3000 MILES TO GRACELANO

by
~~ian

Lichtenstein
Richard Recco

DOUBLE vlHITE LOCKED DRAFT

3/10/00

1.
1

EXT. DESERT ROAD -.

ANIMATION SEQUENCE,

p~~f~A.ff;;{--
O~El_l.l~~--

CREDIT SEQUENCE

A long road stretches forever. Mountains against a thundering

sky. The sun beats down. Battle sounds can be heard.
2

ANIMAJ:'ION SEQUENCE
A SMALL RED SCORPION fights for life against a LARGER BLACK
SCORPION. A 59 CADILLAC races down the road. The Black
Scorpion- looses. The red one runs for it's life from the 59
Caddy as it smashes an old skull.
END ANIMATION SEQUENCE,

EXT.

END CREDIT SEQUENCE

LAST CHANCE MOTOR INN,

ROSEWOOD NEVADA - DAY

ROSEWOOD - dusty, dry, population 63. Nothing happens, no one

cares. Big bi llbcard: INTERNATIONAL ELVIS CONVENTION, RIVIERA
HOTEL AND CASINO. LAS tJEGAS NEVADA. MARCH 23, BE THERE!
The

59 Caddy pulls

~nto

the

par~C:.ng

down shacks. A MAN exits the car,

lot.

Dead palm

trees~

rur:

walks to the front office.

A CHILD'S unscrews a chrome air cap on the Caddy's tire.

JESSE, 12 - fast on his way to 30, has a big smile on his
face. A Score!
Two more caps spin off. From the hub cap, the little Red
Scorpion crawls. Jesse reaches for the last cap. The Red
Scorpion looks at Jesse, angles for attack. Jesse reacts just
as the Scorpion stabs at his hand. In one swift motion Jesse
has the Scorpion dangling from his fingers. He drops the bug
into a glass jar, with two others.
MAN'S VOICE

(O.S.l

HEY!
Jesse stands up startled. The man stands over him. MICHAEL
ZANE, scruffy, leather boots and AVIATOR sunglasses. Michael
grabs Jesse and slams him against the wall.
MICHAEL
You always take things that don't belong
to you?
JESSE
Get off!
MICHAEL
That's against the law,

you know?

Jesse struggles to free himself.

Ouch.

JESSE
Let me down.

MICHAEL
They got a special place for little boys
who don't obey the law.
JESSE
I said I was sorry.

2.
-~ .

.:-esse nods YES, Michael

kick's him in the shin.
Ouch.

let's him down. Jesse instantly swift

MICHAEL (CONT' Dl
you little maggot!

Jesse runs, Michael hops after him. Michael rounds the corner
to find CYBIL WAINGROW, sun shining through her dress, sexy.
Michael can't not stare - Jesse clings to her leg.
CYBIL
Just what do you think you re doing?
MICHAEL
(removes sunglasses)
Urn, ma'am I know how this must look,
grown man chasing a little kid ...
That's

CYBIL
right ...

MICHAEL
But if you take a look in his hands,
got the valve caps to my 59 Caddy.

he's

CYBIL
Is that true Jesse?
Cybil checks and sees that Michael was right.
CYBIL ( CONT' D)
How many times have I told you to stop
stealing parts off peoples cars.
Jesse is silent. Cybil takes the valve caps.
CYBIL (CONT'Dl
Now go on inside ... Go on.
Jesse gives Michael a sarcastic smile and goes. Cybil hands
him back his valve caps.
CYBIL (CONT'D)
Sorry about this whole thing.
how kids can be.

You know

MICHAEL
That's alright. No harm done.
CYBIL
Where you from any ways? I ain't never
seen you before.
Cybil wipes

the sweat

from her forehead.

MICHAEL
Just sorta passing through.

3.

CYBIL
Just sorta passing through?" I remember
saying the very same thing. That was four
years ago. You from L.A.?
Cybil turns and starts walking, Michael follows her back
towads the Diner. An OLD GARDNER leans his shovels against
the side of the building.
MICHAEL
Not really.
CYBIL
Not really?
No ma am.

MICHAEL
Jersey City mostly.

CYBIL
Jersey, huh. So what's with this ma'am
stuff. Am I gettin that old already?
MICHAEL
No ma'am.
CYBIL
There you go again.
Nah.

MICHAEL
I'm just havin some fun.

A smile builds on Cybil's face.

Cybi l

She extends her hand.

CYBIL
Waingrow.

Michael shakes her hand.

MICHAEL
Very nice name.
CYBIL
You putting me on? I always thought it
sounded plain. Kinda flat even.
He looks at her.
MICHAEL
I can't see anything flat about it.
CYBIL
That's Cybil with a

not Cybil with an

"S".

MICHAEL
Really. Well it's nice to meet you Cybil
with or without a "C".
CYBIL
Nice to meet you ... You drink coffee?
MICHAEL
It's a start.

"'*
... Got

INT.

CYBIL
any money?

LAST CHANCE DINER - DAY

Michael and Cybil sit in a booth. Michael watches while Cybil

s:~~l munches on a huge plate of food. The WAITRESS pours
them a second cup of coffee.
MICHAEL
Some appetite you got

there.

CYBIL
Big stomach, big heart,

right?

Jesse enters the diner and approaches their table.

Mom,

JESSE
can I have a milk shake.

CYBIL
Jesse can't you see I'm talkin'

here?

JESSE
But mom ...
Jesse!

CYBIL
I don't have my purse with me.

Michael digs in his pocket and pulls out a five dollar bill.
Here kid,

MICHAEL
get yourself whatever you want.

JESSE
Wow five whole dollars!
Cybil and Jesse exchange looks.
JESSE
Thanks mister.

Jesse rolls his eyes.

(CONT'D)

scampers to the counter. He points to a cowboy hat and

cap pistol. The waitress hands it to him. It's too expensive.
He points to the milk shake machine and sticks his hand in a
large tub of CHUPPA CHUPS lollipops. Michael watches him.

Jess~

CYBIL
You like kids?
MICHAEL
Not much the fathering type,
truth.

tell you the

CYBIL
Jesse's alright. Austin named him after
Jesse James the bank robber.
MICHAEL
Great role model.
Yeah,

CYBIL
that's what I said.

,..
""

MICHAEL
Where' s his daddy now?
CYBIL
Oh Austin's not his real dad. H:~ real
dad lives in Colorado. Austi~s d~i~g
eight to ten for armed rocbe:--~.
He gettin'

MICHAEL
out any time scar.?

CYBIL
Two years I think. wbo
cares any how?

kr.c~s?

_ "::\..
N

Cybil takes a sip of her Sanka.

CYBIL (CONT' D)
You must think I'm some cheap =ate ~~~? A
cup of Sanka, some breakfast and -.hanc.
in the sack I go right?
Michael chuckles and sips his coffee.
MICHAEL
Is that what I'm thinking?
CYBIL
No sir, I don't know how you c:~y fo:ks
work, but around here it takes a ~el: of
a lot more than a cup of coffee a..":d scm
chow to get a sophisticated -.oman like me
in the sack that's for d~~ s~=e.
Michael looks at Cybil over the rim of
5

~:s

::::ee

3.!-..!&:;!

3.~.-'iG!

m~g.

::NT. CYBIL' S MOTEL BEDROOM - DAY

The head board hits against the wall.

Bl-'<G!

Michael and Cybil are under the sheets. ~e b~~::m iccr

opens and Jesse enters. He tip toes tc ~~=~~e: s blue jeans,
reaches into the pocket and pulls o~t ~:~ael's allet. :esse
leaves the room as quietly as he entered.
SA

EXT . MURPHY' S CAR

A 1960's black Lincoln Continental wit~ su:cide doors tears
down the road with four men in it. Mus:: streams from the
windows.

EXT. BACK OF LAST CHANCE MOTEL - DAY

Jesse runs with a large paper bag to a..~ -~- ata:.d:ned
climbs inside and sits on the drivers seat.

b~s.

THE BAG rips open and Jesse pulls out ~~s ~e~ cowboy ~~~s.
holster and hat. He spins them like a --- - :~=~s sudde~ly
and points his new guns out the door :: t~e b~sJESSE
That'll be ten dollars Miste= ...
money?!

~hat?

~o

He

6.
Jesse fires his new cap guns.

BANG! BANG1

JESSE (CONT'D)
Nobody rides my bus for free. Excuse me
folks, nad us a freeloader to get rid of.
All aboard!
Jesse swings the door of the old bus closed.
7

INT.

BEDROOMICYBIL'S APT.

DAY

Michael sleeps while Cybil studies him. His eys twitch in

deep REM. A HORN beeps from outside, interrupting the
silence. Michael awakes, slides out of bed and grabs his
pants.

EXT.

LAST CHANCE MOTOR INN - wAY

The late 60's Lincoln rolls up next to Michael's 59 Caddy and

honks the HORN again. The fou~ men wait in the car.
9

INT.

BEDROCN/C!BI:..s APT.

:::.;,.":'

Michael finishes dressing while Cybil lays on the bed.

MICHAEL
I gotta' go. Do I,
anything?

aah ... owe you

Cybil appears embarrassed and hurt.

MICHAEL (CONT'D)
I didn t mean to offend ... look, I
haven't been with a woman in a really
long time.
CYBIL
Yeah right.
MICHAEL
No I'm serious, okay. Like five and a
half years serious, ~~ow what I mean?
CYBIL
(realizing)
Oh my god, you just got out.
Michael pauses,

his face says now she's offended him.

I'm sorry,

CYBIL (CONT' Dl
I guess we're even.

The horn honks again.

Say fella,
Michael .

Michael

tur~s

to leave.

CYBIL (CC~' w)
what's your name anyway?
MICHAEL

CYBIL
Well, Mich~el, you
money if 1t's been
(MORE)

d~nt

~:ce.

offer a woman

7.

She smiles.
10

EXT.

He smiles and exits the room,

FRONT STEPS,

CYBIL'S SHACK - DAY

':'he Driver, MURPHY, and his passenger HANSON smooth, tough

and .ready for action, get out at the same time. Hanson gets
in the back with GUS. loyal and looking to belong, and
F~~KLIN,
a ze~ master who just wants to kill somebody.
Murphy gets out and stretches,

his back to Cybil's shack.

MICHAEL
(off 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-slingers
from another time. Old friends, but not.
Hey Murph,

MICHAEL
lookin'

sharp.

MURPHY
Hey Mikey, you look good,
Enjoying your freedom?

you feel good?

MICHAEL
Ain't free yet.
MURPHY
Oh come on. it s a whole lot better than
that cage we shared. Big sky lots 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 past Michael, Off Murphy's look, Michael turns
and sees Jesse leaning against the side of the Diner now.
MICHAEL
I don't know.
MURPHY
Well looks like he knows you?

8.

MrcijA~i.;l,( ::> ..-~ _.... ~ , . .

Fuck M':lrphy ~(~~~,-~i.-;;1<~~ :wfth~a: g~ doesn't

make h1m my partner.
MURPHY
That's right ... I'm your partner,
!:"eady to play.
:~

MICHAEL
always ready to play.

MichG~:

Murphy and

you

walk towards the car.

GUS
Yoh Michael, whaas'

uupp!

FRANKLIN
.'<'aass uupp?

Hey Murph,

MICHAEL
these your girl friends?

Murphy g~ves Mike a little smile as he eases around to the

passenger door. Michael slides in and lights a cigarette,
Murphy yanks the car into gear and drives.
Just before they pass Jesse. Murphy hits the brakes. The guys
all slam forward hitting the seats and each other.
~-JHOOAAH!

GUYS IN UNISON
Fuck Murphy!

Murphy looks from the guys

MURPHY

to Jesse.
( CONT' D)

Hey kid?
Jesse looks up and squints his eyes.
JESSE
Yeah?
MURPHY
Ever shoot anyone with that thing?
The guys in the car laugh. Jesse doesn't say anything.
MURPHY ( CONT ' D)
I didn't think so.
And with that, Murphy is cool. He slams the car in gear and
as they pull away Gus starts BARKING at Jesse.
As the car drives off, Jesse points his fake gun at the
Lincoln and pulls the trigger. "BANG.

11

EXT. MURPHY'S CAR/DESERT ROAD - DAY

Murphy's Lincoln cruises down the road with a rock tune
playing on the radio. Murphy pulls his sleeve up and flexes
his arm muscle with his BLACK SCORPION TATTOO.

9.
,.;:,

...

-:{~:,;tf~:.~t-~~KLIN

Look .it that, look at that! Mean man,.

that is mean.

Michael s seen it before. he turns away. Michael is curiously

t~xated as they pass a truck pulling a sailboat.

..

MURPHY
What are you so ~~iet about?
I

told ya,

MICHAEL
I hate the desert.

MURPHY
I know for the second time now, it's a
temporary situation Michael. Fuck ...
It's clear Michael's somewhere,
were. Gus leans in.

Murphy just can't figure out

~

GUS
Death-match three thousand! In the red
corner Frank Sinatra and in the blue
corner Elvis! Who will win this bout of
the century?
FRANKLIN
The chairman of the board and the King
are lookin' mighty mean tonight!
HANSON
(imitating Howard
It's truly a sight to
the bell. Round one is
steps in with a brutal
Chairman's nuts.

Cassell)
behold. And there's
off, the King
blow to the

GUS

But wait the King has slipped and old

blue eyes comes in with the Italian
necktie. The King is down, the king is
down. the king is ... !

llA

EXT.

DESERT ROAD - DAY

The Brakes screech,

stop.
12

INT.

tires burn as the car comes to a sudden

..

MURPHY'S CAR

Quiet ... Murphy turns to the back seat.

MURPHY
Who said the king is down?
MICHAEL
Damn it Murph, let me know when your
gonna do that ...
Murphy turns to Michael.

10.
MURPHY

.,

Did I say something to you?. . . theri''shu't"""'

the fuck up. Who said the king is down.
HANSON
Jesus Murphy we're just having a
fun.

..
..

little

MURPHY
I know ... so who said it?

GUS

I did.
MURPHY
Well don't say it any fuckin'

more!

Murphy gives Gus a couple head smacks.

It was a

GUS
joke.

MURPHY
And it wasn't fuckin' funny. Sinatra,
fuck Sinatra nobody fucks with the King
and nobody ever says he's down.
Frankl in breaks in.

.
*
*

*
*

FRANKLIN
Hey Murphy we all love the King.

MURPHY
Yeah ...
GUS
Yeah Sinatra could never kick his ass.
That's

MURPHY
fuckin right.

Murphy looks like he could kill someone then...

This is a tense moment that could explode any second. The

silence is broken when Michael slides in a CD.

The soothing sounds of Elvis' "In The Ghetto come flowing

out. Murphy turns and stares at Michael. Murphy puts the car
in drive.
GUS
(under his breath)
He just got a lucky shot in is all.

*
*
*
*
*

Franklin motions to Gus with his hand to shut the fuck up.
MURPHY
See what I put up with.
Hey Murph,
The keep drivin'.

MICHAEL
there your friends.

*
*
*

11.

FRANKLIN
Hey Murph, what's the smartest thing ever
came out of a bitch's mouth?

*
*

MURPHY
What?
Einstein s

GUS
cock.

Murphy starts to smile then crack up. Michael begins to laugh

as well. The tension drains away as the whole car is laughing
except Hansen.
Hey,

FRANKLIN
fuck you, Gus.
GUS

What?
FRA..."iKLIN
That was my joke. I
this morning.

just told it to you

GUS
No you didn't.

HANSON
Yes I did!
Murphy locks eyes with him in the rear view mirror. The car
cent inues down the road, the radio plays.
l2A

EXT.

MURPHY'S CAR

The car races down the road,

l3

EXT.

"In The Ghetto easing the way.

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

The Lincoln slides to a stop at an AIRCRAFT HANGER. Everybody

hops out and walks past an old Bell Huey helicopter.
Michael and Murphy approach JACK, a crew cut, old school,
Vietnam throwback. Jack smokes a cigar, staring at the
sunset. He smiles when Murphy steps up to him.
MURPHY
Good to see ya Jack?
JACK
Murph. Michael.

How's it feel to be out?

MURPHY
You know how it feels.
JACK
Yes I do ...
MURPHY
You get em'?

13.
Jesse looks

to Michael,

then his aother _

CYBIL
Your wallet?
MICHAEL
I had it when I pa~d :~e ::hec~ a: the
coffee shop and I'm ~~sc back :racking my
steps.
Jesse gets up and walks to his bedroom.
Jesse.

CYBIL
Get back here.

Jesse closes and locks his

~crooo.

doer. ::rbi 1 knocks.

CYBIL CCOt-.'T ':J)

Did yo~ steal this ~ans ~al:e:?!? Jesse
open this door right ~~! Jesse!
He doesn t.

Cybil

turns and

~eads

:~::

CYBIL (CONT ':))

He does this all the time.
chair, that one there.

Michael does.

_:v:.~g

H~=

~e

- __
... ,..
.-.., ...... ,...,

that

She climbs and removes a :::e in the ceiling.

CYBIL (CONT ::>)

He's like a ferret. Takes wr~:ever he
gets his hands on. Hides it a:: ~P here.
Cybi 1 sticks her head in the era.,.:. spa::e.
wallet and next to it his money.
Michael watches Cybil's body mc.:e.
with

an

apologetic

:::::e

s::.e sees Michael s

.::...:..=.~s

r.:.m ::.is ,..allet

smile.

CYBIL (CO~'T':J)
I m really sorry abou: ~~lS.
Michael smiles and checks the

money.

MICHAEL
There was ...
CYBIL
... Money?
MICHAEL
Four hundred and sixty dc:lars.
Cybil reaches in,

takes a mome:::
CYBIL

This

it?

MICHAEL
(counting)
Just about.

a~::i

p~::s

out the cash.

14
CYBIL

I m sorry for all this tro'llble.

really not a bad kid.
Jesse, looking t:trough the crack of his bedroom door sticks
his middle f i~ge~ up at Michael.
Yeah.
Cybil turns to

MICHAEL
: m sure he's an angel.
~esse

who puts his finger down just in

ti~e.

CYBIL
At !east when his hands are tied up.
Michael makes a

:ace at Jesse and stops when Cybil turns.

CYBIL (CONT' Dl
I'll get your money back.
ll -

~-

MICHAEL
twenty do:lars.

j.~st

CYBIL
... how about I make it up to you with
another cup of coffee?
15

INT.

CYBIL'S BEDROOM -

NIGHT

The head board slams against the wall, again. The bedroom
door opens slightly. Michael throws a shoe and it slams shut.
15A

INT. CYBII...'S BECROOM -

LATER

Cybil's asleep. alone. Mike's hand reaches in and places a

SNICKERS bar o~ :he pi:low, next to her head.
l6

INT.

MICHAEL S

3E.=ROOM,

LAST CHANCE MOTOR

:NN

MORNING

Michael walks out of the bathroom toweling off. He stares

into the closet. :.hen puts on a large collared ....-hite shirt
and checks it out in the mirror.
Michael pulls out a white Elvis outfit. The transformation
into Elvis ends with a final 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 at its best. The setting sun sparkles
against the huge multimillion dollar buildings. THE MGM
GRAND, NEW YORK NE'.N YORK, MIRAGE, CEASAR'S and THE RIVIERA.
Huge billboards g:.eam '"'ith blinking lights. S:EGFRIED and
ROY, JACKIE MASON. BET':'E MIDLER and a flashing billboard for
the INTERNATIONA~ ELVIS CONVENTION held at THE RIVIERA.
THE MIRAGE

volca~;:,

erupts,

tourists applaud.

JACK

(points to the hanger)

Inside.
Behind them, Gus is doing a classic Elvis martial arts move.
As Franklin walks from the Hangar with the GUITAR CASES.
Hey,

GUS
Frankl in!
FRANKLIN

Yeah?
As Franklin turns, Gus finishes the move pointing his
at him and FARTING loud and long. Hanson backs away.
Stop,

finger

FRANKLIN (CONT' D)
you're killin' me.

Michael shakes his head in disbelief.

exchange smiles.

Murphy and Jack

JACK
Kind of a loose group you got there.
dialed in?

They

MURPHY
Their good on stage.
JACK
Gonna be s orne show.

MURPHY
Still time you wanna come.
JACK
Naah,

14

I'll

just take

care of

your

ride.

MURPHY
know you will.

INT. CYBIL'S APT.

NIGHT

There's a knock on the door.

Michael in the hallway.

Cybil opens it,

revealing

CYBIL
Michael, nice to see you again. Would you
1 ike to come in?
Michael looks at his watch.

MICHAEL
I can't. Well, maybe for a second or two.
Michael enters and notices Jesse sitting on the couch,
wearing his cowboy hat and holster.

MICHAEL (CONT'D)
You haven't seen my wallet by any chance,
have you?

still

15.
- .

18

INT. THE MAIN FLOOR,

_,~ ~.:;,..,.._,.

-.-.~::~~~~::k-

RIVIERA:HQT

~~:CASINO

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

--MAGIC HOUR

One of the only retro casinC::'~-~"'lef~-;c'The Riviera money

machine is in full swing.

19

INT.

THE CASHIER'S BOOTH

Stacks of money flow through cash counters.

stacks of cash. lOO's, SO's, 20's ...
20

Clerks bind

INT. THE LOBBY

A large flashy sign posted by the main entrance bears a
photograph of THE KING. The sign 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 interior of the casino, TOURISTS stare in
amazement at the legions of ELVIS impersonators.
A black, roller skating ELVIS (ROLLER ELVIS) skates through
the lobby, spinning, dancing and singing. An old lady with
two hearing aids plays the slots. She turns down her hearing
aid and pulls the handle.

21

EXT.

LIGHTSHOW WALKWAY -

NIGHT

Tourists walk by. Murphy, as Elvis, in black leather jumpsuit

and cape is joined by Michael, in white, Hanson in yellow,
Gus in blue and Franklin in red. Each carries a guitar case
and wears chrome sun glasses and leather gloves. Our boys
never looked better. They strut in diamond formation straight
ahead, on a mission.
22

EXT.

RIVIERA MAIN ENTRANCE - NIGHT

Our five ELVIS'S enter the casino doors and walk confidently
through the crowd. Michael peels off towards the elevators.

23

INT. TOP OF THE RIV

On the stage, a team of fifteen ELVI' (THE DANCING ELVIS')
are performing a choreographed rendition of "SUCH A NIGHT".

24

INT. THE LOBBY BAR

A local NEWS REPORTER interviews several Elvis Impersonators.
Behind her, TWO LARGE PIT BOSSES watch everything.
NEWS REPORTER
Here we are at the Riviera Hotel and
Casino and it's International Elvis week.
So tell me, you're from Ireland, what
exactly possesses you to travel across
the globe paying homage to a performer
that died over twenty years ago.
IMPERSONATOR
First of all Elvis was not just a
nerformer - he was a god.

16 .

. c(b~.f~~ONATOR

And second<he~'aitit.

24A

INT.

-12

-_ -- i~<~"i-t :!....

Ro~ler

Elvis skates right past Murphy. He makes a sharp "U"

turn and catches up to the group as they walk.
Elvis taps Murphy on the shoulder and smiles at him.
Murphy my

ROLLER ELVIS
long time no see.

-.:~n.

Murphy looks at Roller Elvis and shrugs his hand off.

MURPHY
Back off.
Murphy keeps walking ..,..ith his group.
away. He rolls back over to Murphy.

Roller Elvis doesn t

go

ROLLER ELVIS
Ahh come on now, you can't forget your
old friends.
Murphy grits his teeth and keeps walking.
25

INT.

ELEVATOR

Michael enters an elevator on the ground floor of the casino.

Inside the elevator are three tourists, an elderly couple and
a businessman. The Old Lady smiles at Michael as he enters
the elevator. Then she turns to her husband.
Honey,
The man nods

OLD LADY
doesn't he look marvelous?

YES ...

Sir,

OLD LADY (CONT'D)

... we think you look just marvelous.

Michael looks at the lady through his chrome sun glasses.

MICHAEL
Why thank you, ... thank you very much.
26, 27 OMIT

28

INT.

.,.,

dead?

THE LOBBY

Ro~ler

-~~-~-~-

THE LOBBY

Roller Elvis won't give up.

MURPHY
I never met you in my life,
and take a fuckin' walk.

now be smart

ROLLER ELVIS
Hey man "don't be cruel"?
Roller Elvis reaches for Murphy's shoulder again, but Murphy
elbows him in the nose, breaking it on impact. SMASH!!!!

17.
~

~".:.-;?~-~~~-....,

. --._

-\ _..

Roiler::'~1vis, ~1 ~ut

cold,

collapses on the floor.

The four ELVIS S continue toward the cashiers booth.

A crowd starts to gather by Roller Elvis.
The old lady with hearing aids,
handle.

obliviously,

pulls the

The four ELVIS S turn into a doorway just before the cashiers
booth. They approach a locked stainless steel door.
The CROWD grows by the second near Roller Elvis. Blood flows
from his nostrils - still out cold. A concerned lady yells.
LADY
Someone get an ambulance!

28A

INT.

ELEVATOR

The elevator doors open. The :ouple and the Businessman get
off, leaving 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
fifteen Elvis' hit the famous karate stance and palm punch.

29A

INT.

ELEVATOR

Michael does the exact same Elvis move and punches the
"emergency stop" button and the elevator jerks to a stop,
alarm RINGING.

29B

INT. TOP OF THE RIV BALLROOM

All fifteen Elvis'

29C

INT.

reverse palm punch high into the air.

ELEVATOR

Michael matches the reverse punch and sprays the camera lens
on the ceiling with black spray paint.

30-33 OMIT
34

OUTSIDE CASHIERS BOOTH,

SIDE ENTRANCE

The guitar cases snap open and each ELVIS removes an M16
"Shorty" sub machine gun. They lock and load their weapons.
Gus pulls a pistol like slap hammer equipped with a C02
cartridge and "POPS" the lock cylinder.
34A

INT.

ELEVATOR

Michael flings open his guitar case, yanks out his shortie
"Ml6" and retrieves a battery powered screw gun. He goes to
work on the elevator panel plate. The alarm blares.

18.
34B

INT.

SECURITY COMMAND

c.~~h~ION

--~-,-

A horse shoe shaped wall of sixty Panasonic 20 inch color

monitors display every card and craps table in the casino as
well as the entire casino floor. A PANEL OPERATOR, tough yet
sexy, notices a light blinking on the elevator board. She
picks up the phone.
The SUPERVISOR approaches the PA...'lEL OPERATOR.
What s

SUPERVISOR
the problem?

PANEL OPERATOR
Emergency stop on nine.
SUPERVISOR
Probably some couple screwin' again.
we have visual?
PANEL OPERATOR
No sir. Camera in car 8 's

Do

do~rn.

35-37 OMIT

38

INT.

CASHIERS BOOTH

The four ELVIS'S enter the booth. The employees are shocked.
A BIG RED BUTTON, Hanson smacks it. The black stainless steel
roll down gates SLAM SHUT!
39

INT.

THE LOBBY,

BY THE CASHIER'S BOOTH

Very few people are by the cashiers booth. They're busy

watching the Roller Elvis commotion.
40

INSIDE THE CASHIERS BOOTH

Everyone moves swiftly, each ELVIS has their own job. Murphy
hops up onto the cashiers counter with his shotgun.
MURPHY
Now everybody keep cool and get your
fuckin' heads on the floor nothin' worth
dying floor.
Gus pops the lock on the rear steal door. Hanson and Franklin
follow opening an empty duffel 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, bring it down for a
service check. Have security waiting.

19.
;~:;

.':~-,~~~~~

The Panel Operator presses the override button.

~: -.'

40C

INT.

ELEVATOR

As Michael works,

suddenly the car begins to move.

MICHAEL

Whoa.
He sees the panel read 8,
wires in the panel.
Red wire,

then 7,

6. He starts pick:ng

a~

~~e

MICHAEL {CONT D)
red wire.

41 OMIT
42

THE LOBBY -

ELEVATORS

The Three Guards approach the closed elevator doors.

42A

INT. THE CASHIERS BOOTH

Franklin and Hanson enter the stainless steal vault. They
begin clearing out the cash. Stacks of hundreds and fi:t~es
are quickly loaded into a large sized duffel bag.

42B

INT.

SECURITY COMMAND STATION

The Panel Operator, Supervisor and a Security guard watch

Michael s elevator door with the Guards standing outside ::.
She looks from the elevator monitor to the cashier's boot~
monitor and sees our four Elvi' in action.
PANEL OPERATOR
HOLY SHIT! Main booth, scramble security.
42C

THE LOBBY -

ELEVATORS

In the lobby by car 8 wait three security guards.

42D

INT.

ELEVATOR

The car still descends 21 1. The elevator stops on the l.::cty

floor. Michael searches and finally finds a red wire. The
elevator bell rings. "DING"! He snips the wire to t~e ~:~
power causing the alarm to stop and the lights to go o~t.
I

42E

THE LOBBY -

ELEVATORS

The three security guards wait for the doors to open.

43

INT.

ELEVATOR

Using a small flashlight, Michael splices a yellow

wire together causing the light to go back on.
43A

INT.

SECURITY COMMAND STATION

PANEL SUPERVISOR
(on the phone)
Call Vegas PO, we need back up.

a~d

bl.~e

20.

44 OMIT
45

EXT. VEGAS DESERT - SUNSET

Music, 50 WAYS TO LEAVE YOUR LOVER (BUSTA RE-MIX) . The blades
of a helicopter chop through the air.

46

INT.

HELICOPTER - St.JNSET

Jack sings in the cockpit of his helicopter as he races

through the empty desert. Hes wearing his Vietnam helmet
that reads - "DEATH FROM ABOVE". He flies low and fast.
JACK
Get on the bus Gus. no need to discuss
much. listen to me Lee and set yourself
free.

47 OMIT
48

TOP OF THE RIV

The 15 ELVIS'S gyrate to the beat of "SUCH A NIGHT".

49

INT.

CASHIERS BOOTH

Franklin and Hanson exit the vault and hand the cash to Gus.
Murphy hops down from the cashier's counter.
Nice doin'

MURPHY
business with ya.

The four ELVIS'S exit the cashiersbooth swiftly.

49A

INT.

SECURITY COMMAND CENTER

SUPERVISER
They're coming out. Do not engage on the
floor.
(he looks down at blueprints)
Direct them to section B4l and intercept
there. . B41

50

INT. THE LOBBY.

BY THE CASHIER'S BOOTH

The ELVIS'S walk fast towards the registration desk without

attracting attention. As they turn a corner, they spot
several security guards, they turn. Another security guard
approaches.
MURPHY
They're movin' us.
Murphy looks ahead to the elevators.
MURPHY ( CONT' Dl
Anyone gets between us and Michael,
on.

it's

The guys march determined through a small corridor towards

the elevators. A MONEY CART GUARD drives by.

21.
I

Freeze,

MONEY CART GOARD

( 0.

s~

don't move!

Murphy turns to see the ~oney car~ guard with his gun drawn.
Security guards move in behind hi:. Murpny lets off a
controlled burst hitting t~e Guard ~~ t~e chest.
Suddenly TWO GUARDS cut t~e gro~p =ff from the elevators.
Franklin lets loose with a ~~il c: ~~~ fire. The Guards :u=p
behind two large support col;.unns. ?ra.~klin empties a clip
into the columns as the group keeps :cov:.ng.
THE ELEVATORS
The three guards turn ar:d

r~~

t~ards

The Old Lady continues playing s:c:s.

shots and the people screaning.
PEOPLE in the lobby run fer cover
chaos makes it impossible for t.he
The News Reporter turns to see

the action.
st.e can t

hear the

:~ a ;iant stampede.
:;~a:::-ds to get a shot

~a:

s happening.

NEWS REPORT~
(to camera :nan)
Turn around! Get that!
Just as the Camerman turns, he's !"....:. ~ by running bystanders.
the camera flies from his ha.nds and la.'1ds on the ground s:i:l
recording.

51

THE ELEVATORS
Michael opens the elevator door - :.::e :.::bby and finds
himself face to face with a guari. ~~hael ~~ocks him ::ut.
He waves the other ELVIS S on.
from all sides.

MICHAE:.
Come on!
It's a fire fight. A battle eru~~s =~ :.he casino floor as
each man takes his position. Shcot and move, shoot and mc..re.
Walls disintegrate. Guards go
very good at what they do.

d~.

~~rphy

and his boys are

Hanson walks without fear, laying =.:Ytt":l S-.Jppressing fire. :ie

turns a column and runs into a Guard. He smacks the Guards
gun in the air, catches it and ~:.ies the clip into him,
casually dropping the gun and mc:i::g on.
Clips drop and new ones are inse:::-:.e~. Shell casings hit :~e
floor. Security guards reload. ::he=s are hit and pulled :.o
Safety.
Several Elvis i:.. personators are .... ..

a::d go dmom .

Murphy reloads his shotgu~ a::d ==~=:::~es ~o fire. He whi~s

around a support column, c~~:ng :3:: :o :ace Ait~ tNo ~ua~~s.

22
The 12 guage is empty Murphy
back holsters and wastes. thell\i .
52

THE LOBBY -

ELEVATORS

The ELVIS'S double time it co the elevator.

The Security Guards fire. Franklin turns and spits lead into
c.he column that the Guards hide beh1.nd. One, two, three,
clips. Murphy grabs him and pulls him along Franklin never
takes his fir.ger off :he trigger.
Michael who has the best shot at the security guards
hesitates again. He looks up at the ceilingA long burst from Michael s

gun.

"DA", "DA", "DA", "DA", "DA", "DA", "DA", "DA"!!!!!

The ceiling glass shatters and rains down on the Guards.
dive for safety as the ELVIS' make it into the elevator.

They

Just as the doors to the elevator are closing, a plain

c l::J-ched FEDERAL MARSHALL j u.mps up and takes aim.
He fires into the closing doors, POW- POW- POW! ! The metal
doors dent. The Marshal keeps running at the closing doors.

53

INT.

ELEVATOR

Bu~let

hits dent the sheet metal in towards the boys.

Suddenly the Federal Marshal's arm jams inside the doors. The
barrel of his gun twisting to find a shot. The gang react in
horror as - BLAM! BLAM! BLAM! Franklin is hit in the neck,
chest and cheek. The gun angles for more shots.
Murphy kicks the Marshal's arm snapping it sideways. He pulls
out his . 45, jams it between the doors. The Marshall looks
down the barrel of Murphy's gun into his cold eyes. SLAM!
BLAM! Murphy pumps two .45's into the Marshal's face and
pushes his broken arm out the door. The doors close. The boys
are wild eyed, holding up Franklin.
54

EXT.

VEGAS DESERT - SUNSET

Jack races toward his destination as the city lights sparkle.

JACK
Sooo ... step out the back Jack. No need
to be coy Roy ...
55

INT.

ELEVATOR

The ELVIS' are moving on up. Franklin is bleeding bad and the
others hold him up. MUZAK plays in the background.
55A

EXT.

ELEVATOR

The elevator door opens on the penthouse level. TWO COUPLES

are shocked at the sight of Franklin and the other ELVIS'S.
The couple~ are bowled over as the gang pours out.

;23 .

. :~t~~:~~; .. : ...
The group helps carry 't~~nklin to the emergency stair case.
He's hurt bad and fight~ to stay conscious. Frustrated,
Murphy grabs Franklin and throws him over his shoulder.

56

INT.

THE LOBBY

The lobby of the Hotel is left ln utter ruins. The Security

Guards don't know what hit them but are reforming quickly.
The Two Pit Bosses take over. one listens to an earpiece.
The roof!

PIT BOSS 1
You men follow me.

PIT BOSS 2
The rest of you with me,

56A

EXT.

VEGAS SKYLINE - NIGHT

Jack flies

57

INT.

now!

towards the Vegas strip.

EMERGENCY STAIR CASE - NIGHT

Murphy humps Franklin up the stairs, the blood stains his

shoulder and back. The group busts through the roof door,
sounding the emergency alarm.
58

EXT.

RIVIERA ROOFTOP - NIGHT

They race out to find ... no helicopter. They move to the

center of the roof looking all around.
Damn it,
Michael

HANSON
where's Jack!

looks at Murphy.
MURPHY
He' 11 be here.

59

INT.

BALLROOM

The 15 ELVIS'S bow to the crowd in the audience. The Annoucer

stands by the IDicrophone and yells out to the crowd.
ANNOUNCER
How about that ladies and gentlemen,
FABULOUS DANCING ELVIS'.
The audience cheers. The 15 ELVIS'
60

EXT.

THE

leave the stage.

ROOF TOP

Murphy hands Franklin off to Michael and grabs his M16. He

turns and kneels down. His eye squints as he sights down the
barrel. Michael kneels down behind him holding Franklin.
Hanson and Gus do the same their weapons pointing the other
way. Silence, nothing but the wind for a moment of eternity.
Suddenly a Security Guard appears in the door. Double tap
from Murphy and he's spun around and down, outside the door.
Murphy stays sighted. A second figure appears and again,
double tap from Murphy and the second man is down.

24.
~ -../

:...f-

61

.-~

--~

-~

The Security Guards back up as the second one falls back into
the stair well, dead.
Whoa,

LEAD SECURITY GUARD

everybody hold!

( V. 0. )

PIT BOSS 1
Ccme one get out there.

Fuck yr)_.
62

EXT.

ROOF TOP/

LEAD SECURITY GUARD

Boss.

EELICOPTER

All of a sudden Pit Boss 2 and three security guards pop up

through the roof stairs on Hanson and Gus' side. They open up
on full auto showering the stairs with a hundred hits.
Suddenly the helicopter flares

in for a 180 degree landing.

Murphy stays s1ghted on the door. Michael throws Franklin

into the helicopter. The gang scramble in themselves. Michael
turns to help Murphy in.
MICHAEL
Let s go!
Murphy whips around and jumps onto the helicopter skid.
MURPHY
GO,

63

INT.

GO!

BALLROOM

The announcer says the famous words.

ANNOUNCER
Ladies and gentlemen ...

64

EXT.

HELICOPTER,

THE ROOF - NIGHT

The helicopter elevates just as the Pit Boss and his team of
Security Guards burst through the 2nd roof door. Murphy,
standing on the skid clicks his M16 onto fully automatic and
lets loose with a barrage of fire. RED NEON explodes with a
shower of Sparks forcing the guards down again.
Jack cuts a sharp turn dumping the helicopter sideways over
the edge of the building. The boys hang on for dear life as
the helicopter goes straight down.
ANNOUNCER
(Voice - Over)
... ELVIS has left the building.
The Security guards run to the side ready to keep shooting.
The Pit Boss 2 stops them. The helicopter hugs t~~ ground,
racing away at top speed.

25.
'.--.t',

6s~:}~:~fNT._

THE LOBBY

In shambles. The deaf old lady -yells out as the' screen

displays three red cherries. Money pours from the bottom of
the slot machine. CHING. CHING. CHING, CHING, CHING, CHING!!
Yeah baby.
Elvis impersonator 1.

OLD WOMAN
come to Ma-Ma!
helps Roller Elvis to his wheels.

SECURITY GUARD
You alright?
Na man ...

66

EXT.

ROLLER ELVIS
"I'm all shook up".

VEGAS DESERT - NIGHT

The helicopter flies off into the empty desert.

67

::NT.

HELIC'JP'TER - NIGHT

Green lights inside the helicopter. The loud roar of the

engine barely drowns out Franklin's screaming. Michael,
Hanson and Gus are at his side. Murphy pushes them away and
rips off Franklin's shirt revealing a large bleeding chest
wound. Murphy uses his scarf as a tourniquet, then grabs
Michael's hand and places it over the wound. Franklin
screams. Murphy puts pressure on Franklin's neck wound.
MURPHY
Keep pressure on it!
FRANKLIN
I'm dying, oh Jesus, Fuck me! I'm not
gonna make it ... I'm not gonna ...
MURPHY
You can hack it! You hear me! You can
hack it, now just hang on.
The guys try to help Franklin but blood is squirting
ever'Y\'{here and the pain is just too unbearable for him.
FRANKLIN
Mama help me ... mama.
Franklin tries to speak then convulses. He arches his body
and collapses. Murphy pushes the guys away and pounds on
Franklin's chest, then moves to give him mouth to mouth, more
pounding but blood pours from his mouth, its 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 pulls it off. Its a wig. Murphy
looks at the hair for a beat then tosses it out the door.
Jack turns to the boys from the pilots seat.

26.
'. .- ~- '- -:,;.~.:lACK .hFHe okay?
Michael looks at Murphy who is already in another world.
Murphy grabs some water and starts drinking. 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,

68

hand resting over his gun stares out the open door.
NIGHT

EXT. DESERT

THE MUSIC - "THE DOORS" SLOW MOTION - The black silhouette of

the helicopter hovers over the empty desert landscape. We see
and hear the blades turning.
The dark silhouette of Franklin's body falls
earth. The helicopte.:- flies out of frarr.e.

69

INT.

MICHAEL'S APARTMENT -

toward the

NIGHT

A butter knife is used to open Michael's door.

Jesse enters Michael's apartment wearing his cowboy hat and
toy pistols. He shuts the door, turns the light on and begins
snooping. He looks in the closet touching each article.
Jesse removes his cowboy hat and places it on the dresser. He
puts Michael's fedora on and checks himself in the mirror.
70

BATHROOM
The light c 1 icks on. Jesse starts going through Michae 1 s
stuff. He grabs the shaving cream then studies himself in the
mirror. He tries to look distinguished.
Jesse attempts to shave himself. He examines his face in the
mirror. Left, front and right profile.

71

EXT.

PARKING LOT,

LAST CHANCE MOTOR INN - NIGHT

Michael's 59 Caddy comes to a stop. The car doors open and

Michael, Murphy, Hanson and Gus wearing plain clothes exit
from the car with the duffel bag of cash.
72

INT.

BATHROOM,

MICHAEL'S APT.

Jesse rinses the excess shaving cream from the razor.

73

EXT.

PARKING LOT

Michael, Murphy,
74

INT.

BATHROOM,

Hanson and Gus proceed to Michael's room:

MICHAEL'S APT.

Jesse hears foot steps and they seem to get louder. He

quickly puts the razor back and races to the front door with
shaving cream still on his face. He turns the light out.

27.
75

EXT. MICHAEL'S APT. - NIGHT

Michael puts the key in,

76

INT.

opens the door and they all enter.

MICHAEL'S ROOM

Michael turns the lights on and shuts the door behind him.
Gus and Hanson survey the cheap interior.
GUS
Nice place you got here.
HANSON
What a shit hole.
~ichael and Hanson drop the duffel bag on the table in the
main room.

Where's

MURPHY
the pisser?

Michael points. Murphy makes his way to the bathroom.

opens the refrigerator.

G~s

GUS
Anybody want a beer?
77

BATHROOM
Murphy enters the bathroom, approaches the sink and washes
some blood from his hands. His twin .45's stick ut from his
belt holster.
From above we see the top of Murphy's head as he pisses in
the toilet. Moving to the left we reveal Jesse sitting in the
shower, motionless with shaving cream on his face.
Murphy flushes

78

the toilet,

shuts the light off and leaves.

MICHAEL'S ROOM
Murphy, sunglasses still on, sits on the bed and leans back,
the others sit at the table counting money.
MURPHY
So what do we got here?
I

79

HANSON
think we're gonna'

need a bigger table.

BATHROOM
The moonlight shines in through the bathroom window,
illuminating Jesse who quietly pushes the shower curtain
back. He steps out of the tub and approaches the bathroom
door. He opens the door just a crack.

80

MICHAEL'S ROOM
The guys are at the table cou~ting the cash which is neatly
stacked. Murphy's sunglasses come off.

~28.

MICHAEL
So we topped out at three point two mill.
Three point two mill, that s a lot of
fuckin' cash.

Gus stares at the table of money.

That

GUS
is a beautiful thing.

MURPHY
Less Jack's 10 percent.

GUS
Lot of money just to fly a helicopter
don't you think?
MURPHY
Would you rather we used a hot air
balloon?
~us

nods

"NO"

realizing his remark has pissed Murphy off.

MURPHY ( CONT ' D)

Or maybe hang gliders? Would you rather
we used hang gliders?
GUS
I don't know how to hang glide.
MURPHY
Well I doubt you know how to fly a
fuckin' helicopter either. If you ask me
320 grand is well worth it. Besides,
Jack's takin' care of a bunch shit you
don't even know about.
GUS
Sounds like you got a deal,

a bargain.

HANSON
What kind of shit?
MURPHY
You wanna talk about shit,
wanna talk about money?

Hanson,

or you

Hanson holds up his hands and sits down.

HANSON
Money.

MURPHY ( CONT ' D)

Alright, back to business. Where is
Franklin Pile?
HANSON
What are tallkin'
Franklin,

about.

MURPHY
anybody remember him?

29.
HANSON
I was there, Franklin's
So where

MURPHY
is Frankl in's pile.

HANSON
We didn't make him a pile,
up.

we split that

MURPHY
Wrong! Franklin's pile does not get split
up. You were promised fifteen percent of
the score, each. You are getting fifteen
percent of the score. No more, no less.
Murphy turns
I

to Michael

for confirmation.

MICHAEL
can live with that.

Oh that's bullshit. So who gets the

remaining fifteen percent? Wait let me
take a wild guess.
Murphy grabs Michael and Gus' money.
MURPHY
It was my deal Hanson.
res pons ibi 1 i ty, so it's
If I want to spend the
or over his grave it's

Franklin was my
my fuc'kin' guilt.
money on a whore
my business.

HANSON
I want that fifteen percent split up four
ways.
Hanson quickly taps on the table with his knuckles.
MURPHY
You want?!?
HANSON
Yeah I want!
MURPHY
I could give a flying fuck what you want,
a deal's a deal .
Murphy grabs Hanson's money.
HANSON
Yeah, but that deal died with Franklin
and now I want a new deal. Let me put it
this way.
Hanson turns around as Murphy takes his money. Hanson pulls
his .44 magnum out and places it on top of his money pi:e,
pointing it toward Murphy. Murphy looks at the gun.

30.

That's
that.
MICHAEL
Oh this great. Let's not make this the
moment where it all falls apart and
people end up dead instead of rich.
GUS
We don't need this.

Not here,

not now.

HANSON
That's right Gus, lets keep this simple.
I'll take my end, plus 25 percent of
Franklin's end, ... and I '11 take it now.
MURPHY
I'm not lettin' that happen.
HANSON
Why the hell not?
MURPHY
Cause that would change the plan and when
plans change, things get fucked up.
HANSON
Well Murph, your going to have to be a
little more flexible.
M"uRPHY
The plans stay!
The whole room gets silent.

Hanson is surprised.

MURPHY ( CONT' D)
We have an arrangement in Boise where we
will get 70 cents on the dollar. We'll
keep that arrangement, all of us. Then we
switch back to Seattle to meet Jack in
three days to get our new passports and
identities. After that, I'm over the
border to Canada. You can all get on that
fuckin' boat with Michael for all I
care ...
MICHAEL
Nobody gets on my boat but me.
Murphy stays at table foot on the chair.

MURPHY
... Right, whatever ... But if anybody goes
before then, there's a chance you spend
money, you get popped and chances are you
talk. Either way. I'm not takin' that
chance.
HANSON
Murph, I've been doin this for a long
time and never dropped dime once. so be
careful what you say?
(MORE)

31.
HANSON {CONT' 0)
- .. _,
_N?~~9Jl)JO do what ev~r _it._ ~:at"'yo\j.,~,:p~_,ye'.;~o.
_
d<>i;~~~;,_:!p,i.~e ~.~t 's ~ y~ur. crl.ml.~~l.~fi:gij,~.,11 ._ r-. ' .,,Me,' 1 \~ stay1.ng r 1.ght he.re. _you tw..o .a,;_&:'"

the ones with hot sheets remember.~ --~ -- '

Instead of travelling together we should
be putting as much distance from you as
humanly possible.

Gus and Michael look at each other.

MURPHY
I ~ealize that travelling with you guys
is the weakest part of the plan but since
we don't trust each other we travel north
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 is done.
I'm cashing out gentlemen. Give me my
fuckin' money.
MURPHY
Is that an order Hanson?
GUS
That wasn't an order. Well technically it
was an order but it wasn't an order.
Murphy paces back and forth by his chair.
MURPHY
How 'bout you Gus? You think that's your
fuckin money too?!
GUS
This is my money,

that's your money.

MURPHY
Michael?
MICHAEL
Already said I can live with it.
So Hanson,
the room.

MURPHY
that makes you the only pig in

GUS
Come on guys, we're all just a little
emotional right now.
Murphy returns to his chair and sits down. The sunglasses go
on. Hanson looks at Murphy and smiles as he begins to stack
his share of the money. Murphy puts his head on the money.
HANSON
You make me laugh you know that?
HANSON (CONT'D)
You sit there like some big dog. Telling
us what to do.
(MORE)

HANSON

....

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

<com. .:oJ

_ __._- . ___ .. _._ -_

I can t even imagine:~~t~ gqeL -thX:ough

that sick fuckin' min~~i'fJF"'-1 sweargod sometimes I actua1l'V.rttilnk',.ou ~ ,- ~---- .- _
believe your the king himself.

Gees,

Michael gets up

MICHAEL
Hanson, don't go there,

man.

from the table.

HANSON
know I'm right. Come on, I mean
n;:.=: :y what's with those fuckin'
s~:-.~ i.asses,
those side burns. I wore them
:-~r job,
for you it s an actual lifestyle
chcce. Lets get real.
Yn~

GUS
HANSON.
HANSON
Murph I have news for you. You ain't the
king. "{c.;. ain't even close. You're just
some two bit hood wanna be, caught in the
sixties with a pair of ridiculous
sunglasses and a fucked up idea that
you're somehow related to him.
The room is stagnant.

Dead silence.

MURPHY
Never the less, I
r,..;hat' s

know the golden rule.

HANSON
that?

MURPHY
Fuck the gold!
Murphy fires his now silenced nickel-plated pistol under the
table hitting Hanson in the leg. "PFFFTT"!
Hanson flies back and drops to the floor. He stumbles to his
feet in total shock, one leg destroyed. He moves for his gun.
MURPHY
He who has the nickel-plating makes the
rules.
Holy shit.

GUS
You shot him.

MURPHY
That's right Gus.
him.
Murphy stands and shoots,
Hanson's heart.
Dam,

And now I'm gonna kill

sending a second bullet into

GUS
You shot him,

again.

Gus and Michael stare at each other. Murphy unscrews the

silencer and wastes no time.

32

3 3.
-.,.:.

" -

W~

MftllA!'t- -"
'->. ;<::: i:::-:Cc ~hcivtF to get'nfm ~oit of 'hel'e.
::: ,; >"o ,_

Michael opens door and looks outside for a moment.

MURPHY
Wrap him up.
Gus doesn't move.
the floor.

Murphy grabs the bedspread and throws it on

MURPHY ( CONT 'D l

What are you doing?
Michael turns to the cash on he table. He and Murphy pick the
cash up and bag it.
MICHAEL
We got stick him in a ditch and we don't
want to carry this cash around.
Michael pulls a chair over, pops a ceiling tile out and
motions for the cash. Murphy hesitates then hands it to him.
Michael hides it.
GUS
Well now how are we gonna split it up?
Gus finishes wrapping Hanson and notices blood on the couch.
GUS (CONT'Dl
Someone grab some towels for the blood
Michael closes the hatch,
80A

gets off the chair and turns to--

THE BATHROOM
Jesse pulls away from the door,

fear surging through him.

Michael turns on the bathroom light. He moves the shower

curtain and grabs a towel. Jesse's gone. Michael notices the
shower window is open. He closes it and exits the bathroom.
81

EXT.

PARKING LOT - NIGHT

Jesse, shaving cream still on his face, hides behind the

electric meter pans from the motel. He watches Michael and
Gus carry Hanson's dead body to Michael's Caddy.
Murphy looks to the side of the Motel, walks towards Jesse.
Murphy reaches out. Jesse is about to scream, but Murphy just
reaches for a shovel leaning against the wall. Jesse's heart
pounds as the guys get in the car and leave.
82

EXT.

DESERT HIGHWAY - NIGHT

Michael's Caddy cruises past a sign 83

EXT.

"COYOTE CROSSING".

DESOLATE ROAD/OLD MINE SHAFT - NIGHT

The Caddy sits behind old water tanks, trunk open. Michael
and Gus carry the body down an embankr-.-~nt. Murphy follows
with the shovel.

34.
'

The three mtfit~: (andi:one'dead one) disappear from view as they

descend the embankment. We see the desert, mountains, sky ...
suddenly four shots ring out. pep, POP, POP, POP. FLASHES
reflect off the old mine. After a moment, Murphy rises from
the desert embankment. He puts his .45 back in his waist and
walks to the car twirling Michael's keys.
84

INT.

57

CADILLAC/DESERT ROAD - NIGHT

Murphy drives. A bright yellow sign reading "Coyote Crossing

illuminates as it goes by. He lights a cigarette and takes a
long dr~g as he guides the car around a sharp turn. Out of
nowhere TWO COYOTES are seen crossing the road. "SMASH ! ! ! !
One COYOTE hits the grill and rolls over the windshield.
Murphy swerves left and fights to regain control, but barrels
off the road, down an embankment.
The car smashes to a halt. Murphy's head hits the steering
wheel knocking him unconscious.
o~

EXT.

DESOLATE ROAD - NIGHT

Michael and Gus's bodies lay motionless next to Hanson.

Michael's hand moves. His eyes open and he coughs up blood
fighting for air as he clutches his chest.
86

EXT.

DESERT ROAD - NIGHT

An old Chevy pick-up drives down the road.

87

INT.

OLD CHEVY TRUCK - NIGHT

Through the windshield, Michael is seen hobbling down the

road. The truck slows and stops. An OLD INDIAN leans over.
OLD INDIAN
Need a ride fella?
87A

INT. OLD MINE SHAFT - NIGHT

Jesse runs down the mine shaft. He stops with a black light
and passes it over the ground searching. Success a scorpion.

88

INT.

MICHAEL'S APT.

- NIGHT

Michael inches through the door, gun leading the way. Mouth
bleeding, Michael climbs up and checks for the cash. Gone.
MICHAEL
Fuck ...
He drops to his knees as a whirlwind of emotion overwhelms
him. He freezes. Slowly looking up, his eyes fixate on the
little cowboy hat sitting on the dresser.
MICHAEL ( CONT' D)
That little son of a bitch.
Michael rips off his shirt, reveals a bullet proof vest. He
takes that off as well. Two purple c1rcles grow on his chest.
He throws on a fresh T-shirt, stuffs his belongings in a bag,
and stumbles out.

89

INT.

CYBIL'S APT.

- NIGHT

Cybil opens the door to see Michael. furious.

and a newscaster talks about the he~st.

The RADIO is on

MICHAEL
Where s Jesse?!
Jesse,

wearing underwear and

hols~e~.

~~ns

to his bedroom.

MICHAEL <CC~~c;
Come here ya little shit~
CYBIL
What the hell are

---oy

. . . "__

.,I'")

----~---

Michael chases Jesse. Cybil t~~es tc stop him but he pushes

her to the floor. Jesse slams "~s bed~oom door.
MICHAEL
Your little angel took

again.

s~ething

Michael bangs on the door ver.t ::.c:1=.:y.

MICHAEL (CONT'81
Have you been in my room?
CYBIL
What are you talkir.g about?
MICHAEL
Jesse! Get your ass out

he~e!

Michael hears Jesse's window o;-e::i::;;. 3AM"! Michael kicks

the door open. Cybil jumps on :::..::1,
*~apping her arms around
his neck.
CYBIL

Don't you dare touc::

~:..z!

Michael breaks free and ente::-s Jesse s bedroom. He takes a

giant leap to grab Jesse who :..s ::a:: ay out his window.
Cybil is screaming, she's hys::.e~ical.
CYBIL ( COt-.'T' D)
Leave him alone! He's just a boy!
Michael grabs him and shakes. Cyb:..l tries to get between
them.
MICHAEL
Where is it?
Wheres the
I

JESSE
don't know what

yc~re

~AMN

money?

~a~~:..ng

about.

Michael drops Jesse to the fleer. ~e ex:t.s the bedroom and

grabs a kitchen chair. Cybil ;;~al::::s .:-esse.
CYBIL
I'm calling the cops
you hear me?!?

~:;:::

::o~!

Right now

36.
MICHAEL
(calmly)
Cybil, If nothing's up there,
right out the door. But if you have what
I'm lookin' for, we've got a problem.
Michael stands on the chair, opens the ceiling tile and pops
his head inside. The duffel bag is there.
Cybil starts

toward the telephone.

Michael grabs the bag and swings it down,

elation seeping

~n.

She picks up the telephone and dials 911.

Call

MICHAEL (CONT'Dl
em. Tell 'em your son's a thief.

911 REP (O.S. l

Emergency service, please state your name
and the location of the emergency?
Cybil doesn't say anything and Michael stands still.
911 REP (O.S.)

(CONT'D)

... Hello.
CYBIL
Yes hello.
Michael opens the duffel bag,

reveals the stacks of money.

911 REP (O.S.)

This is emergency service, please state
your name and the location of the
emergency? ... Hello ma'am, ...... ma'am?
Cybil

hangs up
I

the phone,

she stares at

the money

~n

the bag.

MICHAEL
thought you might change your mind.

CYBIL
(to Jesse)
When did you .. never mind.
She looks at Michael,

a half smile forming on her face.

CYBIL (CONT'D)
So you're the one. The casino in Vegas,
all over the news. That was you.
Michael pulls out his gun. Cybil and Jesse react carefully.
MICHAEL
Sit down.
They both do. Michael thinks, figuring out what to do with
them ... a long, tense, silent beat. Finally he reaches into
the bag and pulls out some stacks of bills, places them on
the coffee table. He slides the money towards her.

37.
MICHAEL:,.
There s a hundred nY.::AYi~
Cybil looks at the money.
MICHAEL (CONT'D)
Just to keep your mouth shut, which I'm
sure'll be a first for you.
CYBIL
You don't need to pay me off.
gonna tell anyone.

I'm not

MICHAEL
't/ell I want to. Two. three days is all I
need. After that you do what you want.
Cybil stares at the cash in front of her.
MICHAEL
You here me?
Yeah.

(CONT'D}

CYBIL
I hear you.

She starts to reach for the cash.

Good,

MICHAEL
so everything understood?

CYBIL
(saddened)
I guess so.
MICHAEL
What's the matter with you? You just made
a hundred grand.
No thin .
Michael nods,

CYBIL
Forget it.

closes up the bag,

Well.

and stands,

MICHAEL
Adios then.

He heads for the door. Just before he's out, Cybil stops him.
CYBIL
Hey Elvis ...
Michael

looks back.
CYBIL (CONT'D)
Any chance I'll ever, ya know,
again?

see ya

She's sexy and her heart is right out on her sleeve.

MICHAEL
(smiles}
Sorry Cybil.

38.
:.-

.... :-:...

Your a hundred percent sure?

MICHAEL
A hundred thousand percent.
Michael turns and walks out of the room.
90

EXT.

MOTEL

Michael walks into the parking lot, looks around. The only
vehicle in sight is a beat up 1960's Studabaker. Michael
heads back to Cybil's apartment.
91

INT.

CYBIL'S APT.

Michael barges into the room. Cybil and Jesse are counting
the money at the coffee table. They look up.
JESSE
ito

h1nsel f)

Hundred thousand percent,

I

huh.

MICHAEL
need your car.

CYBIL
What are you talking about?
MICHAEL
The old Valiant ... where are the keys?
CYBIL
I'm not giving that to you.
He

stops and shuts the door.

lowers his voice a little.

MICHAEL
Yeah you are cause I just gave you a
hundred thousand dollars.
CYBIL
I don't care how much you gave me. That's
not my car and I can't just give you
something that isn't mine.
Alright,

MICHAEL
fine, who's is it?

CYBIL
My grandmother's.
MICHAEL
Good, then I just bought your
grandmother's Valiant for a hundred
grand.
CYBIL
You don't understand. She'd never sell it
anyway. She got offered six hundred fifty
dollars from the mechanic over at
Stapleton's - twice what it's worth - and
she still said no.

._.:j_~- -~~~
-._.<

,- .

.' __ .;.

believe her.
Cybil.

MICHAEL
you either give me the keys--

CYBIL
--Or what? You gonna kill us?
Michael is stopped short. She's called his bluff and he
didn't even know he was bluffing.
CYBIL ( CONT' D)
don t think so. Cause if you were that
kinda' guy, you woulda' done it already
insteada' payin' me off to keep quiet.
I

MICHAEL
Your playing a more dangerous game here
then you know, Cybi 1. . . don t push it.
CYBIL
C'mon Michael. You might be a little
:::razy. . . I like that.
But you re not
unreasonable. I like that even more.
MICHAEL
You don't know what
CYBIL
That's what I like
Very loaded moment.

He's as

am.

the most.
turned on as he is pissed off.

CYBIL ( CONT' Dl
But. ya know, there s a simple solution
here.
I m

MICHAEL
1 istening.

CYBIL
You can take us with you.
This snaps Michael out of it.
What?!

MICHAEL
No fucking way.

CYBIL
Why not? Where are you going?
MICHAEL
A. None of your business, and two,
place you wanna' go.

no

CYBIL
Excuse me?
You are aware I live in
Rosewood, Nevada, right?
Population 63.
MICHAEL
Yeah, where I'm gain' there's a
population of one. Me. On a boat.,
myself. alone. You cror ,-'h~~~

by

40.
She's honestly disappointed.
duffel bag full of cash.

Michael stands up witn the

MICHAEL ( CONT' D)
Now. I'm takin' the keys and your gonna
take that money. Go buy your grandmother
a new car. Hell buy one for yourself too.
CYBIL
I don't need a car.
Yeah,

' 1 ICHAEL
r.o .shit.

Besides.
Michael stands,

I need a life.

CYBIL
don't even know how to drive.

points the gun at her.

MICHAELOK that's it! I don't have time for this.

Ginune' the keys right now or I m
splattering cherry pie all over that wall
behind you.
Michael hears a click behind him. Jesse points his fake
revolver at Michael.

--

JESSE
Stop pointing that gun at my mom.
Michael instinctively reorients at Jesse, momentarily not
realizing the gun is fake. Jesse and Michael in a stand off.
There's a knock at the door.
moves at all.

Everybody looks,

but nobody

CYBIL

Who's

there?

Police.

POLICEMAN A ( V. 0 . )
Can you open the door please.

Michael lowers his gun and grabs for the bag.

But Cybil gets
to it first. He stares as she walks to the door with it.
92

EXT.

CYBIL'S APT.

DOOR - NIGHT

TNO POLICE OFFICERS stand there as the door cracks open,

revealing Cybil carrying the duffle bag.
CYBIL
Hi there officers.
POLICEMAN A
Good evening. We received an emergency
911 call from this room.
CYBIL
Oh?

41.
POLICEMAN A.
The call was disconnected, we were in the
neighborhood. Everything okay?
CYBIL
Sure is. Would you like to come in for a
minute? We were just getting ready to
leave.
Michael s

face

drops.

POLICEMAN 8
If you don't mind.
CYBIL
Not at all.
Cybil opens the door wide and lets the Officers in.
93

INT.

CYBIL 'S APT.

The Officers take ~n a visual of the apartment. Michael's on

the couch, Jesse's next to him playing with his fake pistol.
Michael is holding his gun and hiding it from view. Michael
waves to the cops and smiles, a little nervous.
POLICEMAN 8
You the man of the house?
Ah no,

MICHAEL
I mean yes,

but ...

CYBIL
What he means is not yet. We just got
engaged a few months back.
POLICEMAN A
Oh congratulations.
MICHAEL
Thanks.
CYBIL
Yeah well we're kind of excited about it
ourselves, aren't we honey.
Michael smiles and nods. He places his hand on Jesse's head
softly. Jesse smiles sweetly at the police. Cybil holds up
the duffle bag.
CYBIL {CONT'D)
Yeah, we're taking little Jesse here to
see the Grand Canyon. Early birthday
present of sorts ... Go on Jesse, get the
rest of your things.
Jesse smiles at Michael and makes his way toward his bedroom.
POLICEMAN A
Which of you was the one who dialed 911?
The cops look at Michael.

He's dumbfounded,

points to Cybil.

42.
C'!BIL
Oh, that was me. I'm awful sorry about
that. I was trying to call 411 for
information and I must have hit nine by
mistake. Sorry you fella's had to drive
out here cause of my clumsy little
fingers.
POLICEM.W A
Not a problem, ma'am, like I said,
were close by.

we

POLICEMAN B
Happens once in a while.
Jesse comes out of his room dressed with a back pack.
up his bag, hiding the SCORPION BOTTLE.

He zips

POLICEMAN A
Well looks like you're all set. We'll be
on our way.
The cop notices Cybil picking up the duffel bag full of cash.
POLICEMAN A ( CONT' D)
Need a hand with that?
Michael stands up,

hiding the gun in his back.

MICHAEL
Oh no that's ...
CYBIL
Would you mind?
POLICEMAN A
It would be my pleasure.
Policeman A grunts as he hefts the bag.
CYBIL
Why thank you. School books and all.
The two cops,
94

Michael,

EXT. LAST CHANCE MOTEL,

Cybil,

and Jesse exit the apartment.

PARKING LOT - NIGHT

The two Cops wave good-bye as Michael, Cybil, and Jesse

drive away.
The very picture of a happy family.

95

EXT. NEVADA - MORNING

The sun rises as the Valiant swishes by a sign - ROUTE 6.

--

96

INT. VALIANT - MORNING

Michael drives while Cybil sleeps in the front and Jesse
plays with his cap-gun.
Cybil contorts her body, stretching out. As she does,
dress she s wearing hikes up.

the sun

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

43 .
<o

Michael c~n t help but follow the lines of -.~i~~~#~i\~t~~ighs

as they d~sappear under her dress. It's beeQ.;4,l~;mw.n1ght.
When he looks up. she's staring right at him.: She smiles,
let's him off the hook.
CYBIL
Where are we?
MICHAEL
Middle of Nevada, route 6.
CYBIL
Where we headed?
MICHAEL
Well, I'm headed where I'm headed and
you're gettin' paid and takin' off soon
as we stop for a break.
CYBIL
Well speed up, will ya? I can crawl
faster that this.
Cybil starts putting on lipstick.
MICHAEL
Believe me, I'd love to.
CYBIL
Well put on the hazards or something.
don't want to get into an accident.
Oh,

that's

MICHAEL
interesting.
CYBIL

~<.iha

t?

MICHAEL
thought you didn't know how to drive.
CYBIL

So?
MICHAEL
So where do you come off knowing about
hazards when you don't know how to drive?
CYBIL
I may not know how to drive, but I am
aware of safety, thank you. And speakin'
of thank you's I'm still waitin for mine
for helpin' you out last night.
Michael gets frustrated. Cybil pulls a Chuppa Pop out of her
purse and unwraps it and sticks it in her mouth.
MICHAEL
Well don't hold your breath and do me a
favor, keep quiet till I drop you off.

44
----"''~. --~~-

CYBIL

--~ .~:"1~~J;i~-

-;;. ;:, ; ::~ ;:~;"3'"?

::o::e on. you coulda' done that last
:ugn~. This is workin'
for ya, isn't
i sai 1 es )

MICHAEL
::::e hell are you taikin'

ili:-.a::

it.

about now?

CYBIL
the wife, the kid, the 62
:a:. .:.a..-:~. It looks real regular. Am I
~.:.;~~? You want a lollipop.
"{::;~

:C:cw.

herself and looks out

Cybil
-~

the window.

MICHAEL
.:r.e something, Cybil. How'd that
;et up there in that ceiling?

::.e-~

~=~ey

CYBIL
Jesse put it there.

~ean?

..r:-.a::::-:

MICHAEL
A _.:.::_e heavy for

him to lift all by

don't you think?

hi~se:f.

Cybil

sha~es

head.

he~

1c~

CYBIL
so paranoid.

a~e

:~

1---

~.:.i

---.---
...

MICHAEL
paranoid, and I think you and
tried to steal my money.
CYBIL
deserve that money anyway,

MICHAEL
.:.f you're such a pro. you oughta
:C::;.; s::.ealing it wouldn't have done you
a::: ~pod anyway.

~e::

Cybil looks a: Michael confused.

7he

MICHAEL ( CONT' D l
marked little miss brilliant.

mc~ey's

Cybi 1 pauses.
:c.:.' re

CYBIL
lying.
MICHAEL

CYBIL
re just afraid I might take it
~~-- =~ :he news they said it was
-~.:ra::-eable and the news doesn't lie.

~;a:.,

y~.:.'

45.
_:;:::--~ ---;.'?>~.-(~-;;,~~r:.; 1 .::~ _--

-:

MI:C!!IE1t
. -. . :
Oh, I'm sure:t;aiat;s what .. they said. That
way when the. aliii\b shi ts who stole it fry
to spend it. they get locked up. And you
want to know why Cybil with a c?
You
want to know why they get locked up?
... Because they were dumb shits and they
listened to the news.
Cybil looks out at the road and Ls silent for a moment.
CYBIL
I never thought about it that way.
MICHAEL
I guess not.
CYBIL
How do you know all this stuff anyway?
MICHAEL
Never underestimate the value of a prison
education.
CYBIL
In spite of what you may think,
pretty smart you know.

I am

MICHAEL
One good thing about smart people ...
CYBIL
... Yeah?

MICHAEL
They never have to tell you how smart
they are.
CYBIL
There's another thing about smart people
you know. They always underestimate us
dummies.
Michael smiles. They both enjoy the moment.
down at her body.

Michael looks

MICHAEL
Okay, we're pullin' off here. I can't
drive anymore. I gotta get some sleep.

97

INT. MICHAEL'S BEDROOM,

LAST CHANCE MOTOR INN -

DAY

The door bursts open and Murphy walks in, gun in hand. He
checks the ceiling then begins frantically searching the
room.
MOTOR INN CLERK (V.O.)
Can I help you?
Murphy whips around hiding his gun behind his back.

46.
,--:

MURPHY

.....;;

Yeah, I m lookin
this room.

Who's
M~rphy

MOTOR
asi<in?

,..

.,~

.....

for the guy that was in

INN CLERK

steps right into the guy's face.

MURPHY
No one's askin', you understand me man?

The man's been around long enough to know who not to fuck
with.
MOTOR INN CLERK
A few cops came around here last night
but your, ahh friend spoke with them then
left with Ms. Waingrow and her boy ...
MURPHY
Ycu kr.c..: where?
The man shakes his head "no ...
Damn!

MURPHY
I knew it!

( CONT' D)

The Motor Inn clerk turns and leaves. Murphy could melt iron
Wlth the look in his eyes.

98

EXT.

DESOLATE ROAD - DAY

DAMITRY, ex-New yorker smart and sarcastic, QUIGLY, used to

hunt big game for a living, arrive at the scene where Gus and
Hanson lay dead. There are FOUR UNIFORMED OFFICERS and a few
SUITS. Darnitry and Quigly slide under the yellow caution
tape. An Officer approaches them.
POLICEMAN A
You guys the Federal Marshals?
Quigly pats his gun.
QUIGLY
If not, we better give thesa back.
Damitry pulls a cigarette from the pack with his lips.
POLICEMAN A
Good morning.
DAMITRY
Not for them.
Damitry nods to the dead bodies.
POLICEMAN A
Two male adults, shots to the chest.
Large caliber, close range.
Damitry and Quigly approach the bodies. Damitry tries to
light his cigarette but his lighter won't work.

47.
JEFFERSON of LAS VEGAS homici,de, .is Qent _over checking Gus and
Hanson's clothing. DamitrY and Quigly -flash badges.Morning,
Yeah.

JEFFERSON
Jefferson, Vegas Homicide.

DAM I TRY
,.rha:: ya got?

JEFFERSON
No ros. Looks like this one over here
was digging ::o bury the one in the sheet.
Someone drilled ern' from the front.
Double taps to the heart. Three spent . 45
casings, probably more in the sand. Oh
and this is interesting.
The Marshals look down.
.45

slug,

Quigly bends down to look closer.

JEFFERSON (CONT'D)
slightly deformed.
QUIGLY

Vest?
JEFFERSON
That's what I' rn thinking.
Two FBI men walk up.
F.B.I. MAN
Gentlemen, just so you know we submitted
paper to Washington this morning. We're
taking this one.
QUIGLY
Not an option.
F.B.I.

MAN

Afraid it is.
DAM I TRY
In case you missed it a Federal Marshall,
one of my own men, was killed last night.
Might not mean much to you, but it means
a hell of a lot to us. By the way here's
a fax from your boss in response to your
paperwork. This case is ours, so kindly
pack up your shit and vacate our crime
scene.
Quigly hands the Fed's the paperwork. Damitry holds the
lighter up to the sun and checks the fluid.

99

EXT.

DESERT LAKE MOTEL - DAY

The Valiant is parked around back. Jesse kneels by the edge

of a beautiful desert lake. He searches for rocks and then
skims them on the water.

48.

100

INT.

DESERT LAKE MOTEL ROOM -_

DAY

Cybil lays on the bed watching TV. The bathroom door is open
and Michael, fresh out of the shower, wraps a towel around
his waist.
CYBIL
still driving around with this much
cash isn't too smart.
MICHAEL
Driving ~0und with you and a twelve year
old cl9pc =~aniac wasn't exactly my plan.
CYBIL
Would yo~ stop talkin' about him like
that. He's really not a bad kid. It's not
that easy being a mom and a dad.
Michael looks out the bathroom door at her. He turns and
looks out the bathroom window to see Jesse, alone, skimming
r~cks.
He takes it in.
Michael comes out of the bathroom carrying the bag of cash.
The bullet hits on his chest have turned a deep purple.
CYBIL (CONT' D)
What the hell is that?
MICHAEL
Occupational hazard,
gave me.

something a

friend

Michael lays down on the bed next to her. He ties the

shoulder strap from the money bag to his arm on the other
side of the bed from Cybil. She looks and shakes her head.
CYBIL
You know, I did not try to steal your
money. Besides, that was then and this is
now.
So now I

MICHAEL
should trust you?

CYBIL
Why would I steal the golden eggs when I
got the whole damn goose right here next
to me?
MICHAEL
Well this goose is flying solo just as
soon as this money's clean.
CYBIL
And until then, I'm just automatically
supposed to trust you?
MICHAEL
Why wouldn't you?

50.
Michael looks at her and sziies.

101

EXT.

DESERT LAKE MO'TEL ROOM

BhM. BAM, BAM!!! We hear :he :amiliar sounds of their

lovemaking again.

102

INT.

MARSHAL'S STAT ION.

:..;..5 :=::GAS

DAY

Quigly and Darnitry arrive a~ ~he headquarters with steaming

cups of coffee. Detective :e::erson approaches them.
JEFF~RS:S

Got a guy :n
wants to talk

t~ere with
~= ~~e of

a busted nose
you.

Through the glass window ~= ~he questioning room we see

Roller Elvis sitting do~ ta:king to TWO OTHER DETECTIVES.
JEFFERSCN (CONT'Dl
He's askin' abou= that reward money. Says
he knows c~e ~: :~e guys who did the job.

103

INT.

QUESTIONING ROOM

Quigly and Damitry enter,

s:~al

the two Detectives to leave.

ROLLER ELVIS
Ya'll be cool r.~w.
Quigly closes the doer.

:a:i~ry

grabs the file and opens it.

D.;MI 7::<. ::

What

happe~ed

What's

:: ycur nose?

ROL.:...::.s. ::.:...vrs
it lock ::~e?

Roller Elvis has big sur:.;:a.s ses on over the bandage.

QLiiG:. "{

How come you

d~~:

come to us sooner?

ROLLEr. E~VIS
I would have only I was busy getting my
beak mended. I heard about the robbery
after the surge~- Put two and two
together and here : am in the flesh. And
I'm gonna' tell ycu the same thing I told
those other gu:,.s.
What's

QUIG:.Y
that?
RoL:.=:..~

know one of

:::::.vrs

:~e~.

QU:G:. '!.
What makes yo~ s~ s~re? There were Elvis
impersonator's a:: over the place that
night.

51.

. :i~:,lif~B' -

ROLLER ELVIS
...,,,.,..,..,._. _,., .
I'm tell in' you I knew the cat~' Like I
knew him well you dig. Mind -if I bum one
of those bad boys.
Damitry tosses the pack.
l1ghter and sparks up.

Roller Elvis takes out a big chrome

ROLLER ELVIS
Here allow me.

(CONT'D)

Roller Elvis light's Damitry's cigarette. Damitry looks at

his own lighter. Why doesn't it ever work?
DAMITRY
So this guy you're talking about,
real Elvis impersonator?
Not

he's a

ROLLER ELVIS
exactly.

DAM I TRY
What does that mean?
ROLLER ELVIS
Remember when the king died in 77?
QUIGLY
How can we forget?
ROLLER ELVIS
Well he had a clause in his will which
stated that Lisa Marie, along with any
illegitimate child he may have fathered
be entitled to his entire estate. So
naturally I came forward.
DAM I TRY

Naturally.
ROLLER ELVIS
And not just me man, there were hundreds
of guys tryin' the same damn thing. You
shoulda' seen it, one after the other
claimin' to be the real deals son. That's
where I first met him.
DAM I TRY
This guy got a name?
ROLLER ELVIS
Murphy, Thomas Murphy. Real crazy bugger
too. Now how about that re-ward money!

104

EXT.

GAS STATION - DAY

The LUCKY STRIKE gas station sits in the middle of nowhere.

Murphy drives up to a gas station in Michael's 59 Caddy.
There is fur and blood stuck on the grill. He starts filling
the tank. He walks into the station.

52.
105

INT. GAS STATION HOUSE .;.t)Ay

..

.~,_.
~-,_,...

A 50 year old woman, MA, is ironing clothes. We hear a DING

from outside. The old woman walks back to the bedroom door
and knocks on it.

*
*

..

MA
You got a customer.
She walks back to her ironing.

..

A bedroom door opens and PA, mid fifties and paunchy walks
out. A seventeen year old girl, MEGAN, sits on the bed
buttoning her blouse. A BELL goes off.

.
.

PA
Megan, tell your mother
lunch.

106

want some

INT. GAS STATION - DAY

MurJ:hY grabs a six pack. Comes back to the counter grabs a
tub of beef jerky. He pops the register open and pulls out
$75 then turns and leaves the store.

106A EXT. GAS STATION STEPS

Murphy comes face to face with Megan carrying some
sandwhiches. They stare at each other. Megan looks to the
side. We follow her gaze to reveal Pa, laying on the steps
bleeding.
MEGAN
Oh my god ... Is he dead?

..

.
.

MURPHY
Jumper cables might help.

MEGAN
Did it hurt.
MURPHY

"
"

Not me.

MEGAN
I could call the cops.

MURPHY
You could try.

Megan looks at the phone ripped out of the wall. Murphy walks
to the car, throws his stuff in the back.
MEGAN
Where you headin'?
MURPHY
That would be to much info for you to
handle.

MEGAN
Can I come?

"

..

49.
CYBILWell, you're a thief and abank robber
for one. Not exactly the mos~ trustworthyMICHAEL
I'm not a bank robber,

okay?

CYBIL
Whatever ... I'm just saying ...
MICHAEL
Don't worry, you're gonna ge~ se: up with
a 1 it tle something, alright?
CYBIL
A little somethin'?
MICHAEL
Yeah a little some thin .
Cybil props herself up at the foot of

t~e

bed.

CYBIL
I just hope your idea of a li~:le
somethin' is my idea of a lot of
somethin'. A hundred thousand somethin's
to be exact.
Michael throws his arm over his head.
MICHAEL
Would you please just shut up.
She looks at him for a beat and turns
the TV.
MICHAEL
(exhales)
Thank you.
All we hear is the TV,

~e~

attent:on back to

(CONT'D)

argumentative :a:k show.

CYBIL
Want me to turn the sound dow=.
MICHAEL
Thank you.
She lowers the sound, puts the remote down and :oaks at
Michael. She scootches over to him a little.
CYBIL
Better?
Michael smiles and nods.
his towel.

Cybil slowly s_:ps cer

CYBIL ( CONT' D)
How 'bout a down payment or.
some thin'.
MICHAEL
Little?

:~a~

~d

l::::e

under

53.

Murphy pulls the hose out of the tank lQaving it running on

the ground. He gets in the car and offers Megan a cigarette.
MURPHY

( CONT'

D)

You smoke?
MEGAN
No ... but I do everything else.
He lights a smoke and drops the match on the ground.
The gas puddle gets bigger and inches towards the smoldering
match.
As Murphy and Megan drive away the gas station BLOWS UP.
l06B EXT.

MICHAEL'S 57 CADDY - DAY

Murphy drives. He takes a long sip of Jack Daniels and wipes

his mouth w1th his sleeve. Holds up Michael's gun and smiles.
Suddenly Murphy finds himself surrounded by a Harley Davidson
Motorcycle gang. They pass him by TOUGH MEN and HOT CHICKS.
The Leader of the gang MACK slows down and lets the rest of
the gang pass. He comes up side by side with Murphy.

MACK
Murphy?
MURPHY
Mack.
MACK
How's the road treatin'

you.

Megan's head suddenly pops up from Murphy's lap.

as Mack sees her.
Good,

She giggles

MURPHY
where's your mob headin'?
MACK

Reno
MURPHY
(to Megan)
Ever been to Reno?

*
*

Megan starts chewing gum and shakes her head no.

Murphy smiles and takes a sip of his whiskey.

1060 EXT.

ROAD/MOTORCYCLE GANG - DAY

Mack zooms away, Megan on the back of his ride waving

goodbye.

54.
107

INT .. VALIANT,

AMARILLO,

Jesse is looking at his scorpions with a flashlight.

highway sign passes by -- CURRIE, NEVADA.
JESSE
spy an Currie Navada sign, I spy a
scorpion. I spy a moon. I spy a mom. I
spy a bank robber. I spy ...
I

MICHAEL
... A busted lip if you don't shut-up! And
will you put those damn bugs away!
(to Cybill
Your boy plays with some dangerous toys.
CYBIL
And you don't? .. So where is this drop
point, Michael? ... where we're gonna
clean the cash.
!-'!ICHAEL
Don't you worry about the cleaner.
What's

..

TEXAS - NIGHT.

CYBIL
the password?
MICHAEL

What?
CYBIL
For the cleaner guy. You said it
yourself. You don't know him, and you've
:1ever even seen him before.
MICHAEL
So.
CYBIL
So you've gotta be using a password. How
else is he gonna' know if your a cop or
not?
MICHAEL
Alright, so I got a password and I don't
need to know it 'cause it's written down.
He pats his breast pocket.
CYBIL
Whatever, If I understand this correctly,
once we clean the money and get the new
ID's, we're home free.
MICHAEL
You're not understanding something. There
is no we. Then I'm home free. Me. You are
whatever you are.
CYBIL
I guess whatever I am,
include you.

it's not gonna

55.
-'

- -~'";r.'

MICHAEL
Finally. You got it!
CYBIL
Well I still get paid,

- ~~

don't I?

MICHAEL
I told you I'll take care of you once
we're, once I'm in the clear.
CYBIL
What does that mean, take care of me? You
know you bank robbers are all the same.
MICHAEL
I m not a bank robber ...
CYBIL
You never stop to think about people and
the value of their lives. All you do is
steal and shoot people.
MICHAEL
I never shot anyone in my life.
CYBIL
Well you sure look like you have.
MICHAEL
Well looks can be deceiving, Cybil.
Murphy, he's the real killer.

Now

CYBIL
Murphy?
MICHAEL
Never mind.
CYBIL
Well I'm sure this Murphy guy thinks the
same thing about you.
MICHAEL
Far as Murph's concerned,

I'm dead.

She pauses.
CYBIL
Oh. He's the guy who shot you.
MICHAEL
Mmn hmn.

Cybil doesn't say another word,

for 10 seconds.

CYBIL
Why' d you do it?
MICHAEL
Well if I could answer that, I'd a ne ,er
done it. r just needed the money is all.

56.
CYBII.
How'd you meet this Murphy,

anyway?

MICHAEL
We did some time together, got :o talkir.'
about Elvis and stuff. Actually. he's
obsessed, thinks the King's his fa~he.r-.
CYBIL
Strange guy.
MICHAEL
:ou could say that.

Yeah.

CYBIL
Well : think I want my money
shows up.

be~ore

he

MICHAEL
It's not your money. It's my mor.ey. Ar.d
you could've had it back at the Motel ~=
you just let me leave with the =a.r- :~~e :
wanted to. Now you're go~~a have to wait
'till I'm in the clear. And from now on
if we stop at any Motels we're getting
separate rooms. Now just sit back and be
quiet. I mean it.
Jesse leans

forward.

Hey,

JESSE
Michael.

MICHAEL
Both of you!
I

108

INT.

JESSE
gotta pee.

MICHAEL'S CADILLAC,

ROUTE 93 - NIGHT

Murphy pops some more pills and watches t~e wcr~c

through the windshield. Time takes on a se;4rate
for him as the sky races by from night to day.
109

EXT. DINER,

::as~ by
d~ension

PARKING LOT - DAY

The Valiant pulls into the parking lot. Michael spi~s i t

around and and backs it up so the rear bumper is tcu::~;.ng the
diner and he can see the trunk.
110

INT.

DINER - DAY

Cybil puts the second half of her gril:ed =~eese s~dw~ch

down and wipes her mouth. Jesse is drinkir.~ a COKE :ro~ the
can. A SEXY 'wAITRESS approaches the table a;:d smiles a:.
Michael, who smiles back. Cybil is not hap~y.
SEXY WAITRESS
More coffee, sir?
MICHAEL
Sure.

CYBIL
Scoot on over Jesse,

let mommy out.

Michael gets up and stops her.

MICHAEL
Where you go in?
CYBIL
(coy and sexy)
More co f fee , s i r ?
Cybil runs her hands over his body.
CYBIL (CONT' D)
(cold)
The little girls room. If it s all right
with you.
MICHAEL
Just don't fall in.
Cybil walks off leaving Jesse and Michael alone at the table.
Jesse stares at Michael,
ice.

watching him eat.

Jesse breaks the

JESSE
You like my mom?
Michael just looks at. him.
JESSE (CONT'D)
She likes you, I can tell.
Yeah,

MICHAEL
we're a coupla'

coconuts.

JESSE
You know my father was a bank robber t.oo.
MICHAEL
I never robbed a bank in my life.
Michael smiles at. the waitress,

she smiles back.

JESSE
She's jealous of that waitress. She's got
bigger boobs than my morn. You like bigger
boobs?
MICHAEL
Stay.
Michael gets up from the booth.
111

LADIES ROOM
He opens the door and peeps his head in.
Cybil is doing her make-up in the mirror.
before she sees him.

He closes the door

I.

58.
112

THE

BOOTH

Michael takes his

and takes a look

sea~.
a~ i~.

He p-.1::s a ~cad map out of his pocket

Jesse s:.ps =:.is coke.

:::ss::
Everythi~g

:opa~e~1::?

__ ,., _.,.

.... _.._ :: ....... .:._

Big word.

"

F.:.:::ish yo.:.r

fr.:es.

:::ssE
don't have ~:::>
: d~~ not my fa:~e:-, yc-.; !c:cw.
I

You ever
Africa?

he:~

an~

s~a!""".:..::;

abc.;.::

too.

k.:::is

Your

in

.;::ssE
Why,
Michael

thinks

you gc:-..::a se::::i

for a secane.

e=- :r!

s:r..art

:!"ies?

<.::::.

{ CONT D J

:ESSE

Why'd you reb a cas1no?

M::HAEL
Everyone ro=s banks. N~~ a ~ys you got
to be orig1::.al. If you.:- :::-.:;::.na.:.. you
catch em o:: g~a.:-d. T~e~. ::.~s a piece
of cake.
JE.SSE

Cake. Tha:s c:-:.z..::1a:. :.a ....-: .::::~

cherry p:e
:::e ,.a:.:.s. ::.=:-.:.
was a good c.::e .

it.? Like
:hat

~:::t..;EL

Glad you

l:~ed

i:..

-----

... :.....::,:,=...

I'd say cas:=.cs' are ;::~et :~

many you dc::e sc :a:-?

How

One.
One?
w--:.:,

Yup.

....

One casino?
ask me.
Well.

"C:";

--~--

. -----... T!:a: s

!-o!: ::;_;E:.
I dii:: : .. --

-----

'-.:..:::;;=..
A~y

liquo:- s:c:-es?

;:-e: ::_. :.a=.e if you

59.
MICHAEL~--

Nope.

JESSE
Seven Elevens?
MICHAEL
Nope.
JESSE
How about gas stations?
MICHAEL
Hey kid, no offense but you mind givin'
those lips of yours a rest? I'm really
not in the mood.
JESSE
One casino. I guess it's not bad for a
start.

XICHAEL
Well I hate to disappoint you. That was
the beginning and the end. I m taking
this money and I'm sailing off into the
sunset. Gone.
JESSE
After one casino?
MICHAEL
You do it right, one's all you need.
JESSE
I guess you got a point.
Two waitresses appear singing "Happy Birthday with a piece
of cake and one candle. The sexy waitress sits on Michael's
lap. He hears the engine of the Valiant and turns to see
Cybil driving off. He jumps out of his seat. Knocking the
Sexy waitress to the floor.
Ga'

MICHAEL
damn it!

Michael runs out the door as Cybil passes him by.

113

EXT.

DINER,

PARKING LOT

Michael grabs onto the car door.

He is being dragged along.

MICHAEL
Hey! You said you couldn't drive.
this car.

Stop

CYBIL
That's the thing about smart people
Michael, they always underestimate us
dummies.
She pushes his arm off the car and he falls to the ground
rolling.

60.
/
::...:

'(<.

.. _. ~";;i{Mtc~KtL.

Ga damn. ~it! ... --Adding to the humiliation,

Ga'
Jesse

Cybil waves goodbye.

MICHAEL (CON'T'Dl
damn it! Ga' damn ic! Ga'

damn it!

approaches.
MICHAEL (CONT'D)
What the hell are you lookin at?

Jesse doesn't say a word.

MICHAEL (CONT' Dl
Your mother's certifiable, you know that?
The sexy waitress approaches,

check in hand.

SEXY vlAITRESS
Ya'all gonna pay for that food aren't ya?
Michael reaches
Ga'
114

EXT.

for his wallet.

MICHAEL
damn it!

STUDABAKER,

TWIN FALLS - MAGIC HOUR

COUNTRY MUSIC IS BLASTING. Cybil thumbs through four or five

business cards in Michael's wallet, studying them as she
goes. She turns a card over. Something's written on the back.
:15

::NSERT -

"CLEANLINESS IS NEXT TO GODLINESS"

She flips it over and reads. ANTIQUE REFURNISHING - JAY

PETERSON TWIN FALLS Idaho 237 WATER STREET - 555-3838
CYBIL
Never underestimate us dummies!
Cybil smiles. She opens the glove compartment and sees
Michael's gun, grabs it and puts it between her legs.

116

EXT.

DESERTED BACK-ROAD,

IDAHO BORDER - MAGIC HOUR

Murphy's driving very fast.

117

INT.

CADILLAC

Murphy bites off a piece of beef jerky and washes it down

with beer.
MURPHY
Breakfast of champions.

118

REARVIEW MIRROR
A police car moves up and it's lights begin to flash. Murphy
ignores the police car and keeps hauling ass with the cop
right on his tail.

61.
119

INT.

DINER KITCHEN

Dishes and lot's of them.

dries.

Michael is

wa~~ing

while Jesse

JESSE
Some bank robber you turned out to be.
MICHAEL
That's the last time you say that.
understand? I told you I'm no bank
robber.
JESSE
Oh, I forgot you only rob casinos.
Correction, Casino.
120

EXT.

DESERTED BACK-ROAD,

IDAHO BCRDER -

MAGIC HOUR

~urphy
~outh.

pulls ever and gets out of the car, cigarette in his

His .45 is sticking out from the smali vf his back.
The cop car pulls up thirty feet behind him.

Murphy smiles to himself and hums the theme from THE GOOD,
THE BAD, AND THE UGLY.
MURPHY
{to himself)
Doo, duh, doo, doo,

wah wah wah!

The TROOPER exits his car, his .357 magnum slung low on his
hip. He is chewing on a toothpick, wearing yellow glasses.
Murphy takes a final drag on his cigarette and drops it.
~he

hits

Trooper and Murphy stare each other down. The cigarette

the ground.

Murphy and the Trooper both draw at the same time. The guns
go off in SLOW MOTION. We follow the paths of both bullets as
they pass each other in the air.
The Trooper's bullet grazes Murphy's cheek as his bullet
impacts the Trooper knocking him over.
121

EXT.

DINER/SIDEWALK - NIGHT

Michael and Jesse are standing outside,

waves goodbye. Michael shrugs her off.

The Sexy Waitress

MICHAEL
Well kid, she never came back. Where did
you say your father was again?
JESSE
Jail.
MICHAEL
Don't you have another one that lives in
Georgia?
JESSE
So what if I do?

*
*

62.
MICHAEL
I was

just thinking.

JESSE
I can't believe she just left me here.
MICHAEL
Kid. . .. money, ... sometimes it brings out
the best in people. Sometimes it don't.
Can t blame yourself.
JESSE
What are you gonna'

do?

MICHAEL
Track her down.
JESSE
You know where she is?
Yeah,

MICHAEL
I know where she's gain'. C'mon.

Michae 1 starts to walk off,

Hey.

realizes the kid's not following.

MICHAEL (CONT'
What' a you do in'?

D)

JESSE
You don't want me and she obviously.
doesn't either. I'm better off on my own.
~esse

attempts to walk away but Michael stops him.

MICHAEL
What are you talking about? I'm sayin'
it s alright.
JESSE
And I said, I'll be fine on my own.

Jesse attempts to bypass Michael,

who once again stops him.

MICHAEL
What are you ten, eleven years old?
JESSE
So.
MICHAEL
So where the hell are you gonna' sleep
tonight?
JESSE
What the hell do you care? Your not my
father and you don't even like me.
MICHAEL
You know I actually never said that.

63.
J~~~E

You were qonna get rid cf us as soon as

you could and now you're rid of us.
Congratulations!
MICHAEL
Hey k i d , I ' m j us t try in to de a 1 wi t h
this situation here and you're not
helpin' any.
JESSE
Well maybe I don't feel like helpin'

you.

Michael looks at him for a moment.

MICHAEL
Are you comin' or not?
No.

JESSE
Leave me alone.

rine.

MICHAEL
Good luck kid.

Michael turns and walks off.

122

EXT.

BACK OF DINER - NIGHT

Jesse tentatively walks around the side of the diner. It's

dark, with garbage strewn around the ground. A cat scampers
away, frightening Jesse for a moment.
Jesse walks towards the dim light at the Diner's back door.
As he steps towards it, a HOMELESS PERSON, sleeping just out
of the light, startles awake. Jesse jumps back. A hand lands
on Jesse s shoulder. He's scared, turns. It's Michael.
MICHAEL
Did I scare you ... Good! You think your
slick don't you ya' little turd? You and
your mother.
JESSE
Get off me.
MICHAEL
You don't want my help, you don't need my
help. She's coming back for you, isn't
she? Yeah She's commin' back to pick you
up after she cleans the money. Her not
being able to drive. Scam! It was all
bullshit so she'd get to come with me and
get all the money.
JESSE
That's not true.
MICHAEL
Bullshit. She'd never leave you. Of
course not. What kind of mother would
leave her kid? Won't she be surprised too
when we show up together.

..

64 .
...JESSE
Where are you

You'll

t~in

me?

MICHAEL
see.

JESSE
You re crazy.
MICHAEL
Certifia'.J~~-

Michael kicks him in the ass and points down the road.
1ICHAEL

( CONT' D)

Move it!

123

INT.

CADILLAC - NIGHT

Murphy is hauling ass. Music blasts from the stereo. Stars

and comets trail by outside his window. He daydreams.

124

EXT.

DESOLATE CITY STREET -

NIGHT

It's dark and quiet. Michael is checking car doors,

one. A door opens, it's a PICK-UP TRUCK.

one by

MICHAEL
this one here.

Hey kid,

JESSE
Stop calling me kid would ya',
Jesse James.

my name is

MICHAEL
Well move your ass Jesse James.
Jesse

hops

in

the

truck.

Michael

reaches

down underneath

the

dash board and pops the hood.

While Michael futzes around with the wires Jesse searches the
interior of the truck.

125

INT.

THE TRUCK

The glove box, sun visors,

starts the truck.
Michael's head pops up,

ash tray and ...

the keys. Jesse

he closes the hood.

MICHAEL
Good job.
Jesse smiles at Michael and locks the doors. Michael bangs on
the window as Jesse slides the truck into gear.
MICHAEL ( CONT' D)
Open this door right now!
The truck lurches

forwa~d.

as Michael continues banging.

MI CHAFT_, ( CONT' D)
Open this door i said!

65.
Michael jumps into the back ~f the truck.
little rear glass window back and grabs
MICHAEL tCOHT' Dl
I got you. ya litc:e worm.
just like your ~o:her.

Jesus!

You're

Jesse hits the brakes. Michael slams forward and gets stuck
in the window. He pulls hi~se:: o~~ and still holding on to
Jesse, unlocks the door. Then ~e gets in the truck.
JESSE
I was only kidding.
Michael is out of breath,

MICHAEL
Move over and sit
anything.

of patience.

-~-

ar.d

st~ll.

and don't touch

Michael turns the igniticn a.:1d grinds the engine

already running).
MICHAEL

< CCN7

(it's

'D)

Aaahhh!

Michael looks at the kid. Jesse stares ahead suppressing a

grin, Michael drives off. ~e ants to smack Jesse but stops
himself.

126

INT. .ANTIQUE OFFICE, TWIN FALLS - NIGHT

large pane of frosted glass reads ... "ANTIQUE
REFURNISHING'S", "RARE .;.'r::Q:.;=:s :SO-:..'GHT .AND SOLD". A blurry
figure appears behind tte fr=st~d glass. The door buzzes open
and the figure enters.

The secretary is bent over. : ~- ~r.g some papers. She looks up

at him just as the pho~e r~r.gs. She holds her index finger up
and answers the phone.
Antique

127

EXT.

SECRE':'ARY
Refur:1ishi.ng.

PAY PHONE BOOTH - NIGHT

Cybil is cautious.
Hello ...

128

INT.

CYBIL
Jay Petersc~ p:ease.

.ANTIQUE REFURNISHING'S c;;-: ICE

The secretary is still

holdi~g

SECR.E':'A.."'.Y
... One rnomer.:.

129

EXT.

PAY PHONE BOOTH -

~P

her index finger.

;.'.0.)

~HGHT

Cybil starts to wonder if her

~:an

will work.

66.
PETERSON
Jay Peterson, what can I
CYBIL
Uh, I'm looking to have some refurnishing
work done on my antique p~ano.

:30

INT.

~AY

PETERSON'S OFFICE
PETERSON
Well I'm sure we can clean it up to your
satisfaction.
CYBIL (V.O.l
I certainly hope so, ... after all
cleanliness is next to godliness.
PETERSON
Those words are music to my ears.
Tonight, 10: 00 sharp. You do have our
address don't you?

131

EXT.

PAY PHONE BOOTH - NIGHT

CYBIL
Yes I do. I'll be there with bells on.

Cybil hangs up.

:32

INT.

She can't believe she pulled it off.

JAY PETERSON'S OFFICE

?eterson is sitting at his desk.

Secretary leads Murphy in.

The door opens and the

*

SECRETARY
I'm gonna finish up and go horne if that's
okay with you Mr. Peterson.
PETERSON
That's fine Diane, thank you.
Diane smiles at Murphy as she leaves.
Murphy.

Peterson Walks to

PETERSON (CONT'Dl
Now, what can I do for you, Sir.
MURPHY
Well, for starters,
to godliness.

Cleanliness is next

Peterson is thrown.
PETERSON
I been hearing that a lot lately. Some
broad just called a little while ago.
MURPHY
Good, then we'll all be here. Now,
that exchange ...

about

fl7.
":.

Yeah, yeah,
that exchange. There's
an awful lot of heat on this whole thing
now and it's gonna cost me more to wash
the cash for ya'. So it's gonna have to
be fifty cents on the dollar now, you
understand?
MURPHY
We agreed on seventy.
Murphy grabs the bottle of Jack Daniels from Peterson's desk,
twists off the top and takes a swig.
PETERSON
You really shoulda'

called first.

MURPHY
You're beginning to insult me Jay. I'm
starting to think that not only are you
not happy to see me, bu~ you're looking
to fuck me out ta my hard earned money ...
why is it everybody's always tryin' to
change the deal on me. A deal's a deal.
Murphy's

temperature is rising fast and Peterson can see it.

Okay, wait.
cigar?

PETERSON
Don't get upset.

Have

Jay reaches for a cigar from the case and Murphy slams the
lid down on his fingers. Jay cringes, but Murphy doesn't
release the hold.
MURPHY
What exactly is the problem here,

Jay?

PETERSON
Please Murphy. Don't hurt me.
Murphy calms down a little.
MURPHY
I'll tell ya what Jay, sixty cents on the
dollar. I'm not an unreasonable man. But
you gotta' show me the money's here and
you're not jerking me off.
PETERSON
Well where's your money?
MURPHY
You already know that. The broad's on her
way with it.
Murphy releases Jay and throws him towards the huge safe
}:>ohind his desk.
MURPHY ( CONT' D)
Show me you're playing straight with me.
Open the safe.

68.

~i~t~'"t~~F .:, T PETERSON

-'f.turphy.

don ' t wanna ' ...

Murphy kicks him in the ass,

ground.

toppling the fat Peterson to the

MURPHY
Cpen the fuckin' safe,

Jay.

Peterson realizes he doesn't have a choice. Out of breath and

on his knees, Peterson dials in the combo and twists open the
heavy door, revealing stacks of cash.
Alright,
drink.

MURPHY (CONT'D)
we're in business,

let's have a

PETERSON
Okay Murphy.
Peterson smiles, begins to relax a 1 itt le. Murphy picks up
the bot.tle of Jack, takes a swig. He walks over to the window
and pulls down the louvers. He turns on the radio.
PETERSON (CONT'D)
Why .. why you turning on the radio?
Peterson's

fear

is obvious.

MURPHY
So no one'll hear you scream.
But,

PETERSON
I'm not gonna scream.

MURPHY
That's good, Jay.
Murphy yanks Jay to his feet and starts pushing him backwards
towards the Rhino.
PETERSON
C'mon, now .. we don't have to do this ...
seventy cents is fine ... make it eighty,
hell what's ten cents these days anyway.
MURPHY
That's not the point Jay.

You fucked me.

Jay's eyes open wide as the point from the Rhino horn drives
right through his back and out of his chest. Jay's eyes close
and his body goes limp.
That' s

MURPHY ( CONT 'D)

the point.

Murphy turns as he hears the Secretary knock on the door. As

she enters and makes her way towards Jay, it appears to her
that Jay is still alive because he hangs on the Rhino horn.
SECRETARY
Mr. Peterson I'm going to need your
signature on this.

69.
She sees he s

hangi11g_
.

~h~re

- _,j :-,.

de~d.
-

'

--

MURPHY
Not without a pair of jumper
Murphy, arm around Jay,
the Secretary.

--

" -

--

~~ble.

takes Jay's hand and waves hello to

MURPHY ( CONT' D)
Aren't you sorry you didn't leave?
SECRETARY
Aaaahhhhh! !

133

INT.

PICK UP TRUCK,

ROUTE 84,

IDAHO - NIGHT

The fuel tank needle is very close to empty. Michael looks at

Jesse who plays with his Scorpions.
MICHAEL
Jesus! Be careful. Those things'll kill
;a if you don't pay attention.
JESSE
So why you talkin'

134

to me?

EXT. TRUCKERS GAS STATION - NIGHT

Michael pulls up to the pumps, gets out and begins to fuel
up. Jesse jumps out.
MICHAEL
Hey!
JESSE
Bathroom.
MICHAEL

Make it quick. We can't pay for this.

Jesse shakes his head and accidently bumps into a TOURIST
causing him to turn sharply.
MICHAEL
What do you say?
Sorry,

(CONT'Dl

JESSE
sir.

The Tourist calls out as Jesse continues on his way.

TOURIST
No problem little dude.
Jesse checks the stolen wallet for cash. It's filled with
twenties and fifties.
Nice score.
Michael continues pumping the gas. He finishes up and looks
towards the bathroom.

70.

135

OUTSIDE THE BATHROOMS.

As Michael approaches the main building something catches his

attention.
GET OFF!
You

JESSE
( V. 0. l
I said GET OFF!

BIG TRUCKER
little runt ...

(V. 0. l

Michae 1 rounds the corner. Jesse is being held up against the

wall by a BIG TRUCKER while several other TRUCKERS watch.
BIG TRUCKER (CONT'D)
I oughta snap you in half. Try and steal
my wallet, you ...
MICHAEL
Hey, hold on, would you mind putting the
boy down.
BIG TRUCKER
Who the fuck are you, Daddy?
MICHAEL
Just put him down.
BIG TRUCKER
That boy needs a beatin' and you look
like the mama' in type to me.
MICHAEL
Jesse give the man back his wallet.
Jesse pulls the wallet out of his pants and hands it over.
Michael grabs Jesse and turns to walk away. The Trucker's
friends are all watching and he ain"t about to be the fool.
A large hand lands on Michael's shoulder.
MICHAEL ( CONT' D)
You don't wanna do that.
I

BIG TRUCKER
already did!

He spins Michael around.

MICHAEL
You and your boy ain't leavin'
some satisfaction.

till I get

The Trucker takes a swing, but Michael ducks it. Michael

bounces back and drills the guy with a stiff jab. The trucker
immediately comes back with a serious combination which drops
Michael to the ground.
Michael looks up from the

gro~nd,

MICHAEL
Satisfied yet?

out of breath.

(CONT'D)

71.

Yeah.

BIG TRUCKER
that'll do it.

The trucker laughs with his friends

off.

for a moment and walks

MICHAEL
Good.
Jesse stands there with his mouth wide open.
MICHAEL
Get in the car.

136

(CONT' 0)

THE TRUCK
Michael and the kid get in and drive off. An ATTENDANT runs
up for the cash and writes down the plate number.

138

INT.

TRUCK

Michael and Jesse drive in silence. Jesse looks to Michael as

if he's about to say he's sorry. Michael turns to Jesse and
Jesse just looks down, guilty.

137

INT.

ANTIQUE OFFICE,

TWIN FALLS - NIGHT

A blurry figure (Cybil) appears behind the frosted glass and

knocks on the door. After a moment of silence ...
Yes,

MURPHY
come in!

( 0. S. )

Cyb1l enters with the heavy duffel bag and her purse.
Hi.

CYBIL
Are you Mr. Peterson?

MURPHY
In ::he flesh.
She looks around at all the antiques.
CYBIL
... Nice stuff you got here.
MURPHY
Not bad for a side business.
She walks around some large antiques,
Murphy at the desk.

making her way to

MURPHY ( CONT ' D)

Would you like a hand with that?
Murphy makes no effort at all to help.
CYBIL
I got it.
Cybil smiles then drops the duffel bag on the desk in front
of Murphy. He smiles as he stands up to look in the bag.

72.
CYBIL (CONT' D) __ .
Um, don't I have to give you the pas~~~~A
again, to uh verify that it's really me.
MURPHY
Sure . . . . If you wouldn't mi:1d.
CYBIL
Not at all. I understand things like
this ...
Cybil 16oks inc0 Murphy's scary eyes.
immediately -:vi ::lent.

His

face wound

CYBIL (CONT' Dl
Urn "cleanliness is next to godliness".
MURPHY
Thank you.
Cybil points

indirectly to her own cheek.

CYBIL
You scared me, for a minute there I
wasn't sure ...
Oh,

MURPHY
I'm the right guy,

alright.

Murphy begins co count the money.

Quite a

MURPHY (CONT' D)
load you got here?

CYBIL
Load? Oh laundry,
Little

... I get it.

MURPHY
industry hu.'llor.

Murphy pauses and looks up.

Cybil's uncomfortable.

CYBIL
Mind if I take a look around.
MURPHY
Not at all.
And if you see something you
like, consider it a gift.
Cybil begins to look around at the antique statues and rare
coins. She touches an elaborate EGYPTIAN ARTIFACT.
CYBIL
This one is beautiful.
She continues walking around the office and out of Murphy's
sight. He turns to the safe pulls the door open and takes
Peterson's money out then stuffs it in the bag.
Cybil turns a corner and ... What's that? Blood? On the floor,
leading to the closed bathroom door.

73.

MURPHY
One of my favorites.

:.~-

Cybil moves closer to the bathroom door".

CYBIL
it from?

.... vlhere s

MURPHY (V .0.)
That s an African piece actually.
She operis the bathroom door while looking toward the back
room to see if Murphy can see her.
She pops her head into the darkness of the bathroom.
pitch black so she flicks on the light.
"CLICK".
Blood everywhere.
Butchered.

It's

Jay and his Secretary, dead on the floor.

She takes a step back, pulling the handgun from her purse.
She turns, but Murphy is already by her side. She whips the
gun around and he takes it from her casually.
Thank you.

MURPHY (CONT'D)
Thank you very much.

CYBIL
(in horror)
My god, you're Murphy ...
Murphy smiles as he reaches for her throat.
MURPHY
In the flesh.
13 9

INT.

MARSHALS STATION,

LAS VEGAS - NIGHT

Damitry is sitting at a desk. an unlit cigarette hanging from

his mouth. He is toying with his lighter. Quigly walks into
the office drinking a bottle of Coke.
QUIGLY
Profile just came in on THOMAS J. MURPHY.
Damitry puts the lighter down.
DAM I TRY
'Bout time.
QUIGLY
Oh you're gonna' love this.
QUIGLY (CONT'D)
Thomas J. Murphy ... born on January 8th .
. .. that's ELVIS'S birthday.

140

EXT.

TWIN FALLS ELVIS MUSEUM - NIGHT

Murphy pull3 up in front of the gates of GRACELAND. This

place is a real dump of a tourist attraction. A sign reads TWIN FALLS ELVIS MUSEUM - WORLD LARGEST COLLECTION OF ELVIS
LIGHTERS.

74.

~gJt-~;y>c

~O~J. ,i:~~F-~:

. .... "'

1962 in 'Sl x:ii-~,, Mississippi. 'No ..:

record of a father. Mother dies when he
was 6 years old.
Murphy pops some pills and washes it

do~

with Jack Daniels.

QUIGLY (V.O.) (CONT'Dl

... Spent his childhood in foster homes.
Medic in Nam, Purple heart. First arrest
was in 75 when he was caught vandalizing
the gate's of GRACELAND ...
141

INT.

MARSHALS STATION,

LAS VEGAS

Oamitry's unlit cigarette hangs

from his mouth.

DAM I TRY
Get the hell out of here.
QUIGLY
I couldn't make this sh1t up 1 I

142

EXT.TWIN FALLS ELVIS MUSEUM -

tried.

NIGHT

Murphy gets out of the car. He stares at the white iron gates
then the bricks with all the graffiti.
QUIGLY (V.O.)
Arrested again in 75 for breaking and
entering. 76 he was sent to the LOUISIANA
STATE HOME FOR BOYS where he spent one
year . . . . yada, yada, listen here ...
Murphy :akes another giant swig of Jack Daniels.
QUIGLY (V.O.) (CONT'D)
... In 84 he files charges against the
ELVIS PRESLEY ESTATE for not recognizing
him as ELVIS'S biological son.
He hurls the bottle at the gate.
QUIGLY (V.O.) (CONT'D)
He was denounced in 85 and lost the case
along with 75 others claiming to be ELVIS
PRESLEY'S illegitimate children. Get this
DNA tests were done - 71 of the 75 proved
false. Four were inconclusive.
DAMITRY (V.O.)
Let me guess ... Murphy is one of the
four.
SMASH!

143

INT.

Jack Daniels and glass

MARSHALS STATION,

fly everywhere.

LAS VEGAS -

QUIGLY
Right. He was arrested for attempted
murder and a diamond heist in 88.
(MORE)

75.

Damitry and Quigly both look at each other.

144

EXT.

ANTIQUE SHOP,

TWIN FALLS - NIGHT

Michael and Jesse pull up in front of the Antique Shop.

145

INT.

ANTIQUE SHOP

Michael and Jesse approach the door, Michael knocks on it.

answer, he checks the door and finds it opened.

No

MICHAEL
Go wait in the car . . . . Go on.
The door opens and Michael enters. He flicks on the lights
and slowly canvases the area. In his hand is a tire iron.
MICHAEL

( CONT' D)

Hello?
Michael waits for an answer, then looks around the office.
His eyes fixate on the blood trail leading toward the closed
bathroom door.
146

BATHROOM
The door opens, then the light flicks on. There is blood
everywhere, same as before. Only now resting on top of
Peterson's chest is Michael's wallet. He picks it up.
Jesse appea~s behind Michael. He tries to get a look at the
bodies but Michael stops him. . . too late.
Jesse catches a glimpse of dark hair, blood and Cybil's
PURSE. Michael grabs her purse, it s empty.
MICHAEL
I told you to wait in the car.
Jesse doesn t

leave,

tears start pouring down his face.

JESSE
Is that my mom?
MICHAEL
Jesse.
JESSE
I want to see.
Jesse juts in and turns the face on the bloody corpse. It's
the Secretary, eyes wide open. Jesse turns and runs out.
147

INT.

PICK UP TRUCK,

TWIN FALLS - NIGHT

Michael opens the door and gets in. He looks at Jesse and
starts the engine. Jesse is obviously upset. Michael turns to
him.

76.
,.,.--..

. -"'... ~-.':7'

.-:..-~

.;:.. :-.,,

M-ICHAEl. :
""
~~s;;t?t~~t:~~~~ ,-1:.
We ' re gonna find your mom.
....

-- --,_:

7~'~!;,.

Jesse sits back in his seat and toughens up his appearance.

JESSE
Your lying. You don't know where she is
and we're never gonna find her.
MICHAEL
That's not true. She's with Murphy and
he's headed to the same place we are.
JESSE
Where ever the hell that is. I don't
think you even know where you're going
and if you did you wouldn't tell me.
Seattle,

MICHAEL
okay?

JESSE
Is that the truth?
MICHAEL
That's where Murphy and I were gonna meet
a friend to get our new ID's.
JESSE
No bulls hit?
MICHAEL
No bullshit.
Michael

nods.
MICHAEL

(CONT'DJ

You cool?
Yeah,

JESSE
I'm cool.

148 OMIT
149

EXT.

HIGHWAY,

IDAHO -

DAY

On both sides of the highway, for miles and miles, as far as

the eye can see, nothing but mountains.
The pick up truck
tears down the road.

150

INT. THE PICK UP TRUCK - DAY

Michael and Jesse are headed east.
JESSE
I saw him you know.
MICHAEL
Who?
JESSE
Murphy. The one who shot that guy,
in your room. I was there.

Han~?n

77.

Mi_chael looks at Jesse bUt doesn t

speak. :

JESSE (CONT' D)
You really wanna catch him ana get your
money back, don't you.
MICHAEL
More than you know.
JESSE
Then make me your partner.
MICHAEL
What?
JESSE
I won't let you down.
MICHAEL
Look, I know you're pretty smart. In fact
you're very smart. And I know you went
through a lot in the past few days and
all. But the answer is no. N, 0, got it.
JESSE
You'll change your mind.
MICHAEL
Oooooh no I won't.

151

EXT.
The

HIGHWAY,

IDAHO -

DAY

truck speeds past flat

fields headed North.

JESSE (V.O.)
Ooooooh yes you will.
MICHAEL

(V. 0 _)

Oooooooh no I won't.

152

INT.

MARSHALS STATION,

LAS VEGAS -

Damitry and Quigly have desks

hangs up the phone.

DAY

facing each other.

Damitry

DAM I TRY
Whattya make of this. A red fifties Caddy
was seen yesterday driving away from a
gas station right before the fucker blows
up.
QUIGLY
Where?
DAMITRY
Ely Navada, 'bout 300 miles north of
Vegas. Then last night, about 400 miles
north of Ely, some shady antique dealer
in Twin Falls. Idaho gets wac ked next to
an open and empty safe.
QUIGLY
So?

78.
DAM I TRY
Guess what was spotted driving away from
the scene?
They both look at each other.
QUIGLY
Headed north.

153

EXT. GAS STATION STORE,

BOISE - DAY

Michael leans on the truck and lights a cigarette. Jesse puts

a hat on Michael's head.
MICHAEL
Where'd you get that?
JESSE
What?
Michael takes the hat off and sees the Tony Lama label
inside.
MICHAEL
The hat Jesse, where did you get the hat?
JESSE
In there.
MICHAEL
I know in there but how?
JESSE
I thought you'd like it.
MICHAEL
I do like it. But you gotta' learn you
cant just take things when ever you want
them.
JESSE
Why not?
MICHAEL
Because it's wrong.
JESSE
How come it's wrong for me and not

yo~?

MICHAEL
Because I'm older than you that's why.
I'm old enough to know right from wrong.
You have to know the rules before you can
break them, which you should by now but
you don't.
JESSE
Huh?
MICHAEL
You re gonna bring this hat back and
you' re gonna apologize for takin' it.

JESSE
I

am not.

MICHAEL
Oooh yes you are.

JESSE
Ooooooh no I'=.

~ot.

MIC!L!.=:L

Listen here Jesse .:a=es, and listen good.

I may not be yo~r ~ad. but as long as
you're with me. as :~~q as you are in my
presence. like .:.t ::;r ~ot you're gonna do
things my way. . .. ~;:;.,.- you are going in
there and I a=. ;ol:-.:; ,..:.th you. and you
are going to j::; as : say.

JESSE
Bet you didn t :a:k :: Mc;:-phy that way
when he was ycJ:- pa:-t::er.
M:c::.:;EL
You're not my part~er.

154

MONTAGE
"TRAIN I RIDE" by ELVIS ??2SLEY. Michael,
they make their way north on ?.0\:--:"E 84.

:.55

Jesse and Murphy as

INT. THE PICK UP TRUCK - D;...Y

Michael and Jesse are cr~.:.sl:::;. :-:-:ey both wear identical Tony
Lama fedora hats. Michae: ~oij3 so~e cash.
MICEAE:..
Why didn't you :-st
money.
You didn t

:e::

~e

you had

JESSE
ask.

Michael lights a cigarette anc s:a:-:s snapping his fingers

the ELVIS PRESLEY tune on the raj.:.o (TRAIN I RIDE).
Jesse looks up at Michael and starts mimicking him,
along to the beat.

156

INT.

to

snapping

59 CADDY - DAY

Murphy cruises down the road.

157

INT.

THE PICK UP TRUCK - DAY

M1.chael' s smoking as he cr.:.Jes . .:-esse pulls a cigarette from

Michael's pack and puts i : in h~s ~cuth. He grabs the lighter
and lights up. Michael leeks c'ler.
MIC.-~.:;E:..

I didn't know ;cu

JESSE
Every once in a

s=:~ei.

~~i:e.

80.
Michael takes the cigarette out
filter off and hands it back to

the

MICHAEL
Filter's are for pussies and guys my age.
This 1s the way young guys in the JOlnt
smoke 'em. Try that.
Jesse takes a drag and it hits him pretty hard.
pretend like he's okay.
MICHAEL
Prett; good. huh.

He tries to

(CONT' DJ

JESSE
(strained)
Good.
157A EXT.

GAS STATION,

BOISE - DAY

Murphy pumps gas into the Caddy. He walks to the back of the
car and -::pens the : ::-... :-:k. ;.;E: reaches in and takes out a
hundred dollar bi 11.
A GTO pulls in next to him, the man inside looks like an
Elvis Impersonator. He gets out and goes inside. Murphy looks
at his car and he sees the license plate which says
GRACELAND.

Murphy looks around unzips his pants and pisses on the plate.
The GTO driver comes out and stops in shock at what Murphy is
doing.

..

..

GTO DRIVER
What the hell are you doin'.
Murphy turns and takes a hard look at the driver as he zips
his pants back up. The driver realizes that his life is on
the line and backs up.
Murphy
corner
Murphy
at the
see it

gets in his car and pulls out of the station. On the

a truck pulling the sailboat pulls up next to him.
does a double take then whips his Jack Daniels bottle
boat smashing it. A MOTHER and DAUGHTER on the corner
happen.
DAUGHTER
Mommy man threw bottle at boat.

158

OMIT

15 9

EXT. WOODEN BRIDGE - DAY

The car is pulled over on the bridge, doors open. Jesse is
hunched over puking his brains out while Michael's still
smoking. Michael smiles as he watches.
MICHAEL
Want another one?

..

81.

JES_S&..,:~ ~~:-~~~~~~~,.

Alright. you made- your~point... Still

I'm tellin' ya' I wouldn't let you down
if I was you partner.
I

MICHAEL
Urn. correct me if I'm wrong but weren't
you robbing chrome valve caps when I
first met you? Now you want a partnership
in a multi million dollar heist you had
nothing to do with?
Right now,

JESSE
you don't have anything.
MICHAEL

Right now.
Michael throws him a rag.
JESSE
How 'bout lf I help you get to Murphy and
the money. Then will you make me your
partner?
MICHAEL
No.
JESSE
Why not?
MICHAEL
Could you possibly do that would help me
get to him before he makes it to Seattle?
Jesse wipes off his face.
JESSE

Where's your car now,

MICHAEL
Murphy's driving it,
when I smoke.
Exactly.
Yeah,

160

EXT.

Mr.
Mr.

Smarty Pants?
I

blow chunks

JESSE
He's driving your stolen car.

MICHAEL
he's drivin'

my stolen ...

GAS STATION - DAY

Michael is at a pay phone while Jesse watches.

MICHAEL
Hello I'd like to report my car stolen .
. . . Yes, it's a fire engine red 59
CADILLAC licence plate 3KMTG. Yes ma'am,
3KMTG.
Jesse walks off towards the station.

82.
161
......
Jesse is going to the bathroom at a urinal. A TRUCKER DUDE
goes to use the urinal next to him. Jesse moves over one
;.1r inal keeping his distance.
_.

He scares at the Trucker's wallet.

h1m, Jesse looks away.

162

The Trucker Dude looks at

EXT. GAS STA':'ION - DAY

Michael hops back into the stolen pick up. He starts the
engine and waits for Jesse to return. A COP CAR pulls up.

~63

INT. GAS STATION BATHROOM

Jesse finishes and zips up,
hands.

1.64

EXT. GAS STATION -

he hesitates then washes his

"'AY

A Boise COP gets out of the cruiser and approaches the driver
side of the pick up. He knocks en the window.
Michael,

startled,

rolls down the window.

MICHAEL
What seems to be the problem officer?
OFFICER
You mind stepping out of the car please?
MICHAEL
Sir?
The officer stands back and pulls his revolver.
OFFICER
Shut the ignition off and step out of the
car, ... please.
Michael shuts off the ignition.
Jesse exits the bathroom and sees Michael being arrested.
The Police car drives off with Michael in the back.

165

EXT.

BOISE JAIL -DAY

Establish jail and Otto Sinclair sign.

166

INT.

HOLDING TANK

A roach crawls on the bars of the holding tank. Michael's

eyes are glued to it. He hates being here. The sound of
footsteps are heard. They get louder.
Michael locks up through the bars to see a surprising sight.
Murphy in the flesh. He is handcuffed and escorted by two
officers.
He walks by Michael s cell.

.
..

83.
The officers place Murphy in the .cell next to Michael. He
sits -down on a bench, leaning again5t the other"' side of the
same wall Michael leans against. The guards leave.
MURPHY
Reporting the car stolen ... I don't know.
Damn risky if you ask me. Clever just the
same. Had I known you were that sharp I
might not have shot you back in
Rosewood ..... By the way, I did shoot you
didn't I.
MICHAEL
Oh yeah.
MURPHY
(snaps his fingers l
Goddamn ... Bullet proof vest.
\-lhere s

MICHAEL
Cybi 1?

MURPHY
Cybil with a -c?
MICHAEL
Yeah.
MURPHY
where do you think she is Mikey?

Well,
\-lha t

MICHAEL
did you do?

Murphy is deadly silent.

MICHAEL
You're

(CONT' Dl

fucked up Murphy.

You're seriously

a piece of shit.
MURPHY
Oh C'mon Mikey, Don't tell me you
wouldn't of done the same thing if she'd
double crossed you instead of me.
MICHAEL
What are you talkin'

about?

Murphy is silent and Michael's stomach is starting to turn.

Murphy begins to laugh.
MICHAEL ( CONT' D)
Fuck you. You can't play me.
even know her.

You didn't

MURPHY
Not very well. But I knew you. And I knew
you'd drop for her like a whore after a
thousand dollar bill, Did you honestly
think she just couldn't keep her hands
off you, man?

84.

MICHAEL
You're reachin' Murph. There was no
reason for you to bring her in on the
job.
MURPHY
Same reason you stayed with her. Average
American family out on the road for a
little put, put.
MICHAEL
I saw you back at the Motel, you didn't
know em' you were gonna waste em' .
MURPHY
Think what you want.
MICHAEL
Why didn't you go back to the motel?
MURPHY
I

did. . .

fuci<~n'

Coyotes.

MICHAEL
What?
MURPHY
Yeah. no shit. two of em. Took one in
the grill and I woke up in a ditch
suckin' on the steering wheel.
Michael's confused.

Murphy hangs

from the cell bars.

MURPHY ( CONT' D)
Let's face it. It didn't matter to her
who the hundred grand came from. I'm
tryin' to face up to it myself, O.K. You,
me, fuck, she woulda' banged Frankl in as
long as she got the money.
On the other side of the wall,

Michael is dying.

MURPHY ( CONT' D l
That was your deal wasn't it? A hundred
grand?
MICHAEL
You're fucking deluded. She told you
about the hundred grand. And anything
else you could beat out of her.
MURPHY
Yeah, you're right Mike. The truth is she
fell so crazy in love with you in one day
that the little grifter bitch just
decided to shit-can the hundred thousand
dollar deal that she cut with me, and
instead, she took off with you, the man
of her dreams!
Murphy's

laughing out loud now.

85.
MURPHY (CONT'D)
Face it Mik~y;' you got played. Your
always tryin' to do the right thing in a
bad situation. Me, I move to tne fuckin'
1 ight, everything becomes simple. Almost
slow motion. There's nothin' in the wo~ld
that confuses me in that moment.
( long pause)
I sound like one of those prison's fucks
explaining his bad life on sixty minutes,
don t I.
An OFFICER appears.
ZANE,
Surprised,

OFFICER
MICHAEL.

Michael

looks up at the officer.

MICHAEL

Yes.
OFFICER
You have a visitor.
Michael gets up and the officer opens the cell. As Mic~ael
walks by Murphy s cell, he stops and looks at him, fa::e to
face.
MICHAEL
You're full of shit Murphy.
buyin' any of it.
Murphy bursts out

I'm not

laughing.

MURPHY
Sure you re not.
MICHAEL
And by the way, it ain't over yet.
Murphy takes a long drag from his cigarette and blows
smoke from his nose.

:~e

MURPHY
You got that right.
Michael leans into Murphy and whispers.
MICHAEL
Where'd you leave the money ... my car?
Murphy lunges for Michael who steps back and walks
MICHAEL (CONT'D)
Nice chatin with ya Murph.
MURPHY (0. S . )
Hey, screw! How 'bout my fuckin'
call!

phone

a..-a::.

87.
OTTO SINCLAIR

No Mr. Zane I am not.

Otto slides a one page contract in front of Michael,
looks the contract over.
This

MICHAEL
i.s ridiculous.

I don t

who

believe ...

OTTO SINCLAIR
Please understand I am only authorized to
represent you under these conditions and
these conditions only.
MICHAEL
This says fifty percent.
Yes Mr.

OTTO SINCLAIR
Zane.

MICHAEL
You tell that chicken dropping to screw
off. I'll rot in here before I give him
fifty percent.
OTTO SINCLAIR
As you wish.
Otto takes back the contract and turns to leave.
Hey,

MICHAEL
wait a second.

Otto turns.
MICHAEL (CONT'D)
"1-800-0TTO-NOW" huh?
That's

OTTO SINCLAIR
right.

MICHAEL
Let me see it again.

168

INT.

PHONE BOOTH,

JAIL,

BOISE - DAY

Murphy makes his phone call.

Jack?

169

INT.

MURPHY
.... Murphy here.

JACK'S HOTEL ROOM,

SEATTLE - DAY

Jack sits at a desk with new passports,

and birth certificates for the gang.

social security cards

JACK
I seen the news. Guess we won't be
needing all this paper work.

88.
170

INT.

PHONE BOOTH,

-.

BOISE JAIL

MURPHY
Things got a little crazy. The Boise deal
is dead. . . I can t get into everything
right now, I m in the holding tank in
BOISE, under the name Jonathan Liebling.
I have to make bail and I have to do it
before my prints come back. Understood?
171

INT.

JACK'S

Completely.
172

INT.

SEATTLE- DAY

APARTMEN~

PHONE BOOTH,

J.\CK
You got the money?

BOISE JAIL

MURPHY
I do for now. Get me outta'
Trust me,

here.

JACK
I'l:. r.ave you out in hour.

MURPHY
Good, I want ya to bring a couple guys
and some hardware to that lumber mill
Mike set up for us.
JACK
You got it.
173

EXT.

BOISE JAIL - DAY

Michael walks out of the court house and into freedom.

to meet him is Jesse and Otto.

There

MICHAEL
Fifty percent? You're a real piece of
work, you know that?
Hey,
174

INT.

JESSE
you're out aren't you?

BOISE IMPOUND - DAY

Michael and Jesse stroll into the sprawling garage, there is

a sea of impounded autos. Michael approaches the SHOP MAN at
the main booth.
Hi.

MICHAEL
I'm here to pick up my car.

The Shop man looks up from his clipboard.

SHOP MAN
(Brooklyn accent}
Which one is that?
59 Caddy,

MICHAEL
red.

He looks back at his clip board.

89.

-.
Where' s

MICHAEL
that?

SHOP MAN
Between 8 and 10, way in the back.
License and autograph.
He slaps the clipboard down on the table.
175

BACK AT THE CADILLAC

Michael walks around the front of his car and sees the blood
and fur from the coyote. Michael and Jesse both look at each
other. Michael looks around the garage to see if the shop man
is watching.
He inserts his key into the key hole and opens the trunk
lock. "CLICK".
The trunk slowly opens revealing the duffel bag full of cash
and ... Cybil, bound and gagged. Her eyes open wide at the
sight of Michael and Jesse. She mumbles to them with the gag
in her mouth.
Michael and Jesses faces register shock then light up.
they close the trunk.

SLAM,

Cybil taps her foot while continuing to mumble. Michael and

Jesse get in the car, and drive out of the garage.
176

INT.

ARRAIGNMENT COURT,

BOISE -

DAY

~urphy stands before the court with his attorney

Sincla~r.
JUDGE H~~ON looks over paperwork.

Mr.

JUDGE HAMMON
Mr. Sinclair, your client is pleading not
guilty on both charges.

Otto

OTTO SINCLAIR
Yes your honor.

*
*

JUDGE HAMMON
This is just a bond hearing. Are you sure
your client wishes to enter a plea at
this time.

..

OTTO SINCLAIR
Yes your honor.

JUDGE HAMMON

Very well.

OTTO SINCLAIR
Your honor my client also urges the court
to schedule a preliminary bai~. hearing he
has no wish to waste the courts time.
JUDGE HAMMON
That's very kind of you Mr.

*
*

.
*

*
*
*

Liebling.

86.

167

INT.

ARRAIGNMENT COURT, BOISE - DAY

OTTO SINCLAIR, a stubby little man in a weathered suit

approaches Michael. In another life Otto would have been a
comedian. He grabs the seat directly across from Michael.
OTTO SINCLAIR
Mr.

Zane?

MICHAEL
Who are you?
OTTO SINCLAIR
My name is Otto Sinclair. I'm from 1-8000TTO-NOW. I was asked by a mister
Waingrow to be your legal representation.
MICHAEL
Mr.

who?

Otto checks his notes.

... Mr.
Michael's face

OTTO SINCLAIR
Jesse Waingrow.

lights up.

MICHAEL
That little shit.
Otto smiles knowingly.
Yes.
~~

OTTO SINCLAIR
Charming fella isn't he?

MICHAEL
I gettin' outta' here?

OTTO SINCLAIR
Well that all depends on you Mr.

Zane.

MICHAEL
What do you mean?
OTTO SINCLAIR
You see, Mr. Waingrow has agreed to put
up five hundred dollars cash for your
five thousand dollar release bond as well
as pay my fee.
Michael looks on eagerly.
MICHAEL
Really.
OTTO SINCLAIR
Yes and Mr. Waingrow has agreed to
purchase the release bond provided you
enter into a partnership with him. He
said you would understand.
MICHAEL
You've got to be kidding.

90 .

.
--...::-:-__ :~:.~:_::::;::-_ ::-;.:v":---'--~-

177

EXT.

MOUNTAUS: >. ~:BOISE

DAY

- ...... '
--. ...

:".:::;.

~-::-

..

Michael's car pulls off the road to a rest stop.

Jesse and Michael get out of the car and open up the trunk.
~ichael takes the belt off of Cybil's hands while Jesse
removes the gag from Cybil's mouth. They pull her out of the
trunk and she i~~ediately embraces Jesse in a tight long hug.
My baby,

CYBIL
give me a hug.

Mom ...

JESSE
thought you ...

Cybi l, hugging Jesse tight. looks to Michael appreciatively.

Suddenly, out of nowhere, WHACK -she slaps Michael hard
across the face.
CYBIL
Well, it took you long eno'.lgh. Where the
hel: have yo~ ~een.
She reaches to whack him again, but Michael grabs her hand,
stopping her. He stares into her eyes and she sees the
dangerous look in his face.
MICHAEL
I'll get to you in a minute.
He yanks her out of the way and goes for the bag of money in
the car. Michael unzips the bag and rifles through it while
Cyb:l continues in the background.
CYBIL
Oh, what. You're still mad at me for
takin your money.
A stunned look comes over Michael's face.
bag in hand.

He turns around,

MICHAEL
What's gain on here Cybil?
CYBIL
What?
MICHAEL
There's more money here than we took.
lot more.

CYBIL
I don't know anything about that.
Michael throws the bag into the trunk.

He's pissed.

CYBIL ( CONT' D)
Look, I ve been suckin on gas fumes for
five hours, so don't look at me like
that. Unless you want the sorted details
of what happened before he threw me in
the trunk.

(MORE)

91.
CYBIL CCONT' 0}
So go ask that maniac E~vis- wannabee
"partner of yours.: You
what he did-to me. He. . . he ...

know

She looks at Jesse, she doesn't want to say. Fighting back

her tears. she pulls Jesse into her. Michael witnesses the
genuine relief in both Cybil and Jesse.
You okay,
Jesse

n~ds

CYBIL
baby?

(CONT'D)

and she squeezes him tightly.

MICHAEL (0. S.)
Cut! . . . and Print!

They turn to look at Michael, who's now clapping in mock

applause.
MICHAEL (CONT'D)
That is what they say in Hollywood isn't
it? When it's perfect? Cause' you sold
me. I mean, that was ... perfect. Just the
right amount of relief at seeing your
long lost son, who you'd left behind with
a sucker you just stole three million
bucks from ... And then the slap. The slap
was, well, perfect. You caught the poor
sap off guard before he even had a chance
to realize that this was the same little
viper that set him up from the very
beginning. Unless of course you wanna do
it again and act a little more, oh, I
don't. . . I don t know, I thought it was
perfect.
Her arms drop from Jesse,

she turns to him and yells.

CYBIL
I did not set you up!
Wind roars through the mountains.
MICHAEL
(at the top of his lungs)
Bullshit!!
CYBIL
I don't know where you're coming from?
MICHAEL
Murphy told me.
CYBIL
What?
MICHAEL
Yeah.
CYBIL
How ...
MICHAEL
Surprised?

92.
CYBIL
Where did you
MICHAEL
Never mind.
CYBIL
Yeah never mind, 'cause how ever that
happened, he lied to you and you know it.
MICHAEL
No. You lied to me. You stole my car, you
stole my money, and then you left your
son with a stranger!
CYBIL
Correction. The Valiant was my
grandmother's car, not yours. And that is
the Riviera Casino's money, not yours.
And most of all, and get this straight, I
did not leave my son with a stranger, I
:ef~ him with ~
Her vulnerability starts breaking down her tough demeanor.
Michael can't help but notice. He looks to Jesse, but no help
is corning.
MICHAEL
Alright Cybil, you can turn this whole
thing around any way you want to, but
don't tell me you didn't take the money
from me, 'cause you did.
CYBIL
And why not. I got the two of us to take
care of myself, and you sure as hell made
it clear that that wasn't gonna change.
So yeah, I did what I did, and you can
think what ever you need to think.
Michael looks at her and she looks right back 1n his fa:e.
Mars and Venus stare at each other.
Can I

JESSE (O.S.)
say something?

They both look at him.

I
Michael

JESSE (CONT'D)
think we need to dump the Caddy.

looks,

questioningly.

JESSE (CONT'D)
That man at the Police impound. He can
identify you, and they know you own this.
car. We gotta get rid of it.
Michael lowers his head,

walks over and closes the trunk.

MICHAEL
He's right. We gotta change cars and we
need to get to a safe house in Seattle.

93.
JESSE
What's a safe house?
CYBIL
Something I'd like to live in.
MICHAEL
A safe house is a place where shady
individuals such as ourselves go to split
up the loot.
JESSE
A safe house.
MICHAEL
Your big time now Jesse, .. you got ta'
learn the terminology that goes along
with your new gangster life.
CYBIL
What else have you been teaching him
while I was gone.
MICHAEL
He's teachin' me.
They all share a well needed laugh.
JESSE
Which reminds me of our little deal.
CYBIL
What's that?
Michael shakes his head.
MICHAEL
Just get in the car.
l/8

INT. MARSHALS UNIT STATION,

LAS VEGAS - DAY

Quigly is talking on the phone. Damitry comes running in.

Quigly signals him that it's an important call.
QUIGLY
Yeah I'm sorry too.
Quigly hangs up the phone.
QUIGLY (CONT'D)
They fuckin' had 'em and they let him get
away.
Who,

DAM I TRY
Murphy?

QUIGLY
Arrested and booked in Boise, under the
name JONATHAN LIEBLING. Made bail before
the prints got back - thirty minutes ago.
They're spot checking state borders so we
still have a shot.

94.
DAM I TRY
Let's get to Boise. We can be there in
two hours.
:79

SXT.

LAKESIDE -

SUNSET

Cybil and Jesse watch as Michael releases the parking brake

and the Caddy rolls into the lake. Michael walks over to them
and they all stand by a late 80's tan Caprice. As the Caddy
sinks under the water, Jesse somberly turns to Michael.
JESSE
Once we get to the safe house ... we're
never gonna see you again, are we.
Michael doesn't respond. Jesse walks back to the car and gets
in. Cybil walks away as well. Michael stares out at the lake.
180

EXT.

ROUTE 26,

OREGON - NIGHT

A van with big red and blue letters on the side that spell
out ''WALLA WALLA WOMBATS" hits the breaks right in front of
Murphy. The driver yells out to Murphy.

BILLY
Hop in!
Murphy hops in the van an it drives off.

181

INT. WALLA WALLA WOMBATS VAN,

ROUTE 26 - NIGHT

The van is crammed with Wombats paraphernalia and a strange

old man. His name is BILLY and is wearing very thick glasses.
Wombats.

"

MURPHY
huh?

BILLY
State champions,
north.

big exhibition game up

"

Billy smiles at Murphy.

BILLY ( CONT' D)
How far you headed any way?
MURPHY
Seattle works.
BILLY
Hockey fan are ya'?
Nah,

182

MURPHY
too violent.

MONTAGE FROM BOISE TO SEATTLE ON THE ROAD - NIGHT TO DAY

Michael, Cybil and Jesse in the Caprice. Highway signs show
us the way.

182A EXT.

POLICE STATION,

Establishing shot.

BOISE - DAY

95 ..

182B INT.

POLICE STATION,

BOISE,

CAPTAIN VANUCCI at his desk.

I
speaks to_Damitry and Quigly.

'/A.h-:JCC I

I can t :e:l _:ou how embarrassed this

whole depa~tment 1s about this incident,
but. you irn-;:,w as e 11 as I do we don t
make the :a~s. we only enforce them.
JA.~:TRY

He was arrested for grand theft auto and

possession ~~ illegal fire arms. Is that
correct?
That's cor~ec:. There was a Trooper shot
and killed by a .45. We're checking
balliStlCS.
JA..~::"RY

Can we ge: a ==PY of the forensics report

as soon as :: ~ets in?

'/.Mt-..:ccr
Absolutel:,.
S.-\JCTRY
:o~~=

Anything

in the car?

,;.,__.-..-..:cc:::
I don't t~i~k that information is in yet,
but I'll ;e: =:~ht on it.
Damitry notices

Quicl~

==acing his

finger up a map.

: .!..-"!: : R "{

What are

y=~

':.hinking?

~-.;:::;:_y

I'm thinki:::; : "'ar....-1a catch this asshole

before he :ux;:s the border.

183

EXT.

CHEAP MOTEL,

SEA~

- DAY

The Caprice is parked fa= away from the road and pointed out
for a quick getaway.

184

INT.

CHEAP MOTEL ROOM,

SEATTLE - DAY

Jesse and Cybil watc~ as Michael dumps the contents of the

bag in the middle of :he bed.
They begin counting ~he ~oney and splitting it into two
piles, occasionally :=o~:ng up at each other. Each one looks
away when their eyes ~ee:.

185

EXT.

THE

WASHINGTO~

3CF..::::::R -

DAY

The Walla Walla Woreba:s ;an hits blh"nper to bumper traffic. A

sign reads ~Yakima 125 ~::es seattle 259 rnilesw. There are
cars backed up get:i~; s;ot checked by police officers one by
one. The radio is o~.

96.
DISK J9C~Y,i;~;~~/--<~;.;;~.

(voice over) .-

.:-~~~ . .-~- t'-~ :~

:~-~< .

That was the king with Love Me Tender.

Speaking of the King how about that
Casino robbery :n Vegas. A gang of Elvis
irnpersona tors, imposters is more like it,
got off with millions, and left several
people dead.
Murphy switc~es off the radio.
checking each car.

He sees the COPS up ahead

BILLY
There's nP\~r traffic around here this
time. TherE s enough cops though .
. . . There probably lookin' for somebody.
Billy laughs

jokingly.

BILLY (CONT' D)
Probably those guys everyone s tal kin' ...
Jake suddenly looks at Murphy and giggles.

186

EXT.

STATE LINE WASHINGTON -

DAY

The Walla Walla Wombats van pulls up to the check point. A

Colorado STATE TROOPER approaches the van. Murphy is in the
drivers seat. He has on the old mans thick glasses and hard
hat.
You

OFFICER
traveling alone?

The Officer looks in the van's back,

nothing but gear.

MURPHY
Yes
~he

sir.

officer waves him on.

OFFICER
Take care.
MURPHY
Go Wombats!

Murphy drives

through.

187 OMIT
188

EXT.

CHEAP MOTEL,

WASHINGTON - DAY

Michael, Cybil and Jesse walk from the motel to the Caprice.
A taxi is parked off to the side. Michael has the duffel bag
and Cybil has the back pack. They stop in front of the car
and face each other.
Michael looks at Jesse who looks down at Michael's feet.
Jesse doesn't look up.
CYBIL
Jesse go wait by the Taxi. Go on.

97.
'e::\~{;:ccic{:J:;:. -

Jesse walks ic>tXi'fii{'-Taxi and waits there, watching.. Michael

looks to Jesse then back to Cybil.
CYBIL

(CONT'D)

Thank you for taking care of him.

MICHAEL
Other way around.
CYBIL
Don't suppose I could talk you into
hanging around a little longer?

MICHAEL
I m headed for Mt . Vernon.

No,
Cybil hugs him,
embraces her.

holding tight. Michael closes his eyes and

CYBIL
Oh yeah your boat.

Umm. . . here.

She holds out :he back pack of cash out for him.
Wh a t s

MICHAEL
this ?

CYBIL
All of it except for the hundred
thousand. Figure I earned that. Here.

She hands the money to him and he awkwardly accepts it.

CYBIL (CONT'D)
And just so you know there's no catch.
here's your contract with Jesse.

She tears it

in half and hands it to him. He looks at her.

MICHAEL
That's a lot of money,

Cybil.

CYBIL
It sure is. I figure for that kinda money
I'm entitled to an answer for something.
MICHAEL
C'mon Cybil don't.

Don't do this.

CYBIL
No I am gonna do this, cause I owe it to
him. And me. And I don't care what it
costs.

She's not going to be refused and he's not sure he wants to

refuse her.
MICHAEL
Please ... why can't you just ...

98.
CYBIL
I felt something shoot through me the
minute I laid eyes on you and I realized
right then that I wanted to be with you
for the rest of my life. I can't explain
it , but I knew it .
I

MICHAEL
can't Cybi l, it wouldn't work.

CYBIL
And later on I said what I liked most
about you was that I didn't know what you
really were - remember? Well now I do
want to know, cause I still can't see why
we shouldn't be together.
MICHAEL
What do you want me to say,

huh?

CYBIL
That you want us to stay with you.
MICHAEL
It's not that simple.
CYBIL
It is that simple. Don't you see? I love
you and so does Jesse. Does anything else
matter?
Goddami t!
He

MICHAEL
Stop it!

throws her hands off of him.

MICHAEL (CONT'Dl
You wanna know what I really am. What
difference does it make? I don't even
know who's talking to me here. I don't
know if you're telling me the truth or
you're screwing me 17 ways to Sunday. I
can't trust you! And even if I did I
couldn't trust myself enough to believe
my own answer! O.K.?
That's it.

CYBIL
i sn' t

it?

MICHAEL
V'Jha t?

CYBIL
It's not me you can't trust, it's you.
You can't trust anybody and you never
will because you can't even trust
yourself.
Michael stares at her.
CYBIL (CONT' D)
Well I guess I got my answer. Good. The
money's all yours. It was worth it.

99.

MICHAEL

Glad you thinls ... ~o.

Michael,

holding the bags,

turns and walks towards the taxi.

CYBIL
One last thing before you go.
MICHAEL
What.
CYBIL
I need you to go say good bye to that
boy. And when you do, don't hold back on
being the kind of man you really are. I'm
serious, let it all out. Be all the
asshole you wanna be because I don't want
him growing up idolizing someone who
doesn't exist.
Michael stares hard at her,

listening to the exchange.

CYBIL (CONT'D)
I've never begged in my life but I am
now. Please. Do this for him.
Michael sighs and turns to walk towards Jesse. When he gets
there, Jesse looks up at his hero.
JESSE
Looks like she didn't talk you into
staying.
Uh,

no ...

MICHAEL
listen ...

JESSE
I'm sorry for the tricks my mom and me
played on you. And thanks for not
treatin' me like a kid and ... I liked
being your partner.
Jesse's not making this easy.
MICHAEL
Yeah. Well what the hell, you were a
pretty good partner.
JESSE
No bulls hit?
MICHAEL
No bulls hit. But I'm officially retired
and what do you need an old has been like
me hangin' around when your career as a
professional criminal is just takin off.
Right?
He looks at Cybil, he can't bring himself to do it. Jesse's
eyes are focused on the ground, fighting back the tears.
Hey,

MICHAEL
you cool?

(CONT'D)

100.
-- .

JESSE
Yeah...

I m ...

He can't get the words out. Michael can't take it anymore

either and he turns to go. Jesse throws his arms around
Mtchae l. crying, Einall y breaking down.
JESSE (CONT'Dl
I, r don't want to be a criminal ... I
want to be with you.
MICHAEL
Awe shit kid, c'mon.

knock it off.

JESSE
I want to go with you Michael.
MICHAEL
Well you can't. I'm goin on my own,
understand?
Jesse looks up at him thru tears.
MICHAEL . (CONT' 0)
And don't look at me like that. You'll be
fine. Hell. you're the smartest kid I
know.
Jesse buries his head in Michael's side.
JESSE
(sobbing)
I'm sorry you got beat up cause of me.
was my fault. I'm sorry!

It

Michael looks to Cybil, he's getting angry at his own

emotions. Jesse reaches into his pocket and pulls something
out. He opens his hands and holds out the CHROME SKULL CAPS.
MICHAEL
God damn ... little punk.
JESSE
Nobody ever stood up for me but you. You
fought for me. I just want you to stay,
please, stay and be ... you know ...
Michael shakes his head no.
JESSE
Like a dad.
Michael yanks him away,

(CONT' D)

holds him roughly.

MICHAEL
I ain't your dad, kid,
scam me.
JESSE
Don't call me kid.

and don't try to

'

101.

MICHAEL
I'll call you any damn thing I want. And
don't pull that ~Great Protecto~ routine
on me cause I didn't fight for you. I
don't give a rats ass about you or your
crazy mother. You mean nothing to me!
Wake up kid, you're runnin with losers
that's all. and you think you're cool
cause you pick some pockets and steal car
parts, well I got news for you, keep it
up, you're on the fast track to being a
loser too! You're just another problem I
don't wanna have. Got it?! Now beat it! I
don't care about you.

..'

He tosses Jesse aside, throws the bags in the cab and gets
in. He slams the door.
JESSE
You don't mean that!
189

Take it back!

INT. TAXI CAB

Michael gets in the cab and drives away without looking back.
MICHAEL
Mt. Vernon. Let's go.

Mt.

TAXI DRIVER
Vernon. yes sir.

Through the rear window we see Cybil and Jesse grow smaller.
ON MICHAEL
Tears are flowing down his face.
190

EXT.

WASHINGTON HIGHWAY/WOMBAT VAN - DAY

Murphy driving the Walla Walla van down the road.

191

INT.

CAPRICE

Cybil driving with Jesse in the front seat. They stop at an

intersection.

192

INT. WALLA WALLA WOMBAT VAN - DAY

Stopped on the other side of the intersection, Murphy stares
straight ahead.
The two cars face each other from opposite sides
intersection, oblivious to each others presence.
light changes and they pass each other, Cybil is
visible through the window. He can't believe his
MURPHY
I don't fuckin' believe this.
He pulls a sharp u-turn.

of the
When the
clearly
luck.

102.
~

193

EXT. TWO LANE ROAD

~~k

CRASH the van hits the

194

IN'I'.

Jesse

CAPRICE CAB

:-<'i:""

DAY

of t:.he Caprice.

DAY

looks out the wi::dv.

Oh no.

JESS=:
Mom, it:s i:im:.

Cybil see's him.

CY3I'Hold on!

195

EXT.

TWO LANE ROAD

DJ..'f

The Caprice swings aro~~c ~~d a::empts to get away. Murphy

slams them against a g-.Ja:::-:: :::-:t.:.:
s~~..e=-ing sparks and metal.
Cybil a:~d Jesse are:!:::::-::..-:-. tdci: a:-.d :or~h. Cybil fights for
control, but the Caprice spins ~~: a::d s~ashes into the side
of a small abandoned b~~lii~g.
Cybil is slumped over :~e fr~n:
shakes it off and tries t:~ ~ke
MOM!

sea~
h~s

JESSE
Please -....a:oce :..p,

...-a~e

covered in dust.
mother.

Jesse

up.

Murphy walks towards t.te~. :esse smacks his mother's face.

Cybil wakes with a s~art. ~::e :~cks the doors. Murphy smashes
i.n a window, they scra~"''"'le c~t :::e other side.
u-':) ::.:.
L~6>w~'"

Nowhe:::-e to ,..._
':1 .....

......

-~ .. ';..... ... ~
- . : - - - ..

She grabs a piece of brass

turns to fight.

--~\.-..~

--

--- -:r

Murphy approiches Cybi: a-~ ~esse.

them, her weapon at the ready.
MURPHY

Nice to see

yo~

::::-::m a ga:::-bage can and

She places herself between

t CCNT. D)
agai~

JESSE
You touch my man

~c

Cybil.
::1 kill you.

Murphy reaches out for tte boy, Cybil attacks like a wild
animal but Murphy just ~~cks ~er to the floor.
M"J?.P~'!

I'm gonna =a~e :~.:.s s::or: ar.d s~eet.

What I want :.s :ny :nc=:e~. all of it. You,
little lady are gor_z:a' ge: it for me. In
the meanti~e y~~=- sc=: a:1d I vill play a
little game =al:e= :: ~c~y don't come
back with t~e =as~ :~e kid dies. Simple
rules. anyo~e :a~ p:ay.
He pulls out his pen ar.d

-~:~es

=~

a p:ece of paper.

103.
'- ~-~~
--~:

MURPHY (

,.

.-._ "

coN'r ril

You find Michael, thi's Ts where I imagine

he is. Have him meet me at nine tonight
at this address. On the dot. cause at
nine fifteen the boys dead.
Murphy hands her the paper then throws Jesse in the van and
drives away. Cybil begins pulling debri off the Caprice.

196

EXT. MT. VERNON DOCKS - DAY

Mini tug boats push logs around in the small bay. Old tug
boats with for sale signs are mixed in with sailboats and
cabin cruisers. Tucked neatly in the middle is a beautiful
old wood schooner. Michael is standing next to it going over
some paper work with the DOCK MASTER.
MICHAEL
Thanks for meeting me so quick.
DOCK MASTER
No problem, I was wondering if you were
ever corning back for her.
MICHAEL
Yeah, me too. It's been a busy coupla'
years. Where do we stand?
DOCK MASTER
Well. that's a hundred and thirty grand
you owe for the loan and you racked up
another twenty four grand for three years
dock, paint and maintenance. How you
wanna pay for this?
MICHAEL
Cash

is

King.

DOCK MASTER
Long live the King.

197

INT. WALLA WALLA VAN - DAY

The van moves fast down the highway.
Jesse watches Murphy, hate in his eyes. Murphy takes a swig
of Jack Daniels, looks at Jesse then offers him some. Jesse
hesitates then grabs the bottle and takes a sip. Murphy
smiles, the kid's tough. An old BLUE VW BUG drives by.
Jesse's eyes go wide and he punches Murphy in the arm.
JESSE
Slug bug blue!
MURPHY
What the fuck?!
JESSE
It's a kid's game, my mom and I ... we
spend a lot of time in the car.
MURPHY
You re no kid.

~-.::~:"~: W~?:~EJ~~:' ~

l04.

-~,JEsss

You don't scare me,

I don~.
well.

you know.

MURPHY
do I? Your mamma taught you
JC:SSE

Yeah, she'"~:..--.
excuse?

what's your mamma's

Jesse giggles at his J~ke. Murphy doesn't think it's so

funny. Suddenly withou~ warning Murphy punches Jesse so hard
his head smacks up aga1nst the window and he busts a lip.
MURPHY
Slug bug yellow.
Jesse turns t:o Murphy, blood on his lip, fear in his eyes.
:Orand new YELLOW ~F1i BUG passes them outside the window.
What? ...

MtJRPHY ( CONT' D)
You don't wanna play no more?

198-218 OMIT
219

EXT.

MT.

VERNON DOCKS - CAY

Michael walks towards the dock,

grocery bags in hand.
CYBIL

charts under his arm and

(V.O.)

Michael.
He stops at the gate to the docks. Michael does not want to
turn around, yet he does. Cybil is bloody and dirty.
CYBIL (Cm.IT 'D)
Murphy has Jesse ... he wants the rest of
the money and he'll let him go.

220

THE BOAT
Michael stops at the gunwale.
the supplies below.

He climbs on board,

and takes

CYBIL
Didn't you hear what I said?
He reaches out, grabs his supplies and goes inside the boat.
Cybil, angry,jumps on board and follows him down.

221

INT.

BOAT - DAY

Cybil enters the cabin scared and desperate. The walls are
covered with photos of Michael and sailing. Michael is
rummaging through some storage bins.
Michael,
Michael

CYBIL
please.

turns around and looks her dead in the eye.

.~

___

:.... ___ ,:..___

___

~.-~--'""'__.._

MICHAEL

.._

__

.. ____

____ ........

__..,...

...... .

,:

,; ..

I'>

~.....

; ~

A:--"-'

..

'

--~- ~-

.:

.-

You and Murph. . . what? Just happened to

run into each other?
She's frozen by the ridiculous truth and she can't say yes
She breaks down laughing and crying uncontrollably. Michae
~:~al~y goes to her as she crouches on the floor.
MICHAEL
Hey.

(CONT'Dl

Hey.

She looks at him devastated, helpless,

actions have caused Jesse's death.

realizing that her

CYBIL
What have I done? Oh, Michael. Please
God, help me. Why did I get us into this.
Michael

looks at her long and hard.

MICHAEL
Listen to me Cybil. Listen to me.

She's trying to control herself. She looks at him through he

hysterical tears.
MICHAEL (CONT'Dl
We're going to get Jesse back.
CYBIL
No we're not. He's going to kill him
whether he gets the money or not, isn t
he.
MICHAEL
know Murphy. He wants the money.
much time did he give you.
I

How

She's gaining hope as she looks into his eyes.

CYBIL
Till nine o'clock,

at this address.

Michael looks at his watch. He looks at the address and

simply nods and slowly gets up. Michael thinks, paces. He
looks at a picture and puts it back.
CYBIL {CONT' D)
Michael, what are we going to do?
He turns to her completely serene,

resigned.

MICHAEL
What everybody should do in this
situation. Call the cops.
221B INT.

BOISE POLICE STATION -

LATE DAY

Quigly and Damitry are going thru paperwork. A Uniformed

police officer walks into the room and approaches them.
QUIGLY
What's up?

106.
POLICEMAN
'i/S:'::: :c..
.
Just got a call about'--the"''R:ivfera job.
Some woman said the guys who did it are
having a meet tonight.

DAM I TRY
What? Where?
POLICEMAN
Duck River Wood Mill in Mt. Vernon. just
north of Seattle Washington, nine o'clock
tonight.

DAM I TRY
Anything else?
Yes,
Get

sir.

POLICEMAN
A name. Thomas J.

Murphy.

DAM I TRY
the chopper.

221C EXT. WOOD MILL/RIVER - SUNSET

Ducks take a lazy swim on the river. Suddenly they fly for
their lives as a twin turbo-prop seaplane comes in for a fast
landing. It taxis up to a bunch of tied off logs floating in
the river next to the old saw mill.
The doors open and out steps Jack followed by HAMILTON. The
plane rocks back and forth after he steps off because he is
probably the largest black man that has ever seen this part
of the country. They open the storage hatch and pull out
several large duffel bags filled with weapons. Jack slips on
:he logs.
JACK

Whoah,
I

watch it,

real slippery.

HAMILTON
can't swim.

aint'
fall.

JACK
gain' in after you,

so don't

HAMILTON
Well now you've hurt my feelings. After
last night I thought I would mean more to
you.
JACK
Miss prison do you?
Jack gives Hamilton a look and he laughs as he hefts the
bags.
221D EXT.

CHOPPER -

NIGHT

Damitry and Quigly on the radio as they race through the sky.

.*

107.
-- ~-. :<.: '

--.

QUIGLY
..-..
I want TAC, HRT, and SWAT teams
waiting ... I don't care where you get
them. Seattle's fine. Get to it.
DAM I TRY
Don't you think all that
overkill?
Not

QUIGLY
if you're tryin'

firepower

is

to kill somebody.

222 OMIT
223

EXT. WOOD MILL -

NIGHT

The Walla Walla Wombats Van is outside.

224

INT. WOOD MILL -

NIGHT

Jack is making sandwiches, Murphy and Jesse enter

dilapidated kitchen area. Jack turns to him w1th a

:~e
=~g

s~ile.

MURPHY
What the fuck are you doin'?
JACK
Makin' sandwiches ...
hungry.
Murphy eyes

thought you'd be

the sandwiches.
MURPHY

Cool.
As he picks one up, Hamilton walks into the room. Ee
several large caliber weapons hanging from his body_
JACK
You wanted fire power,
Hamilton.
Murphy looks around,
I

give you

then back to Hamilton.

MURPHY
told you to bring a couple'

Murph',

JACK
he is a couple'

of guys?

guys.

Murphy raises his eyebrows in understanding. Hamil~~n

Murphy a 12 guage shotgun. Murphy nods his approval.
Who's

~as

HAMILTON
the kid?

MURPHY
He ain't no kid, he's four and a half
feet of money.
JACK
Where is the money?

h~~ds

108 .

-.

..MURPHY

On it: s way.

Murphy grabs a sandwich and takes a bite. Jack is on the cell

making arrangments.

JACK
(to Murphy)
We'll leave around two A.M .. Murph, it's
all set ... we'll be in Canada by three.
Murphy nods his head to Jack then turns his attention to
Jesse. Jesse is giving him the evil eye.
If

MURPHY
looks could kill.

Jesse stares at the food.

Hungry?

Yes he is.

JESSE
Nope ...
C'mon kid,

MURPHY
even tough guys have to eat.

Murphy laughs, takes the Sandwich from Jack and hands it to

Jesse. They eyeball each other and he bites down on the food.
224A EXT.

AIRPORT - NIGHT

The Federal Marshal's chopper lands.

Suburban.
224B SXT.

They jump into a waiting

DOCKS - NIGHT

Michael and Cybil get into the Caprice and drive off.
2 2 4C EXT.

M1'.

VSRNON WAREHOUSE - NIGHT

Quigly and Damitry pull up in the SUBURBAN and jump out. The
woodrnill can be seen in the distant backround. Damitry and
Quigly are met by TIM SANDERS an on site Federal Marshall.
TIM SANDERS
We set up a room as a staging area.
There's phone lines, video and audio
monitoring, the works.

DAMITRY
How many perps are in the building?
TIM SANDERS
Well that's a problem sir, we're not
sure. But SWAT and HRT are in position
surrounding the building.
QUIGLY
How many?
TIM SANDERS
Three teams of ten. Thirty total.
Damitry and Quigly look at each other impressed.

109.
-225

OMIT

226

INT.

CAPRICE -

NIGHT

They drive silently. ~ichael s:.ill serene, concentrating.

He's changed his c:ct~~ng. ~ybil is full of remorse, holding
tears back. F ina::. :r ...
~CCHAE::..

Listen, :.;.h ... no m.a::.er what happens to

me, I want you a.."ld :esse to take the boat
and leave. Fir:.d some g'J.Y to teach him to
sail.
After a

beat.
CYBIL
Nothing's gonna

~appen

to you.

They look at each =:.her.

Promise :::e j"Ou'l:
She looks away,

:::a::: Cybi 1.

trying not :.c cry.

Nods.

CYBIL
I

promise.

226A INT. WAREHOUSE -

N:~HT

Dami try and Quigly s:.:.;.dy a =.ap ..r::.. :.h CAPTAIN ELDEN, indicating
the positions of :.::e :hree :e~~s of ~RT and SWAT surrounding
the wood mill. They are now ~ear::..ng their vests and combat
gear. A crew of ~~~7's are ~e::::..ng ready for battle. Two
Cops, DETECTIVES 7:7::..~3A~~ a:.~ :J~~STER, walk in the back
door. Damitry locKs ~p.
Titleba~.

detecti.-e

3oise ::~::i.:ie,
Forester.

my Partner

FGRESTE?.
We're in.es:::igating t'!:e murders of Mr.
Jay Pete::-son ai"d Kiss Judy Lumae.
DAM I TRY
Nice to :::ee::: you.
The door opens and :.wo cops,

*
*

G?.IBES and MORRISON walk in.

DAMITRY !C::JN7'D)
Who the '!:el: are YO:l q1;ys?

G?.:3BS
Detect.i:e gr::..bns, :!:::..s ::..s detective
Morrison, we're .... ::::. Seattle homocide.

c:.::GLY
Homocide? ;=body l<::..:.:ed anyone
Yet.

in Seattle

110.
MORRISON
We were told to come,
case.
Great,

DAMITRY
maybe Dirty Harry could join us.

CAPTAIN ELDEN
Okay Marshal. I got something here.

227

EXT.

NIGHT VISION - WIDE SHOT OF THE WOOD MILL

228

INT.

HOTEL ROOM,

figure walking towards the building.

MT VERNON,

WASHINGTON - NIGHT

They all turn and move to the monitor.

DAMITRY
Can you get any closer.
Captain Elden zooms in on the image.
QlJIGLY
Who is that?

DAM I TRY
Don't know, can't tell.
Alright,

QUIGLY
let's do it.

They all head out the door.

229-233 OMIT
2 34

INT.

WOOD MILL - NIGHT

Jack's munching away. He checks his revolver, spins it and

click it into place. A hand flashes into frame, stealing the
gun out of Jack's hand. Jack spins around, looking straight
down the barrel of his own gun being held by ...
MICHAEL
Hello Jack, good to see you.
JACK
Fucking Navy Seal bullshit.
Yeah,

MICHAEL
I still got a little of it.

There stare at each other.

I

..

WQOD MILL - NIGHT

VIDEO IMAGE tracks a

*
*

MICHAEL (CONT'D)
figured you'd be here.

JACK
Hey man, Murph called me, told me to get
over here. That's all I know.

112.
--- -~:.}~::~;~;:~:~.~-~~~~~~~'
~-

236A EXT.
SWAT teams moving into position.
2368

I~T.

-:..;... __

..

:~jd.,~~--~

Snipers digging in.

WOOD MILL

and Michael keep their guns trained on each other as

carrying the bag, and Jesse walk slowly to their
perspective partners. )..s they are about to cross, it becomes
apparent that Jack CG.J ~-c~ grab Jesse.

~urphy

~ack.

MICHAEL
Stop.
':'hey do.
MICHAEL ( CONT' D l
Jesse, stay clear of him. Jack,
any move towards that boy ...

you make

JESSE
And he'll splatter cherry pie all over
that wall behind you.
Michael loves this kid.
MURPHY
That's right kid, and then I' 11 splatter
Mike's beef stew all over the floor
behind him.

That brings things back to perspective.

MICHAEL
Just keep commin' Jesse.
Jesse carefully watches Jack pass as he moves quickly to
M~chael.
Jack drops the bag next to Murphy. Michael moves
Jesse behind him.
MICHAEL (CONT'D)
Now. I'm just gonna walk out of here with
Jesse. You got the money, all of it.
MURPHY
Well, that's very generous of you,
it's not that simple.

but

From off to the side, Hamilton appears holding a gun trained

on Michael. Murphy reaches behind him and tosses another gun
to Jack. All three men point their weapons at Michael.
Said it
the key
(to
Go start
business
hole in

MURPHY ( CONT' D)
yourself, Mikey. Preparation is
to success.
Jack)
her up I'm gonna finish my
here. Mike walk over to that
the wall.

Jack walks ahead of Michael,

comes behind Murphy.

who still has Jesse.

.
Hamilton

113.
MIC!t\EL ~?:''~ ; - -~"T~<~, ~-"' ,. :Murphy, let .Jesse gc), this:_ is just
between you and me.
237

EXT.

MILL

'tJOOD

S.W.A.T team ONE race up to the mill.

238

EXT. WOOD MILL STAIRWAY 2

SWAT team TWO race up stairway 2.

239

INT. WOOD MILL

The SWAT teams sweep quietly through the lower part of the
mill.

240

INT. WOOD MILL - NIGHT

Michael,

Jesse and Murphy walk past a large hole in the wall.

Ht.:Rfi-i'i

You're a bad guy too you know? Maybe not

as bad as me, but your a bad guy just the
same ... and you along with all those
other bad guys out there seem to be
missing the point. . .. You're all
forgetting "THE GOLDEN RUL~. and that.
rule is "he who ...
MICHAEL
Yeah, yeah, "He who has the big ass gun,
makes the rules . It would help of course
if the gold was actually in the bag.
MURPHY
Ah. now, I really hope you haven't ruined
everything. Michael this could have been
easy. But just to make sure ...
He opens the bag and sticks his arm in,
tattoo flexing on his forearm.
241

"Black Scorpion"
*

ANIMATION SEQUENCE
Murphy can't believe his eyes. The money is all cut
newspaper. POVfrom the little Red Scorpion is in the bag.
He has a score to settle from the beginning.
As the black tattoo scorpian on Murphy's arm comes to life
and attacks the little red one, who side steps and stabs
Murphy' s arm drawing deep blood.

241A REAL TIME

MURPHY
AAAAGGHHH!
Murphy screams and pulls his arm out. Sticking into th~
"Black Scorpion" tattoo on his arm is the small "live red
one. He whips it off and our little red friend goes flying.

114.
......

_/.,
,_ ....

BANG,

"

--

BANG; -"BANG -

BANG,

....

Four search lights fill

the area

with blinding 1 ight.

MURPHY
What the fuel<?

(CONT'O)

POLICE BULLHORN (O.S.)

Federal Marshal's. You are surrounded.
Throw your weapons down. Put your hands
in c. he air.

SLOW MOTION - Michael pushes Jesse off to the side. They

stare at each other.
MICHAEL
Run Jesse. As far as you can.
Hamilton and Jack slide to the shadows but Michael and Murphy
are v~sible in the lights. Michael raises his hands in
surrender. Murphy drops to the floor and holds steady.
MURPHY
You said five minutes.
MICHAEL
I

lied.

MURPHY
You always were a lucky bastard.
MICHAEL
We were never gonna make it, Murph. The
truth is, guys like me die caught, guys
like you die bloody. It's your choice.
I m go in back .
MURPHY
Yeah you're go in back.

In a bag.

Murphy raises his shot-gun.

C' mon

MICHAEL
Murph, have a heart.

MURPHY
(smiling)
Okay, I' 11 take yours.
He aims his shot-gun right at Michael's heart. BOOM! Arms
wide open, Michael takes the shot full on in the heart and is
blasted clear off the platform.
242-244 OMIT
245

--

FROM THE GROUND

Michael falls fifteen feet, crashing onto a wood chip pile
two floors below. He lays on the ground motionless.
BA..:K ON PLATFORM

115.
QUIGL
(bullhorn)
Move in! Move in!

Let's go!

"SMASW!!!
The wall to the 2nd floor wood mill bursts open
and the S.W.A.T team enters. Jack dives for cover. A FLASH
SANG DETONATES. Very loud, Very Bright.
Murphy raises his shotgun and fires at them. BOOM" BOOM"! ! !
Bullets come ripping in. Murphy dives behind a metal wall.
Bullets-ping into the metal. Jesse is curled up in a corner
Hami 1 ton, with two machine-guns tearing into the advancing
SWAT team. Then he runs down a flight of stairs.
Four SWATS come zipping down ropes shooting as they come.
lst S.W.A.T. Officer sees Jack running and Jesse.

The

S.W.A.T.
Hey there s a ...
He never finishes the sentence as Murphy blows him away.
Jesse hides in a small room as bullets rip through the walls
and smash into the floor getting ever closer.
More SWATS including Quigly and Damitry come running in. They
fire at Murphy who dives for safety behind the corridor wall.
"POW"!!! "POW"!!! "POW"!!! Bullets ricochet everywhere off
the metal walls and beams.
Jack pulls two submachine-gun
scene with a hail of gun fire.

his bag and showers the

"DA", "DA", "DA".

fr~m

The gunfire rips apart the interior of the room as two

S.W.A.T. Officers catch some of the assault. One officer
falls to the ground dying instantly. Jack makes his way
toward Murphy by the carr idor.
The other officer fires his assault rifle in a heated
exchange. Jack throws one of the gun's to Murphy who lets
loose. Several bullets impact Murphy.

245A EXT. WOOD MILL - NIGHT

A SWAT member finds Michael laying on the ground.
SWAT MEMBER
(yells)
I got one perp down. Over here!

246

INT. WOOD MILL

Jack calls out to Murphy.
JACK
Hey Murphy, this way!
Jack pulls a lever and a trap door swings open revealing an
escape route. Murphy and Jesse both see it.
Jesse crawls along the floor.

Jack fires back as he dives for cover by the

his way to the escape route. oA, QA. DA,
Two TAC team shooters make their way around Murphy. They are
about to rip him apart when -- Hami!.t::n ~~es sailing in on a
steel line ripping them to shreds.
MURPHY
Thanks Hami 1 ton!
Quigly has a shot, he takes it. Hamilton gets shot in the
chest and flies back against the wall next to Murphy.
Hamilton gets up and empties his gur:s as :::e SwATS riddle him
with bullets.

Damitry draws a bead on Murphy he fires ~= Murphy is hit.

Jack sees this and runs to cover him. Fir~r:g as he goes,
Damitry tracks him and fires. Jack is h~t a~d goes down on
top of Murphy.
~urphy

drags him out of the line

~~

~:re

JACK
Fuck Murphy ... who's gonna
You Jack,

~E::ind

a corridor.

fly?

MURPHY
always you.

Jack spits up blood and dies.

246A EXT.

WOOD MILL

~NO

SWAT's run over to Michael, pick

of the fire fight, and then run back

246B INT.
~aser

'-~~
~ntc

~~

and pull him out

fray.

~::e

WOOD MILL
beams from sniper rifles canvas

t~e

~~ll's

interior.

Murphy, behind the corridor wall, sees vesse looking at the

open hidden wall door. They stare at eac:: =~her through the
laser beams. Murphy is having diffi::~lty treathing. He leans
over, pulls Jack's machine gun from ~~s c:~~dy hands.
The S.W.A.T team moves in closer toward the corridor.
Murphy knows he's dying. He looks back at :esse, trains his
gun on him. Jesse's frozen in fear. ~rphy reaches into his
pocket and pulls out a stack of money.
MURPHY
Hey kid ... Here's the last cf i:.
He throws the bundle of money to Jesse.
Go on,
Murphy rolls out
S.W.A.T guys in
Murphy continues
Murphy as cover

MURPHY ( CONT' D)
I'll cover you.
and fires the machir:e ~~ ::itting one of the
the upper thigh and ar:~t::er in the r:cck.
firing and is hit severa~ times. Jesse using
bolts through the h:==en d:::r with the money.

111.

235

EXT.

MT.

VERNON STREET -

NIGHT

Quigly and Damitry, along .vith the r1ot cops.

street towards the wood mill.

236

INT.

run across

the

WOOD MILL
Where' s

MICHAEL
the boy.

JACK
That was some job we did,

wasn't it?

Mike pulls back the hammer on Jack's gun.

MICHAEL
Don't need you Jack. Now I'd like to get
this over with if ym.J don't mind. Let's
go find Murph?
MURPHY {0. S. )
Right here, Michael.
Michael spins around. From a dark corridor comes Murphy. He's
holding a shotgun to Jesse's head, who stands in front of
him. Instant standoff. Jack slides around the side of
Michael.
Jesse,

you

MICHAEL
all right?

MURPHY
He's fine. Lis ten, I been thinking,
shooting you back in the desert, that
wasn't a very nice thing I did. You and
I, we used to be tight. I would like it
to be that way again.
MICHAEL
Yeah, fuck you too,
trade.
MURPHY
What's the rush, I
this.

Murph.

Let's make the

been lookin forward to

MICHAEL
Cybil's down there. If the boy and I
aren't with her in five minutes, she
makes a phone call.
MURPHY
C'mon Mike, you're not callin the cops
and neither is she. Now why don't you
throw the bag over.
MICHAEL
No problem. Send him over here,
bring you the money.

Jack' 11

117_
Murphy watches Jesse and when he .. ,...n'I.JWDrolls back and takes cover in a ~~all correr
th,.as shots
from the S.W.A.T team Quigly and Damitry rip all around him.

247

EXT.

WOOD MILL - NIGHT

Michael is lifted by TWO PARAMEDICS and a S.W.A.T. and put on

a stretcher. He has sawdust all over him, covering his face.
248

EXT.

WOOD MILL PARKING LOT.

Cybi l, Frantic, sneaks under the caution tape searching among

the many people.

249

INT.

WOOD MILL - NIGHT

The S.W.A.T team drags the injured S.W.A.T guys out of the
mill, one's bleeding from the leg and in pain. The S.W.A.T
team continues to close in on Murphy.

250

EXT.

~CO~

MILL PA?K:NG LDT- NIGHT

Michael is brought to the back of an ambulance by the

PARAMEDIC. Tim Sanders and Captain Elden approach the
stretcher and look down at Mike.
TIM SANDERS
Hang on a second.
CAPTAIN ELDEN
Which one is he?
TIM SANDERS
Fuck if I know. Wack 'em and stack 'em,
we'll sort em out later.
PARAMEDIC

There may not be anything to sort out if

I don't get him outta here.
Captain Elden waves them on and they roll Michael to the
ambulance.

251

INT.

WOOD MILL/CORNER BOOTH - NIGHT

Murphy, IN SLOW MOTION, screams out while checking the

remaining bullets in the machine gun clip. One side of his
face is drooping and he can barely move his right arm.
QUIGLY (O.S.)
MURPHY! There is nowhere to go! We have
fifty guys out here ... give it up.
Quigly and Damitry exchange looks ...

this is not good.

DAM I TRY
This all going according to plan so far?
Murphy pulls himself up the wall and staggers to a small
window.

118.
~<

-~.

r-.:i:~l.'~''<r:~...,,f.t~:"

c:-,:P'

(sing
Now, that's alright. mama, that's alright
with me. That's alright now mama, won't
you set me free
baby ... that alright.
He sees all the cops swarming around in the parking lot.
Murphy see's Jesse hiding behind some logs.
252

EXT. WOOD MILL PARKING LOT- NIGHT

Michael s stretcher is slid into the ambulance. Cybil sees
him and moves toward the ambulance. Cybil is confronted by a
COP and escorted to the yellow tape.
M'I'. VERNON COP
What are you doin here?

Jesse hiding,

watches this from a distance.

Hey medic,

S'tJA T MEMBER
friendly over here.

Leg wound.

The injured S.W.A.T guy is coming out on a stretcher,

bleeding bad. The ~aramedic closes the ambulance doors then
rushes to the injured S.W.A.T guys side.
253

INT. WOOD MILL/WINDOW - NIGHT

Murphy leans against the wall.
gasps.

He is sweating,

breathing in

Behind Jesse are some SWATS moving in on him as they search

the wood piles.
Above everyone on the roof is a huge propane tank. Snipers
shoot at Murphy. Without hesitation Murphy breaks the window
and shoots the roof tank.

254

EXT. WOOD MILL PARKING LOT- NIGHT

The GAS TANK EXPLODES sending huge fireballs into the air and
everyone scrambling for cover. Murphy riddles a police car
with bullets until it blows up.
The SWATS behind Jesse are thrown to the ground. Jesse runs
from the explosions. The entire scene is in total chaos.

255

THE WINDOW
Murphy smiles at the havoc is has created. SWATS on the
ground shoot at the window Murphy was shooting from.
MURPHY' S POV
Jesse runs to Cybil,

255A EXT.

she grabs him and holds him tight.

IN FRONT OF WOOD MILL

The ambulance with Michael inside starts up and begins to

move. The sirens go on and the lights start turning. A second
ambulance moves into the spot a~J begins loading bodies.

119.
:><._~--

-~~-~~;}f

256

INT. WOOO.oi;M

:v

_... .;-.

.~;-?,;-:-

.-

.-: ' ~- -~- -.

~ ..:.

;;:_

. 'ORNER' BOOTH

-~~--~~~~:;~---=-~:~~.:-~--

---~:x~

~-

~-.'

-=: .. ~-: ~- .:,/'i~t-

A flash bang grenade rolls under Murphy s legs. Ha 1 f blinded

Murphy looks up to see - his own reflection, in the mirror,
turn into ELVIS. pointing a nickel plated .45 at Murphy.
Murphy fires while jumping backward. The mirror shatters into
a thousand pieces. Suddenly silence, Murphy bloody and
drooping turns to the glass booth windows to see twenty
SWAT's plus Quigly and Damitry pointing laser sighted guns.
Murphy unleashes his machine gun. The S.W.A.T team hail of
fire is the equivalent of a firing squad. "POW, POW, POW,
POW"!! Murphy is blown back into the corner and out of sight.

257 OMIT
258

INT.

WOOD MILL CORNER BOOTH BATHROOM

The S.W.A.T's, Quigly and Damitry approach. In the bathroom,

they find Murphy bloody. He leans against the toilet bowl,
dead.

259

INSERT
Rolling back and forth on the ground is Murphy's bottle of
pills. The Label reads - THOMAS J. MURPHY Take three pills
daily with meals for DIABETES.

260

EXT.

MT.

VERNON HIGHWAY - NIGHT

The ambulance swiftly cruises along the dark rainy highway.

261

INT.

THE AHBULANCE

Michael stares out as the highway lights go by,

other. He is bleeding, dying.
262

INT.

one after the

IN FRONT WOOD MILL - NIGHT

Quigly and Dami try watch a Paramedic cover Murphy s dead body
and wheel the body away. Quigly fishes for a cigarette.
DAM I TRY
I wanted him alive.
QUIGLY
Why ... hey got a light.

263

EXT.

ON THE HIGHWAY - NIGHT

The ambulance passes other cars. The sirens and lights in

full effect. Then lights shut off and the siren shuts down.
The ambulance pulls off the highway and down an off ramp.

263A EXT. WOOD MILL

Quigly and Damitry survey the aftermath.
QUIGLY
(to officer)
Let's tape it off.

Let's ID these guys.

120.
OAMI'I'RY ;.:.p::: :- ~_r~c ~-,e .. ,a gr,~,~lf ,_;: : '.< ':- :~:~
, ::: Ya think -_there' s-: enough lef-t~ df>&emo: t.o do" :.. ' -

~- -::::..--

-- . that.
265

:NT. THE AMBULANCE

The ambulance is scopped. Michael stares up - Dead. Ambulance
opens and female hand touches his chest. Michael's eyes blink
and he looks up. A small smile crosses his lips. Cybil with
Jesse smile at Michael. Her hand is on his chest. Michael
struggles to sit. pul~.-~~ open his shirt, revealing the
bullet proof vest he ~~=e in the beginning of the movie.
Damn.

H~. 'HAEL
these c.hings really

Here,

CYBIL
let me help.

~-

As the vest is removed. we see a fresh red welt in between

~he two old purple and yellow welts.
I

JESSE
thought you were dead.

MICHAEL
Not yet Jesse.
Jesse hugs him.

Despite the pain,

Michael hugs him back.

CYBIL
(smiling)
I told you nothing was gonna happen to
you.
Hichael

looks down at his chest.

MICHAEL

You call that nothing?

Nah.

CYBIL
Occupational

hazard.

MICHAEL
(smiles)
Let's get on the boat.
266

EXT.

IN FRONT OF WOOD MILL

Damitry speak to news crews of all channels.

DAM I TRY
A SWAT team exchanged gunfire with the
last three men responsible for the Casino
heist. They were killed during the
exchange. Unfortunately, because all six
men associated with the robbery are now
dead, the money may never be recovered ...
The ambulance with the injured S.W.A.T guy pulls away.

12:.
A paramedic approaches a group of other paramedic$-~ho are
wheeling Murphy's dead body away, his tattooed arm hanging
out of the stretcher.
PARAMEDIC
Hey anyone see my ambulance?
Damitry looks up at this but pays no attention. He is trying
to light his cigarette. Suddenly his lighter works, he lights
his cigarette and enjoys the smoke. Quigly walks up to him.
QUIGLY
You know Damitry,
over.
Quig,
York.

DAM I TRY
I think I'm gonna move back to New
I need to relax, take it easy.

Dam::ry turns and walks away,

267

EXT.

I'm almost sorry it's

BAY/SAILBOAT -

Quigly shrugs and

follows him.

StJNPISE

The sun is coming up slowly on the horizon.

The front of the SAILBOAT passes by the frame. On deck in the
morning light we see Michael and Jesse at the wheel. Michael
PATCHED UP AND IN AN ARM SLING is teaching Jesse how to pilot
the boat. Cybil is seated beside them, she has never been
more content. Michael drinks a CARLSBERG BEE~.
Jesse fishes in his pocket and comes out with Michael's Skull
Caps. He offers them to Michael. Michael smiles and motions
for him to toss them over the gunwhale. Jesse hesitates then
throws them into the water. Michael scruffs his hair. Cybil
pulls out a lollipop and offers one to Jesse. They pass
through the Bay and into the ocean.
On the back of the boat we see the little red Scorpian claws
raised in triumph. As the boat pulls away we see the name GRACE LAND
JESSE
Not bad for a bunch of losers.
THE END