3000 miles to graceland (shooting draft)

8/19/2019 3000 Miles to Graceland (Shooting Draft)

1/123

3 MILES

T

GR CEL NO

y

~ ~ i n

Lichtenstein

Richard Recco

DOUBLE

vlHITE

LOCKED DR FT

3 10 00


2/123


3/123

.:-esse nods

YES, Michael

l e t s him down.

Jesse

i n s t an t ly swi f t

k i c k s him in the

shin .

MICHAEL (CONT

Dl

Ouch. you little maggot

Jesse runs ,

Michael hops a f t e r

him.

Michael rounds

the

to f ind

CYBIL

WAINGROW, sun sh in ing through her dress ,

Michael

c a n t not s t a r e

-

Jesse

cl ings

to her l eg .

CYBIL

J u s t what do you th ink you· re doing?

MICHAEL

(removes sunglasses)

Urn, ma'am

I

know

how t h i s

must look,

a

grown

man chas ing a

l i t t l e

kid . . .

CYBIL

T h a t s r i g h t

MICHAEL

But

i f you

t ake

a look

in

his

hands, he s

got

the

valve caps to

my 59 Caddy.

CYBIL

I s tha t t r ue Jesse?

Cybil

checks

and sees

t ha t

Michael was

r igh t .

CYBIL ( CONT D

How many

t imes

have

I

to ld

you

to s top

s t ea l in g par t s o f f

peoples cars .

Jesse i s

s i l e n t .

Cybil t akes the

valve caps.

CYBIL (CONT Dl

Now go on ins ide Go on.

corner

sexy.

Jesse g ives

Michael a

sa rcas t i c smile and

goes. Cybil hands

him back hi s valve

caps .

CYBIL (CONT D)

Sorry about

th i s

whole

th ing.

You know

how kids can be.

MICHAEL

Tha t s a l r i g h t .

No

harm

done.

CYBIL

Where you from any ways?

I

a i n t

never

seen you before .

Cybil wipes the

sweat

from her forehead.

MICHAEL

Ju s t sor t a pass ing through.

2 .


4/123

CYBIL

Jus t

so r ta pass ing

through?·

I

remember

saying the

very same

th ing .

That was

four

years

ago. You

from L.A.?

Cybil

t u rns and

s t a r t s

walking,

Michael

fol lows her back

towads the Diner . n

OLD G RDNER

leans his shovels aga ins t

the s ide of the

bui lding.

MICHAEL

Not rea l ly .

CYBIL

Not rea l ly?

MICH EL

No ma • am Jersey

City

mostly.

CYBIL

Jersey,

huh. So

what s with th i s ma'am

s tu f f .

m

I ge t t in

tha t old already?

MICH EL

No ma'am.

CYBIL

There you go again.

MICH EL

Nah. I 'm jus t havin

some

fun.

A

smile

bui lds on

Cybi l s face.

She extends her

hand.

CYBIL

Cybi

l Waingrow.

Michael

shakes her

hand.

MICH EL

Very

nice

name.

CYBIL

You put t ing me on? I

always

thought it

sounded pla in .

Kinda · f la t

even.

He looks a t her.

MICH EL

I

can t see anything

f la t

about i t .

CYBIL

That s Cybil

with

a

·c·

not Cybil with an

S .

MICH EL

Really. Well

it s nice

to meet

you Cybil

with

or without a C .

CYBIL

Nice to meet you ...

You

drink coffee?

MICH EL

I t s

a

s t a r t .

3


5/123

CYBIL

Got any money

4 INT. LAST

CHANCE

DINER - DAY

Michael and Cybil

sit

in a

booth.

Michael watches while Cybil

s ~ ~ l munches on a huge pla te of food.

The

WAITRESS pours

them

a second cup of

cof fee .

MICHAEL

Some

appe t i t e

you got there .

CYBIL

Big stomach, big hear t , r ight?

Jesse

en te r s the diner and approaches

t he i r

table .

JESSE

Mom

can

I

have

a

milk

shake.

CYBIL

Jesse

can ' t

you

see I m t a lk in ' here?

JESSE

But

mom

CYBIL

Jesse

I

don ' t

have

my purse with

me.

Michael digs in his pocket and

pul l s

out

a f ive dol la r b i l l .

MICHAEL

Here kid, get yourse lf whatever you

want.

JESSE

Wow

f ive whole

dol l a r s

Cybil and

Jesse exchange looks .

Jesse

ro l l s his eyes.

JESSE (CONT D)

Thanks mister .

J e s s ~ scampers to the

counter . He

points

to a cowboy

hat

and

cap

p i s t o l . The

waitress

hands it

to

him. I t ' s too

expensive.

'*·

He

points

to the milk shake machine and st icks his hand in a

l a rge

tub

of CHUPPA CHUPS lo l l ipops . Michael watches

him.

CYBIL

You

l i k e

kids?

MICHAEL

Not much the

fa ther ing

type,

t e l l

you

the

t r u t h .

CYBIL

Jesse ' s a l r igh t . Austin

named him a f t e r

Jesse James the bank robber.

MICHAEL

Great

ro le

model.

CYBIL

Yeah,

t h a t ' s what

I sa id .


6/123

MICHAEL

Where'

s hi s

daddy now?

CYBIL

Oh

Aust in s not his rea l dad. H : ~ r ea l

dad

l ives in Colorado. A u s t i ~ · s d ~ i ~ g

eight

to t en

for armed

r o c b e : ~ · .

MICHAEL

He ge t t in

out any t ime

scar.?

CYBIL

Two

years

th ink . wbo

k r . c ~ s ?

cares

any how?

Cybil takes a s ip of her Sanka.

CYBIL (CONT' D)

::\..

_

You

must

th ink

I 'm

some cheap =ate

~ ~ ~ ?

A

cup

of Sanka, some breakfas t

and -.hanc.

in

the

sack go r igh t?

Michael

chuckles

and

s ips

his

coffee .

MICHAEL

Is

t ha t

what

I 'm

th inking?

CYBIL

No

s i r , don t know

how you c : ~ y

fo :ks

work, but

around

here it

takes

a ~ e l : of

a lo t more than a cup

of

coffee a.. :d scm€

chow to get a sophis t ica ted -.oman l ike me

in the sack

t h a t s

for d ~ ~ s ~ = e .

Michael looks a t Cybil over the rim

of

~ : s : : : : e e

m ~ g .

5

::NT. CYBIL'

S

MOTEL BEDROOM

-

DAY

The

head board hi t s aga ins t

the

wall . 3. -.. &·:; 3 . ~ . - ' i G

Bl·-'


7/123

Jesse f i res

hi s

new cap guns. BANG BANG1

JESSE (CONT'D)

Nobody

r ides my bus

for f ree . Excuse me

folks,

nad us a f ree loader to get

r i d

of .

All aboard

Jesse swings the door of

the

old bus closed .

7 INT. BEDROOMICYBIL'S APT. - DAY

Michael

s leeps

while Cybi l s tud ies him. His

eys

twi tch in

deep REM. A

HORN

beeps

from

outs ide ,

i n t e r rup t ing

the

s i lence . Michael awakes, s l ides

out of

bed

and grabs

his

pan ts .

8 EXT. LAST CHANCE

MOTOR

INN - wAY

The

l a t e 60 s Lincoln

ro l l s up

next

to Michael ' s 9

Caddy and

honks the HORN again .

The

f o u ~

men

wait in the car .

9

INT.

BEDROCN/C BI:..·s APT.

-

:::.;,.":'

Michael f in i shes dress ing

while Cybil

lays on

the

bed.

MICHAEL

I got ta go. Do

I , aah

owe you

anything?

Cybil appears embarrassed and

hur t .

MICHAEL (CONT'D)

I

didn

· t mean

to offend look,

I

haven t

been with a woman in a r ea l l y

long t ime.

CYBIL

Yeah r igh t .

MICHAEL

No

I 'm

ser ious ,

okay. Like f ive and a

ha l f

years ser ious , ~ ~ o w what I mean?

CYBIL

( rea l i z ing)

Oh my god,

you

jus t got

out .

Michael

pauses,

his

face

says now s h e s

offended

him.

CYBIL (CONT' Dl

I 'm

sor ry ,

I

guess

we' re

even.

The

horn

honks

again.

Michael

t u r ~ s

to leave.

CYBIL ( C C ~ w)

Say

fe l la ,

what 's

your name

anyway?

MICHAEL

Michael .

CYBIL

Well, M i c h ~ e l , you d ~ n · t

of fe r

a woman

money

i f 1 t s been

~ : c e

(MORE)


8/123

She

smi les . He

smiles and ex i t s

the room,

10 EXT. FRONT STEPS, CYBIL S SHACK -

DAY

: he Driver , MURPHY and

his

passenger

HANSON

smooth,

tough

and

.ready for ac t ion,

g t

out a t

the

same t ime. Hanson

ge t s

in

the

back

with

GUS.

loyal and looking

to

belong,

and

F ~ ~ K L I N a z e ~

master

who j u s t wants to k i l l

somebody.

Murphy ge t s

out

and s t re tches , hi s back to Cy b i l s

shack.

MICHAEL

(of f screen)

Hey

Murph.

Murphy turns to

see , Michael

as he

walks

by Jesse who s

playing

with

his guns.

Jesse watches Michael walk towards Murphy.

Michael and Murphy

approach

each other . Like

two gun- s l inger s

from

another

t ime. Old f r iends , but not.

MICHAEL

Hey Murph,

lookin

sharp .

MURPHY

Hey

Mikey, you look good you fee l good?

Enjoying your freedom?

MICHAEL

A in t

f ree

yet .

MURPHY

Oh

come on.

t

• s a whole lo t

b e t t e r

than

tha t

cage

we shared. Big

sky

lo t s

of

space .

MICHAEL

Not enough water for me.

MURPHY

Always gonna•

be somethin

with you.

MICHAEL

Yeah, well you know

me.

MURPHY

Who s

the

kid?

Murphy

looks pas t

Michael , Off Murphy s look, Michael

turns

and sees

Jesse leaning agains t

the s ide

of the Diner now.

MICHAEL

I don t know.

MURPHY

Well

looks l i ke

he

knows

you?

7


9/123

M r c i j A ~ i . ; l , ::>

. _ , . .

Fuck

M':lrphy ~ ~ ~ ~ , - ~ i . - ; ; 1 < · ~ ~

: w · f t h · · ~ · · a : ~

doe sn t

make

h1m my partner

MURPHY

T ha t s r i gh t I 'm your par tne r ,

you

:"eady

to play .

MICHAEL

· ~ always ready to

play.

Murphy and

M i c h G ~

walk towards the ca r .

GUS

Yoh

Michael ,

whaas ' uupp

FRANKLIN

1

.'


10/123

,.;:, ...

- : { ~ : ; t f ~ : . ~ t - ~ ~ K L I N

Look

. i t

tha t , look a t tha t · Mean man .·

t h a t i s mean.

9.

Michael · s seen it before. he

turns

away. Michael i s cur ious ly

t ~ x t e d as they pass

a

t r uck pu l l ing

a sa i lb o a t .

MURPHY

What

are

you

so

~ ~ i e t

about?

MICHAEL

I t o ld

ya,

I

hate

the deser t .

MURPHY

I know

for the

second t ime now, it s a

temporary

s i tua t ion

Michael . Fuck

...

It s

c l ea r

Michael ' s

somewhere,

Murphy jus t can ' t

f igure

out

were. Gus l eans

in.

GUS

Death-match th ree thousand In

the red

corner

Frank

Sina t r a

and

in

the

blue

corner

Elvis

Who

wil l win th i s bout

of

the

century?

FRANKLIN

The

chairman

of the board

and

the King

are

lookin '

mighty mean tonight

H NSON

( imita t ing

Howard

Cassel l )

It s t ru ly

a

s igh t to behold.

And

t h e re ' s

the b e l l . Round

one

i s o f f ,

the King

s t eps in with

a

bruta l blow to

the

Chairman's nuts .

GUS

But wait the King has s l ipped

and

old

blue eyes comes in

with the I t a l i an

neckt ie . The King i s

down,

the

king

i s

down. the

king i s ...

l lA EXT. DESERT

RO D

-

D Y

The

Brakes screech,

t i res

burn

as the car

comes

to

a

sudden

s to p .

12 INT.

MURPHY'S

C R

Quiet

...

Murphy

turns

to

the

back

sea t .

MURPHY

Who

sa id the

king

i s down?

MICH EL

Damn

it

Murph,

l e t me

know

when your

gonna do that ...

Murphy

turns

to Michael.


11/123

MURPHY .

Did I say something to

you?. theri' 'shu't"""'

the

fuck up.

Who

sa i d the

king i s

down.

H NSON

Jesus Murphy

we' re

j u s t

having

a little

fun.

MURPHY

I know so who s a id i t ?

GUS

I did .

MURPHY

Well don ' t say it any fuckin '

Murphy

gives Gus a couple

head

smacks.

GUS

I t

was

a joke.

MURPHY

more

And

it

wasn ' t

fuckin ' funny.

Sina t r a ,

fuck Sina t r a nobody fucks with the

King

and

nobody

ever says he ' s down.

Frankl in breaks

i n .

FRANKLIN

Hey Murphy we a l l love

the

King.

MURPHY

Yeah

GUS

Yeah Sina t r a

could never

kick

his

ass .

MURPHY

10.

That ' s

fuckin r igh t .

urphy

looks

l ike he

ould

ki l l

someone

then

This

i s a tense moment

t ha t could

explode any second.

The

s i l e nc e i s broken when Michael s l i de s in

a CD

The

soothing

sounds of

Elv is '

In The Ghetto• come flowing

out . Murphy tu rns and

s t a r e s a t Michael. Murphy

puts the

car

in

dr ive .

GUS

(under

his

brea th)

He j u s t got a lucky shot

in

i s a l l .

Frankl in

motions to

Gus

with

his hand to shut

the

fuck up.

MURPHY

See what

I

put

up with.

MICHAEL

Hey Murph,

there

your f r iends .

The

keep

d r i v i n ' .


12/123

FRANKLIN

Hey Murph,

what s

the

smar tes t th ing

ever

came out of a

b i t c h s

mouth?

MURPHY

What?

GUS

Eins te in ·

s

cock.

Murphy

s t a r t s to smile then crack up. Michael begins to laugh

as wel l .

The

t ens ion dra ins away as the

whole

car i s l aughing

except Hansen.

FRANKLIN

Hey,

fuck

you,

Gus.

GUS

What?

FRA... iKLIN

That

was

my joke . I

j u s t

to ld

i t to

you

th i s

morning.

GUS

No you d i d n t .

HANSON

Yes

I

did

Murphy locks eyes with him

in

the

rear

view mirror . The car

cen t inues

down

the road, the rad io plays.

l 2A EXT. MURPHY S CAR

The

car

races down the

road, " In

The

Ghetto•

eas ing the

way.

l3

EXT. DESERT FIELD HANGER - I-'...AGIC HOUR

The

Lincoln s l i de s to a s top a t

an

AIRCRAFT

HANGER.

Everybody

hops

out

and walks

pas t

an old Bel l Huey hel icopter .

Michael

and

Murphy

approach

JACK, a

crew cut ,

o ld

school,

Vietnam throwback.

Jack smokes a cigar , s t a r ing a t the

sunset . He smiles when Murphy s teps up

to him.

MURPHY

Good

to

see ya Jack?

JACK

Murph.

Michael .

How's it feel to be out?

MURPHY

You

know

how it fee ls .

JACK

Yes I do

MURPHY

You get em'?

11


13/123

J e s s e

l ooks

to

Michael, then h i s a o t h e r

_

CYBIL

Your wal le t ?

MICHAEL

I had

it when

I

p a ~ d : ~ e : : h e c ~ a : the

c o f f e e shop

and

I m ~ ~ s c

back : r a c k ing my

s t e p s .

J e s s e

g e t s

up

and

walks to h i s

bedroom.

CYBIL

J e s s e . Get

back here .

J e s s e

c lo s e s and

locks his ~ c r o o o . doer . ::r·bi

1

knocks.

CYBIL CCOt-. T : J )

Did

y o ~

s t e a l

t h i s ~ a n s

~ a l : e : ? ? J e s s e

open

t h i s

door

r igh t

~ ~ Jesse

He

doesn

·

t . Cybi l

tu rns and

~ e a d s

: ~ : : _ : v : ~ g

CYBIL

CONT :))

He

does

t h i s

a l l the t ime. H ~ =

~ e

t ha t

c ha i r ,

t ha t

one

the re .

--..

..... ...

- __

Michael

does .

She

climbs and removes a

: : : e in

the c e i l i ng .

CYBIL CONT · ::>)

He's l i ke a fe r re t . Takes

w r ~ : e v e r he

g ts his

hands on.

Hides t

a::

~ P here

Cybi 1

s t i c k s he r

head in

the

era.,.·:. spa::e.

s:: e

sees Michael · s

wal le t

and next to it his money.

Michael

watches

Cybi l ' s

body

mc·.:e. :::::e

: : : = ~ s

r.:.m

::.is

· , . .allet

w i t h an

a p o l o g e t i c

sm i l e .

CYBIL

( C O ~ T : J )

I · m

r e a l l y sor ry abou: ~ ~ l S .

Michael smi le s and

checks

the

MICHAEL

There was

CYBIL

Money?

MICHAEL

Four hundred and s i x t y dc : l a r s .

money.

Cybi l

r eaches in , t akes

a mome::: a ~ i p ~ : : s out

the

cash.

CYBIL

This i t ?

MICHAEL

( count ing)

J u s t about .

13


14/123

CYBIL ,

I ·

m

sor ry

for

a l l t h i s tro'llble.

r e a l l y not a

bad kid.

Jesse ,

looking

t : t rough the crack of his

bedroom

door s t i ck s

his

middle

f

i ~ g e ~

up a t

Michael .

MICHAEL

Yeah.

: ·

m

sure h e ' s

an

angel .

Cybil tu rns to ~ e s s e who puts h is f inger

down j u s t

in t i ~ e .

CYBIL

At

e a s t

when

his hands

are t i e d up.

Michael makes a : ace

a t

Jesse and stops

when

Cybil tu rns .

CYBIL (CONT Dl

I ll ge t your

money

back.

MICHAEL

j · ~ s t twenty do: lars .

CYBIL

... how about I

make it

up to you with

another

cup

of coffee?

5 INT.

CYBIL'S BEDROOM

- NIGHT

The

head

board slams a ga in s t

the

wall , again . The bedroom

door

opens s l i g h t l y . Michael throws

a

shoe and it

slams

shu t .

5A INT. CYBII... S BECROOM LATER

Cybi l ' s

as leep . a lone.

Mike's hand

reaches

in

and places a

SNICKERS

bar

o ~ :he p i : low, next to her head.

l 6 INT. MICHAEL· S 3E.=ROOM,

LAST

CHANCE MOTOR :NN - MORNING

Michael

walks out of the bathroom toweling of f . He

s t a r e s

in to

the

c lose t .

:.hen

puts on a large co l la r ed ....-hite s h i r t

and checks

it

out in the mir ror .

Michael

pul l s

out a white

Elvis

out f i t .

The

t ransformat ion

in to Elvis ends

with a f i n a l

turn to

the mirror . He's ready.

FADE

OUT

17 EXT. LAS

VEGAS

- MAGIC HOUR

SUCH

A NIGHT•

by

ELVIS

PRESLEY

thumps

a

beat ,

from

high

above

we

see

VEGAS a t

ts

bes t .

The

se t t ing sun spark les

agains t

the

huge mul t imi l l ion

dol lar bu i ld ings .

THE M M

GRAND, NEW

YORK

NE'.N YORK, MIRAGE, CEASAR S and THE RIVIERA.

Huge bi l lboards

g:.eam

' ' i th blinking

l i gh t s .

S:EGFRIED and

ROY, JACKIE MASON. BET : E

MIDLER

and a

f lash ing bi l lboard for

the I N T E R N T I O N ~ ELVIS

CONVENTION held a t THE

RIVIERA.

THE

MIRAGE v o l c a ~ ; : erup ts ,

t our i s t s

applaud.


15/123

J CK

(po in ts to the hanger)

In s i d e .

Behind

them, Gus i s doing

a c l a s s i c Elvis mart ia l a r t s

move.

As Frankl in walks from the Hangar

with

the GUITAR CASES.

GUS

Hey,

Frankl

in

FRANKLIN

Yeah?

As Frankl in tu rns , Gus

f in ishes the

move poin t ing his f inger

a t him and FARTING loud and

long.

Hanson backs away.

FRANKLIN

(CONT D

Stop,

you re k i l l i n me.

Michael

shakes his head in disbe l i e f .

Murphy

and

Jack

exchange smi les .

JACK

Kind of a loose group you

got

there . They

d ia l ed in?

MURPHY

Thei r good

on

s tage.

JACK

Gonna

be s orne show.

MURPHY

S t i l l time you wanna come.

JACK

Naah , I ll j u s t

t a k e

c a r e o f y o u r

r i d e .

MURPHY

I know

you

wil l .

14

INT. CYBIL'S APT. - NIGHT

There s a knock

on

the door. Cybil

opens i t ,

reveal ing

Michael

in t he hallway.

CYBIL

Michael,

nice to see you again. Would you

1 ike to come in?

Michael

looks

a t

his watch.

MICHAEL

I c a n t . Well, maybe for a second

or

two.

Michael en te r s and

notices Jesse

s i t t i n g on

the

couch, s t i l l

wearing hi s cowboy hat and hols te r .

MICHAEL (CONT D)

You haven t seen my wal le t by

any

chance,

have

you?


16/123

18

19

· .

~ . : ; . . . . _ . -

~ : : ~ ~ ~ ~ : : k

INT. THE MAIN

FLOOR, RIVIERA:HQT£

~ ~ : C A S I N O -·-MAGIC HOUR

-_-:. : ~ . - ; . ~ ~ : ~ . ; - . - - ~ ~ : - = - g . : ~ ~ ~ §

One of

the

only r e t ro c a s i n C : : · ' ~ - ~ ' l e f ~ - ; · c ' T h e

Riviera

money

machine i s in fu l l swing.

INT. THE CASHIER S BOOTH

Stacks

of money

s tacks

of

cash .

flow through cash

counters .

lOO s, SO s ,

20 s

...

Clerks

bind

20

INT. THE

LOBBY

A la rge f l a shy s ign posted by the main entrance bears a

photograph

of

THE

KING.

The

s ign reads

. . .

LAS VEGAS

AND

THE RIVIERA PROUDLY DECLARE NATIONAL ELVIS

WEEK. SEE THE DANCING ELVIS • ALONG WITH A

WILD

ARRAY OF

ELVIS

IMPERSONATORS

FROM

ACROSS

THE GLOBE .

Throughout

the

i n t e r io r

of the cas ino , TOURISTS

s t a re

in

amazement a t the leg ions of ELVIS impersonators .

A black,

r o l l e r

skat ing

ELVIS

(ROLLER

ELVIS)

skates

through

the

lobby, spinning, dancing and s inging. An

old

lady

with

two hear ing a ids plays

the

s lo t s .

She turns down her hearing

a id and pul l s

the handle.

21 EXT.

LIGHTSHOW WALKWAY

- NIGHT

Touris ts walk by. Murphy, as

Elvis ,

in

black

l ea the r jumpsuit

and cape i s

jo ined

by

Michael,

in white ,

Hanson in

yellow,

Gus

in

blue and

Frankl in in red.

Each carr ies gu i ta r

case

and wears chrome sun glasses and

l ea the r

gloves. Our

boys

never

looked

bet t e r . They s t ru t in diamond

formation

s t ra igh t

ahead,

on

a mission.

22 EXT. RIVIERA

MAIN ENTRANCE

-

NIGHT

Our

f ive

ELVIS S

enter the casino

doors and walk conf ident ly

through the crowd.

Michael peels

off

towards the

elevators .

23 INT.

TOP OF THE RIV

On

the stage , team

of

f i f teen ELVI

(THE DANCING ELVIS )

are performing a

choreographed

rendi t ion of SUCH A NIGHT .

24 INT.

THE

LOBBY BAR

A loca l

NEWS

REPORTER in terv iews severa l Elvis Impersonators .

15.

Behind

her , TWO

LARGE PIT BOSSES watch everything.

NEWS REPORTER

Here we are

a t

the

Riviera Hotel and

Casino and it s Interna t ional Elvis

week.

So t e l l me,

you r e

from I re land,

what

exac t ly possesses you to t rave l

across

the

globe paying homage

to a performer

t ha t

died

over

twenty

years ago.

IMPERSONATOR

Fi r s t

of a l l

Elvis was not j us t a

nerformer -

he

was a god.


17/123

16 .

-

.

( b ~ . f ~ ~ O N A T O R

12

·_ i ~ < ~ i - t

: ·....

- ~ ~ - · ~ - ~ - . .

nd

s e c o n d < h e ~ · a i t i t .

dead

24A

INT.

THE

LOBBY

o ~ l e r Elvis

ska tes

r igh t pas t Murphy.

He

makes a sharp

U

tu rn

and

catches

up to the

group

as

they

walk.

o ~ l e r

Elvis taps Murphy on

the shoulder

and

smi les

a t him.

ROLLER ELVIS

Murphy my - . : ~ n . long t ime

no

see.

Murphy looks a t

Rol le r

Elv is

and shrugs his

hand

o f f .

MURPHY

Back off .

Murphy

keeps

walking ·..,..ith hi s group. Roller Elvis doesn · go

away. He ro l l s

back over to

Murphy.

ROLLER

ELVIS

Ahh

come on

now,

you can ' t

forget

your

old f r i ends .

Murphy

g r i t s

his

t ee th and

keeps

walking.

25 INT. ELEVATOR

Michael

enters

an

e leva tor on

the ground f loor of the cas ino .

Ins ide

the

elevator

are

three tour i s t s , an elder ly

couple

and

a

businessman.

The

Old Lady

smiles a t

Michael as

he en te r s

the e leva tor . Then

she

tu rns to

her

husband.

OLD

LADY

Honey,

doesn ' t he look

marvelous?

The man

nods ··YES . . .

OLD LADY (CONT'D)

Sir , . . .

we th ink

you look j us t marvelous.

Michael looks a t

the

lady

through his chrome

sun glasses .

MICHAEL

Why

thank you, thank you very much.

26,

27

OMIT

28 INT. THE LOBBY

Rol ler Elv is won t g ive up.

MURPHY

I never met you in my l i f e , now

be

smart

and take a fuckin

walk.

ROLLER

ELVIS

Hey man

don' t be crue l ?

Rol ler

Elvis reaches

for

Murphy s shoulder again,

but

Murphy

elbows him in

the nose,

breaking

it

on impact. SMASH


18/123

~ · · · . : . - ; ? ~ - ~ ~ ~ - . . . . , ·. ._ ·-\ · .•.

R o i l e r : : ~ 1 v i s , ~ u t cold

co l lapses

on the

f loor

The four ELVIS·

S continue

toward the cashiers

booth.

A crowd s t a r t s to

ga the r

by Rol le r Elv is .

The old

lady with hear ing a ids ,

obl ivious ly ,

pul l s the

handle .

The four ELVIS· S turn

in to

a doorway just before

the

cashiers

booth. They approach

a

locked s ta in less

s tee l

door.

The

CROWD grows

by the second

near Rol ler Elvis . Blood flows

from his nos t r i l s - st ll out cold. A concerned lady

ye l l s .

LADY

Someone get

an

ambulance

28A INT. ELEVATOR

The elevator doors open. The

:ouple and

the

Businessman get

off ,

l eaving

Michael

alone

ins ide.

The

doors

close .

29 INT.

TOP

OF THE

RIV

BALLROOM

THE DANCING

ELVIS' gyrate

to

the

beat

of SUCH

A NIGHT . All

f i f t een Elv i s

hi t

the

famous kara te

stance and palm punch.

29A INT. ELEVATOR

Michael does the

exact

same

Elvis move and punches

the

"emergency stop"

button

and

the e leva tor jerks

to a

stop,

alarm RINGING.

29B

INT. TOP

OF THE

RIV BALLROOM

All f i f teen Elvis reverse

palm

punch high into the a i r .

29C INT.

ELEVATOR

Michael matches the

reverse

punch and sprays the camera lens

on

the

ce i l ing with

black

spray

pa in t .

30-33

OMIT

34 OUTSIDE CASHIERS BOOTH, SIDE ENTRANCE

The

gui t a r

cases snap open

and

each ELVIS removes an

M16

"Shorty"

sub machine gun.

They

lock and

load

the i r weapons.

Gus pul l s a

p i s t o l l ike

s l ap hammer equipped with C02

car t r idge and POPS the lock cyl inder .

34A INT.

ELEVATOR

Michael f l ings

open hi s gu i t a r case,

yanks out his

shor t i e

"Ml6" and re t r ieves a bat te ry powered screw gun.

He

goes

to

work

on

the

elevator

panel

pla te .

The

alarm blares .

17


19/123

34B INT. SECURITY

COMMAND

· c ~ ~ h ~ I O N

,

- · - ~ - - ·

A

horse

shoe

shaped wall of

s i x t y

Panasonic 20 inch

co lor

monitors disp lay every card

and

craps

table

in the cas ino as

well

as

the

en t i r e

cas ino f loor .

A PANEL

OPERATOR,

tough yet

sexy,

not ices a

l i g h t

bl ink ing on

the

elevator board. She

picks

up

the phone.

The

SUPERVISOR

approaches the

PA...'lEL

OPERATOR.

35-37 OMIT

SUPERVISOR

What· s the problem?

PANEL

OPERATOR

Emergency s top

on

nine .

SUPERVISOR

Probably

some

couple

screwin

again. Do

we

have visua l?

PANEL

OPERATOR

No s i r . Camera in

car

8 s d o · ~ r n

38 INT. CASHIERS BOOTH

The

four ELVIS S

en te r the booth. The employees are shocked.

A BIG

RED

BUTTON,

Hanson

smacks

it

The

black

s ta in less s tee l

ro l l down gates SLAM SHUT

39 INT.

THE

LOBBY,

BY THE CASHIER S

BOOTH

Very few

people

are

by

the cash ie r s booth. They re busy

watching the Roller Elvis commotion.

40 INSIDE

THE CASHIERS BOOTH

Everyone

moves swif t ly , each ELVIS has the i r own

job. Murphy

hops up onto the cash ie r s counter

with

his shotgun.

MURPHY

Now

everybody keep cool and get your

fuckin heads on

the f loor

nothin

worth

dying f loor .

Gus pops the lock on the rear s t ea l door. Hanson and Frankl in

fol low

opening an

empty duffe l bag. Murphy s crowd control .

MURPHY

(CONTI

0

Heads

down, eyes

closed.

Nice and calm.

40A INT. ELEVATOR

Michael

hot

wires

the

elevator .

40B

INT. SECURITY COMMAND STATION

SUPERVISOR

Switch

to

override,

br ing

i t down for a

service check.

Have secur i ty

wait ing.


20/123

· ; ~ ; . : ~ - , ~ ~ ~ ~ ~ ·

The Panel

Opera tor

presses the over r ide but ton.

-.

40C INT. ELEVATOR

As Michael works, suddenly

the car begins

to move.

MICHAEL

Whoa.

He sees the panel

read

8, then

7,

6.

He

s t a r t s pick:ng ~ ~ e

wires in

the

panel .

41 OMIT

MICHAEL {CONT ·D)

Red wire , red wire.

42

THE

LOBBY - ELEVATORS

The

Three

Guards

approach the c losed elevator doors .

42A INT. THE CASHIERS BOOTH

Franklin

and

Hanson enter the

s t a in l e s s

s t ea l

vaul t .

They

begin

c lea r ing

out the cash. Stacks

of

hundreds and f i t ~ e s

are

quickly

loaded

in to a la rge

s ized

duf fe l

bag.

42B

INT. SECURITY COMMAND STATION

The Panel

Operator , Supervisor and a

Secur i ty

guard watch

Michael· s elevator

door

with the Guards s tanding

outside ::

She

looks from the elevator

monitor to

the cas h i e r s b o o t ~

monitor and sees our four Elv i in

act ion.

PANEL OPERATOR

HOLY SHIT Main

booth, scramble

secur i ty .

42C

THE

LOBBY

- ELEVATORS

In the

lobby

by

car 8 wait three secur i ty guards.

42D

INT.

ELEVATOR

The

car

still descends 21

1. The elevator

s tops

on the

l : :cty

f loor . Michael searches

and f ina l ly

f inds a red wire. The

elevator b e l l r ings . "DING"

He snips

the wire

to

t ~ e ~ ~

power

causing the alarm to s top and the

l igh t s

to

go

o ~ t

42E THE LOBBY - ELEVATORS

The three secur i ty

guards

wait

for

the doors

to

open.

43 INT.

ELEVATOR

Using

a small

f lashl ight , Michael spl ices

a yellow

a ~ d b l ~ e

wire

toge ther

causing

the

l igh t

to go back on.

43A INT. SECURITY COMMAND STATION

PANEL SUPERVISOR

on the

phone)

·

Call

Vegas

PO we need back up.

1


21/123

44

OMIT

5

EXT. VEGAS

DESERT

- SUNSET

Music,

50

WAYS

TO LEAVE YOUR LOVER

(BUSTA RE-MIX) .

The blades

of a hel icopter chop through the a i r .

46 INT.

HELICOPTER - St.JNSET

Jack

s ings

in the cockpi t

of

his he l icop te r as

he

races

through the

empty d ese r t . He·s wearing his Vietnam helmet

tha t reads - DEATH

FROM

ABOVE .

He

f l i es low and

fas t .

47 OMIT

JACK

Get

on the

bus

Gus.

no

need to discuss

much. l i s t en to

me

Lee

and se t

your se l f

f ree .

48

TOP

OF

THE

RIV

The

15

ELVIS S

gyrate to

the

beat of SUCH

A NIGHT .

49

INT.

CASHIERS

BOOTH

Franklin

and

Hanson

ex i t

the vaul t and hand the cash to Gus.

Murphy

hops down from the cash ie r s

counter .

MURPHY

Nice doin

business with

ya.

The four

ELVIS S

ex i t the

cash ie r s ·booth

swi f t ly .

49A

INT. SECURITY

COMMAND

CENTER

SUPERVISER

They re

coming out .

Do

not

engage on the

f loor .

(he looks down a t

bluepr ints )

Direc t

them

to

sec t ion B4l and i n t e rcep t

there .

. B41

50 INT.

THE

LOBBY. BY THE CASHIER'S BOOTH

The ELVIS S walk fa s t towards the reg is t ra t ion desk without

a t t rac t ing

a t t en t ion .

As

they turn

a

corner , they spot

several secur i ty guards, they turn. Another secur i ty

guard

approaches.

MURPHY

They re movin us.

Murphy

looks

ahead to the e leva tor s .

MURPHY (CONT' D

Anyone

gets

between us and

Michael,

it s

on.

The

guys

march

determined through

a small cor r idor

towards

the elevators . A MONEY

CART GUARD

drives by.


22/123

I

MONEY CART GOARD (

0 . s

Freeze, don ' t move

Murphy

tu rns

to see the ~ o n e y c a r ~

guard

with

h i s

gun

drawn.

Secur i ty guards move in

behind

hi:

Murpny

l e t s

of f

cont ro l led

bu r s t h i t t i n g t ~ e

Guard

t ~ e ches t .

Suddenly

TWO

GUARDS

cut

t ~ e g r o ~ p

=ff

from the

e l e va t o r s .

Franklin

l e t s

loose with a

~ ~ i l

c:

~ ~ ~

f i r e . The

Guards :u=p

behind two

l a rge support col;.unns.

? r a ~ k l i n

empties

a

c l i p

in to the columns as the

group

keeps

:cov:.ng.

THE

ELEVATORS

The th ree

guards

tu rn ar:d

r ~ ~

t ~ a r d s the ac t ion .

The Old Lady cont inues playing s : c : s .

shots and

the people

sc reaning .

st.e

can· t hear

the

PEOPLE

in

the lobby run fer

cover a ; i a n t

stampede.

chaos

makes

it impossible for t.he : ; ~ a : : : d s to get

a

shot

The

News

Repor ter

tu rns to

see • ~ a : s

happening.

NEWS

R P O R T ~

( to camera

:nan

Turn

around Get tha t

Jus t

as

the Camerman turns , he ' s

"....:.

by running

bys tanders .

the

camera f l i e s

from his

ha.nds and la.'1ds

on

the

ground s i l

r eco rd ing .

51

THE

ELEVATORS

Michael

opens the

elevator

door

-·· :.::e :.::bby

and

f inds

himself face to face wi th a guar i . ~ ~ h a e l ~ ~ o c k s him : :ut .

He

waves the o ther ELVIS· S on.

from a l l s ides .

MICHAE:

Come on

I t ' s a f i r e f igh t . A ba t t l e e r u ~ ~ s :.he casino

f loor

as

each

man t akes

his

posi t ion .

Shcot

and

move,

shoot and mc·..re.

Walls d i s i n t e g r a t e . Guards

go d ~ ~ ~ r p h y

and

his

boys are

very good a t

what

they

do.

Hanson walks without fear , l ay ing

=.:Ytt :l

S-.Jppressing f i r e .

ie

tu rns

a

column and runs

in to

a

Guard.

He

smacks

the

Guards

gun in the

a i r ,

catches it and ~ : i e s the c l ip

in to

him,

casual ly

dropping

the gun

and mc·:i::g

on.

Clips drop and new

ones

are

i n s e : : : : . e ~ .

She l l cas ings

h i t : ~ e

f loo r . Secu r i ty guards re load.

: :he=s

are

h i t

and pu l l ed

:.o

Safety .

Several

Elvis i personators

are a::d go

dmom .

Murphy re loads

his

s h o t g u ~ a::d

= = ~ = : : : ~ e s

f i r e . He w h i ~ s

around support

column

c ~ ~ : n g

: : :

:o :ace A i t ~

tNo

~ u a ~ ~ s

21


23/123


24/123

56

· ~ t ~ ~ ~ ~ ; · · ·:

The group helps ca r ry t ~ ~ n k l i n to the emergency

s t a i r

case .

He's hur t bad and i g h t ~ · to

s t a y

conscious.

Frus t ra t ed ,

Murphy

grabs Frankl in and

throws him over his

shoulder .

INT.

THE LOBBY

The lobby of the Hotel i s l e f t ln u t t e r ru ins .

The

Secur i ty

Guards

d o n t

know

what h i t

them

but are reforming

quickly.

The Two Pi t

Bosses

take over. one l i s t en s

to an

earpiece .

PIT BOSS 1

The

roof

You men

fol low

me.

PIT

BOSS 2

The res t of you with me, now

56A

EXT.

VEG S

SKYLINE - NIGHT

Jack

f l i e s towards the

Vegas

s t r ip .

57

INT.

EMERGENCY

STAIR

C SE

-

NIGHT

Murphy

humps Frankl in up the

s ta i r s ,

the blood s t a in s

his

shoulder

and back. The

group

busts

through

the roof door,

sounding the emergency

alarm.

58 EXT. RIVIERA

ROOFTOP

- NIGHT

They race out to f ind no he l icop te r . They move

to

the

cen te r of the

roof

looking a l l around.

H NSON

Damn

i t ,

where ' s

Jack

Michael

looks

a t

Murphy.

MURPHY

He' 11

be

here .

59 INT. B LLROOM

The 15 ELVIS'S bow

to

the

crowd

in

the audience. The Annoucer

stands by the IDicrophone

and

yel l s

out to the crowd.

NNOUNCER

How

about

tha t l ad ies and

gentlemen,

THE

F BULOUS

D NCING

ELVIS'.

The

audience cheers .

The

15

ELVIS'

leave

the

s tage .

60

EXT.

ROOF TOP

Murphy

hands

Franklin of f to Michael

and grabs

hi s M16.

He

tu rns

and

kneels

down. His eye squints

as

he s igh t s down the

b ar re l .

Michael

kneels

down

behind him holding Franklin .

Hanson and Gus do the same t h e i r

weapons

poin t ing the other

way. Si lence, nothing but the wind for a moment of e tern i ty .

Suddenly a Securi ty Guard

appears

in the

door.

Double

tap

from

Murphy

and

he s spun around and down, outs ide the

door.

Murphy

s tays sighted.

A

second

f igure

appears

and

again,

double tap

from Murphy and

the second man

i s

down.

;


25/123

61

-.

/

:

· . ~

· · ~

The

Secur i ty

Guards back up

as the

second one f a l l s

back

i n to

the

s t a i r wel l dead.

LEAD SECURITY

GUARD

V

0

Whoa, everybody hold

PIT

BOSS

1

Ccme one

get

out

there .

LEAD

SECURITY GUARD

Fuck

yr)•_. Boss.

62

EXT. ROOF TOP/ EELICOPTER

All of a sudden Pit Boss 2

and three

secur i ty

guards pop

up

through the roof s t a i r s on Hanson

and

Gus' s ide . They open

up

on fu l l auto showering the s t a i r s with a

hundred

h i t s .

Suddenly the he l icop te r f la res in fo r a 180 degree landing.

Murphy

s t ays

s1ghted

on

the

door.

Michael throws

Frankl in

i n to the he l i cop te r . The

gang

scramble in themselves. Michael

turns to

help Murphy

in.

MICHAEL

Let ·

s go

Murphy whips around

and

jumps

onto the he l icop te r skid.

MURPHY

GO, GO

63 INT. BALLROOM

The

announcer

says the

famous

words.

ANNOUNCER

Ladies and gentlemen

64 EXT. HELICOPTER, THE

ROOF

- NIGHT

The

he l i cop te r elevates j us t

as

the Pi t

Boss and his team of

Secur i ty

Guards

burs t

through

the

2nd roof door. Murphy,

s tanding

on

the

skid

cl icks his M16 onto ful ly automatic and

24

l e t s loose

with

a barrage

of

f i re .

RED NEON

explodes

with

a

shower of Sparks forc ing the guards down

again.

Jack

cu ts

a sharp turn dumping the

hel icopter

sideways over

the

edge

of the bui ld ing.

The

boys hang

on

for dear

l i f e

as

the he l i cop te r goes s t ra igh t down.

ANNOUNCER

(Voice -

Over)

ELVIS

has

l e f t the bui ld ing .

The

Secur i ty

guards run to the s ide

ready to

keep

shoot ing.

The Pit Boss 2

stops

them.

The

he l icop te r

hugs

~ ~

ground,

rac ing

away a t top speed.


26/123

.--.t ,

6 s ~ : } ~ : ~ f N T _ THE LOBBY

In

shambles. The

deaf old

lady

-yel ls

out

as the ' screen

disp lays

t h ree red cher r i e s . Money

pours from the bottom of

the

s lo t

machine. CHING. CHING. CHING, CHING, CHING, CHING

OLD

WOM N

Yeah

baby.

come

to

Ma-Ma

Elvis

impersonator 1. helps

Roller

Elvis to hi s

wheels .

SECURITY GU RD

You

a l r ig h t ?

ROLLER

ELVIS

Na man I 'm a l l shook up .

66 EXT.

VEG S

DESERT -

NIGHT

The he l i cop te r

f l i es off

in to

the

empty dese r t .

67

::NT. HELIC'JP'TER -

NIGHT

Green

l igh t s

inside the hel icopter .

The loud roa r

of

the

engine bare ly drowns out

Frankl in ' s

screaming. Michael,

Hanson

and

Gus are a t his side . Murphy

pushes

them away and

r i p s

off Frank l in ' s

s h i r t

reveal ing a

large bleed ing chest

wound. Murphy

uses

his sca r f as a tourn iquet ,

then

grabs

Michael 's hand and places it over the wound. Frankl in

screams.

Murphy

puts

pressure on Frankl in 's neck wound.

MURPHY

Keep

pressure

on

i t

FRANKLIN

I 'm

dying, oh

Jesus,

Fuck me I 'm not

gonna

make

i t . . . I 'm not

gonna

. . .

MURPHY

You can

hack

i t You

hear

me You can

hack i t , now just hang on.

The

guys t r y to

help Frankl in but

blood

i s

squ i r t ing

ever'Y\'{here and the

pain

i s jus t too

unbearable for him.

FRANKLIN

Mama help me mama.

Franklin

t r i e s

to speak then

convulses .

He arches hi s body

and

co l lapses .

Murphy pushes

the

guys away

and

pounds

on

Frankl in 's chest ,

then

moves

to

give

him

mouth

to

mouth,

more

pounding

but

blood pours from

hi s

mouth, i t s

no use. He dies .

MURPHY

Fuck 'em.

Murphy looks for

a moment then

moves to the open door. He

puts his

hand

to his hair

and pul l s

it

off .

I t s a

wig.

Murphy

looks a t the h a i r for a beat then tosses i t out the door.

Jack

turns

to the boys from the p i l o t s seat .

25


27/123

68

·.· .- -

- : ; . ~ . : l A C K

.hF-

He okay?

Michael

looks

a t

Murphy who i s a l ready

in another world.

Murphy grabs some water

and

s t a r t s

dr inking . The LIGHT on

Murphy s face changes and we

hear

the SOUNDS OF VIETNAM as

the

night

turns

to

day

and Helicopters from Vietnam

are seer.

out

the

door.

MICHAEL

No.

Murphy, hand re s t ing

ov r hi s gun s ta r es

out

the

open

door.

EXT.

DESERT

NIGHT

THE

MUSIC

- THE

DOORS

SLOW

MOTION

- The black

s i lhouet te

of

the he l icop te r hovers ov r

the

empty

deser t

landscape. We see

and hear the blades turning.

The dark s i l h o u e t t e of Frankl in s body fa l l s toward the

ear th .

The

helicopte.:- f l i e s out of

frarr.e.

69 INT. MICHAEL'S APARTMENT - NIGHT

A but te r kni fe

i s

used

to

open Michael s door .

Jesse

en te r s

Michael s apar tment

wearing

his

cowboy

hat

and

toy

p i s to l s .

He shuts

the door ,

turns the

l i g h t

on

and begins

snooping. He looks in the c lose t touching each a r t i c l e .

Jesse

removes

hi s cowboy

hat

and places

t

on the dresser . He

puts Michael s

fedora

on

and checks

himself in the mirror .

70 BATHROOM

The l i gh t

c 1

i cks

on.

Jesse

s t a r t s going

through

Michae

1 · s

s tu f f . He

grabs the shaving cream

then

s tud ies himself in

the

mirror .

He

t r i e s to look dis t inguished .

Jesse at tempts to shave

himself .

He

examines

hi s face in the

mirror .

Lef t ,

f ront

and r i g h t

prof i l e .

71 EXT. PARKING LOT,

LAST

CHANCE MOTOR INN - NIGHT

Michael s 59

Caddy

comes

to a s top. The car doors open

and

Michael ,

Murphy, Hanson and Gus wearing

pla in c lo thes

ex i t

from the car

with

the duf fe l bag of

cash.

72 INT. BATHROOM, MICHAEL'S APT.

Jesse r inses the excess

shaving cream

from

the razor .

73 EXT. PARKING LOT

Michael, Murphy, Hanson

and Gus

proceed

to Michael s

room:

74 INT. BATHROOM,

MICHAEL'S APT.

Jesse hears

foot

s teps and they

seem

to get

louder .

He

quickly puts

the

razor

back

and

races to the

front

door with

shaving

cream st ll on his face.

He

turns the l igh t

out .


28/123

75

EXT. MICHAEL S APT. -

NIGHT

Michael

puts the

key

in ,

opens

the

door

and they

a l l en t e r .

76

INT.

MICHAEL S ROOM

Michael

turns the

l i g h t s

on and

shu ts

the

door

behind him.

Gus and Hanson survey the

cheap

in te r io r .

GUS

Nice place you got he re .

H NSON

What a s h i t hole .

~ i c h a e l and Hanson

drop

the duf fe l

bag

on

the t ab l e in

the

main

room.

MURPHY

Where s

the

p i sser?

Michael po in t s .

Murphy

makes

his

way

to

the bathroom. ~ s

opens

the

r e f r ige r a to r .

77

B THROOM

GUS

Anybody want a beer?

Murphy en te rs the

bathroom,

approaches the s ink and washes

some blood

from his

hands.

His twin . 45 s s t i c k

u t

from hi s

b e l t ho l s t e r .

From above we see the top of Murphy s head as he pisses in

the t o i l e t . Moving to the

l e f t

we reveal

Jesse

s i t t i n g

in

the

shower, motion less wi th

shaving

cream on

his face.

Murphy f lushes the t o i l e t ,

shuts

the l i gh t o f f and

l eaves .

78

MICHAEL S ROOM

Murphy, sunglasses st ll

on,

s i t s on the bed and leans back,

the o the rs s t a t

the

t ab le count ing money.

MURPHY

So what do we got here?

H NSON

I th ink

w e r e gonna

need a bigger

t ab l e .

79

B THROOM

The

moonlight shines in through the bathroom

window,

i l l umina t ing Jesse who qu ie t ly

pushes

the shower cur ta in

back.

He s teps

out

of the tub

and approaches the bathroom

door . He opens the

door j u s t

a

crack.

80

MICHAEL S ROOM

The guys are

a t

the t ab le c o u ~ t i n g the cash which i s nea t ly

s tacked .

Murphy s

sunglasses

come of f .

27.


29/123

MICHAEL

So

we

topped

out

a t

th r ee

po in t two mil l .

Three

poin t two mil l , tha t · s a

l o t of

fuck in

cash.

Gus

s t a re s a t the t ab le of money.

GUS

That

i s

a

beaut i fu l

th ing .

MURPHY

Less Ja c k s 10 percen t .

GUS

Lot

of money

j u s t

to

f l y

a he l icop te r

d o n t you

th ink?

MURPHY

Would you r a the r we used a hot a i r

ba l loon?

~ u s

nods NO rea l i z ing

his remark

has

pissed

Murphy of f .

MURPHY

(

CONT D

Or

maybe

hang

gl ide r s?

Would you

r a the r

we used hang g l ide r s ?

GUS

I

d o n t

know how to hang

gl ide .

MURPHY

Well I doubt you know how to

f ly

a

fuck in he l icop te r

e i th e r .

I f

you

ask me

320 grand · i s well worth it Besides

Ja c k s

t ak in care of a bunch

sh i t you

d o n t even know about .

GUS

Sounds

l i ke you

got a deal , a bargain .

HANSON

What

kind of

sh i t ?

MURPHY

You wanna

t a lk about

sh i t , Hanson or

you

wanna

t a lk

about money?

Hanson

holds up his

hands

and s i t s down.

HANSON

~ · 2 8

Money.

MURPHY

(

CONT D)

Alr igh t , back to

business .

Where i s

Frankl in P i le?

HANSON

What are t a l l k i n about .

MURPHY

Frankl in ,

anybody remember him?


30/123


31/123

Tha t ' s

t h a t .

MICHAEL

Oh th i s

grea t . Le t ' s not

make

t h i s the

moment

where

it a l l f a l l s apar t

and

people

end up dead i ns t ead of

r ich .

GUS

We

don ' t need t h i s .

Not

here ,

not

now.

HANSON

Tha t ' s

r igh t

Gus, l e t s

keep t h i s s imple .

I ll

take

my end,

plus 25

percent

of

Frankl in ' s end,

. . . and I

11 take i t now.

MURPHY

I m

not

l e t t i n ' tha t

happen.

HANSON

Why

the

he l l not?

MURPHY

Cause t ha t would change the plan

and

when

plans change, th ings ge t fucked up.

HANSON

Well Murph, your going

to

have to

be

a

little more f l ex ib le .

M uRPHY

The plans

s tay

The whole room

gets

s i l en t . Hanson i s surpr i sed .

MURPHY

( CONT

D)

We have an

arrangement

in Boise where we

wil l

get 70

cents

on

the

dol l a r . We l l

keep tha t arrangement, a l l of us.

Then

we

switch back to Sea t t l e

to meet

Jack in

three

days to

get our

new passports and

iden t i t i es . After

t ha t ,

I m

over the

border to Canada. You can

a l l

get on tha t

fuckin boat with Michael for a l l

I

care

...

MICHAEL

Nobody

gets

on

my boat but

me.

Murphy

s tays

a t

t ab le

foot

on

the

cha i r .

MURPHY

... Right , whatever ...

But

i f

anybody goes

before then, t he re ' s

a

chance you spend

money,

you

get

popped

and chances are

you

t a lk .

Ei ther

way.

I m not

takin ' that

chance.

HANSON

Murph,

I 've

been

doin th i s for

a

long

t ime and never dropped

dime

once.

so

be

careful what

you say?

(MORE)

30.


32/123

HANSON {CONT 0) -

..

_

_

? ~ ~ ¥ 9 J l J O

do what

e v ~ r

_it._ ~ : a t " ' · y o \ j . , ~ , : p ~ _ , y e ' . ; ~ o · . _

d < > i ; ~ ~ ~ ; , _ : p , i . ~ e •.

's y ~ u r .

c r l . m l . ~ ~ l . ~ f i : g i j , ~ . ,

r . · .,,-

Me, 1 ~ stay1.ng r 1.ght he.re.

_you

tw..o

.a,;_&:'

the

ones with hot

sheets r e m e m b e r ~ ·

- - ~

··

Ins tead

of t r av e l l i n g

together

we should

be put t ing

as

much distance

from

you

as

humanly poss ib le .

Gus and Michael look a t each other .

MURPHY

I

~ e a l i z e

t ha t t r av e l l i n g with you guys

i s the

weakest

par t

of the

plan but

s ince

we don t

t rus t each

other we t ravel nor th

as a

group.

Think

of us

as

the Osmonds

O.K.

only

we don t fuckin ' get along.

iAN

SON ( CONT D)

As

far

as

I 'm

concerned

the job i s

done.

I 'm cashing

out

gentlemen. Give me

my

fuckin ' money.

MURPHY

Is

tha t

an

order

Hanson?

GUS

That wasn ' t an order . Well technica l ly t

was

an order

but

t

wasn t an

order .

Murphy paces back and fo r th

by

his chai r .

MURPHY

How 'bout you

Gus?

You th ink t h a t s your

fuckin

money

too?

GUS

This

is

my money, t h a t s your money.

MURPHY

Michael?

MICHAEL

Already said I can l ive with i t .

MURPHY

So Hanson, tha t makes you

the

only pig

in

the room.

GUS

Come

on guys, we're a l l jus t

a

l i t t l e

emotional

r igh t

now.

Murphy re turns to

his

cha i r and s i t s down. The sunglasses

go

on.

Hanson

looks a t Murphy and

smiles as

he begins

to s tack

hi s

share of the money. Murphy puts

his

head on the money.

HANSON

You make me laugh you know

that?

HANSON (CONT D)

You s i t there

l i ke

some

big

dog. Tel l ing

us what to

do.

(MORE)

31


33/123

·

:;

_?\_.

HANSON com :oJ _ _

·

.. ___ __ -_

I can • t

even

i m a g i n e · ~ ~ t ~

gqe•L

thX:ough

t h a t s i ck fuckin m i n · ~ ~ i ' f J F ' - 1

swear-

god sometimes

I

actua1l'V.rttilnk', .¥ou

- .- _

be l ieve

your

the

king himse lf . ·

MICHAEL

Gees,

Hanson,

don t go

there , man.

Michael ge t s up from

the

t ab le .

HANSON

Y n ~ know

I 'm r i g h t .

Come on,

I

mean

n;:.=: :y wha t s with those fuckin '

s ~ : . ~ i .asses ,

those s ide

burns.

I

wore them

: ~ r job, for

you

t • s an actual l i f e s t y l e

chc·ce . Lets get

r ea l .

GUS

HANSON.

HANSON

Murph I have news for you. You

a i n t

the

king. {c.;. a i n t even close . You're j u s t

some two

bi t

hood

wanna

be, caught

in

the

s i x t i e s with

a p a i r of r id icu lous

sunglasses and a

fucked up idea

tha t

you r e somehow

r e l a t e d to

him.

The

room

is s t agnan t . Dead

s i l ence .

MURPHY

Never

the l e s s , I know

the

golden ru le .

HANSON

r,..;hat s tha t?

MURPHY

Fuck

the

gold

Murphy

f i res his now s i l enced n icke l -p la t ed

p i s to l

under the

t ab le h i t t i n g Hanson in

the

l eg .

"PFFFTT"

Hanson f l i e s back

and drops to the f loor . He stumbles to his

fee t

in t o t a l

shock,

one leg destroyed. He

moves

for his gun.

MURPHY

He who has the nicke l -p la t ing makes the

ru l e s .

GUS

Holy s h i t . You shot him.

MURPHY

T ha t s

r igh t

Gus. And now

I 'm

gonna

k i l l

him.

Murphy

s tands

and

shoots ,

sending a second bul l e t in to

Hanson's hear t .

GUS

Dam, You

shot

him, again.

Gus and Michael

s t a r e

a t each other . Murphy unscrews the

s i l ence r and

wastes

no t ime.


34/123

·-· ::: , ; > o _ MftllA 't·- - '->.·

;·


35/123


36/123

89

INT. CYBIL'S APT. - NIGHT

Cybi l

opens

the door to see

Michael.

fur ious . The RADIO i s on

and

a

newscas te r

t a lks

about

the h e ~ s t .

MICHAEL

Where·

s Jesse?

Jesse , wear ing underwear and h o l s ~ e ~ . ~ ~ n s to his bedroom.

MICHAEL

< C C ~ ~ · c ;

Come here ya•

littl s h i t ~

CYBIL

What

the he l l

are

Y

oy

"__ .,I' )

-- ~

Michael

chases

Jesse . Cybi l

t ~ ~ e s

tc

s top

him but

he

pushes

her to the f loor .

Jesse

slams " ~ s b e d ~ o o m

door .

MICHAEL

Your

littl

angel took s ~ e t h i n g again.

Michael bangs

on

the

door

ver t

::.c:1=.:y.

MICHAEL (CONT'81

Have

you

been in

my room?

CYBIL

What

are y u ta lk i r .g about?

MICHAEL

Jesse Get your ass

out

h e ~ e

Michael

hears

Je s se ' s window o;-e::i::;;.

• 3AM" Michael kicks

the door open. Cybil jumps on

:::..::1

· * ~ a p p i n g her arms around

his neck.

CYBIL

Don' t you dare

touc::

~ : . . z

Michael

breaks f ree and

ente::-s Jesse

s bedroom. He

t akes

a

g ia n t leap to grab Jesse

who

:..s : :a: : •ay

out his

window.

Cybil

i s screaming,

she ' s h y s : : . e ~ i c a l .

CYBIL (

COt-. T D

Leave him

alone

He's j us t a boy

Michael grabs him and

shakes. Cyb:..l t r i e s to get between

them.

MICHAEL

Where i s

i t ?

Where·s the

~ A M N

money?

JESSE

don ' t

know

what

y c ~ · r e

~ a ~ ~ : . . n g

about .

Michael drops

Jesse to the f l ee r . ~ e ex:t .s the bedroom and

grabs

a kitchen· chai r . Cybil

; ; ~ a l s .:-esse.

CYBIL

I 'm cal l ing the cops ~ : ; : : : : : o ~

Right

now

you

hear

me? ?


37/123

MICHAEL

(calmly)

Cybil , I f noth ing s up there ,

r igh t

out the

door. But

i f

you have what

I m look in

for , we ve got

a

problem.

Michael s tands on the chai r , opens the ce i l ing

t i l e

and pops

h i s head inside . The duf fe l

bag

i s

there .

Cybi l

s t a r t s

toward the te lephone.

Michael

·grabs

the bag and swings it down, e la t ion seeping

She picks up the te lephone and d ia l s 911.

MICH EL

(CONT Dl

Cal l

·em. Tel l em your son s a th ie f .

911

REP (O.S.

l

Emergency se rv ice ,

p lease

s t a t e

your

name

and the

loca t ion

of

the

emergency?

Cybil

doesn t

say anything

and Michael

s tands

still

911

REP

(O.S.) (CONT D)

Hello .

CYBIL

Yes he l lo .

Michael opens

the

duf fe l bag, reveals the s tacks of

money.

911

REP (O.S.)

This is

emergency service , please

s t a t e

your name and

the locat ion

of

the

emergency? Hello ma am, ma am?

C y b i l hangs up the

phone ,

she s t a r e s

a t

t he

money

~ t he bag.

MICH EL

thought you

might

change your

mind.

CYBIL

( to Jesse)

When

did

you . . never mind.

She looks

a t

Michael , a ha l f smile forming on

her

face.

CYBIL (CONT D)

So you r e

the

one.

The casino in

Vegas,

a l l

over the

news.

That

was

you.

Michael pul ls out hi s gun. Cybil and Jesse react careful ly .

MICH EL

Si t down.

They both

do.

Michael

thinks,

f iguring

out

what

to

do with

them a long,

tense, s i l en t

beat .

Final ly

he reaches

in to

the

bag and pul l s out some

s tacks

of bi l l s , places them on

the coffee

t ab le . He s l ides the money towards

her.

36.


38/123

MICHAEL: .

There · s hun re n Y : : A Y i ~

Cybil looks a t the money.

MICHAEL

(CONT D)

Jus t to keep

your

mouth shut , which I m

s u r e l l

be

a f i r s t for you.

CYBIL

You don t need to pay

me off .

I m

not

gonna

t e l l anyone.

MICHAEL

t /ell

I

want to .

Two.

three days

is

a l l

I

need. After tha t you do what

you

want.

Cybil s t a r e s

a t the

cash in f ront of

her .

MICHAEL

(CONT D}

You

here

me?

CYBIL

Yeah. I hear you.

She s t a r t s

to

reach for the cash.

MICHAEL

Good,

so everything

unders tood?

CYBIL

(saddened)

I guess

so.

MICHAEL

What s

the matter

with

you?

You j us t made

a

hundred

grand.

CYBIL

No

t h in • . Forget

i t .

Michael nods, closes up the bag, and stands,

MICHAEL

Well . Adios

then.

He heads

for

the

door.

Jus t before

h e s

out, Cybil

s tops

him.

CYBIL

Hey

Elvis

. . .

Michael looks back.

CYBIL (CONT D)

Any

chance

I ll ever,

ya

know, see ya

again?

She s

sexy

and

her

heart i s r igh t

out on

her

s leeve .

MICHAEL

(smiles}

Sorry

Cybil.

37


39/123

Your

a hundred

percen t sure?

MICHAEL

A hundred

thousand

percen t .

Michael tu rns and walks out of the room.

9 0 EXT.

MOT L

Michael

walks in to

the parking

lo t , looks around. The only

vehic le · in s igh t i s a beat up 1960 s

Studabaker .

Michael

heads back to Cyb i l s apartment .

91 INT.

CYBIL S

APT.

Michael barges in to

the

room. Cybil and Jesse a re count ing

the

money

a t the coffee

t ab le .

They

look

up.

JESSE

i to h1ns e l f )

Hundred

thousand

percen t ,

huh.

MICHAEL

I

need your car .

CYBIL

What

are

you t a lk ing

about?

MICHAEL

The old Val ian t

where

are the keys?

CYBIL

I m not

giving tha t to

you.

e

s tops

and

shuts the

door.

lowers

his

voice

a

l i t t l e .

MICHAEL

Yeah

you are

cause

I

j us t

gave

you

a

hundred thousand

dol la rs .

CYBIL

I

don t

care how much

you

gave

me. T ha t s

not

my

car

and I

can t

just give you

something

tha t i s n t mine.

MICHAEL

Alr ight , f ine ,

who s i s i t ?

CYBIL

My grandmother s .

MICHAEL

Good, then I jus t bought

your

grandmother s

Valiant

for a hundred

grand.

CYBIL

You

don t

understand. She d never

s e l l

it

anyway. She got offered s ix hundred f i f t y

dol l a r s from the mechanic ov r a t

Stap le ton s

twice what i t s

worth

and

she

still

sa id

no.

38.

: : :


40/123

_ : j _ ~

~ ~ ~

-.·_.< •. .;.

·

be l i eve

her .

MICHAEL

Cybi l . you

e i t h e r

give me t he keys- -

CYBIL

- -Or what? You gonna k i l l us?

Michael

i s

s topped

shor t . She s ca l l ed h i s b lu f f and

he

d i d n t

even

know he was b lu f f i ng .

CYBIL ( CONT D)

I don· t

th ink

so. ·Cause i f

you were

t ha t

kinda guy, you woulda ' done it a l r eady

i n s t eada

pay in me

of f to keep quie t .

MICHAEL

Your playing a

more dangerous game

here

t hen you know, Cybi 1 . . . don· t push it

CYBIL

C'mon

Michael .

You

might

be

a

little

:::razy. . . I

l i ke t h a t .

But

you

•

re not

unreasonable . I l i k e

that even more.

MICHAEL

You don t know

what

I

am.

CYBIL

T ha t s

what I l i k e the

most.

Very

loaded

moment. He's as

tu rned

on as

he i s

p i ssed of f .

CYBIL ( CONT Dl

But. ya know,

the re ·

s a simple so lu t ion

h e r e .

MICHAEL

I · m 1 i s t en ing .

CYBIL

You

can take us

w i t h you.

This

snaps

Michael out of

it

MICHAEL

What?

No fucking way.

CYBIL

Why not?

Where a r e

you

going?

MICHAEL

A.

None

of

your

bus iness , and two,

no

p lace you wanna' go.

CYBIL

Excuse

me?

You

a r e aware

I l i ve in

Rosewood, Nevada,

r i gh t ? Popula t ion 63.

MICHAEL

Yeah, where

I 'm ga in t he r e s

a

popu la t ion

of one.

Me. On a

boat., by

myself . a lone. You cror , - h ~ ~ ~


41/123

She ' s hones t ly disappoin ted . Michael s tands up witn the

duf fe l bag fu l l of

cash.

Now.

take

a

new

MICHAEL

( CONT

D

I m

t ak in ' the keys

and

your

gonna

t ha t

money.

Go

buy

your grandmother

car . Hell

buy

one

for

yoursel f too.

CYBIL

I

don ' t

need a car . I

need

a

l i f e .

1

ICHAEL

Yeah, r.o .shit.

CYBIL

Besides .

I don ' t even

know how

to dr ive .

Michael s tands , po in ts

the

gun a t

her.

MICHAEL-

OK t h a t ' s i t

I

don ' t have t ime

for

th is .

Ginune the keys

r igh t

now or

I ·

m

sp l a t t e r in g

cherry

pie

a l l

over

tha t

wall

behind

you.

Michael hears

a

c l i ck behind

him. Jesse

poin ts h is

fake

revolver

a t

Michael.

JESSE

Stop

poin t ing tha t gun a t

my mom

Michael i n s t i n c t iv e ly reor i en t s a t Jesse , momentarily

not

r ea l i z in g

the

gun i s fake.

Jesse

and Michael in

a

s tand o f f .

There ' s a knock a t the

door .

Everybody looks,

but nobody

moves

a t a l l .

CYBIL

Who s

there?

POLICEMAN

A (

V. 0 . )

Pol ice . Can

you

open

the

door please .

Michael lowers hi s gun

and

grabs for

the

bag. But Cybil ge ts

to

it f i r s t . He s t a res

as

she walks to

the

door

with

it

92 EXT.

CYBIL S

APT. DOOR - NIGHT

TNO

POLICE OFFICERS s tand there as

the door

cracks open,

r evea l ing

Cybil

carry ing the

duf f l e bag.

CYBIL

Hi

there

of f i ce r s .

POLICEMAN A

Good evening. We received an emergency

911 ca l l from t h i s room.

CYBIL

Oh?

40.


42/123

POLICEM N A

The

c a l l

was disconnected, we

were in

the

neighborhood.

Everything

okay?

CYBIL

Sure i s . Would

you

l i k e

to

come

in

for

a

minute?

We

were

j us t ge t t ing

ready to

l eave .

Michael· s face drops.

POLICEM N 8

I f you don t mind.

CYBIL

Not a t

a l l .

Cybil opens the door wide and l e t s the

Off icers

in .

93 INT. CYBIL S APT.

The

Off icers

take

~

a

visual

of

the

apartment. Michael s

on

the couch,

J e s s e s next

to

him

playing

with his

fake p i s t o l .

Michael

i s holding his gun and

hiding it

from view. Michael

waves

to the cops

and

smiles , a littl nervous.

POLICEM N

8

You

the

man

of

the house?

MICH EL

h no, I mean yes, but . . .

CYBIL

What

he

means is

not yet .

We jus t

got

engaged a few months

back.

POLICEM N A

Oh congra tu la t ions .

MICH EL

Thanks.

CYBIL

Yeah well we re

kind

of exci ted

about i t

ourse lves ,

a ren t we honey.

Michael

smiles and nods. He places

his

hand on Jes se s head

sof t ly . Jesse smiles sweet ly a t the pol ice . Cybil holds up

the duf f l e bag.

CYBIL {CONT D)

Yeah,

we re

taking

littl

Jesse here to

see the Grand Canyon. Early

bi r thday

present

of

sor ts . . . Go on Jesse , get the

res t

of your

th ings .

Jesse smiles a t

Michael and makes

his

way toward his

bedroom.

POLICEM N A

Which

of

you

was the one who dia led

911?

The

cops

look a t Michael . He s

dumbfounded,

poin ts

to

Cybil .

41


43/123

C' BIL

Oh, t h a t

was

me.

I 'm

awful

sor ry about

tha t . I was

t ry ing

to

ca l l

411 for

informat ion and I

must

have

hi t

nine

by

mistake. Sorry you

f e l l a s

had to dr ive

out here

cause

of

my clumsy littl

f i n g e r s .

POLICEM.W A

Not a problem, ma'am, l ike I

sa id ,

we

were c lose

by.

POLICEMAN B

Happens once in a while .

Jesse

comes out of hi s room dressed

with

a back pack. He zips

up

his

bag, hiding the

SCORPION BOTTLE.

POLICEMAN A

Well looks l ike you re a l l se t . We' l l be

on our way.

The

cop

not ices

Cybil

picking up

the duf fe l

bag

fu l l

of

cash.

POLICEMAN

A ( CONT D

Need

a hand

with tha t?

Michael stands up, hiding

the

gun in

his

back.

MICHAEL

Oh no

t h a t s . . .

CYBIL

Would you mind?

POLICEMAN A

I t

would

be

my

pleasure .

Policeman

A

grunts

as he hef ts the

bag.

CYBIL

Why thank

you. School books and a l l .

The

two cops, Michael, Cybil , and Jesse ex i t

the

apartment.

9 4 EXT. LAST CHANCE MOTEL,

PARKING

LOT - NIGHT

The two Cops

wave

good-bye

as

Michael ,

Cybil,

and

Jesse

dr ive away. The very pic ture of a happy family.

9

5 EXT.

NEVADA

-

MORNING

96

The

sun r i ses as

the

Valiant

swishes

by

a s ign - ROUTE

6.

INT. VALIANT - MORNING

Michael

dr ives

while Cybil sleeps in the

f ront

and Jesse

plays with his

cap-gun.

Cybil

contor ts

her body, s t r e tch ing out .

As

she does, the sun

dress

she·

s

wearing hikes up.

42.


44/123

· : ~ ; ~ . , ; : : ; ; : : ~ ~ . : : ; ; : ; : _ ~ ~ ~ ) . ~ \ ; ; _ ; : , ·


45/123

Cybil

- - - · - ' ' · ~ · .

CYBIL

. ~ : 1 ~ ~ J ; i ~ -

i s a i

1

e s

)

-;;. ;:

;

: : ~ · ; : ~ ; ·

::o::e on.

you

coulda

done t h a t l a s t

: u g n ~ . This

i s

workin for ya, i s n t it

MICHAEL

ili: .a:: ::::e he l l are you t a ik in about now?

CYBIL

{ : : ; · ~ :C:cw. the wife ,

the

kid,

the

62

·:a: : . a . . - : ~ . I t looks rea l r egu la r .

Am

I

~ . : . ; ~ ~ ? You want a

l o l l ipop .

he rse l f and looks

out

the window.

MICHAEL

: : . e - ~

:r e

something,

Cybil .

How d

t ha t

~ = ~ e y ; e t

up

there in that c e i l i ng?

CYBIL

·.r:-.a::::-·:

~ e a n ?

Jesse put it there .

MICHAEL

A

_.:.::_e

heavy

for

him to lift a l l

by

h i ~ s e : f . d o n t

you th ink?

Cybil s h a ~ e s h e ~

head.

CYBIL

1 c ~ a ~ e so paranoid.

MICHAEL

: · ~ paranoid, and

I th ink

you

and

~ . : . i

t r i ed

to s t ea l my money.

.

·

-

CYBIL

deserve

MICHAEL

tha t money

anyway,

~ e : : .:.f you re

such a

pro. you oughta

:C::;•.; s::.ealing it wouldn t have done you

a:::· ~ p o d anyway.

Cybil looks a : Michael confused.

MICHAEL ( CONT D l

7he

m c ~ e y s marked little miss b r i l l i an t .

Cybi

1 pauses .

CYBIL

·:c·.:.

re

ly ing .

MICHAEL

CYBIL

~ ; a : . , y ~ · . : . re j us t a f ra id I

might

take it

:he news they said i t was

~ . : r a : : e a b l e and

the

news

doesn t

l i e .


46/123

_:;:::

- - - ; · · · . ? > · ~ . - ~ - ; ; , ~ ~ r : . ; : : ~ :

MI:C IE1t

· ·

·

.

. :

Oh, I m sure:t;aiat;s what .. they sa id . hat

way when the·. aliii\b

sh i

t s

who s to le it f ry

to

spend it

they ge t locked up.

And

you

want

to

know why Cybil wi th a

··c·?

You

want to

know

why they

get locked up?

Because they

were dumb

s h i t s

and they

l i s t en ed

to

the news.

Cybi l looks out

a t

the

road

and

Ls

s i l en t

for a

moment.

CYBIL

I

never

thought about it tha t way.

MICHAEL

I guess not .

CYBIL

How

do

you

know

a l l

t h i s s tu f f anyway?

MICHAEL

Never underest imate

the value of

a

pr i son

educa t ion .

CYBIL

In

s p i t e

of what

you

may think, I am

p re t t y smart you

know.

MICHAEL

One good thing about smart people

CYBIL

Yeah?

MICHAEL

They never have to t e l l you how smart

they

are .

CYBIL

There s

another

th ing

about

smart people

you know.

They

always

underest imate

us

dummies.

Michael

smi les .

They both enjoy

the

moment. Michael looks

down a t

her

body.

MICHAEL

Okay, we re

p u l l i n off here. I c a n t

dr ive anymore.

I

got t a

get

some s leep.

97

INT.

MICHAEL S

BEDROOM

LAST

CHANCE

MOTOR

INN

-

D Y

The door bur s t s open and Murphy walks in , gun

in

hand. He

checks the

ce i l i n g

then

begins f ran t ica l ly

searching

the

room.

MOTOR INN CLERK (V.O.)

Can I

help you?

Murphy

whips

around hid ing

his gun

behind his back.

45


47/123

--:

..· ..... ·

Yeah

t h i s

MURP Y

I

•m

lookin •

room.

for the

guy

that was

n

MOTOR

INN

CLERK

Who's

asi

8/19/2019 3000 Miles to

3000 miles to graceland (shooting draft)

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