDOR - DAY
CAMERA DOLLIES with Julie as she walks down the corridor.
As DEPUTIES with shotguns and riot gear speed down the hall, the
CAMERA passes Julie and speeds down the corridor, following the
DEPUTIES into BLACKNESS.
INT. LAUNDRY ROOM - DAY
CAMERA PANS from blackness to WIDE ANGLE of a dark jail wall
masques with shadows of prison bars. The surreal echoing sounds
of a riot swell until...
A SHADOW of a PRISON GUARD stumbles into frame, followed by a
MOB of other SHADOWS carrying NIGHTSTICKS and BARS.
The Mob catches the Prison Guard and beat him mercilessly before
CAMERA TILTS down to a CU of a thin stream of BLOOD crawling
across the floor.
FADE TO BLACK:
INT. SUPPLY ROOM - DAY
SHOT through Scott's CAMERA:
FOCUSING on Mickey, who's standing in a MEDIUM SHOT.
Now, I'm no comedian, but it's pretty
funny. It's a Little Johnny joke. Now
in the joke, Little Johnny can't talk.
And Little Johnny's teenage sister asks
her mother if she can go out on a date.
The mother asks, `Where's he taking
you?' The sister says, `The drive-in
movie.' The mother tells her she can
only go if she takes Little Johnny with
her. She says okay. They go to the
drive-in, they come back. The mother
gets Little Johnny and says, `Okay,
what happened? Where did ya go?'
Mother says, `The drive-in movie. What
did they do?'
`They kissed. What else?'
`He felt her up? What else?'
Mickey , as Little Johnny, act like he's undressing.
`They took off their clothes? What
`They did it? What were you doing?'
Everyoong in the room breaks up. Wayne, the boys, the deputies,
even Scagnetti cracks a smile.
As Mickey was telling the joke, he stopped in front of Deputy #4
during the punchline.
While everybody's laughing, mickey SLAMS his elbow in Deputy
#4's face. mickey grabs hold of the shotgun, rips ir from
Deputy #4's grasp, then BASHES him in the face tree times with
Deputy #4 drops, ugly and unconscious.
Scott's CAMERA goes wild.
BACK TO: COLOR 35mm.
The other deputies react.
Mickey pumps the shotgun slide and shoots, hitting Deputy #5 in
the chest, BLOWING him off his feet. He lands on his back with
Deputy #3 raises his shotgun. Mickey drops to a crouching
position and FIRES, BLASTING Deputy #3 in the groin.
Deputy #3 crumples into the wall, FIRING his gun --SLOW MOTION.
The stray bullet THUNKS Scott right in the chest, BLOWING him
out of FRAME.
Deputy #3 drops to the floor, FIRING his shotgun straight up --
CU of ceiling being BLASTED.
Chunks of plaster and rock rain down on Sheriff #3.
Scagnetti has whipped out his gun and is bringing it up to
fire -- SLOW MOTION.
Mickey, still crouched down, spins around toward Scagnetti --
Scagnetti has his gun aimed at Mickey.
Squatting, Mickey has the shotgun trained on Scagnetti.
They're positioned across from each other on opposite sides of
We DOLLY past the faces of both Wayne and Roger, who are flat on
the ground, scared to death.
CU on Scagnetti's face.
CU on Mickey's face.
CU on Scagnetti's finger putting pressure on the trigger, then
CAMERA moves up to a CU profile of his face.
OVERHEAD SHOT of Mickey. CAMERA moves down in front of him into
a CU on his face.
Looks like we go a Mexican standoff.
Slide the shotgun over here, put your
hands behind your head, put your
forehead on the floor.
Or what? You'll wound me? I can blow
you in half and you know it.
I've never wounded anything in my life.
I got you locked right between the eyes.
If you don't drop that toy, I'm blowin'
you in half on three. So, if you got
me locked, take the shot. One. . .
CU of barrel of shotgun.
Two. . .
Wayne watches, wide eyed.
ECU on Mickey's face.
Hold it! Don't shoot!
Open the chamber. Empty the shells.
The shells fall on the floor at Scagnetti's feet -- SLOW MOTION.
Now put your hands behind your head.
Mickey, holding the shotgun, walks up to Scagnetti. They stand,
facing each other.
Did you ever see `Eldorado?'
Mickey CLOUTS him across the face with the shotgun. Scagnetti
hits the ground. Blood coughs from his broken nose.
Mickey looks at Wayne and Roger on the ground.
You guys stay on your bellies.
I am the most dangerous man in the
Mickey's still bent over Scagnetti.
(points at Scagnetti)
You're the law.
(points at himself)
I'm the law breaker.
Mickey stands straight, looks toward Wayne and Roger.
Donut, get your camera. See if it's
Let me check on Scott. He's hurt bad.
Scott's dead. And unless you wanna
play follow the leader, shut up and do
as you're told.
How is it?
Do you have a back up.
Even better. Wayne call your station,
tell 'em we're going live a little
early today. Make it happen!
INT. JAIL LAUNDRY ROOM - DAY
Wurlitzer steps into the BLACK FRAME. This SCENE becomes a
TRAVELLING CU that never leaves Wurlitzer. Although we'll only
see Wurlitzer, we can make out activity in the edges of the
FRAME and we can vividly hear the SOUNDS of chaos around us.
I want two men stationed in that tier,
and I want men with rifles all along
Here's the layout of the laundry room.
Where do the air ducts lead?
Problem is they'll hear somebody
approaching that way.
We turned off the power when they took
over the room.
We turn it back on. The machines go
back on supplying us with the cover
noise we need. Smithy, do it.
Right away, Capt'n.
Jonesy, are the sharpshooters in place?
Never say you think when you know, or
you know when you think.
(into walkie talkie)
Bergman, you in place?
(from walkie talkie)
Sure am, Capt'n. Nothin' clean yet.
(into walkie talkie)
Pass this to your team. . .the second
they get a lock on a blue, they're to
take the shot. Do you understand?
(from walkie talkie)
That's a big ten-four, Capt'n.
What do you think, Pitney? How much
Explosives do you think that they
really have in there?
It's hard to say Capt'n.
Take a wild stab!
I'll say enough to destroy this wing.
The entire wing?
That's my opinion.
SCREEN DILLS WITH STATIC.
INSERT TITLE CARD: "SPECIAL REPORT"
TV ANNOUNCER (V.O.)
We interrupt this program to bring you a
Title Card recedes in FRAME to expose an active news room in the
B.G. News Anchor TONY CHAVEZ is lowering himself behind a desk
while adjusting his earphone.
Good afternoon, I'm Tony Chavez and
this is a KKTV Special Report. At this
moment we are receiving preliminary
reports of a hostage--
I... I'm sorry. I'm being told that
we're now taking you live to L.A.
County Jail where Wayne Gayle is
INT. SUPPLY ROOM - DAY
NOTE: The video footage is all handheld and harshly lit, until
Wayne, stands alone in FRAME, moments from when we last saw him.
This is Wayne Gayle reporting live from
the Los Angeles County Jail, where you
can tell from the bloody carnage behind
me that the final chapter in the book
called Mickey and Mallory has not yet
Thank you, Wayne, but our little movie
just underwent a title change. It's
now called `The Escape of Mickey and
Mallory.' Starring me, you, Mallory,
and special guest accomplice, Jack-
Okay, Donut, move in for a close up. I
want this for prosperity.
Okay, buddy boy, where ya keepin'
Mallory? I know she's still here, and
I know you know where. So, start
talking or my first work as a director
will be your death scene.
(slightly out of it)
She's in the holding cell, on this
You're taking us to that holding cell
All right, Cut!
INT. NEWS ROOM - DAY
Tony Chavez speaks into CAMERA.
Ladies and gentlemen, in case you have
just tuned in, it appears that a
hostage situation involving Mickey Knox
is developing presently at the Los
Angeles County Jail. We have seen that
he is armed and apparently there has
been some loss of life. We will try to
re-establish contact with Wayne Gayle
and bring you more on this late
breaking story. Please stay tuned.
TV ANNOUNCER (V.O.)
This has been a KKTV Special Report.
INT. SUPPLY ROOM - DAY
BACK TO: COLOR 35mm
WIDE SHOT of Mickey, holding his shotgun. He walks over and
grabs the shotgun from dead Deputy #5. Deputy #5 won't let go
of the gun from his dead man's grip. Mickey finally yanks it
loose. He extracts all the shells from the gun, picks them off
the floor, and puts them in his pocket.
Mickey picks up Scagnetti's gun, inserts the loose bullets and
slips it into his pants.
Okay, Jack, this is what we're doing.
Stand behind me, put your back against
mine and extend your arms behind you.
Now if I feel your back move away from
mine, you're gonna be ripped apart.
Okay, Wayne, step forward.
Keep comin'. Put your solar plexus
against the barrel.
Grab his arms.
Either one of you two move, it's gonna
be shotgun city. You understand?
WAYNE & SCAGNETTI
You ready, Donut?
Roger follows with the camera.