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»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.
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