{"product_id":"natural-born-killers-draft-3-rev-quentin-tarantino-march-1991","title":"Natural Born Killers: Draft 3 [Rev.] by Quentin Tarantino | Original Typescript Screenplay: March 12, 1991","description":"\u003ch1\u003e\u003cstrong\u003eNatural Born Killers: The Screenplay\u003c\/strong\u003e\u003c\/h1\u003e\n\u003ch2\u003e\u003cstrong\u003eWritten by Quentin Tarantino\u003c\/strong\u003e\u003c\/h2\u003e\n\u003ch2\u003eMarch 12, 1991 | Draft 3 [Rev.]\u003c\/h2\u003e\n\u003ch3\u003e\u003cstrong\u003eScreenplay \/ Script Details:\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eWriter:\u003c\/strong\u003e Quentin Tarantino\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDraft:\u003c\/strong\u003e 3 [Rev]\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSize: \u003c\/strong\u003e8.5 x 11 x 0.865-Inches\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding: \u003c\/strong\u003eComb-Bound\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eComb Size:\u003c\/strong\u003e ≈\u003cspan\u003e9\/16\"\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cstrong\u003eFront Cover: \u003c\/strong\u003eClear\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cstrong\u003eBack Cover: \u003c\/strong\u003eBurgundy\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cstrong\u003eFormat: \u003c\/strong\u003eMS Typescript\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cstrong\u003ePages: \u003c\/strong\u003e127\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCondition:\u003c\/strong\u003e\n\u003cul\u003e\n\u003cli\u003eAll pages intact.\u003c\/li\u003e\n\u003cli\u003ePossible coffee stain on title page, bleeds thru first few pages (same location).\u003c\/li\u003e\n\u003cli\u003eNo torn pages.\u003c\/li\u003e\n\u003cli\u003eNo Missing Pages.\u003c\/li\u003e\n\u003cli\u003eSome Foxing \/ Tanning\u003c\/li\u003e\n\u003cli\u003eSome slightly folded, creased or bent corners \u0026lt;10% of Screenplay Manuscript.\u003c\/li\u003e\n\u003cli\u003eSignificant or noteworthy flaws visible in photos and video included.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAdditional Detail and Specific Information: \u003c\/strong\u003eFurnished Upon Legitimate Request\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStorage: \u003c\/strong\u003eScreenplay Manuscript stored in a safe, protected, temperature controlled environment housing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMusic Credit:\u003c\/strong\u003e Song clip played during video display of script is the song \u003cstrong\u003e\"Last Man Standing\" \u003c\/strong\u003eby Bust-Down Global is an Original Bust-Down Songwriting Services Track Available on the @BustDownGlobal YouTube Page\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack Link:\u003c\/strong\u003e https:\/\/www.youtube.com\/watch?v=wcO5HJYgWE0\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAdditional Details:\u003c\/strong\u003e\n\u003cul\u003e\n\u003cli\u003eShips from Poland, EU.\u003c\/li\u003e\n\u003cli\u003eCan be hand delivered in US or other location if outlined in final negotiation.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cimg alt=\"Natural Born Killers: Draft 3 [Rev.] by Quentin Tarantino | March 12, 1991\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0855\/2077\/7531\/files\/bdb-natural-born-killers-nbk-film-script-written-by-quentin-tarantino-draft-three-revision-3-march-12-1991-comb-bound-bustdownbooks-thisthingofours-1111.jpg?v=1764061441\"\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e🎬 Natural Born Killers: The True \u003cem\u003eNBK \u003c\/em\u003eScript\u003c\/h2\u003e\n\u003cp\u003eFrom the Master's Mind to Printed Page. Contact \u003cstrong\u003eSupport@BustDownBooks\u003c\/strong\u003e for questions. Additional photos not guaranteed to protect the privacy of manuscript and original author.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e🎬 Natural Born Killers: Revision History Summary\u003c\/h2\u003e\n\u003cp\u003eThe journey from the original pitch to the final shooting script involved three main writers beyond the originator: director Oliver Stone.\u003c\/p\u003e\n\u003cp\u003eThe film script for Natural Born Killers \u003cstrong\u003e(1994)\u003c\/strong\u003e is famously defined by its turbulent revision history, which resulted in two vastly different visions—that of the original screenwriter, \u003cstrong\u003eQuentin Tarantino \u003c\/strong\u003eand that of the final director and co-writer, Oliver Stone.\u003c\/p\u003e\n\u003cp\u003eThe core of the revision process is a complete change in thematic focus and structure, \u003cstrong\u003eleading Tarantino to ultimately disown the film\u003c\/strong\u003e and receive only a \"Story By\" credit, rather than a full screenwriting credit.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e🎬 Natural Born Killers: Revision History \u0026amp; Controversy\u003c\/h2\u003e\n\u003cp\u003eFinal script revisions positioned for shooting involved three main writers beyond the originator: director Oliver Stone, screenwriter David Veloz, and associate producer Richard Rutowski.\u003c\/p\u003e\n\u003ch3\u003e1. Quentin Tarantino's Original Script (Early 1990s)\u003c\/h3\u003e\n\u003cp\u003eTarantino wrote the script as a more straightforward, low-budget, darkly comedic crime\/exploitation film in the style of a modern \u003cem\u003eBonnie and Clyde\u003c\/em\u003e.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eProtagonist\/Focus:\u003c\/strong\u003e The central, anchor character was arguably the sensationalist TV journalist, Wayne Gale, who wants to interview the killers. The script was structured primarily around the media's reaction to Mickey and Mallory.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMickey \u0026amp; Mallory:\u003c\/strong\u003e They were seen more as boogeymen or mythic psychos. Their actions were extremely violent, but the script did not heavily explore their personal motivations or childhood trauma (specifically, Mallory's father was simply against their marriage, not an abusive rapist).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStructure:\u003c\/strong\u003e The narrative was more linear and heavily anchored by Wayne Gale's tabloid show, American Maniacs, which took up much of the first half, chronicling their rampage through reenactments and commentary. It was not a chaotic, multi-format assault.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePacing\/Tone:\u003c\/strong\u003e More focused, funnier, and ultimately on a smaller scale, written with a lower budget in mind.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e2. Oliver Stone, David Veloz, and Richard Rutowski's Revisions (1993 Shooting Draft)\u003c\/h3\u003e\n\u003cp\u003eOliver Stone took the project and, in response to real-world events like the O.J. Simpson case and the Waco siege, heavily rewrote the script to transform it into a sprawling, hyper-violent, and surreal satire on media sensationalism and America's obsession with violence.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eProtagonist\/Focus:\u003c\/strong\u003e The focus shifted dramatically to Mickey and Mallory as the central, albeit exaggerated, figures. Stone sought to make the film a \"vicious, coldhearted farce\" on the media.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThematic Change:\u003c\/strong\u003e The biggest change was the elevation of the media critique. The film became a critique of how American media deifies murderers for ratings, turning the killers into celebrities.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAdded\/Changed Content:\u003c\/strong\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMallory's Backstory: \u003c\/strong\u003eStone added the infamous, black-and-white, multi-camera sitcom sequence (\"I Love Mallory\") detailing her horrific sexual and physical abuse by her father, which Tarantino despised. This provided a psychological motivation for Mallory's violence.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVisual Style:\u003c\/strong\u003e The chaotic, rapid-fire, multi-format filmmaking (switching between 35mm, 16mm, black-and-white, color, video, animation, and constant stylistic changes) was Stone's addition, which turned the story into a psychedelic visual essay.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eExpanded Narrative: \u003c\/strong\u003eThe script was broadened to include scenes like the Native American vision quest\/peyote scene and the massive, over-the-top prison riot during the final interview (which was a smaller escape in Tarantino's version).\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe Result:\u003c\/strong\u003e The resulting film kept much of Tarantino's dialogue but fundamentally altered the story's structure, pacing, and core message. Tarantino removed his screenwriting credit, keeping only \"Story By.\"\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003ch2\u003e📝 Key Takeaway of the Revision Process\u003c\/h2\u003e\n\u003cp\u003eThe revision of \u003cem\u003eNatural Born Killers\u003c\/em\u003e is a classic case study of the screenwriter's vision being dramatically overwritten by the director's.\u003cstrong\u003e Tarantino's script was an exploitative crime caper\u003c\/strong\u003e and Stone's final film was a hallucinatory, socio-political media critique that used the crime caper as its framework.\u003c\/p\u003e\n\u003cp\u003eThe available shooting draft (Draft Five, May 11, 1993) is the one revised by Stone and his collaborators, demonstrating the significant changes that led to the final controversial film.\u003c\/p\u003e\n\u003cp\u003eThe screenplay for Natural Born Killers \u003cstrong\u003e(1994)\u003c\/strong\u003e is a notable case study in dramatic narrative revision, where the final cinematic product diverges fundamentally from the original author's intent. The history of the script's composition and subsequent revision directly contributed to a dispute over screenwriting credit between the original writer, Quentin Tarantino, and the film's director and co-writer, Oliver Stone.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e📜 Script Composition and Revision History\u003c\/h2\u003e\n\u003ch3\u003e1. The Original Manuscript by Quentin Tarantino\u003c\/h3\u003e\n\u003cp\u003eTarantino penned the script in the early 1990s, intending it to be a contained, character-driven, and darkly comedic B-movie in the tradition of crime exploitation films. The original manuscript featured:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eNarrative Focus: \u003c\/strong\u003eThe script centered heavily on the dynamic of the killers, Mickey and Mallory Knox, and their pursuit by Detective Scagnetti. Crucially, the initial structure anchored the narrative around the sensationalist media figure, Wayne Gale, showcasing how Gale used reenactments and commentary on his tabloid show, American Maniacs, to chronicle their rampage.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThematic Intent: \u003c\/strong\u003eTarantino's script was primarily a crime story, with the media satire acting as a secondary framing device. The violence was extensive but presented in a more conventional, albeit stylized, manner.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMallory's Backstory: \u003c\/strong\u003eThe original script lacked the detailed, prolonged depiction of incestuous abuse in Mallory's past. The conflict with her father was present, but less graphic and less central to her psychological motivation for murder.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e2. Oliver Stone's Acquisition and Restructuring\u003c\/h3\u003e\n\u003cp\u003eAfter acquiring the script, director Oliver Stone, who was deeply preoccupied with the growing role of mass media in American violence and celebrity, initiated a radical rewrite with the assistance of screenwriters David Veloz and Richard Rutowski.\u003c\/p\u003e\n\u003ch4\u003eKey Revisions and Noteworthy Details:\u003c\/h4\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eShift in Thematic Thesis:\u003c\/strong\u003e Stone transformed the script's focus from a crime story with media commentary into an aggressive, hallucinatory satire on media sensationalism itself. The violence was intensified and aestheticized to critique its glorification. Stone intended the film to be a \"vicious, coldhearted farce\" on American culture.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMallory's Trauma Addition:\u003c\/strong\u003e The most significant and contentious revision was the expansion of Mallory's childhood. Stone incorporated the detailed, stylized sitcom parody sequences (rendered in black and white with a laugh track) to depict her father's sexual and physical abuse. This revision altered Mallory from a purely nihilistic killer into a figure whose violence is explicitly rooted in deep-seated, systemic trauma.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVisual and Structural Changes: \u003c\/strong\u003eStone and his collaborators injected the element of extreme, constant stylistic shifting. The script was revised to mandate the use of diverse film stocks, color palettes, lenses, and formats (including 35mm, 16mm, Hi8 video, and animation) to create a visual overload that reflected the media chaos and the fractured mental states of the protagonists.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eExpansion of the Climax:\u003c\/strong\u003e The prison sequence was dramatically expanded. In Stone's final shooting draft, Wayne Gale’s interview culminates in a massive, uncontrolled prison riot and a chaotic mass escape, amplifying the scale and political commentary significantly beyond the scope of Tarantino's more modest escape plan.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e3. Credit Dispute and Final Result\u003c\/h3\u003e\n\u003cp\u003eDue to the divergent nature of Stone's revisions—which included significant dialogue changes, major structural alterations and the introduction of central thematic elements—the final result was the film being released with a non-writing credit to legendary director Quentin Tarantino.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003ch4\u003e\u003cstrong\u003eTarantino ultimately petitioned to have his name removed from the screenwriting credit. An understandable decision for any writer whose work is aberrantly revised and manipulated from the original vision.\u003c\/strong\u003e\u003c\/h4\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003ePer Writers Guild of America \u003cstrong\u003e(WGA)\u003c\/strong\u003e rules, writers whose material contributes less than 50% to the final screenplay are often demoted in credit. Tarantino received the final, non-screenplay credit of \"Story By\", while Stone, Veloz, and Rutowski shared the screenwriting credit.\u003c\/p\u003e\n\u003ch4\u003e\u003cstrong\u003eTarantino has since published his original, unrevised screenplay, highlighting the distinction between his work and the final, controversial film.\u003c\/strong\u003e\u003c\/h4\u003e\n\u003chr\u003e\n\u003cp\u003eQuentin Tarantino is not credited as the sole screenwriter for \u003cem\u003eNatural Born Killers\u003c\/em\u003e because director Oliver Stone and other writers heavily revised his original script. The changes were so substantial that Tarantino disowned the film and requested or accepted instead for a \"story by\" credit, only.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eThe Story Behind the Credit\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTarantino's Original Script:\u003c\/strong\u003e Tarantino wrote the screenplay, initially titled Mickey and Mallory, before he became a famous director. It was part of a much larger script that also contained the story for \u003cem\u003eTrue Romance\u003c\/em\u003e. He intended to direct it himself for a low budget but couldn't secure the funding, so he sold the rights for $10,000.\u003c\/span\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003ch4\u003e\u003cstrong\u003eThe original script focused on the couple's intense, almost sacred love for each other, with their killing spree as an expression of that love.\u003c\/strong\u003e\u003c\/h4\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eOliver Stone's Revisions: \u003c\/strong\u003eWhen Oliver Stone took over the project as director, he significantly rewrote the script with writers David Veloz and Richard Rutowski. Stone shifted the film's focus to be a broader, \"vicious, coldhearted farce\" and social satire on the media's obsession with violence and celebrity culture, influenced by real-world events like the O.J. Simpson case.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTarantino's Disapproval and Credit Change: \u003c\/strong\u003eTarantino was extremely unhappy with the final result, feeling Stone had fundamentally misunderstood his characters and bastardized his original vision.\u003c\/span\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan\u003eHe reportedly called the film \u003cem\u003e\"that f**king movie\" \u003c\/em\u003eand has claimed he has never watched it from beginning to end.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eThe Outcome: \u003c\/strong\u003eDue to the drastic changes, Tarantino requested his name be removed from the screenplay credits and was ultimately given a \"story by\" credit instead. This decision meant he gave up a substantial amount of money he would have earned from a full writing credit.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003e\u003cstrong\u003eTarantino was eventually able to publish his original screenplay as a paperback book, allowing fans to compare his initial vision with the finished film.\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp\u003e\u003cstrong\u003eQuentin Tarantino's original screenplay for \u003cem\u003eNatural Born Killers\u003c\/em\u003e\u003c\/strong\u003e has been published as a book. It offers the opportunity for fans to compare his initial vision with the heavily altered film version directed by Oliver Stone.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eYou can find the original \u003cem\u003eNBK \u003c\/em\u003escript in the following formats:\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback Book:\u003c\/strong\u003e The script was published as a paperback book titled Natural Born Killers: The Original Screenplay by Grove Press in 1995 (and later editions). You can purchase physical copies from online retailers like Amazon, Barnes \u0026amp; Noble, or used book sites.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOnline Scripts:\u003c\/strong\u003e Digital versions of the original script are also available on various script-hosting websites.\u003c\/p\u003e\n\u003cp\u003eThe published screenplay allows readers to see \u003cstrong\u003ethe story as Tarantino intended it \u003c\/strong\u003eand focuses more on the intense, almost sacred love between Mickey and Mallory, rather than the broad media satire that Oliver Stone emphasized in the final film.\u003c\/p\u003e\n\u003cp\u003eQuentin Tarantino wrote several revisions of the script, with sources indicating at least a \"revised third draft\" was completed and circulated before it was sold to be directed by Oliver Stone.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003eThe script originated from a massive, 500-page screenplay, co-written with Roger Avary, called \u003cem\u003eThe Open Road\u003c\/em\u003e, which eventually was split into the two separate scripts for \u003cem\u003eTrue Romance\u003c\/em\u003e and \u003cem\u003eNatural Born Killers\u003c\/em\u003e.\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThe exact final number of drafts before the sale isn't widely published reported. However, what is generally understood is that Tarantino's final version was a complete, finished screenplay.\u003c\/p\u003e\n\u003cp\u003eThis is the version that was eventually published as a book, allowing a direct comparison to the heavily altered film script later written by Oliver Stone, David Veloz, and Richard Rutowski.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e⚠️🚨 Important Notes \u0026amp; Disclaimers\u003c\/h2\u003e\n\u003col\u003e\n\u003cli\u003eInformation provided in this description has largely been pulled from various sources on the internet. Bust-Down Books, LTD. does NOT claim authenticity of background history and details surrounding this screenplay to be fact rather than popular assertion.\u003c\/li\u003e\n\u003cli\u003eThe current MS Screenplay for Natural Born Killers, Draft 3 [Rev.], From March 12, 1991 has NOT been certified for authenticity by an official governing body, writer, future authors and editors or ANYONE involved in the production of this film or any other related projects.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch4\u003e\u003cstrong\u003eThis copy of the NBK Third Draft [Rev.] was acquired by Bust-Down Books, LTD. For additional information; please refer to \u003cem\u003eFirst Sale Doctrine\u003c\/em\u003e outlined below:\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003eFirst Sale Doctrine allows a person who lawfully owns a copy of a copyrighted work to sell, lend, or otherwise dispose of that particular copy without the copyright owner's permission. It is codified at 17 U.S.C. § 109(a) and means that once a copy is sold, the copyright holder's exclusive right to control the distribution of that specific copy ends.\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Bust-Down Books","offers":[{"title":"Default Title","offer_id":50779102904635,"sku":"NBK-ORIGINAL-screenplay-TYPED-0434399919000","price":29370.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0855\/2077\/7531\/files\/bdb-natural-born-killers-nbk-film-script-written-by-quentin-tarantino-draft-three-revision-3-march-12-1991-comb-bound-bustdownbooks-thisthingofours-12-march-1991.jpg?v=1764061441","url":"https:\/\/bustdownbooks.com\/products\/natural-born-killers-draft-3-rev-quentin-tarantino-march-1991","provider":"Bust-Down Books","version":"1.0","type":"link"}