The SIREN and CHOPPER sounds are getting closer.
Mickey, my love, if you leave me,
they'll catch me and take me to the
hospital. If you stay, you'll make 'em
kill you. Then it'd be like I killed
you. I could bear anything, but I
couldn't bear that. So please, please,
for me, my handsome
husband, run for your life.
The SIRENS and CHOPPERS draw closer.
I can't do it. You're my wife, you're
my partner. A fella doesn't run when
his partner can't run with him.
Mallory, my angel, if I could of left
ya, I'd of left ya a long time ago.
Well, hell, if you won't leave, give me
a gun so I can go out shooting.
Movie Mickey hands her his .44 Magnum from his belt.
Sit tight. I'm gonna make it a little
tougher for 'em.
Movie Mickey runs to the end of the alley, peers around the
corner at the arriving COPS.
Time to get naked and boogie.
Movie Mallory is out of movie Mickey's view. She cocks the .44,
then places the barrel under her chin.
Movie Mickey's busy. He doesn't turn around.
You made every day like kindergarten.
Movie Mallory pulls the trigger. BANG!
DOLLY down the alley to a CU on Mickey as he spins around.
Movie Mallory literally blew her head clean off. Her headless
body, gun in hand, remains upright in her sitting position.
Movie Mickey runs toward her, screaming her name in SLOW MOTION.
BACK TO: THE POPE INTERVIEW [Thrill Killers director Neil Pope]
Why did you kill Mallory? Both of
them are still alive.
It was dramatic license, no doubt. But
I felt an operatic love story needed an
operatic ending. The two of them kill
for each other. They offer the death
of their victims to each other like
other lovers offer flowers or bon bons.
So what more natural, what more
organic, what more poetic than Mallory
offering her death to Mickey? It's
where it's been leading since day one.
We worked it in the movie by using a
'what if they escaped' situation. I
think it works beautifully. You'd be
surprised. People come up to me at the
end of the movie in tears.