<script>
  <scene>
    <scene_description>BAD TIMES AT THE EL ROYALE by Drew Goddard Final Shooting Draft</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MOTEL ROOM - DAY/NIGHT</stage_direction>
    <scene_description>It's 1958. We're in a lonely motel room. A key hits the lock. A MAN throws open the door and races into the room. He slams the door. He peeks out the window and studies the parking lot. He struggles to catch his breath. We may notice blood on the sleeves of his suit. This is FELIX O'KELLY. He steps away from the window. He's carrying a RED DUFFEL BAG. He sets it down and surveys his room.</scene_description>
    <character>CUT TO:</character>
    <dialogue>Felix shoves the bed to the side of the room.</dialogue>
    <dialogue>\[Note: for the duration of this sequence, the camera remains in the same position. Fast jump cuts.\]</dialogue>
    <dialogue>Felix opens his red duffel bag. He removes a crowbar. A hammer. A handgun.</dialogue>
    <character>CUT TO:</character>
    <dialogue>Felix, his jacket off now, yanks up the carpet from the corner of the room, revealing the WOODEN FLOOR BOARDS below.</dialogue>
    <dialogue>Felix looks at the floor boards. Looks at his tools. Thinks.</dialogue>
    <character>CUT TO:</character>
    <dialogue>Felix adjusts THE RADIO antenna. Static. He fiddles with the dial. Fifties folk-pop fills the room as Felix finds a station playing "26 Miles" by The Four Preps.</dialogue>
    <dialogue>Twenty-six miles across the sea, Santa Catalina is a-waiting for me...</dialogue>
    <dialogue>Felix turns up the volume.</dialogue>
    <character>CUT TO:</character>
    <dialogue>Felix hammers the crowbar between slats in the center of the room. The sound is somewhat muffled by the radio.</dialogue>
    <scene_description>CONTINUED: He pries up the floorboards one by one.</scene_description>
    <character>CUT TO:</character>
    <dialogue>Santa Catalina, the island of romance, romance, romance...</dialogue>
    <dialogue>We may notice it's NIGHT outside now. Felix has his shirtsleeves rolled up. He's covered in sweat. There's now a large hole in the floor. The floorboards are all neatly stacked to the side.</dialogue>
    <dialogue>Felix zips up the duffel bag. We never get a good look at what's inside.</dialogue>
    <dialogue>He drops the bag inside the hole.</dialogue>
    <character>CUT TO:</character>
    <dialogue>Felix replaces the floor boards. He hammers the nails in time to the music. He smokes while he works.</dialogue>
    <character>CUT TO:</character>
    <dialogue>Felix rolls the carpet back. Stamps it down in the corner.</dialogue>
    <dialogue>He looks down at the hammer in his hand. Looks at the crowbar on the bed. Thinks.</dialogue>
    <character>CUT TO:</character>
    <dialogue>The room is empty now. Through the open door, we can see it's raining outside. We hear a trunk SLAM.</dialogue>
    <character>CUT TO:</character>
    <dialogue>A soaking wet Felix crawls on his hands and knees and scoops up the sawdust on the carpet. He stands. Surveys the room. Looks good.</dialogue>
    <dialogue>Felix catches a glimpse of himself in the LARGE MIRROR mounted on the wall. Looks less good.</dialogue>
    <character>CUT TO:</character>
    <dialogue>Felix stands in front of his mirror. He combs his hair with a black plastic comb.</dialogue>
    <dialogue>Twenty-six miles across the sea...</dialogue>
    <character>CUT TO:</character>
    <dialogue>CONTINUED: (2)</dialogue>
    <scene_description>Felix paces back and forth. He stubs out one cigarette and lights another.</scene_description>
    <character>CUT TO:</character>
    <dialogue>Felix sits in the wooden chair in the corner. He smokes. The ashtray next to him is filled with butts.</dialogue>
    <dialogue>HEADLIGHTS flare the curtains. Felix stubs out his cigarette.</dialogue>
    <dialogue>Forty kilometers in a leaky old boat...</dialogue>
    <dialogue>There's a knock at the door.</dialogue>
    <dialogue>Felix grabs the handgun from the night stand. Moves to the peephole. Studies the outside world.</dialogue>
    <dialogue>Any old thing that'll stay afloat...</dialogue>
    <dialogue>His shoulders relax when he sees who it is.</dialogue>
    <dialogue>Felix throws the latch. Opens the door. Gestures for the person to come on in...</dialogue>
    <dialogue>BOOM. A shotgun BLAST hits Felix O'Kelly square in the back. He's launched clear across the room, and the second his body SLAMS INTO CAMERA, blood splashing the lens --</dialogue>
    <scene_description>CUT TO TITLE: Bad Times At The El Royale Over black. Title clears. A new song ("25 Miles") signals a new era. Driving sixties soul as Edwin Starr calls out, "All right, feet, start moving..." TITLE: Ten years later</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. EL ROYALE - DAY</stage_direction>
    <scene_description>The El Royale is a motor lodge nestled in the woods north of Lake Tahoe. It once had dreams of being a mid-level vacation hideaway. Those dreams do not appear to have been realized. "You've got to get me there..." A wooden arch bears the name of the establishment, welcomes visitors to the mostly-empty parking lot. A dented gray Studebaker drives through the arch. CONTINUED: The defining characteristic of the parking lot is A RED LINE that bisects the lot dead center and leads straight to the double doors of the lobby lodge. "It's twenty-five miles from home..." The Studebaker parks. The driver opens her door. We get a better look at her: Late thirties. African-American. As she stares at the El Royale, we can almost hear her thinking, "How in the Lord's name did I end up in this lonely place?" This is DARLENE SWEET. She opens her trunk and removes HER ODD BAGS. One is a large flowered suitcase. The other appears to be an enormous roll of fabric, bound with a rope around it. It would be too much luggage for a lumberjack, let alone Darlene. But she lifts the burden without complaint, balancing one in each arm. As she approaches the lodge, she notices A MAN standing in the parking lot: He's in his sixties. He's wearing a priest collar. He's staring at the hotel. He looks lost and confused. This is FATHER DANIEL FLYNN. Darlene slows when she sees him.</scene_description>
    <character>DARLENE</character>
    <dialogue>Are... you lost, Father?</dialogue>
    <scene_description>Flynn almost jumps when he hears her. His eyes become clear again, as though he just awoke from a dream. He smiles.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>No. No, I suppose not.</dialogue>
    <parenthetical>(looks down)</parenthetical>
    <dialogue>According to this, I'm in Nevada.</dialogue>
    <scene_description>ON THE GROUND: the RED LINE runs right between them. On the west side of the line, stenciled letters read "California." On the east side of the line, "Nevada."</scene_description>
    <character>DARLENE</character>
    <parenthetical>(smiles)</parenthetical>
    <dialogue>I've never been to Nevada. What's it like?</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Not bad. Looks like it might rain. What's California like?</dialogue>
    <scene_description>Darlene looks over her shoulder to the west.</scene_description>
    <character>DARLENE</character>
    <dialogue>Still sunny.</dialogue>
    <scene_description>Flynn picks up his valise.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Can I give you a hand there?</dialogue>
    <character>DARLENE</character>
    <dialogue>That's very kind of you, thank you.</dialogue>
    <scene_description>She hands him the flowered suitcase. If Flynn is curious about the strange roll of fabric in Darlene's arms, he gives no indication. They walk towards the motel. The border leads straight to a set of doors, one door on each side of the line. They enter through the California side.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOUNGE - DAY</stage_direction>
    <scene_description>Ring-ring. The front door chimes as Darlene and Flynn enter and study the unique accommodations: The interior of the El Royale plays on the same border theme. The line bisects the large room perfectly in two. ON THE CALIFORNIA SIDE: everything is decorated in warm orange hues. We may notice a bar, a set of tables, a lounge seating area. ON THE NEVADA SIDE: everything is decorated in cool purple hues. We may notice the front desk, some gaming tables, a black and white television currently showing coverage of Richard Nixon's 1969 inauguration speech. At the back of the room, half in California and half in Nevada, is a colorful JUKEBOX. Flynn looks down at the border, Darlene follows his gaze. They're both standing in California. Flynn gestures: be my guest. Darlene smiles. Takes a mock deep breath... And steps across the border. CONTINUED:</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>How are you enjoying Nevada so far?</dialogue>
    <scene_description>Darlene shrugs. So far, so good.</scene_description>
    <character>VOICE</character>
    <dialogue>Those are my accoutrements...</dialogue>
    <scene_description>The voice has a thick Mississippi accent. It's coming from behind the bar on the California side. A man wearing a charmingly rumpled seersucker suit reveals himself: This is LARAMIE SEYMOUR SULLIVAN.</scene_description>
    <character>LARAMIE</character>
    <parenthetical>(points)</parenthetical>
    <dialogue>At the front desk there.</dialogue>
    <scene_description>They look to the front desk, where a large amount of luggage has been piled.</scene_description>
    <character>LARAMIE</character>
    <dialogue>That's my trunk, that's my fortnighter, that's my hat case. And I'd ask that you folk respect my claim when it comes time to divvy the rooms. Though when that'll be is anyone's guess. I been ringin' that bell so long my hand's sore and my ears is tired and my constitution needs coffee. So. That's why I'm back here scroungin'.</dialogue>
    <scene_description>He holds up a pack of coffee grounds. He dumps it into the elaborate machine behind the counter.</scene_description>
    <character>LARAMIE</character>
    <dialogue>Success! Though I can't say I vouch for the quality.</dialogue>
    <scene_description>He starts the machine. While it grinds and grumbles, Laramie crosses the room, extends his hand to Flynn.</scene_description>
    <character>LARAMIE</character>
    <dialogue>Laramie Seymour Sullivan. Sales manager, Calhoun Appliances. My name may not be on the masthead, but that don't mean it ain't a family business.</dialogue>
    <scene_description>He hands Flynn a business card. Tips his hat to Darlene. CONTINUED: (2)</scene_description>
    <character>LARAMIE</character>
    <dialogue>Ma'am.</dialogue>
    <character>DARLENE</character>
    <dialogue>Hello.</dialogue>
    <character>LARAMIE</character>
    <dialogue>What should I call you, Father?</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>Daniel Flynn. It is nice to meet you.</dialogue>
    <character>LARAMIE</character>
    <dialogue>Father Flynn, huh. That's easy to remember, alliterative and such. Whereabouts is your parish?</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>The Immaculate Heart of Mary's in Bloomington, Indiana.</dialogue>
    <scene_description>A beat as Laramie sizes up Flynn.</scene_description>
    <character>LARAMIE</character>
    <dialogue>Well.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Let me just say up front that me and the good people of East Biloxi Baptist may have our differences with your Pope, but in our hearts we both believe in the divinity of Jesus Christ, and that makes us brothers as far as I'm concerned. Who handles your hospitality at the Heart of Mary?</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>I'm sorry?</dialogue>
    <character>LARAMIE</character>
    <dialogue>You know, who keeps the place clean and tidy?</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>Her... name is Barbara.</dialogue>
    <character>LARAMIE</character>
    <dialogue>Could I trouble you for Barbara's phone number? I believe the good Lord has put me in your path to make her life easier.</dialogue>
    <scene_description>CONTINUED: (3) Flynn studies Laramie. Thinks.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I confess my memory is not what it used to be. But I have it written down in my valise. I'd be happy to get it for you once I check-in and am squared away.</dialogue>
    <character>LARAMIE</character>
    <dialogue>I'd sure appreciate it. Though, again, Lord only knows when that'd be.</dialogue>
    <scene_description>He points to the brass bell on the front desk.</scene_description>
    <character>LARAMIE</character>
    <dialogue>You can go ahead and give it a whirl. I ain't had much luck with it.</dialogue>
    <parenthetical>(turns)</parenthetical>
    <dialogue>How 'bout you, darlin' -- you in the hospitality business?</dialogue>
    <scene_description>Darlene seems genuinely taken aback.</scene_description>
    <character>DARLENE</character>
    <dialogue>I -- how did you know my name?</dialogue>
    <character>LARAMIE</character>
    <dialogue>Your name is "Darlin'?" Ain't that a pip! And they say fate died in '63.</dialogue>
    <scene_description>Darlene realizes the mistake.</scene_description>
    <character>DARLENE</character>
    <dialogue>Oh. Sorry. I thought you said... never mind. I'm not in the hospitality business. No.</dialogue>
    <character>LARAMIE</character>
    <dialogue>Well, I'll give you my card nonetheless. I'm sure you know some gals who need a vacuum.</dialogue>
    <scene_description>A beat. Then Father Flynn rings the bell. The group waits in awkward silence. No response. Laramie rolls his eyes: see what I mean? CONTINUED: (4)</scene_description>
    <character>LARAMIE</character>
    <dialogue>This your first time at the El Royale?</dialogue>
    <scene_description>Both Flynn and Darlene nod. Laramie crosses back to the bar.</scene_description>
    <character>LARAMIE</character>
    <dialogue>It didn't always used to be like this. And I don't jus' mean you could find the clerk come check-in. Naw, this place used to be hustlin' and bustlin'. Tahoe's best kept secret. I mean, it was always a novelty, but there's state fair novelty and old horse novelty and we are now firmly in the old horse variety.</dialogue>
    <scene_description>He removes the coffee carafe from the machine and grabs three cups. As he starts making his way back across the room:</scene_description>
    <character>LARAMIE</character>
    <dialogue>'66 this place had swing. Hell, I'm sure I couldn't get a main lodge room if I tried.</dialogue>
    <scene_description>He points to the photographs adorning the California wall.</scene_description>
    <character>LARAMIE</character>
    <dialogue>It was a hidey hole for the Tahoe swells.</dialogue>
    <scene_description>Darlene looks at the photos. The El Royale in more boisterous times. There's Frank Sinatra lounging by the pool. There's Martin Luther King, Jr. shaking hands with a crowd of well-wishers. There's Bobby Kennedy making pop- superstar VESTA SHEARS laugh.</scene_description>
    <character>LARAMIE</character>
    <dialogue>Dean Martin even sang a song about it. "Half In California With Judy?"</dialogue>
    <parenthetical>(off their looks)</parenthetical>
    <dialogue>No?</dialogue>
    <parenthetical>(shrugs)</parenthetical>
    <dialogue>Wasn't one of his best. Coffee?</dialogue>
    <scene_description>Flynn nods. Sure. Darlene shakes her head.</scene_description>
    <character>DARLENE</character>
    <dialogue>No, thank you.</dialogue>
    <scene_description>CONTINUED: (5)</scene_description>
    <character>LARAMIE</character>
    <dialogue>Aw, come on. I made a whole pot. Can't let it go to waste.</dialogue>
    <scene_description>He hands her a cup. Take it. She relents.</scene_description>
    <character>LARAMIE</character>
    <parenthetical>(as he pours)</parenthetical>
    <dialogue>Atta girl. I'll let the clerk give you the whole spiel, should he ever show up, I mean. But the part they tend to leave out is about, oh, a year ago this place lost its gambling license. Some problems with the commission or something. And so the swells took their business elsewhere. Now the main lodge is all that's open and the pool is filled with ducks and they rent rooms by the hour if you ask quiet-like.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>'Course, if we're bein' honest, that's probably why a priest, a vacuum salesman, and a Negro can afford freight here, right Father?</dialogue>
    <parenthetical>(laughs)</parenthetical>
    <dialogue>I'm just funnin'. My stay's on Calhoun Appliances, if I'm bein' truthful, which is why room choice is so important and I ask you to respect my accoutrements there as a proxy for my person. I intend to lavish myself. Always wanted to stay in The Honeymoon Suite.</dialogue>
    <scene_description>He holds up his left hand. His ring finger is bare.</scene_description>
    <character>LARAMIE</character>
    <dialogue>Though I am not currently on my honeymoon.</dialogue>
    <scene_description>They wait in awkward silence. They sip their coffee. A light bulb goes off over Flynn's head. As though he's been thinking about something else this entire time:</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Oh.</dialogue>
    <parenthetical>(turns)</parenthetical>
    <dialogue>"Darlene."</dialogue>
    <scene_description>Darlene nods. Smiles. CONTINUED: (6)</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Nice to meet you, Darlene.</dialogue>
    <character>DARLENE</character>
    <dialogue>Nice to meet you too, Father.</dialogue>
    <character>LARAMIE</character>
    <dialogue>Well, hell. We have to wait much longer, I might as well open up that there trunk and set up the Calhoun Electrovax. Give you folks a proper demonstration. You sure you ain't in the hospitality business, darlin'?</dialogue>
    <scene_description>Darlene, once again, shakes her head.</scene_description>
    <character>DARLENE</character>
    <dialogue>No, sir. I am not.</dialogue>
    <scene_description>She walks behind the front desk to THE DOOR that says "Employees Only." Gives it a proper thumping with her fist. Wham wham wham. There's a THUD from behind the door.</scene_description>
    <character>LARAMIE</character>
    <dialogue>Ho! The lady's got a luckier hand than we do, Father. Shame these here tables is decommissioned, we could make ourselves some real money.</dialogue>
    <scene_description>We hear fumbling. Footsteps. The door finally swings open, revealing a twenty-year-old kid with a baby face and an ill- fitting desk clerk jacket. He looks a bit like a wet rat. This is MILES MILLER.</scene_description>
    <character>MILES</character>
    <dialogue>I'm very sorry to keep you waiting.</dialogue>
    <scene_description>If you had to guess how long it has been since Miles has last slept, you'd probably go with "Five days."</scene_description>
    <character>LARAMIE</character>
    <dialogue>Damn, boy, I been in this lobby so long, I'm due for a shave. What's wrong with you?</dialogue>
    <character>MILES</character>
    <dialogue>I'm very sorry.</dialogue>
    <scene_description>CONTINUED: Miles stops cold. If it's possible for him to go paler, he does when he sees Father Flynn.</scene_description>
    <character>MILES</character>
    <dialogue>Wh... what are you doing here, Father?</dialogue>
    <scene_description>Flynn seems genuinely unsettled.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Do I know you, son?</dialogue>
    <character>MILES</character>
    <dialogue>No. But... I mean... this is not a place for a priest, Father. You shouldn't be here.</dialogue>
    <character>LARAMIE</character>
    <dialogue>We may need to work on your sales pitch, boy. "The El Royale: Ain't No Place For A Priest."</dialogue>
    <character>MILES</character>
    <dialogue>There are other hotels, Father. Maybe closer to Tahoe? I could help you find one, I'm sure you'd be happier there.</dialogue>
    <scene_description>Flynn recovers. Smiles a patronly smile. Looks at Miles' name tag.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>"Miles," is it? If this is not a place for a priest, Miles, then this is exactly where the Lord wants me.</dialogue>
    <character>LARAMIE</character>
    <dialogue>Well, the Lord don't want you in The Honeymoon Suite, I promise you that much. Miles, those is my accoutrements there, and I stake my claim as such. But you can go ahead and check them in first for all I care.</dialogue>
    <parenthetical>(looks in mirror, rubs chin)</parenthetical>
    <dialogue>Any luck I'll have a full Jeb Stuart by the time we're done.</dialogue>
    <scene_description>Miles looks back and forth between Laramie and Flynn. He continues to seem genuinely anxious. CONTINUED: (2)</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>It's all right, son.</dialogue>
    <character>LARAMIE</character>
    <dialogue>Go ahead, boy. Give 'em the spiel. "The El Royale..."</dialogue>
    <character>MILES</character>
    <dialogue>The El Royale is a bi-state establishment. You have the option to stay in either the great state of California OR the great state of Nevada. Which would you prefer?</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>What's the difference?</dialogue>
    <character>MILES</character>
    <dialogue>Between California and Nevada?</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>Between the rooms.</dialogue>
    <character>MILES</character>
    <dialogue>Well, for starters, rooms in California cost a dollar more.</dialogue>
    <character>LARAMIE</character>
    <parenthetical>(whistles)</parenthetical>
    <dialogue>Shoot. Really. When that happen? What makes 'em a dollar better?</dialogue>
    <character>MILES</character>
    <dialogue>They're in California.</dialogue>
    <character>LARAMIE</character>
    <dialogue>And that's worth a dollar?</dialogue>
    <character>MILES</character>
    <dialogue>Some people think so.</dialogue>
    <character>LARAMIE</character>
    <dialogue>You got a number for those people? 'Cause I got a vacuum they might be interested in. Speaking of which! Who's your Head of Hospitality here?</dialogue>
    <character>MILES</character>
    <dialogue>Currently that is also me.</dialogue>
    <scene_description>CONTINUED: (3)</scene_description>
    <character>LARAMIE</character>
    <parenthetical>(grimaces)</parenthetical>
    <dialogue>Well. Then let's worry about that later then.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>May I see a map of the hotel?</dialogue>
    <scene_description>Miles nods. He pulls out A MAP. From above, the El Royale looks like an upside-down "U" with the parking lot in the middle. As Father Flynn looks it over --</scene_description>
    <character>MILES</character>
    <dialogue>Only the main lodge is available in the off-season.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>You can still use the California amenities if you choose to stay in Nevada.</dialogue>
    <character>LARAMIE</character>
    <parenthetical>(chuffs)</parenthetical>
    <dialogue>What exactly is a "California amenity?"</dialogue>
    <character>MILES</character>
    <dialogue>For instance, we are not allowed to sell liquor in Nevada.</dialogue>
    <character>LARAMIE</character>
    <dialogue>Lost that when you lost your gamblin' license? So, you're saying, if we want to drink, we gotta do it on this side of the room?</dialogue>
    <character>MILES</character>
    <dialogue>That's correct, sir. Also, coffee is twenty-five cents a cup.</dialogue>
    <character>LARAMIE</character>
    <dialogue>Let me guess, you're also the bartender.</dialogue>
    <character>MILES</character>
    <dialogue>That's correct, sir.</dialogue>
    <scene_description>Laramie rolls his eyes. Removes a quarter from his pocket. Slaps it on the desk next to Flynn, who seems genuinely rattled by the map. CONTINUED: (4)</scene_description>
    <character>LARAMIE</character>
    <dialogue>Feel free to flip that if you need to make a decision, Father. Starting to cost me money waitin' around here.</dialogue>
    <scene_description>The quiet of the lobby is suddenly disturbed by the ROAR of an engine from outside. All four people turn towards the windows to see a GREEN DODGE CHARGER scream into the lot. Tires SQUEAL as the Charger screeches to a stop. Flynn turns his attention back to the map. Shakes his head. Picks up Laramie's quarter and flips it. Heads. Shrugs.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I'll take Room Four.</dialogue>
    <scene_description>Miles looks away from the window. Gets a key from the wall behind him. Laramie moves closer to the window for a better look. IN THE CAR: we can make out A WOMAN in the driver's seat. She seems to be watching the road behind her intently.</scene_description>
    <character>MILES</character>
    <dialogue>I'll need one night in advance. Eight dollars. And twenty-five cents for the coffee. Please sign the ledger.</dialogue>
    <scene_description>There's a large leather ledger on the desk. Flynn takes out $8.25 and puts it on the counter. Picks up the fountain pen. CLOSE AS HE SIGNS: Father Daniel Flynn.</scene_description>
    <character>MILES</character>
    <dialogue>Who's next?</dialogue>
    <scene_description>Laramie is still interested in the car outside. He gestures to Darlene. Go ahead. She steps forward.</scene_description>
    <character>DARLENE</character>
    <dialogue>I'd like a room in Nevada, please.</dialogue>
    <scene_description>Miles nods. Grabs a key. Slaps it on the desk.</scene_description>
    <character>MILES</character>
    <dialogue>Room Five.</dialogue>
    <character>DARLENE</character>
    <parenthetical>(uncomfortable)</parenthetical>
    <dialogue>Oh.</dialogue>
    <scene_description>CONTINUED: (5)</scene_description>
    <character>DARLENE</character>
    <parenthetical>(then)</parenthetical>
    <dialogue>Is there another room available, possibly? Further away. Maybe at the end?</dialogue>
    <scene_description>OUTSIDE: the car door slams. The WOMAN starts walking towards the lodge. She's in a hurry. Laramie turns his attention back to the desk.</scene_description>
    <character>MILES</character>
    <dialogue>These rooms have not been serviced and are unsuitable.</dialogue>
    <character>LARAMIE</character>
    <dialogue>He does the housekeeping, remember.</dialogue>
    <character>MILES</character>
    <dialogue>There are rooms in California available, ma'am.</dialogue>
    <character>LARAMIE</character>
    <parenthetical>(losing patience)</parenthetical>
    <dialogue>She doesn't want to be near the priest.</dialogue>
    <scene_description>Flynn, who was collecting his belongings and moving to exit, stops in his tracks. I'm sorry?</scene_description>
    <character>LARAMIE</character>
    <parenthetical>(to Flynn)</parenthetical>
    <dialogue>Like we don't see her walkin' in here with her own bedrolls under her arms.</dialogue>
    <parenthetical>(to Darlene)</parenthetical>
    <dialogue>Don't worry, darlin', we ain't here to judge. Father here can even teach you 'bout Mary Magdalene and forgiveness and what not.</dialogue>
    <scene_description>Darlene's eyes flash with embarrassment and anger. Ring-ring. Right then, the woman from outside walks into the El Royale. She's in her late twenties. Looks to be a card-carrying member of the flower generation. She's trying her best not to look distressed. And failing. This is EMILY SUMMERSPRING. Emily stops in her tracks, not expecting to find this many people in the lobby. What did I just walk into? CONTINUED: Darlene turns her attention back to Miles, eager to get out of there. She takes a small coin purse from her jacket and counts out eight one-dollar bills.</scene_description>
    <character>DARLENE</character>
    <dialogue>Room Five will be fine.</dialogue>
    <character>MILES</character>
    <dialogue>Please sign the ledger. And it's twenty-five cents for the coffee.</dialogue>
    <scene_description>Darlene's eyes instinctively look to Laramie. He's not making eye contact.</scene_description>
    <character>DARLENE</character>
    <parenthetical>(quietly)</parenthetical>
    <dialogue>Okay. Of course.</dialogue>
    <scene_description>As she starts to reach for her coin purse. Clack. A hand puts a quarter on the desk. Darlene sees it belongs to Flynn. He nods. It's on me. Darlene nods back. Thank you. She grabs the pen. CLOSE ON THE LEDGER as she writes: Darlene Sweet. She grabs her bags.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Can I give you a hand to your room?</dialogue>
    <character>DARLENE</character>
    <dialogue>No.</dialogue>
    <scene_description>She stops herself, realizing this man is not the one who deserves her anger.</scene_description>
    <character>DARLENE</character>
    <dialogue>Sorry, Father. That's kind of you. But I can manage from here.</dialogue>
    <scene_description>Ring. Laramie makes a show of holding the door for her.</scene_description>
    <character>LARAMIE</character>
    <parenthetical>(tips hat)</parenthetical>
    <dialogue>Ma'am.</dialogue>
    <scene_description>Flynn waits a beat. Gathers his valise. Moves to leave. Nods to Emily as he passes.</scene_description>
    <character>FLYNN</character>
    <dialogue>Afternoon.</dialogue>
    <scene_description>CONTINUED: (2) She gives him a curt nod. Ring. Flynn exits. And then there were three. Miles looks to both of them. Who's next? Laramie just shakes his head. Throws up his hands.</scene_description>
    <character>LARAMIE</character>
    <dialogue>Please. Be my fuckin' guest.</dialogue>
    <parenthetical>(yells to window)</parenthetical>
    <dialogue>Sorry, Father.</dialogue>
    <scene_description>Emily shrugs. Fine. I'll go. Steps forward.</scene_description>
    <character>EMILY</character>
    <dialogue>I need a room.</dialogue>
    <character>MILES</character>
    <dialogue>The El Royale is a bi-state establishment. You have the option to choose a room in either --</dialogue>
    <scene_description>She grabs the map from the desk. Studies it. Taps it.</scene_description>
    <character>EMILY</character>
    <dialogue>I'll take that one.</dialogue>
    <scene_description>Miles looks down at her choice. His shoulders slump just slightly. His weary eyes look back to Laramie.</scene_description>
    <character>LARAMIE</character>
    <dialogue>Don't fuckin' tell me.</dialogue>
    <scene_description>Emily removes a large wad of cash from her jeans.</scene_description>
    <character>EMILY</character>
    <dialogue>I'll take Room One.</dialogue>
    <character>LARAMIE</character>
    <dialogue>You can't have Room One.</dialogue>
    <scene_description>Emily turns and stares at him. Defiant. Why not?</scene_description>
    <character>LARAMIE</character>
    <dialogue>Do you see my fortnighter right there at your feet? Is this really happening?</dialogue>
    <parenthetical>(to Miles)</parenthetical>
    <dialogue>Am I really about to explain the concept of a free market claim stake to the goddamn hippie?</dialogue>
    <scene_description>Emily just stares at him with cold eyes. CONTINUED: (3) Then she relents. Turns back to the map.</scene_description>
    <character>EMILY</character>
    <dialogue>Give me something along this wall.</dialogue>
    <character>MILES</character>
    <dialogue>The available rooms on that wall have yet to be cleaned.</dialogue>
    <character>EMILY</character>
    <dialogue>I don't give a shit. How much?</dialogue>
    <character>MILES</character>
    <dialogue>Eight dollars.</dialogue>
    <scene_description>She peels off eight dollars. He puts a key on the desk. Room Seven. She reaches for it. He slides it away.</scene_description>
    <character>MILES</character>
    <dialogue>Please sign the ledger.</dialogue>
    <scene_description>Emily stares at him. Really? He stares back. Yes. She grabs the pen. Scrawls something fast. Grabs the key. Heads towards the door. Ring.</scene_description>
    <character>LARAMIE</character>
    <dialogue>You have yourself a pleasant day, now.</dialogue>
    <scene_description>Laramie steps forward. Finally. He grabs the pen. Looks down at the ledger. Sees Emily's signature.</scene_description>
    <character>LARAMIE</character>
    <dialogue>Nice.</dialogue>
    <scene_description>CLOSE ON THE LEDGER: Fuck You. Laramie signs his name at the bottom of the page. CLOSE ON THE LEDGER as he writes with flourish: Laramie Seymour Sullivan. CLOSE ON LARAMIE as he looks up at Miles and smiles.</scene_description>
    <character>LARAMIE</character>
    <dialogue>I'll take Room One.</dialogue>
    <scene_description>CUT TO BLACK.: TITLE: Room One</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROOM ONE - DAY</stage_direction>
    <scene_description>We hear the sound of a key jangling. Click. Laramie enters, hits the lights. He carries his accoutrements into the room. Takes off his hat and jacket. Folds the jacket carefully and lays it over the back of a chair. Rolls up his white shirt sleeves. Studies the room. The Honeymoon Suite is on the California side of the border, and thus decorated in warm orange hues. It would never be described as luxurious by any means, but it does have a notable king bed on a raised platform and a jacuzzi tub in the floor. CLOSE SHOTS: locks flip. A suitcase swings open, revealing: neatly folded clothes. Everything feels regimented. A hand removes A DOPP KIT. CLOSE SHOTS: items are placed along a sink. A toothbrush. A soap case. A small bottle of shampoo. A hair tonic. All meticulously ordered just so. CLOSE SHOTS: locks flip. The trunk swings open, revealing: the Calhoun Electrovax. The vacuum is removed. Click. A false bottom is removed from the trunk. A BLACK BRIEFCASE is removed and placed on the bed. The briefcase swings open, revealing an array of SMALL TOOLS. CLOSE SHOTS: a pair of glasses are removed from a case. Laramie sits on the bed. In his shirtsleeves and wireframed glasses now, he looks a far cry from the seersucker southerner we met moments ago. He removes a pair of pliers and a screwdriver from the case. He thinks of something. He checks his watch. Does a small double take. Picks up the phone and dials it. Listens. Then.</scene_description>
    <character>LARAMIE</character>
    <dialogue>Hi, my love. I know, I know... check-in took a little longer than I expected...</dialogue>
    <scene_description>And as Laramie talks, we may notice that his thick Mississippi accent is now GONE.</scene_description>
    <character>LARAMIE</character>
    <dialogue>Is she still up?</dialogue>
    <scene_description>CONTINUED: While Laramie waits, he takes the screwdriver and begins to unscrew the baseplate of the phone receiver. He works quickly, with clinical precision.</scene_description>
    <character>LARAMIE</character>
    <dialogue>Hi rabbit! I know, I'm sorry. I got delayed. Yes, the clock is right. Daddy's wrong.</dialogue>
    <scene_description>And between the accent, the wife, the child, and the toolkit, it should obvious that this man has not been honest about who he is. In fact, we should probably start calling him by his real name. This is not Laramie Seymour Sullivan... This is DWIGHT BROADBECK.</scene_description>
    <character>DWIGHT</character>
    <dialogue>But I got you before you went down. Ready? Of course. I'm on my knees.</dialogue>
    <scene_description>Dwight pulls off the baseplate, flips the housing over. Looks under the receiver...</scene_description>
    <character>DWIGHT</character>
    <dialogue>"Now I lay me down to sleep, pray the Lord my soul to keep..."</dialogue>
    <scene_description>Dwight removes a SMALL BLACK MICROPHONE from the receiver. Holds it up to the light. Nods, pleased. He sets it down on the night stand.</scene_description>
    <character>DWIGHT</character>
    <dialogue>"And if I should die before I wake, I pray the Lord --"</dialogue>
    <parenthetical>(listens)</parenthetical>
    <dialogue>What do you mean we're not saying that anymore?</dialogue>
    <parenthetical>(listens)</parenthetical>
    <dialogue>How do you even know what "morbid" means -- what does Mommy want us to say?</dialogue>
    <scene_description>Dwight begins to reassemble the phone.</scene_description>
    <character>DWIGHT</character>
    <dialogue>Okay. "When I wake in the morning light --" Okay, okay, from the beginning...</dialogue>
    <scene_description>Dwight frowns. Something's WRONG. He holds the receiver up to the light to get a better look. Grabs his pliers. CONTINUED: (2)</scene_description>
    <character>DWIGHT</character>
    <dialogue>"Now I lay me down to sleep, pray the Lord my soul to keep. And when I wake in the morning light..."</dialogue>
    <scene_description>Dwight removes something else from the phone with the pliers. Holds it up to the light.</scene_description>
    <character>DWIGHT</character>
    <dialogue>"Teach me to do what's right."</dialogue>
    <scene_description>It's another microphone. This one's different than the other. Smaller. Tan in color. Dwight stares at it, confused. Clearly troubled.</scene_description>
    <character>DWIGHT</character>
    <dialogue>Amen.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I gotta go, Rabbit. Tell Mommy I love her, okay?</dialogue>
    <parenthetical>(listens)</parenthetical>
    <dialogue>A couple days. I love you.</dialogue>
    <scene_description>He hangs up. Places the tan bug on the night stand next to the black bug. Stares at the two different microphones. His eyes narrow. He looks to the rest of the room.</scene_description>
    <character>CUT TO:</character>
    <dialogue>Dwight stands on the armchair. Unscrews the wall sconce. Reaches behind the light with a pair of pliers.</dialogue>
    <dialogue>CLOSE SHOT: an identical black bug is placed beside the first.</dialogue>
    <dialogue>Dwight pulls the light fixture from the wall. Frowns.</dialogue>
    <dialogue>CLOSE SHOT: an identical tan bug is placed beside the first.</dialogue>
    <character>CUT TO:</character>
    <dialogue>Dwight's in the bathroom now. Covered in sweat. Unscrews the light. Frowns.</dialogue>
    <dialogue>CLOSE SHOT: Four black bugs are now on the night stand. Dwight's hand places a fourth tan bug in the row beneath it. And then a fifth tan bug.</dialogue>
    <character>CUT TO:</character>
    <dialogue>CONTINUED: (3)</dialogue>
    <scene_description>Dwight stands in the center of the room. Arms folded. Staring at the night stand covered in surveillance bugs. Deep in thought. He shakes his head. None of this makes sense. He turns. Something catches his attention. And the hair stands up on the back of Dwight's neck. We follow his gaze... To the large MIRROR mounted on the back wall. In the reflection, he can see a full view of the bed in the center of the room. Dwight stares at the mirror. Thinks.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. EL ROYALE - DUSK</stage_direction>
    <scene_description>CLOSE: A brown shoe steps carefully through the pine twigs. A second shoe steps directly in front of it, placing heel in front of toe. Dwight, still in shirtsleeves and glasses, walks carefully along the east edge of the El Royale. Heel-to-toe. Heel-to- toe. Heel-to-toe. He's measuring the hotel. Dwight reaches the corner. Folds his arms. Stares at the hotel. Thinks.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOUNGE - DUSK</stage_direction>
    <scene_description>Ring-ring. Dwight steps into the lobby. Looks the place over. It's empty. The black and white television is still on, casting flickering pale light all around the room. ON THE TELEVISION: a SPECIAL NEWS REPORT breaks into the Nixon coverage. We see shots of police cars outside a large mansion. News logo reads: "Malibu Beach Massacre." Dwight opens the front desk drawer. Sees the room keys. Spots THE MASTER. He takes it. Dwight unlocks the door marked "Employees Only." He eases the door open...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY</stage_direction>
    <scene_description>Dwight steps into the narrow hallway. We can hear music coming from somewhere. "Bend Me Shape Me" by The American Breed. Dwight surveys. At the far end of the hallway, there's a HEAVY METAL DOOR. CONTINUED: Closer to Dwight, there's another door with the words "MAINTENANCE CLOSET." "Bend me shape me anyway you want me..."</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MAINTENANCE CLOSET</stage_direction>
    <scene_description>Dwight eases the door open, looks into the room. His face falls. Reverse to reveal -- A cramped closet. A cot. A hot plate. A transistor radio. And Miles. Passed out cold. Slumped against the wall. A bent spoon on the floor beside him. A syringe still hanging from his bloodied arm. "As long as you love me, it's all right..." Dwight closes the door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY</stage_direction>
    <scene_description>Dwight approaches the HEAVY GRAY DOOR at the end of the hallway. Tries the handle. It's LOCKED. He tries THE MASTER KEY. It doesn't work. Dwight reaches into his pocket. Pulls out a case of LOCKPICKS. Drops to his knees. Works the lock. Click.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CORRIDOR - WEST</stage_direction>
    <scene_description>Dwight steps into a dimly-lit corridor. Shuts the door behind him. Music stops. The world goes silent. Dwight steps carefully down the corridor. At the end of the corridor, the corridor branches. West or East. Dwight chooses West. Careful not to make a sound. Rounds the corner... And finds the mirror. Or, rather, the OBSERVATION WINDOW. A perfectly framed rectangle looking into a hotel room. Specifically... His hotel room. He stares at Room One. Arms folded. Thinks. Looks down at the feet. Takes note of THREE SCUFF MARKS on the floor.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CORRIDOR - EAST</stage_direction>
    <scene_description>Dwight enters the East Corridor. Looking for something. There. Way down at the other end of the hall. It looks like... A 16MM CAMERA. Mounted on a tripod. \[Note: from this point forward, this entire scene will be done in ONE CONTINUOUS TAKE.\] Dwight starts walking down the hall. Passes ANOTHER OBSERVATION WINDOW. The room's dark. Dwight squints. Seems empty. Dwight keeps moving. We track with him. Watch him STOP SHORT when he gets to the next window. Room Four. As Dwight stares, we angle around to reveal: FATHER DANIEL FLYNN. Unaware that he's being watched, Father Flynn's busy shoving his twin bed up against the wall. He reaches into his valise, pulls out what looks like A CROWBAR and A HAMMER. He goes to the corner of the room... And starts yanking the carpet free of the tacks. Dwight stares. The corridor eerily silent as the priest works. Father Flynn yanks an entire swath of the carpet free, exposing the old wood boards underneath. Flynn takes the crowbar... and starts hammering it into the floorboards. Dwight can't believe what he's seeing. What the hell is this old priest doing? Dwight watches in silence for a second. Then turns his attention back towards THAT CAMERA. Keeps moving. But stops in his tracks yet again when he passes... Room Five. Darlene Sweet's room. And, yes, there she is... Also doing something strange. She's standing on her dresser, trying to hang what looks like a large swath of fabric on her west wall. She has thumbtacks in her mouth, she uses them to secure the fabric in place. She hops off the dresser. Grabs another roll. Goes back to work hanging it on the wall. CONTINUED: And she unrolls it, Dwight realizes this fabric is the "bedding" Darlene was carrying earlier. It's not bedding at all... It's soundproofing foam. Darlene fastens the last piece in place. Steps back and surveys her handiwork. Her look seems to say: Well, it's not great, but it'll do. Darlene reaches into her bag. Removes A METRONOME. Sets it on her table beside her. Sits down. Starts the metronome. The pendulum rod starts to swing back and forth, but we can't hear anything. Darlene closes her eyes. She takes a deep breath. Her lips start to move. It looks like she's singing. Dwight frowns. Looks down. Notices, there, below the window... A SPEAKER. And a SWITCH. Dwight flips the switch. Darlene's voice fills the corridor.</scene_description>
    <character>DARLENE</character>
    <dialogue>I try hard to hide, my hurt inside, this ol' heart of mine, always keeps me crying...</dialogue>
    <scene_description>Dwight jumps. The singing is LOUD. He half expects someone else to hear him. Instinctively looks to the corridor. Nobody's coming. He turns his attention back to Darlene. Her rendition of The Isley Brothers' "This Old Heart of Mine" is haunting. No music. Just HER VOICE and the click of the metronome. Dwight watches. Transfixed. Then, concerned, he walks back to... Room Four. And there's Father Flynn. Standing waist deep in the floorboards of his room. Perfectly still. He's staring at the wall next to him.</scene_description>
    <character>DARLENE (O.S.)</character>
    <dialogue>Maybe it's my mistake to show this love I feel inside...</dialogue>
    <scene_description>CONTINUED: (2) Father Flynn slowly climbs out of his floor. Empty handed. He walks to the wall. Puts his ear up against it. Listens. Dwight walks back down the corridor. Room Five. Darlene's belting it out now. Swaying in time to the music. Clapping.</scene_description>
    <character>DARLENE</character>
    <dialogue>'But I... I love you. This ol' heart... is weak for you.</dialogue>
    <scene_description>Dwight stares for a moment longer. Then remembers... THAT CAMERA. Starts moving down the hallway. Room Six. Empty. Room Seven. Also empty. But seems to be inhabited. There's a bag on the dresser. And ROPE. And A HUNTING KNIFE. Dwight stops. Frowns. And just then... Emily kicks open the door to Room Seven. Dwight jumps. Surprised. Emily hurries into the room. Dragging something heavy. It almost looks like A PERSON. Emily kicks the door shut behind her. Carries her burden RIGHT UP CLOSE to the observation window. Dumps it in A CHAIR. It's a person, all right... This is ROSE. She's unconscious. Looks to be about eighteen years old. Waifish. Half-dressed. She slumps forward, her head hits the mirror. Thump. Dwight instinctively edges backwards.</scene_description>
    <character>DARLENE (O.S.)</character>
    <dialogue>This ol' heart of mine been broke a thousand times, each time you break away...</dialogue>
    <scene_description>Emily stares at the unconscious body in the chair. Breathing hard. She looks scared. She runs her hands though her hair. The look on her face says what do I do next? CONTINUED: (3) She grabs the knife. She grabs the rope. She starts lashing Rose to the chair. This all happens RIGHT UP CLOSE TO THE WINDOW. Emily cuts the rope, ties Rose to the chair. Steps back. Thinks. Grabs a bandana. Uses it to GAG Rose. Rose never flutters. Out cold. Dwight watches. Stunned. Can't believe what he's watching. He tells himself to stay on task. Keeps walking. Room Eight. End of the line. Empty. But the 16 MM Camera is there. Mounted on the tripod. Dwight studies the camera. Opens the case. It's empty. No film. Dwight turns. Looks back down the hall from where he came. Thinks. Then. Starts walking back. Room Seven. There's Rose. Unconscious and bound. Right up close to the glass. Dwight stops. Stares at her. Gets close to her. Puts his hand on the window. Keep moving, Dwight. He starts back down the hall. Moving faster. Room Five. There's Darlene. On her feet now. Swaying and clapping and dancing.</scene_description>
    <character>DARLENE</character>
    <dialogue>You got me never knowing if I'm coming or going but I --</dialogue>
    <scene_description>Click. Dwight flips the speaker. The corridor goes SILENT. We see Darlene still singing. Dwight doesn't break stride. Room Four. CONTINUED: (4) Dwight passes. Exits frame. We HOLD on the observation window. There's Father Flynn. He's taken a chair and placed it against the wall he shares with Darlene's room. He sits with the back of his head against the wall. Looking to the ceiling. Hands in his lap. He listens to Darlene sing. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. EL ROYALE - PARKING LOT - DUSK</stage_direction>
    <scene_description>Dwight exits the lobby doors. Moving fast. With purpose. Doesn't even look up as the RUMBLE of THUNDER overhead signals an incoming STORM. He's heading to the other side of the parking lot. Where a lonely PAYPHONE stands beside the gate. He grabs the phone. Dials a number from memory.</scene_description>
    <character>DWIGHT</character>
    <dialogue>Director's office. Case 246673.</dialogue>
    <scene_description>Dwight waits. RUMBLE. That thunder clap makes Dwight look up. Pat pat pat... The first drops of RAIN start to fall. Dwight straightens up as a voice answers on the other end.</scene_description>
    <character>DWIGHT</character>
    <dialogue>Director Hoover. This is Special Agent Broadbeck. I'm on site at the El Royale.</dialogue>
    <scene_description>CLOSE ON DWIGHT as he stares back at the hotel. Rumble.</scene_description>
    <character>DWIGHT</character>
    <dialogue>Sir, we have a problem.</dialogue>
    <scene_description>CUT TO BLACK.: TITLE: Room Five OVER BLACK, we hear the upbeat tempo of The Crystals singing "He's A Rebel..."</scene_description>
    <character>THE CRYSTALS</character>
    <dialogue>See the way he walks down the street...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. STARDREAMS STUDIO - FLASHBACK</stage_direction>
    <scene_description>A genuine WALL OF SOUND hits us as we find ourselves moving through a SIXTIES RECORDING STUDIO in full swing: There's the LIVE BAND. The DRUMMER snapping the snare. The PIANIST tapping out that iconic rhythm. The SAX PLAYER waiting to come on in... Over there... in the isolation booth... there's the lead singer. Her name is VESTA SHEARS. She's in her early twenties, and in six months Dick Clark is gonna call her "the future of pop music" on live television. But for now, she's singing her heart out while THE MEN BEHIND THE GLASS watch.</scene_description>
    <character>VESTA SHEARS</character>
    <dialogue>My he holds his head up high when he goes walking by-y-y-y...</dialogue>
    <scene_description>We keep moving through the studio... There's THE THREE BACKUP SINGERS. We're moving down the line of them as they sing their parts. All wearing bright, colorful dresses. All sporting bouffant hairdos.</scene_description>
    <character>BACKUP SINGERS</character>
    <dialogue>Ooooo.... Oooooo...</dialogue>
    <scene_description>And THERE... at the end of the backup trio, is a face we recognize... There's DARLENE SWEET. She looks at least ten years younger, even though the reality is only half that. She's wearing a green dress. Her eyes are closed. Lost in the music. Smiling bright as she belts it out:</scene_description>
    <character>DARLENE</character>
    <dialogue>He's a rebel and he'll never ever be... any good...</dialogue>
    <scene_description>There, watching her through the window, that's British wunderkind producer BUDDY SUNDAY himself. He's dressed in his standard Savile Row suit and scarf. His arms are crossed. He's glowering. Staring right at Darlene. Even though she's only the third backup singer in this whole elaborate affair. CONTINUED:</scene_description>
    <character>DARLENE</character>
    <dialogue>But he's not a rebel, no no no, he's not a rebel, no no --</dialogue>
    <character>BUDDY (FROM THE BOOTH)</character>
    <dialogue>Cut. Cut. Cut it.</dialogue>
    <scene_description>They all stop playing. Buddy looks exasperated.</scene_description>
    <character>BUDDY (FROM THE BOOTH)</character>
    <dialogue>Let's take a break, everyone. Darlene... a word.</dialogue>
    <scene_description>The other singers give Darlene sympathetic looks.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STARDREAMS STUDIOS - DAY</stage_direction>
    <scene_description>The musicians file out of the studio as Buddy enters. Darlene watches as he stops Vesta before she leaves. He cups her cheek. Tender. Nurturing. We can barely make out their conversation:</scene_description>
    <character>BUDDY</character>
    <dialogue>...no, no, you were brilliant. This is why I have you tracked solo.</dialogue>
    <character>VESTA SHEARS</character>
    <dialogue>I can come in stronger...</dialogue>
    <character>BUDDY</character>
    <dialogue>I don't want you thinking, pet. I want you to stay in this --</dialogue>
    <parenthetical>(waves his hand over her body)</parenthetical>
    <dialogue>And let me worry about the knobs and dials. Okay? Now. Get some air. This'll be but a minute.</dialogue>
    <scene_description>Vesta exits. Leaving Darlene alone with Buddy. Buddy approaches. His eyes go cold as he studies Darlene. Lights a cigarette.</scene_description>
    <character>BUDDY</character>
    <dialogue>Where were you last night?</dialogue>
    <character>DARLENE</character>
    <dialogue>I'm very sorry. I wasn't feeling well. I called your house and spoke with your... butler.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>BUDDY</character>
    <dialogue>Valet.</dialogue>
    <character>DARLENE</character>
    <dialogue>He said he would give you the message. I figured I should rest. So I could be fresh today.</dialogue>
    <character>BUDDY</character>
    <dialogue>Is that your assessment of your performance thus far? "Fresh?"</dialogue>
    <character>DARLENE</character>
    <dialogue>I... I don't know, sir.</dialogue>
    <character>BUDDY</character>
    <dialogue>I told you, please, call me Buddy. Or Mr. Sunday, if you must. But never Mr. Buddy. Impossible not to make that sound patronizing. Sounds like a chocolate bar. Do you know how much my time is worth, Darlene?</dialogue>
    <character>DARLENE</character>
    <dialogue>No, sir. Mr. Sunday.</dialogue>
    <character>BUDDY</character>
    <dialogue>Columbia Records does.</dialogue>
    <scene_description>He points to the paperwork he has spread out on the mix console.</scene_description>
    <character>BUDDY</character>
    <dialogue>Columbia Records currently values my time at two hundred dollars an hour. Are you currently in a position where you can turn down two... four... six hundred dollars when it is offered to you?</dialogue>
    <character>DARLENE</character>
    <dialogue>No. I am not.</dialogue>
    <character>BUDDY</character>
    <dialogue>Six hundred dollars of my time. But, instead, you wanted to stay fresh. Which, apparently, means flat on the intro and sharp on the harmonies.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>DARLENE</character>
    <dialogue>I'll get it right, Mr. Sunday. I promise.</dialogue>
    <character>BUDDY</character>
    <dialogue>Do you know how much your time is worth, Darlene?</dialogue>
    <character>DARLENE</character>
    <dialogue>Twelve dollars a session.</dialogue>
    <character>BUDDY</character>
    <dialogue>No matter how long the session. Which, I suppose, means the longer I keep you, the less your time is worth.</dialogue>
    <scene_description>He offers her a cigarette. She politely declines.</scene_description>
    <character>BUDDY</character>
    <dialogue>You have a choice here, Darlene. Give me one year of your time. And I can make you a star. You'll be singing lead. You'll be staying at The Carlyle. You'll be headlining the Riviera. Or. You can continue to treat my time as disposable. And you can keep scrounging for twelve dollar backup gigs until they dry up. And in five years you'll find yourself shuffling between shit hotels, begging for the opening slot on waffle night in...</dialogue>
    <parenthetical>(shudders)</parenthetical>
    <dialogue>Reno.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>All right. Darlene? Do we understand?</dialogue>
    <scene_description>CLOSE ON DARLENE as we PRELAP the sound of tick... tick... tick... tick... MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROOM FIVE - NIGHT</stage_direction>
    <scene_description>SAME FRAMING. Darlene sits in silence as the metronome sways back and forth. Tick... tick... tick... tick... She reaches out, stops the metronome. Silence. CONTINUED: She looks at her luggage. Her suitcase is open. Something catches her eye. She reaches in, pulls out HER SHOW DRESS. Holds it up. She notices the seam is split. Her shoulders slump. This will have to be sewn. We get the sense this happens a lot. There's a KNOCK at the door. Darlene jumps in surprise. Who could that be? She frowns.</scene_description>
    <character>DARLENE</character>
    <dialogue>Yes?</dialogue>
    <character>FATHER FLYNN (THOUGH DOOR)</character>
    <dialogue>Hello, Darlene? It's Father Flynn. From earlier.</dialogue>
    <scene_description>She leaves the chain intact. Opens the door. Father Flynn looks at her through the crack. Behind him, the rain is beginning to pour.</scene_description>
    <character>DARLENE</character>
    <dialogue>I'm so sorry. I was making too much noise, wasn't I?</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>No, no. Not at all...</dialogue>
    <character>DARLENE</character>
    <dialogue>I have a show tomorrow, and I have to rehearse, I tried to make it quiet, but...</dialogue>
    <parenthetical>(shakes head)</parenthetical>
    <dialogue>I'm so sorry. I won't bother you. I'll figure something out.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>It's no bother. Quite the opposite, actually. It's lovely.</dialogue>
    <character>DARLENE</character>
    <dialogue>Oh. Thank you.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>What was that you were singing? Did you write that?</dialogue>
    <character>DARLENE</character>
    <dialogue>No. No -- that's The Isley Brothers.</dialogue>
    <scene_description>CONTINUED: (2) There's a rumble of thunder on her line.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Your brothers wrote that?</dialogue>
    <character>DARLENE</character>
    <dialogue>No.</dialogue>
    <parenthetical>(smiles)</parenthetical>
    <dialogue>It's a famous song. It's been on the radio.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>Oh.</dialogue>
    <parenthetical>(sorry)</parenthetical>
    <dialogue>I don't know much about the radio these days.</dialogue>
    <character>DARLENE</character>
    <dialogue>I'm very sorry, Father. I promise I'll keep it --</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>I'm gonna go find some food. In the lounge. I thought I'd see if you want to join? With this place, there's probably strength in numbers.</dialogue>
    <character>DARLENE</character>
    <dialogue>Oh. No, that's all right.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>You sure? On me. You can consider it payment for earlier. For letting me listen to you sing.</dialogue>
    <character>DARLENE</character>
    <dialogue>That's...</dialogue>
    <parenthetical>(softens)</parenthetical>
    <dialogue>That's a very nice thing to say.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. RECEPTION DESK - NIGHT</stage_direction>
    <scene_description>Ding. The lounge is empty. Flynn and Darlene wait for a moment, just to see if anyone arrives. Nobody arrives.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Why even have a bell?</dialogue>
    <character>DARLENE</character>
    <dialogue>I suspect we're on our own.</dialogue>
    <scene_description>CONTINUED: Flynn reaches into his pocket. Slaps a handful of pocket change on the desk.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I handle food, you handle entertainment?</dialogue>
    <character>DARLENE</character>
    <dialogue>Deal.</dialogue>
    <scene_description>Darlene takes a couple quarters, glances at the television on the desk.</scene_description>
    <character>NEWSCASTER</character>
    <dialogue>Police are still searching for suspects in the grisly murder of a Beverly Hills banker and his --</dialogue>
    <scene_description>Darlene shudders. Click. She turns off the television. Flynn makes his way over to the California side of the room. Notices THE FIREPLACE. Come to think of it, it is a little chilly in here... Darlene heads towards the jukebox.</scene_description>
    <character>DARLENE</character>
    <dialogue>So you've really never heard of The Isley Brothers?</dialogue>
    <scene_description>Flynn shakes his head as he strikes a match and lights the fireplace. Darlene makes her way to THE JUKEBOX: a beautiful Wurlitzer bubbler stocked full of .45s.</scene_description>
    <character>DARLENE</character>
    <dialogue>Then we have some work to do.</dialogue>
    <parenthetical>(scans)</parenthetical>
    <dialogue>How 'bout The Four Tops? You've heard of them.</dialogue>
    <character>FATHER FLYNN</character>
    <parenthetical>(thinks)</parenthetical>
    <dialogue>I'm aware there is a group called The Four Tops. But that's about as much as I got.</dialogue>
    <character>DARLENE</character>
    <dialogue>Well. Then. You are in for it.</dialogue>
    <scene_description>She puts in a quarter. Loads up some selections. CONTINUED: (2)</scene_description>
    <character>DARLENE</character>
    <dialogue>I almost envy you.</dialogue>
    <scene_description>"I Got a Feeling" by The Four Tops starts to play. "When you're in my arms... oh when you're in my arms..." Darlene sways a bit. Flynn nods. I like it.</scene_description>
    <character>DARLENE</character>
    <dialogue>How you making out over there?</dialogue>
    <scene_description>Flynn is standing in front of a 1950s sandwich vending machine.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I think you're better at your job than I am at mine.</dialogue>
    <scene_description>Darlene walks over. Sees the vending carousels of food. Sandwiches, fruit, pastries. Everything looks gray.</scene_description>
    <character>DARLENE</character>
    <dialogue>Oof.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>How lucky are you feeling tonight?</dialogue>
    <character>DARLENE</character>
    <dialogue>Definitely not eat-that-sandwich- lucky.</dialogue>
    <scene_description>They stare at the machine. Music plays.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Pie?</dialogue>
    <character>DARLENE</character>
    <dialogue>Pie works.</dialogue>
    <scene_description>CLOSE SHOTS: Quarters drop. Pie spins. Flynn and Darlene sit in the banquet on the California side of the room. They eat their pie. It's not bad. They both bop their heads to the music.</scene_description>
    <character>DARLENE</character>
    <dialogue>You really never heard this before?</dialogue>
    <character>FATHER FLYNN</character>
    <parenthetical>(shrugs)</parenthetical>
    <dialogue>My knowledge of what's going on ends somewhere in the fifties.</dialogue>
    <scene_description>CONTINUED: (3)</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>At a certain point, you get left behind. It's good, though.</dialogue>
    <character>DARLENE</character>
    <dialogue>You gotta listen to something.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>We got a pretty good choir at the Heart of Mary.</dialogue>
    <character>DARLENE</character>
    <dialogue>That's how I got started. Church choir. St. Paul's Evangelical in Decatur. Lutheran. We don't have to get into all that, though.</dialogue>
    <character>FATHER FLYNN</character>
    <parenthetical>(smiles)</parenthetical>
    <dialogue>You're forgiven.</dialogue>
    <character>DARLENE</character>
    <dialogue>I'm sure we sing some of the same stuff. Let's see... you got "Nearer My God to Thee?" "Alleluia! Sing to Jesus?"</dialogue>
    <scene_description>Flynn nods. Sure.</scene_description>
    <character>DARLENE</character>
    <dialogue>How about "Lift Me In Your Arms, Hold Me On High?" That was my first solo. You got that?</dialogue>
    <parenthetical>(sings)</parenthetical>
    <dialogue>"Lift me in your arms, hold me on high..."</dialogue>
    <scene_description>Flynn shifts uncomfortably in his seat. He seems almost embarrassed.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>To be honest... my memory isn't quite what it was.</dialogue>
    <character>DARLENE</character>
    <dialogue>Oh. Okay.</dialogue>
    <scene_description>They sit in awkward silence for a moment.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I think I'm going to have a toddy. Can I interest you?</dialogue>
    <scene_description>CONTINUED: (4)</scene_description>
    <character>DARLENE</character>
    <dialogue>No, thank you.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>You sure? Nothing like whiskey on a cold night.</dialogue>
    <character>DARLENE</character>
    <dialogue>I'm fine.</dialogue>
    <scene_description>Flynn stands up and heads to the bar. CLOSE SHOTS: The record ends. The jukebox switches out the .45. "Bernadette" by The Four Tops starts to play.</scene_description>
    <character>DARLENE</character>
    <parenthetical>(smiles)</parenthetical>
    <dialogue>This one. This is a record.</dialogue>
    <scene_description>She lip syncs along. "Bernadette, people are searchin' for the kind of love that we possessed..." CLOSE SHOTS: Whiskey pours into a glass. A pencil writes "I.O.U. - Whiskey" then makes a slash next to it. Flynn sits back down. Takes a drink of whiskey.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>That's where you're from? Georgia?</dialogue>
    <character>DARLENE</character>
    <dialogue>Illinois. People make that mistake all the time. I'm not quite sure why the world needs two Decaturs.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>What are you doing out here?</dialogue>
    <character>DARLENE</character>
    <dialogue>I live in Bakersfield now. But I got a job singing in Reno tomorrow.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>That's exciting.</dialogue>
    <character>DARLENE</character>
    <dialogue>That's not exactly the word I'd use to describe a six o'clock shift at a keno lounge. But. It's a job.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>Why are you staying here?</dialogue>
    <scene_description>CONTINUED: (5)</scene_description>
    <character>DARLENE</character>
    <dialogue>It's not a good job. Don't pay nothing. If I stayed in Reno proper I'd end up in the hole. Outskirts are cheaper.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>Why do it at all?</dialogue>
    <scene_description>Darlene hesitates. Sadness in her eyes. She shrugs. I don't know...</scene_description>
    <character>DARLENE</character>
    <dialogue>Some days... I ask myself that same question.</dialogue>
    <scene_description>She recovers.</scene_description>
    <character>DARLENE</character>
    <dialogue>Singin's singin', I guess.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>How 'bout you? How'd you end up at the El Royale?</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>I was up in Oakland. Visiting my brother. Making my way back to Indiana. Had to get off the road before dark. My eyes are bad at night.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Ritz-Carlton was booked. So here we are.</dialogue>
    <character>DARLENE</character>
    <dialogue>I'm guessing the church pays about the same as a Reno keno parlor?</dialogue>
    <character>FATHER FLYNN</character>
    <parenthetical>(nods)</parenthetical>
    <dialogue>About that.</dialogue>
    <character>DARLENE</character>
    <dialogue>You and your brother close?</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>We used to be.</dialogue>
    <scene_description>He thinks about it. Drinks.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>We used to be.</dialogue>
    <parenthetical>(then)</parenthetical>
    <scene_description>CONTINUED: (6)</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Can I confess something to you, Darlene?</dialogue>
    <character>DARLENE</character>
    <dialogue>Isn't it supposed to be the other way 'round?</dialogue>
    <character>FATHER FLYNN</character>
    <parenthetical>(smiles)</parenthetical>
    <dialogue>We can make allowances for that, if need be. But...</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>When I said my memory wasn't what it used to be... I may have been understating things a tad.</dialogue>
    <parenthetical>(drinks)</parenthetical>
    <dialogue>For the last few years, I've been having problems with my recall. And I don't think it's just my age.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I'm certain it's not just age.</dialogue>
    <scene_description>"But how can they control you, Bernadette? When they cannot control themselves, Bernadette?"</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I wake up some days, and I can't remember who I am. I have moments where I lose time... when you saw me in the parking lot, today, actually. I had completely forgotten where I was. What I was doing. It's the strangest feeling. You look around and you're someone else. And you don't know who that is.</dialogue>
    <character>DARLENE</character>
    <dialogue>Father... can I say something?</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>It sounds like you should see a doctor.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>I did.</dialogue>
    <parenthetical>(smiles)</parenthetical>
    <dialogue>He agrees with my assessment that it's not just age.</dialogue>
    <character>DARLENE</character>
    <parenthetical>(oh)</parenthetical>
    <dialogue>I'm sorry.</dialogue>
    <scene_description>CONTINUED: (7)</scene_description>
    <character>DARLENE</character>
    <parenthetical>(then)</parenthetical>
    <dialogue>I'm very sorry.</dialogue>
    <scene_description>He smiles a kindly smile.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I wasn't looking for pity. Might be for the best, in fact. Some parts of my life aren't worth remembering. No, I'm just telling you because, if I seem scattered... I don't mean offense.</dialogue>
    <scene_description>She pats his hand.</scene_description>
    <character>DARLENE</character>
    <dialogue>None taken.</dialogue>
    <scene_description>Flynn finishes his drink. Exhales.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I could use another.</dialogue>
    <scene_description>He stands up. Makes his way back to the bar. She gets up, too. Carries their dirty plates over to the bar.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Sure I can't tempt you? My memory may be spotty, but I do recall it's a sin to let an old priest drink alone.</dialogue>
    <character>DARLENE</character>
    <dialogue>Okay, sure. One drink.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>Grand.</dialogue>
    <scene_description>Darlene walks back over to the jukebox. CLOSE SHOTS: Flynn pours two drinks. Flynn glances up at Darlene. Confirms she's not looking at him. She's lost in the music. And in this moment, as he stares at Darlene, Father Flynn's face changes. The kindly old priest disappears. And is replaced by a different man. A much harder man. CONTINUED: (8)</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Perhaps I could even tempt you to grace me with a song again later?</dialogue>
    <scene_description>Father Flynn reaches into his jacket and removes a small glass vial. He pours a clear liquid into Darlene's drink. Darlene doesn't see any of this happen.</scene_description>
    <character>DARLENE</character>
    <parenthetical>(back turned)</parenthetical>
    <dialogue>Don't push your luck, Father. But. If you happen to find yourself in Reno tomorrow... I go on at six.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>I'd like that.</dialogue>
    <scene_description>HOLD ON FLYNN. His face drifts again. As though he's forgotten, once again, where he is. Or. Perhaps he's having second thoughts about what he's about to do. He repeats the words to himself, as though he's realizing he really means them:</scene_description>
    <character>FATHER FLYNN</character>
    <parenthetical>(quietly)</parenthetical>
    <dialogue>I'd like that.</dialogue>
    <scene_description>But. Then. His face hardens with resolve. He picks up the glasses. He turns around...</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>But until then --</dialogue>
    <scene_description>And Darlene bashes him in the face with a wine bottle. CRASH! The bottle SHATTERS. Blood and glass flies everywhere. Father Daniel Flynn goes down in a wet heap. Darlene stares down at his unconscious body. On the jukebox we hear Levi Stubbs scream out:</scene_description>
    <character>LEVI STUBBS (O.S.)</character>
    <dialogue>Bernadette!</dialogue>
    <scene_description>CUT TO BLACK.: TITLE: 950 Pennsylvania Avenue We hear two voices: CONTINUED:</scene_description>
    <character>DWIGHT (ON TAPE)</character>
    <dialogue>...in the process of retrieving our equipment, I discovered an additional wiretap and four microphones.</dialogue>
    <scene_description>TITLE: Washington, D.C. TITLE: 5th Floor</scene_description>
    <character>HOOVER (ON TAPE)</character>
    <dialogue>Did you recognize the equipment?</dialogue>
    <scene_description>TITLE: Northeast Corner Suite</scene_description>
    <character>DWIGHT (ON TAPE)</character>
    <dialogue>I do not believe it was ours, sir.</dialogue>
    <scene_description>TITLE: Anteroom</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DIRECTOR'S OFFICE - ANTEROOM - NIGHT</stage_direction>
    <scene_description>HELEN GANDY began working for J. Edgar Hoover in 1918. She will remain his executive assistant until his death in 1972. Her fingers fly across the typewriter as she transcribes his conversation from earlier.</scene_description>
    <character>DWIGHT (ON TAPE)</character>
    <dialogue>Upon investigation, I discovered the room also had a two-way mirror. I found similar rooms in this hotel, along with camera equipment.</dialogue>
    <character>HOOVER (ON TAPE)</character>
    <dialogue>Did you find film?</dialogue>
    <character>DWIGHT (ON TAPE)</character>
    <dialogue>No sir. I called as soon as I discovered the camera.</dialogue>
    <character>HOOVER (ON TAPE)</character>
    <dialogue>No one is to leave there, Agent Broadbeck, until you have any and all existing surveillance materials in your possession.</dialogue>
    <character>DWIGHT (ON TAPE)</character>
    <dialogue>Understood, sir.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. EL ROYALE - NIGHT</stage_direction>
    <scene_description>Rain is pouring down now as Dwight makes his way through the parking lot. He's watching the front carefully, he does not want to be seen. He slides up to Emily's Mustang, pops the hood. Yanks the DISTRIBUTOR COIL CABLE free. Pockets it in his raincoat. CUT TO: Dwight repeats the process on Flynn's Futura. CUT TO: Dwight repeats the process on Darlene's Studebaker. He shuts the hood... and stares at the hotel.</scene_description>
    <character>DWIGHT (ON TAPE)</character>
    <dialogue>Sir... there's something else. While investigating the observation corridor, I witnessed what appeared to be a kidnapping in process. A young woman, Caucasian, holding another woman hostage. Also Caucasian.</dialogue>
    <character>HOOVER (ON TAPE)</character>
    <dialogue>The priority is the surveillance material, Agent Broadbeck. Peripheral matters are not our concern.</dialogue>
    <scene_description>Dwight stands in the rain. Staring at the hotel.</scene_description>
    <character>DWIGHT (ON TAPE)</character>
    <dialogue>Sir...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. DIRECTOR'S OFFICE - ANTEROOM - NIGHT</stage_direction>
    <scene_description>Tape reels spin as Helen transcribes:</scene_description>
    <character>HOOVER (ON TAPE)</character>
    <dialogue>I am not in the habit of repeating myself, Agent Broadbeck, but I will do so here to ensure there is no confusion....</dialogue>
    <scene_description>CLOSE ON HELEN'S PAGE as her keys type:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROOM ONE - NIGHT</stage_direction>
    <scene_description>Dwight stands in front of his mirror. Soaking wet. Breathing hard. Thinking. He glances at himself in the mirror. CUT TO BLACK.: TITLE: Room Seven We HEAR the gentle sound of crashing waves...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SANTA MONICA - BEACH - DAY</stage_direction>
    <scene_description>A solitary trail of BOOT PRINTS leads up the beach to where a young eighteen-year-old girl sits beside a large Army duffel. It's Rose. She's wearing cowboy boots and jeans. She sits in the sand with her knees to her chest. She's crying. A BAREFOOT MAN walks along the boot prints. Theirs are the only footprints on the beach.</scene_description>
    <character>BAREFOOT MAN</character>
    <dialogue>Hi.</dialogue>
    <scene_description>Rose looks up and squints. The man is BACKLIT by the setting California sun. We never get a good look at his face.</scene_description>
    <character>ROSE</character>
    <dialogue>Hi.</dialogue>
    <character>BAREFOOT MAN</character>
    <dialogue>I like your boots.</dialogue>
    <character>ROSE</character>
    <dialogue>They're my Daddy's.</dialogue>
    <character>BAREFOOT MAN</character>
    <dialogue>Don't look like they're your Daddy's no more.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>That why you're crying?</dialogue>
    <scene_description>Rose shrugs. CONTINUED:</scene_description>
    <character>BAREFOOT MAN</character>
    <dialogue>Don't get a lot of girls down here in boots. You come straight from the station?</dialogue>
    <scene_description>Rose shrugs.</scene_description>
    <character>BAREFOOT MAN</character>
    <dialogue>It's all right, Boots. You don't got to say nothin'. I'll figure it out in three guesses. Watch. Tennessee.</dialogue>
    <scene_description>Rose just looks at him.</scene_description>
    <character>BAREFOOT MAN</character>
    <dialogue>Nah. Too easy. And you ain't no Texas girl, I know that much for sure. West Virginia?</dialogue>
    <parenthetical>(she shakes her head)</parenthetical>
    <dialogue>'Course not. "Let's not be insulting, Billy Lee." Nah, I'm just messin' about with you. I knew it the second I saw these bootprints in this beach.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>You're an Alabama girl.</dialogue>
    <scene_description>OFF HER LOOK.</scene_description>
    <character>BAREFOOT MAN</character>
    <dialogue>See. Told you I could do it in three.</dialogue>
    <scene_description>He takes his shirt off, drops it next to her.</scene_description>
    <character>BAREFOOT MAN</character>
    <dialogue>Now you got to come swimming with me.</dialogue>
    <character>ROSE</character>
    <parenthetical>(smiles)</parenthetical>
    <dialogue>That wasn't the deal.</dialogue>
    <character>BAREFOOT MAN</character>
    <dialogue>Sure it was. You knew the game the second we started playing.</dialogue>
    <scene_description>He unbuckles his belt. Slips out of his jeans. Naked. He walks towards the ocean. CONTINUED: (2)</scene_description>
    <character>BAREFOOT MAN</character>
    <dialogue>C'mon, Boots. You got no reason to cry no more...</dialogue>
    <scene_description>CLOSE ON ROSE as she hears:</scene_description>
    <character>BAREFOOT MAN</character>
    <dialogue>You're in California now.</dialogue>
    <scene_description>MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROOM SEVEN - NIGHT</stage_direction>
    <scene_description>SAME FRAMING. CLOSE ON ROSE. Bound and gagged. Her eyes flutter. She groans. Emily looks up from across the room, where she's busy stashing her gear under the bed. She hurries over to Rose, kneels down next to her.</scene_description>
    <character>EMILY</character>
    <dialogue>Rose? Rosie? It's okay. You're safe. You're here with me. It's Em.</dialogue>
    <scene_description>Rose's eyes from fear to recognition to anger in a flash. She strains against her bonds.</scene_description>
    <character>EMILY</character>
    <dialogue>Rosie. Stop. You're safe. But I can't untie you. Not 'til you're right. We gotta get you right.</dialogue>
    <parenthetical>(Rose struggles)</parenthetical>
    <dialogue>I 'spect you're all kinds of mad at me. And some extent you're right to be. But we're gonna wait this out. We're gonna wait 'til you're clear. Then we'll have it out.</dialogue>
    <scene_description>She kisses Rose on the forehead. Rose looks at her with malice.</scene_description>
    <character>EMILY</character>
    <dialogue>I had to get you away from him, Rosie. He's all kinds of bad. And we gotta get as far away from him as possible. You'll understand. We just gotta get you clear... and you'll understand.</dialogue>
    <scene_description>And right then... there's a KNOCK at the door. CONTINUED: Both jump in surprise. Emily hops to her feet, grabs her handgun. Locks eyes with Rosie. Holds a finger to her lips. Shhhhh... Emily creeps to the door. We hear Dwight's VOICE outside:</scene_description>
    <character>DWIGHT (O.S.)</character>
    <dialogue>Ma'am? Hello? I'm so sorry to bother you.</dialogue>
    <scene_description>Emily looks through the keyhole. Frowns.</scene_description>
    <character>EMILY</character>
    <dialogue>What do you want?</dialogue>
    <character>DWIGHT</character>
    <dialogue>Ma'am, it's Laramie Sullivan. We met earlier in the lobby. Would you mind opening up the door?</dialogue>
    <character>EMILY</character>
    <dialogue>No, I ain't gonna do that.</dialogue>
    <character>DWIGHT</character>
    <dialogue>Of course. I certainly respect that. Good to be cautious. We can talk through the door if that suits you.</dialogue>
    <character>EMILY</character>
    <dialogue>What do you want?</dialogue>
    <character>DWIGHT</character>
    <dialogue>Storm's wreckin' hell on the hotel. Gettin' all kinds of complaints with people's power and such. Boy up front asked me to help check on the women, make sure everyone's safe.</dialogue>
    <character>EMILY</character>
    <dialogue>I'm fine.</dialogue>
    <character>DWIGHT</character>
    <dialogue>That's good news.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Listen... if you wouldn't mind --</dialogue>
    <character>EMILY</character>
    <dialogue>Fuck. Off.</dialogue>
    <scene_description>There's a long silence. CONTINUED: (2)</scene_description>
    <character>DWIGHT</character>
    <dialogue>I'm very sorry to have spooked you, ma'am. Have a safe night.</dialogue>
    <scene_description>We hear footsteps walking away. Rose watches Emily in the mirror. Emily watches through the keyhole. Waits. Turns back towards Rose... And Dwight kicks in the door. Wham! The door hits Emily -- she spins to fire -- but before she can, Dwight BACKHANDS her with the butt of his gun. She goes down hard, between the two beds. Her gun goes skittering across the floor. Dwight puts his foot on Emily's gun. Kicks it into the bathroom. Keeps his gun trained on Emily. But she's unconscious. Not moving. Rose CRIES OUT beneath her gag. Dwight hurries over to her.</scene_description>
    <character>DWIGHT</character>
    <dialogue>It's okay -- it's okay. I'm the law. It's all right...</dialogue>
    <scene_description>He reaches into his pocket. Pulls out a switchblade. Starts cutting free her ropes.</scene_description>
    <character>DWIGHT</character>
    <dialogue>You're safe now.</dialogue>
    <scene_description>ON THE GROUND. Emily groans as blood drips from her temple. MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUMMERSPRING HOUSE - NIGHT</stage_direction>
    <scene_description>SAME FRAMING. Eight-year-old EMILY on the ground. Blood dripping from her head.</scene_description>
    <character>MAN'S VOICE</character>
    <dialogue>Don't touch it. Let it bleed.</dialogue>
    <scene_description>HER POV: we see THOSE BOOTS from earlier walking away from her across the wood floor. The voice belongs to her father, HUTCH SUMMERSPRING. CONTINUED:</scene_description>
    <character>MAN'S VOICE</character>
    <dialogue>Next time you want to get smart you look down at all that red and you think twice.</dialogue>
    <scene_description>Tears well up in Emily's eyes. HER POV: Hutch walks to the kitchen. Opens the fridge.</scene_description>
    <character>HUTCH</character>
    <dialogue>Where's Rosie?</dialogue>
    <scene_description>Emily struggles to her feet. Races up the stairs.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. UPSTAIRS - NIGHT</stage_direction>
    <scene_description>An angelic FOUR-YEAR-OLD is fast asleep in her bed.</scene_description>
    <character>YOUNG EMILY</character>
    <dialogue>Rose? Rosie? Get up. It's okay. Come with me.</dialogue>
    <scene_description>Downstairs. We hear glass breaking. The man yelling. Emily leads a half-asleep Rose to what looks like a guest room. There's a four-post bed. She pushes Rose under the bed. Gets on her hands and knees. Looks Rose in the eye.</scene_description>
    <character>YOUNG EMILY</character>
    <dialogue>Don't you come out, okay? No matter what you hear, you stay put.</dialogue>
    <character>HUTCH (O.S.)</character>
    <dialogue>Where's Rosie?</dialogue>
    <scene_description>Rose's POV: looking at her big sister from under the bed.</scene_description>
    <character>YOUNG EMILY</character>
    <dialogue>No matter what you hear, don't make a sound.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ROOM SEVEN - NIGHT</stage_direction>
    <scene_description>SAME FRAMING. Looking at Emily from under the bed. She winces in pain. Her eyes struggle to find focus. She locks on something. She's looking right at us. Emily's POV: under the bed, a green army duffel. Sticking out of it: CONTINUED: A SHOTGUN. ACROSS THE ROOM -- Dwight finishes untying Rose. Pulls the gag down out of her mouth.</scene_description>
    <character>DWIGHT</character>
    <dialogue>You don't have any reason to be scared. You're safe now.</dialogue>
    <character>ROSE</character>
    <parenthetical>(smiles)</parenthetical>
    <dialogue>Okay, good.</dialogue>
    <character>EMILY</character>
    <dialogue>Rosie...</dialogue>
    <scene_description>They turn as Emily rises.</scene_description>
    <character>EMILY</character>
    <dialogue>Get out of the way.</dialogue>
    <scene_description>Rose steps aside. Revealing Emily. Pointing her shotgun. Right at Dwight. BOOM. The shot is DEAFENING. Emily shoots Dwight right in the chest. Both barrels. His chest explodes. Behind him, the mirror SHATTERS. Dwight's body hits the ground in a bloody mess. Rose stares down at his dead body. Curious. Surprisingly calm for what's just transpired. Emily struggles to catch her breath. Struggles to process what the fuck just happened. She lowers the shotgun. Looks to the dead body. Looks to her sister. And then she looks to where the mirror used to be. Because there's not a wall behind that mirror. Instead, there's A BLACK HOLE. And there seems to be sounds coming from that hole. Somebody is screaming. Emily and Rose look to each other. Look back to the hole. CONTINUED: (2) Camera floats between the two girls... over Dwight's dead body... towards what's left of that mirror... and into the BLACK HOLE. CUT TO BLACK.:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOUNGE - NIGHT</stage_direction>
    <scene_description>RAPID FIRE shots bring us back to earlier: The second-hand on the wall clock ticks forward. Darlene grabs a wine bottle from the rack. WHAM! She bashes Dock in the head. He crashes down HARD. CLOSE SHOTS: the mechanical arm chooses another record in the Wurlitzer. Drops it onto the turntable. The needle hits the vinyl. We hear THE CRYSTALS start singing:</scene_description>
    <character>THE CRYSTALS</character>
    <dialogue>Well he walked up to me and he asked me if I wanted to dance...</dialogue>
    <scene_description>Father Daniel Flynn lies unconscious on the California side of the lobby. Broken glass and puddles of booze.</scene_description>
    <character>THE CRYSTALS</character>
    <dialogue>He looked kind of nice and so I said I might take a chance...</dialogue>
    <scene_description>We hear footsteps. TENNIS SHOES run into frame.</scene_description>
    <character>VOICE</character>
    <dialogue>Father? Oh no...</dialogue>
    <scene_description>It's Miles. He races to Flynn's side.</scene_description>
    <character>MILES</character>
    <dialogue>Father Flynn -- Father Flynn -- oh no no -- wake up -- Father --</dialogue>
    <scene_description>Flynn groans as Miles pats his face. He gasps. Disoriented. Shoves Miles away. Fear in his eyes. Tries to sit upright.</scene_description>
    <character>MILES</character>
    <dialogue>Father, don't try to move --</dialogue>
    <scene_description>Flynn looks at Miles with dazed eyes.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I'm not your father.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>MILES</character>
    <dialogue>Take it easy. Take it real easy. You're hurt. What the heck happened?</dialogue>
    <scene_description>Father Flynn touches the wound on his head. Rubs the blood between his fingers. His eyes drift as he listens.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>What's this song?</dialogue>
    <character>MILES</character>
    <dialogue>Father... do you know where you are?</dialogue>
    <scene_description>Clarity starts to creep into Flynn's eyes.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>What happened?</dialogue>
    <character>MILES</character>
    <dialogue>That's what I'm askin' you. I just found you like this. On the floor. You got glass in your head.</dialogue>
    <scene_description>Flynn picks broken glass out of his head.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Where's... where's...</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Was I alone?</dialogue>
    <character>MILES</character>
    <dialogue>Yeah. Why? Was you with somebody?</dialogue>
    <character>FATHER FLYNN</character>
    <parenthetical>(thinks; then)</parenthetical>
    <dialogue>No.</dialogue>
    <scene_description>Flynn gets to his feet. But as he takes a step, his knees get weak. He manages to slide into the banquet.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Kid... what's your name again?</dialogue>
    <character>MILES</character>
    <dialogue>Miles.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>Miles. I need a drink.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Fix me a drink.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>MILES</character>
    <dialogue>I'm not so sure that's a good idea.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>Just one drink. To clear my head. I'd do it myself, but...</dialogue>
    <parenthetical>(gestures to mess)</parenthetical>
    <dialogue>Look what happens.</dialogue>
    <scene_description>Miles hesitates. Unsure.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I fell down, Miles. I'm old. Shit happens. Get the whiskey.</dialogue>
    <scene_description>Miles heads towards the bar. Flynn sits in the banquet and listens to the music. He catches a glimpse of himself in the reflections on the wall. Sees the priest collar.</scene_description>
    <character>MILES</character>
    <dialogue>Father... I was hoping...</dialogue>
    <parenthetical>(pours drink)</parenthetical>
    <dialogue>I was hoping I could ask for your help. I been gone. I been gone from the church for a while now...</dialogue>
    <scene_description>He hands Flynn a glass of whiskey and a towel.</scene_description>
    <character>MILES</character>
    <dialogue>But I was devout. My whole life. Baptized. Confirmed. Never missed a Sunday 'til I left Indiana.</dialogue>
    <scene_description>Flynn drinks. Still a little woozy.</scene_description>
    <character>FLYNN</character>
    <dialogue>I was born in Indiana.</dialogue>
    <character>MILES</character>
    <dialogue>Really? No kiddin'. Whereabouts?</dialogue>
    <scene_description>Flynn doesn't respond. He takes the towel and dabs his head. Looks at his own blood.</scene_description>
    <character>MILES</character>
    <dialogue>Father... I was hoping... see...</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I got things I need to confess.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>Not right now, kid.</dialogue>
    <scene_description>CONTINUED: (3)</scene_description>
    <character>MILES</character>
    <dialogue>Okay, Father. Right. Of course. It's just... I'm penitent, Father, I promise. I'm penitent and I'm afraid for my soul.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I've done horrible things.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>So's everybody. You'll be fine.</dialogue>
    <scene_description>Flynn finishes the drink. Stands. Takes a few steps. He's got his sea legs back.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>You got a master key to this place?</dialogue>
    <character>MILES</character>
    <dialogue>Did you lock yourself out of your room?</dialogue>
    <character>FATHER FLYNN</character>
    <parenthetical>(nods)</parenthetical>
    <dialogue>Like I said, kid, I'm old.</dialogue>
    <scene_description>CLOSE SHOT: the drawer slides open, revealing the room keys.</scene_description>
    <character>MILES</character>
    <dialogue>Should be right here...</dialogue>
    <scene_description>But it's not. There's an empty hook instead. Miles looks distressed.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MAINTENANCE CLOSET - NIGHT</stage_direction>
    <scene_description>Miles rummages through his cramped closet. Looking for the key. He can't find it. Knows something's wrong. Flynn watches over Miles' shoulder. Miles sees Flynn looking at his heroin rig.</scene_description>
    <character>MILES</character>
    <dialogue>Father...</dialogue>
    <scene_description>Flynn shrugs. Does a quick sign of the cross on Miles. You're forgiven.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Where's the key?</dialogue>
    <scene_description>Miles shakes his head. Walks towards THE CORRIDOR. CONTINUED:</scene_description>
    <character>MILES</character>
    <dialogue>I told you this wasn't a good place, Father.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CORRIDOR - NIGHT</stage_direction>
    <scene_description>Miles walks round the corner. Flynn follows. Stepping with caution. What the fuck is this place? Miles stops in front of the first window. Head down in shame. Flynn steps forward. Sees it's his room.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>You watched me?</dialogue>
    <scene_description>His eyes flash. He grabs Miles by the throat. Slams him up against the wall. Miles cries out in pain.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>What did you see?</dialogue>
    <character>MILES</character>
    <dialogue>I didn't see nothin'! I didn't -- I only watch who they tell me to watch.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>Who's "they?"</dialogue>
    <character>MILES</character>
    <dialogue>Management. I get a call, "So-and- sos checking in, set up the camera." Hasn't happened as much since the election...</dialogue>
    <scene_description>Flynn's head whips around. He sees THE CAMERA down at the end of the hall. Flynn lets go of Miles. He starts walking towards the camera. Stops at the next room... Darlene's room.</scene_description>
    <character>MILES</character>
    <dialogue>Mostly they just want, you know, people... screwin'.</dialogue>
    <scene_description>It's empty. No sign of Darlene anywhere. But the sound baffles are still on the walls. Flynn stares at them. CONTINUED:</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>What do you do with the film?</dialogue>
    <character>MILES</character>
    <dialogue>Develop it in one of the back cabins. Mail it to Management. P.O. Box in Pennsylvania.</dialogue>
    <scene_description>Hold on Flynn. His mind racing. He keeps walking down the hall. Miles follows.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>You ever keep any of the film?</dialogue>
    <scene_description>Miles doesn't respond.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Miles.</dialogue>
    <character>MILES</character>
    <dialogue>Last year. The big celebration. Man stayed with us... he was known. A big deal. You know? Management wanted him. They really wanted him. But he was kind to me. So I told them there wasn't no woman in his room.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>But you kept the film?</dialogue>
    <scene_description>Miles doesn't say anything. Tears start to well in his eyes.</scene_description>
    <character>MILES</character>
    <dialogue>Father... this ain't even what I was tryin' to confess. I done so much worse than this...</dialogue>
    <scene_description>Miles puts his head in his hands.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Miles...?</dialogue>
    <scene_description>But something catches their attention. Light flickers, shadows move on the wall across from Room Seven. Miles steps forward. And stops right in his tracks. Flynn joins him. And we angle around to reveal: Rose. Bound and gagged. Right up close to the window. CONTINUED: (2)</scene_description>
    <character>MILES</character>
    <dialogue>Who is that?! Jesus.</dialogue>
    <scene_description>Emily crosses from the other side of the room. Squats down next to her. Starts talking. We can't hear her. Miles flips the intercom switch.</scene_description>
    <character>EMILY (IN ROOM)</character>
    <dialogue>You're safe. But I can't untie you. Not 'til you're right. We gotta get you right...</dialogue>
    <character>MILES</character>
    <dialogue>We gotta help her.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>We gotta help her, Father.</dialogue>
    <scene_description>Flynn stares at Emily and Rose. Mind racing. Makes his decision. Grabs Miles. Pushes up so he can't see in the room anymore.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>What did you do with the film?</dialogue>
    <character>MILES</character>
    <parenthetical>(panicked)</parenthetical>
    <dialogue>Father, we gotta do something. We gotta help her --</dialogue>
    <scene_description>Flynn speaks with a calm, gentle voice.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Miles. Listen to me.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>The Lord wants you to tell me where the film is.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MAINTENANCE CLOSET - NIGHT</stage_direction>
    <scene_description>Flynn yanks the mattress off Miles' cot. Sees the cinder blocks underneath. Lifts one up, revealing a little hiding place: Some heroin bindles. A bible. And a can of 16mm film.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OBSERVATION CORRIDOR - NIGHT</stage_direction>
    <scene_description>Miles watches in growing horror as Emily stands with her handgun, talking to Dwight through the door:</scene_description>
    <character>EMILY</character>
    <dialogue>Fuck. Off.</dialogue>
    <character>DWIGHT</character>
    <dialogue>I'm very sorry to have spooked you, ma'am. Have a safe night.</dialogue>
    <scene_description>WHAM! Miles jumps as Dwight kicks the door open, BACKHANDS EMILY across the room.</scene_description>
    <character>MILES</character>
    <dialogue>Father Flynn!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MAINTENANCE CLOSET - NIGHT</stage_direction>
    <scene_description>Flynn has unspooled a length of the 16mm film. He's holding it up to the light. He turns his head as he hears Miles screaming for him.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OBSERVATION CORRIDOR - NIGHT</stage_direction>
    <scene_description>Flynn comes hurrying around the corner, sees a panicked Miles down at the end of the hall.</scene_description>
    <character>MILES</character>
    <dialogue>Father Flynn get down here that vacuum man just busted down the door and he beat up that other girl and he's got a gun --</dialogue>
    <scene_description>Flynn races forward.</scene_description>
    <character>EMILY (O.S.)</character>
    <dialogue>Rosie -- get out of the way.</dialogue>
    <scene_description>We hear the cold metal RACK of the shotgun.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Kid -- GET AWAY FROM THE WINDOW!</dialogue>
    <scene_description>KA-BOOM! The window EXPLODES in the shotgun blast. Miles disappears in a storm of BUCKSHOT and GLASS. Flynn jumps, slams on the brakes. Watches in horror as Miles hits the ground. HOLD ON FLYNN. Staring at the hole where the window used to be. He looks down at Miles. CONTINUED: And Miles starts to move. His face is a mess of blood and glass and buckshot. But he seems to be alive. He CRIES OUT in pain. HOLD ON FLYNN. Frozen. Not knowing what to do. Miles cries out on the ground.</scene_description>
    <character>MILES</character>
    <dialogue>Ahhhhhh... help me...</dialogue>
    <scene_description>Flynn takes a step forward. Moving to help him. But then thinks twice. Flynn stops. He starts backing up. He turns and runs. We're at the far end of the hall. He races past us, rounding the corner. And just as Flynn disappears from view -- Emily sticks the shotgun through the hole. Swings it towards us. Scans the corridor. Sees the bloodied boy on the ground.</scene_description>
    <character>EMILY</character>
    <dialogue>Jesus Fucking Christ!</dialogue>
    <scene_description>CUT TO BLACK.:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOUNGE - NIGHT</stage_direction>
    <scene_description>CLOSE SHOTS. The mechanical arm chooses a record. "Bernadette" starts to play. TICK! The clock ticks forward. WHAM! Darlene bashes Flynn in the face with the bottle. WHUMP! Flynn hits the ground in a heap.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARKING LOT - NIGHT</stage_direction>
    <scene_description>RING-RING. Darlene races out of the lobby, into the rainstorm. Panic on her face. Breathing hard. She scans the parking lot. Think, Darlene...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROOM FIVE - NIGHT</stage_direction>
    <scene_description>Darlene grabs her keys from her night stand. Grabs her purse. Looks to the rest of her belongings. No time. Leave them behind. She bolts towards the door.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARKING LOT - NIGHT</stage_direction>
    <scene_description>RUMBLE. The rain is a genuine deluge. The crashing sounds of water and thunder drown out all other noise. But Darlene creeps through the darkness nonetheless. Stepping carefully. Keeping an eye on THE LOBBY. She sees NO MOVEMENT through the windows. Okay, good. Breathe, Darlene. Breathe. Time to go. She turns to step out of the darkness, into the parking lot, when -- WHUMP. She hears something. A muffled thump in the parking lot. She turns, and sees -- Dwight. He just shut the hood of Flynn's Futura. He's making his way over to the Studebaker. Darlene's car. Darlene stays crouched in the shadows. Watches in growing horror. What is this man doing? Dwight pops Darlene's hood. He searches around in her engine. RIPS something out of it. Then Dwight steps forward. Stares at the hotel. HOLD on Darlene. Staring at this man. Standing motionless in the middle of the storm. It's unsettling. Dwight walks to his room. Disappears. Darlene waits. Oh god, what did he do? She bolts through the rain to her car. Slips into the driver's seat. Fumbles with her keys. Hands shaking. C'mon, Darlene. She manages to get the key into the ignition. Turns it... Nothing. CONTINUED: The car's dead. No. She tries again. Click. And again. Click. Nothing. And all the fear and panic that Darlene's been keeping at bay, it all comes home. She starts pounding at the steering wheel... No no no no NO... Hold it together, Darlene. She grips the steering wheel tight. What do I do what do I do? She closes her eyes. Tries to keep her voice calm.</scene_description>
    <character>DARLENE</character>
    <parenthetical>(quietly)</parenthetical>
    <dialogue>Dear Lord, please give me guidance. I am here in darkness and I need your light.</dialogue>
    <scene_description>She sees something outside. It's Dwight again. He's left his room. He's heading towards Room Seven. Now what? Darlene watches from the covered darkness of her car: Dwight knocks on the door. Dwight seems to be having a conversation with the person inside. Dwight seems to be getting frustrated. Dwight steps away from the door. Dwight pulls HIS GUN out of his coat. Darlene's eyes go wide as Dwight steps quickly to the door and KICKS IT OPEN. Darlene JUMPS -- oh my god -- as Dwight disappears into the room. Darlene opens her door. Moving on instinct -- through the rain -- staying covered. Trying to get a better look at what's happening inside that room. There's Dwight, cutting Rose free. There's Emily getting to her feet. With a shotgun. Before Darlene can scream -- BOOM. Emily shoots Dwight. Darlene claps her hands over her mouth to stifle her scream. Oh god NO. Darlene's POV: Emily and Rose look at each other in shock. Look to the shattered window. Emily steps forward. Cautious. She pokes her head through the hole. CONTINUED: (2)</scene_description>
    <character>EMILY</character>
    <dialogue>Jesus Fucking Christ!</dialogue>
    <scene_description>The storm around Darlene makes it hard to hear exactly what's being said in the room. We hear distant screaming. Words come through muffled.</scene_description>
    <character>EMILY</character>
    <dialogue>What is this?</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Keep your fucking hands where I can see them! What the hell is this?</dialogue>
    <scene_description>Emily thinks. Looks to Rose.</scene_description>
    <character>EMILY</character>
    <dialogue>Rosie. Stay right there.</dialogue>
    <character>ROSE</character>
    <dialogue>Okay.</dialogue>
    <scene_description>Emily takes the shotgun, clears the remaining glass on the edge of the window. She CLIMBS THROUGH the hole, keeping her gun trained on the ground below. Then she disappears.</scene_description>
    <character>EMILY (O.S.)</character>
    <dialogue>I said keep your hands where I can see them!</dialogue>
    <scene_description>HOLD ON DARLENE. Crouched in the pouring rain. Watching these strange horrors unfold: Rose steps forward. Looks through the hole in the window. Huh. A curious child. Then Rose turns away. Surveys the room. Something catches her attention... The telephone.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROOM SEVEN - NIGHT</stage_direction>
    <scene_description>In the room now. We can hear things much clearer. Emily YELLING. Miles SCREAMING.</scene_description>
    <character>MILES (O.S.)</character>
    <dialogue>I don't have a gun -- You shot me in the face --</dialogue>
    <character>EMILY (O.S.)</character>
    <dialogue>What are you doing? Jesus!</dialogue>
    <scene_description>CONTINUED: Rose picks up the phone. Glances back towards THE HOLE. No sign of Emily. She dials a number from memory. Listens. When she hears the voice on the other end, her face LIGHTS UP with happiness. Speaks quietly:</scene_description>
    <character>ROSE (INTO PHONE)</character>
    <dialogue>Hi! It's me.</dialogue>
    <parenthetical>(listens)</parenthetical>
    <dialogue>I don't know. I'm with Em. She had me all tied up. I think she shot a cop.</dialogue>
    <character>EMILY (O.S.)</character>
    <dialogue>What is this place?</dialogue>
    <character>ROSE (INTO PHONE)</character>
    <dialogue>We're in a hotel. I don't know.</dialogue>
    <parenthetical>(smiles bright)</parenthetical>
    <dialogue>You will? Okay, let me look...</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PARKING LOT - NIGHT</stage_direction>
    <scene_description>Darlene watches Rose talk on the phone. Can't quite make out what she's saying. Sees Rose start to open drawers. Looking for something...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROOM SEVEN - NIGHT</stage_direction>
    <scene_description>Rose holds up A MATCHBOOK.</scene_description>
    <character>ROSE (INTO PHONE)</character>
    <dialogue>It says "El Royale."</dialogue>
    <character>EMILY (O.S.)</character>
    <dialogue>Rosie -- c'mon --</dialogue>
    <character>ROSE (INTO PHONE)</character>
    <dialogue>I gotta go.</dialogue>
    <parenthetical>(smiles)</parenthetical>
    <dialogue>Okay. See you soon.</dialogue>
    <scene_description>Rose hangs up. She walks back across the room. Looks down at Dwight's lifeless body. Huh.</scene_description>
    <character>EMILY (O.S.)</character>
    <dialogue>Get up! MOVE.</dialogue>
    <scene_description>We hear Miles CRY OUT in pain. Rose hops up on the window. Slips through the hole into the darkness. CONTINUED:</scene_description>
    <character>EMILY (O.S.)</character>
    <dialogue>What the hell are you doing back here?</dialogue>
    <scene_description>HOLD on the empty room as the sounds of Emily, Miles, and Rose recede. Camera drifts back towards THE FRONT DOOR. Rain and lightning and thunder. Darlene's head peeks into the room. She steps forward tentatively, eyes on that window, ready to bolt at the first sign of movement. She creeps into the room. Heart pounding. Keep it together, Darlene. Eyes LOCKED on that window. She slides up next to Dwight's dead body. Starts patting his bloodied chest. Where is it? Where is it? There. She reaches into his jacket. Eyes still watching that window. Pulls out... The distributor coil cable. Actually, to be precise, she pulls out three distributor coil cables. And they're all bloodied. And they look like they've been chewed with buckshot. Darlene's heart falls. Panic takes hold once again. Not right now, Darlene. Her eyes glance down to Dwight's face. His glassy, empty eyes stare up at her. Get moving, Darlene. She starts to head back the way she came. But then she stops. Sees something across the room. There. On the floor... Dwight's gun. Darlene grabs it. Bolts from the room.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARKING LOT - NIGHT</stage_direction>
    <scene_description>Darlene pops the hood of her Studebaker. Stares at the engine. Looks at the bloodied cables in her hands. What do I do with these? She searches for where they might fit. Her hands shake. It's dark. She can barely see the engine, let alone discern where the cable might go. She makes her best guess. Tries to lock one of the cables in place. She closes the hood.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STUDEBAKER - NIGHT</stage_direction>
    <scene_description>Darlene gets in her car. Shuts the door. Her hands fumble for her keys. C'mom... c'mon... She puts the key in the ignition. Take a breath. Please. Darlene turns the key. The engine groans. But doesn't turn over. She grips the steering wheel so tight her knuckles turn white.</scene_description>
    <character>DARLENE</character>
    <parenthetical>(closes her eyes)</parenthetical>
    <dialogue>Lord...</dialogue>
    <scene_description>There's a KNOCK at the passenger's side window. Darlene CRIES OUT in surprise. She reaches into her coat, pulls out the gun, points it RIGHT AT -- Father Flynn. He's at the passenger window. Holding both hands where Darlene can see them. Don't shoot. I mean no harm. He gestures for Darlene to roll down the window. After a moment, she does. Never taking the gun off him.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I just want to talk. Can I get in?</dialogue>
    <scene_description>Darlene thinks about it for a moment.</scene_description>
    <character>DARLENE</character>
    <dialogue>I will shoot you in the face.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I believe you.</dialogue>
    <scene_description>He doesn't wait for further invitation. He opens the door. Sits down in the passenger seat slowwwwwwly. He rolls up the window. He wipes the rain from his forehead. He stares at the hotel.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>Well.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>We're in a bit of a pickle here.</dialogue>
    <scene_description>Darlene just stares at him. Tries to keep the gun from shaking as she points it right at him.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I'm sorry I tried to drug you back there in the lobby.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I wasn't trying to diddle you or nothing like that. I just needed to break into your room and I didn't want to hurt you. More than need be, I mean.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>No hard feelings about bashing me in the head, is what I'm saying.</dialogue>
    <scene_description>Flynn stares at the hotel. Thinks.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I'm pretty sure those girls just killed a cop of some sort.</dialogue>
    <character>DARLENE</character>
    <parenthetical>(nods)</parenthetical>
    <dialogue>They did.</dialogue>
    <character>FATHER FLYNN</character>
    <dialogue>You saw it?</dialogue>
    <scene_description>Darlene nods.</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>That his gun?</dialogue>
    <scene_description>She nods again. Flynn thinks. CONTINUED: (2)</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>This is not so good for us.</dialogue>
    <scene_description>He looks at her. Almost as an afterthought:</scene_description>
    <character>FATHER FLYNN</character>
    <dialogue>I'm not really a priest.</dialogue>
    <character>DARLENE</character>
    <dialogue>Yeah.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>No shit.</dialogue>
    <scene_description>CUT TO BLACK.: TITLE: Room Four We HEAR what sounds like sleigh bells jingling. And is that some sort of Christmas music in the distance?</scene_description>
  </scene>
  <scene>
    <stage_direction>INT./EXT. ARMORED CAR - DAY</stage_direction>
    <scene_description>SAME FRAMING. CLOSE ON the man we know as Father Flynn. At least, we think that's him... it's hard to know for sure beneath that BLACK HAT and MASK he's wearing. We should probably start calling this man by his real name now: This is DOCK O'KELLY. We start slowly tracking back... ROTATING as we do so... Dock seems to be frantically shoving CASH into a familiar RED BAG. Cash seems to flip and flutter in the air around us... we keep pulling back... snowflakes drift in among the cash... Dock turns, climbs towards us, and we reveal we are in: 1958. Small town, main street U.S.A. Christmas time. Festive lights frame the folksy storefronts. Decorations and snowdrifts line the streets. And right in the middle of it all... A horrible car accident. AN ARMORED CAR has been flipped completely upside down by a black Chevy truck. It's chaos. Smoke billows from the cars. Cash and snow drift through the air. Dock climbs out of the back of the car, moving fast, shotgun in one hand, red bag in the other. He looks to LARSEN ROGERS, who is similarly dressed in a suit, hat, and mask. Larsen is crouched down, looking at the TWO UNCONSCIOUS GUARDS near the wreckage. CONTINUED:</scene_description>
    <character>DOCK</character>
    <dialogue>Are they dead?</dialogue>
    <character>LARSEN</character>
    <dialogue>They'll live.</dialogue>
    <character>DOCK</character>
    <parenthetical>(angry)</parenthetical>
    <dialogue>Where'd you learn to drive?</dialogue>
    <character>LARSEN</character>
    <dialogue>They swerved.</dialogue>
    <character>DOCK</character>
    <dialogue>They tend to do that when you're box sweepin' 'em --</dialogue>
    <character>LARSEN</character>
    <dialogue>"Stay on his fender." That's what you said. "I want 'em scared."</dialogue>
    <character>DOCK</character>
    <dialogue>Scared. Not... comatose.</dialogue>
    <character>LARSEN</character>
    <parenthetical>(sheepish)</parenthetical>
    <dialogue>Comas are scary.</dialogue>
    <scene_description>SCRREECH. A ROARING BUICK tears around the corner, expertly swerving to a stop in the middle of the action. The third member of the team hops out of the car... FELIX O'KELLY. Dock's brother. The same man we saw at the beginning of the film. He surveys the wreckage. Steps towards Larsen. Angry.</scene_description>
    <character>FELIX</character>
    <dialogue>Are they dead?</dialogue>
    <character>LARSEN</character>
    <dialogue>Okay...</dialogue>
    <character>FELIX</character>
    <dialogue>Where'd you learn to drive?</dialogue>
    <character>LARSEN</character>
    <dialogue>We've been over this --</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>DOCK</character>
    <dialogue>Shut your fucking mouth. Get the money. Not one more word.</dialogue>
    <scene_description>Larsen begrudgingly starts scooping up what loose money he can from the ground.</scene_description>
    <character>DOCK</character>
    <parenthetical>(to Felix)</parenthetical>
    <dialogue>They ain't dead.</dialogue>
    <character>FELIX</character>
    <dialogue>Praise the Lord. We can't leave this here...</dialogue>
    <scene_description>Felix hops behind the wheel of the wrecked Chevy. Turns it over. The engine groans and rumbles... but it starts. Felix slams it into reverse, pulling it free from the armored car. He backs up a few feet, right next to Dock. The two men listen to the clanking engine.</scene_description>
    <character>DOCK</character>
    <dialogue>Will it run?</dialogue>
    <scene_description>Felix just shrugs. Who the fuck knows? They stare at Larsen as he scoops up the money.</scene_description>
    <character>FELIX</character>
    <dialogue>Think the kid's bent or just stupid?</dialogue>
    <character>DOCK</character>
    <dialogue>I'm going with stupid but I'm willing to be persuaded.</dialogue>
    <scene_description>ACROSS THE WAY: ONLOOKERS peek out from a CHRISTMAS TREE LOT.</scene_description>
    <character>DOCK</character>
    <dialogue>Hang on, I better scatter these kids...</dialogue>
    <scene_description>Dock steps towards the Christmas trees. He RACKS the shotgun and yells at two children:</scene_description>
    <character>DOCK</character>
    <dialogue>This'll cut your little legs off at the fucking kneecaps!</dialogue>
    <scene_description>The kids run. Dock turns back to Felix.</scene_description>
    <character>FELIX</character>
    <dialogue>You're starting to sound like Mom.</dialogue>
    <scene_description>CONTINUED: (3)</scene_description>
    <character>DOCK</character>
    <dialogue>Don't start.</dialogue>
    <scene_description>In the distance, we HEAR SIRENS.</scene_description>
    <character>FELIX</character>
    <dialogue>What do we do, Dock?</dialogue>
    <scene_description>HOLD ON DOCK. Standing in the middle of this chaos. Thinking. Then.</scene_description>
    <character>DOCK</character>
    <dialogue>Get out of the car, Felix.</dialogue>
    <scene_description>Dock opens the door. Hands Felix the RED BAG.</scene_description>
    <character>DOCK</character>
    <dialogue>Take the kid. Ditch the Buick at Rocklin and split up. I'll lead them south and burn this once I'm clear.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>We'll meet at the El Royale.</dialogue>
    <scene_description>There's a moment as these two brothers stand in the center of the storm. Snow drifts down as they lock eyes.</scene_description>
    <character>DOCK</character>
    <dialogue>Felix...</dialogue>
    <scene_description>Dock glances at Larsen.</scene_description>
    <character>DOCK</character>
    <dialogue>Play it close.</dialogue>
    <scene_description>Felix nods. Dock slides behind the wheel of the truck.</scene_description>
    <character>FELIX</character>
    <dialogue>You sure about this?</dialogue>
    <scene_description>CLOSE ON DOCK. As he stares out at the CHAOS.</scene_description>
    <character>DOCK</character>
    <dialogue>I got it under control.</dialogue>
    <character>VOICE (PRE-LAP)</character>
    <dialogue>Please rise...</dialogue>
    <scene_description>MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COURTROOM - DAY</stage_direction>
    <scene_description>SAME FRAMING. CLOSE ON DOCK. Now cleaned up in a cheap suit and tie as he stands up next to his lawyer and awaits his sentence.</scene_description>
    <character>JUDGE</character>
    <dialogue>Donald O'Kelly. On the charges of grand larceny and conspiracy to commit larceny, I hereby sentence you to fifteen years in the federal penitentiary.</dialogue>
    <scene_description>HOLD ON DOCK as he hears his sentence. Pre-lap the sounds of A MAN SCREAMING... MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRISON CELL - NIGHT</stage_direction>
    <scene_description>SAME FRAMING. Though now Dock's lying on his back. And he looks a decade older. His wild, terrified eyes look up at us as he thrashes about in his bunk.</scene_description>
    <character>DOCK</character>
    <dialogue>Where am I where am I where am I?</dialogue>
    <scene_description>His CELLMATE is a large, tattooed man named SAMMY WILDS. He tries to roust Dock from what seems like a waking nightmare.</scene_description>
    <character>SAMMY</character>
    <dialogue>Dock, Dock -- stop -- hey -- HEY -- You're okay --</dialogue>
    <scene_description>Dock sits up. Stares at his cramped cell. Confused. Terrified. Gasping for air. A frightened child.</scene_description>
    <character>DOCK</character>
    <dialogue>Where am I?</dialogue>
    <character>SAMMY</character>
    <dialogue>Same place you've been for the last ten fucking years. Cell Block Four. Just breathe... you're okay...</dialogue>
    <scene_description>Sammy's voice seems to be calming Dock down. We get the sense this happens a lot. CONTINUED:</scene_description>
    <character>SAMMY</character>
    <parenthetical>(exhales)</parenthetical>
    <dialogue>Jesus, Dock. We gotta do something about this.</dialogue>
    <scene_description>HOLD ON DOCK as he stares at his cell. Trying to remember who he is. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRISON HOSPITAL - DAY</stage_direction>
    <scene_description>SAME FRAMING. CLOSE ON AN X-RAY of a skull. DR. WILLIAM LAURENCE studies the X-Ray. Takes a drag off his cigarette. Dock sits in a prison hospital bed. He's wearing his prison clothes. One hand is handcuffed to the bed rail. He's got a black eye and a bandaged forehead.</scene_description>
    <character>DOCK</character>
    <dialogue>What do you think?</dialogue>
    <character>DR. LAURENCE</character>
    <dialogue>I think you should stop fighting with the niggers, for starters.</dialogue>
    <character>DOCK</character>
    <dialogue>Mexicans. This time. And I didn't do nothing.</dialogue>
    <character>DR. LAURENCE</character>
    <dialogue>I'd hate to see what it looks like when you do something. They tell me that boy down the hall may not walk again.</dialogue>
    <character>DOCK</character>
    <dialogue>They jumped me.</dialogue>
    <character>DR. LAURENCE</character>
    <dialogue>Sure.</dialogue>
    <scene_description>Dr. Laurence stares at the chart. Lost in thought.</scene_description>
    <character>DOCK</character>
    <dialogue>It's not the fighting.</dialogue>
    <scene_description>Dr. Laurence takes a drag off his cigarette. Grave. CONTINUED:</scene_description>
    <character>DR. LAURENCE</character>
    <parenthetical>(agrees)</parenthetical>
    <dialogue>It's not the fighting.</dialogue>
    <scene_description>He wheels himself closer to Dock.</scene_description>
    <character>DR. LAURENCE</character>
    <dialogue>Tell me about your family. Any history of dementia? Alzheimer's?</dialogue>
    <scene_description>Dock nods.</scene_description>
    <character>DOCK</character>
    <dialogue>My mother.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Her father.</dialogue>
    <scene_description>Dr. Laurence offers Dock one of his cigarettes. Dock takes it. Dr. Laurence lights it for him.</scene_description>
    <character>DOCK</character>
    <dialogue>How long do I got?</dialogue>
    <scene_description>Dr. Laurence thinks. Smokes.</scene_description>
    <character>DR. LAURENCE</character>
    <dialogue>When are you up for parole?</dialogue>
    <character>DOCK</character>
    <dialogue>Six months.</dialogue>
    <character>DR. LAURENCE</character>
    <parenthetical>(shrugs)</parenthetical>
    <dialogue>You should make it 'til then.</dialogue>
    <scene_description>OFF DOCK -- MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STUDEBAKER - NIGHT</stage_direction>
    <scene_description>SAME FRAMING. Dock sits in the passenger seat. Stares out at the rain. Darlene keeps the gun on him.</scene_description>
    <character>DOCK</character>
    <dialogue>Ten years ago, my brother Felix and I robbed an armored car in Sacramento. Job went bad. I think we got burned by our crew. I went to prison, Felix got killed at the meetup. Which was here. At the El Royale. We had a plan, case things went south.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>DOCK</character>
    <dialogue>Bury the money in the floor of the room. When they found his body, they never made no mention of the money.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I couldn't remember what room we said. Either four or five. It was true what I said back there about my mind not being what it was. I guessed wrong. So. I think there's a whole mess of money buried in your room.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>And I need your help to get it.</dialogue>
    <scene_description>They sit in silence for a bit. The rain pours down.</scene_description>
    <character>DARLENE</character>
    <dialogue>And you expect me to believe all that.</dialogue>
    <scene_description>Dock considers her question.</scene_description>
    <character>DOCK</character>
    <dialogue>Um. Well. It's the truth. So there's that. But... no. I get it.</dialogue>
    <parenthetical>(frowns)</parenthetical>
    <dialogue>How'd you know I wasn't on the up- and-up in the first place?</dialogue>
    <character>DARLENE</character>
    <parenthetical>(shrugs)</parenthetical>
    <dialogue>You spend your life gettin' shook, you learn to spot a shaker.</dialogue>
    <scene_description>Dock nods. Likes the way that sounds.</scene_description>
    <character>DOCK</character>
    <dialogue>Is that from a song?</dialogue>
    <scene_description>Darlene shakes her head.</scene_description>
    <character>DOCK</character>
    <dialogue>What if you were wrong? You'd have bashed a priest in the face for no reason.</dialogue>
    <character>DARLENE</character>
    <dialogue>I'd find a way to forgive myself.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>DOCK</character>
    <parenthetical>(thinks)</parenthetical>
    <dialogue>I suppose I'd do the same if I was in your situation.</dialogue>
    <character>DARLENE</character>
    <dialogue>And now? What would you do if you was me?</dialogue>
    <scene_description>Dock thinks about it.</scene_description>
    <character>DOCK</character>
    <dialogue>I guess my first instinct would be to shoot this old man in the face and clear out of Dodge.</dialogue>
    <character>DARLENE</character>
    <dialogue>You're dead right so far.</dialogue>
    <character>DOCK</character>
    <dialogue>But then I'd think that through. The cars don't work, and this storm isn't letting up. How far am I getting on foot tonight? People are gonna come looking for that dead cop soon enough. And I sure don't want to be the black woman in the woods with the gun when they do.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>So. Then I start thinking about my other options. I suppose I could walk back in there and take my chances with those kids...</dialogue>
    <character>DARLENE</character>
    <dialogue>I promise you I ain't thinking that.</dialogue>
    <character>DOCK</character>
    <dialogue>Which leads me to option three. Maybe I hear this old man out. Maybe he's telling the truth. Maybe he can help me.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Maybe there really is money in my room. And maybe this old man... maybe he doesn't have a lot of time left. And he's fine with fifty percent of whatever we find in that floor.</dialogue>
    <scene_description>HOLD ON DARLENE. Staring at Dock. CONTINUED: (3)</scene_description>
    <character>DOCK</character>
    <dialogue>If I'm wrong, I can still shoot him later. But if I'm right, I just might survive this night.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>If I'm right... I can walk out of here with enough money to change my life forever.</dialogue>
    <scene_description>Darlene stares at Dock O'Kelly. Seeing him for who he is. Seeing what he's offering. She thinks. She glances at The El Royale. Then.</scene_description>
    <character>DARLENE</character>
    <dialogue>How much money we talking about exactly?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LOUNGE - NIGHT</stage_direction>
    <scene_description>The mechanical arm chooses another record. The needle hits vinyl. Click click click... "Give me a ticket for an aeroplane... ain't got time to take a fast train..." Rose stands motionless in the dead center of the room. Staring UP. It's unclear why. After a moment, she exits frame... and returns with a CHAIR. She seems to be building something. Her movement carries us over to Emily, who has tied up Miles in a chair across the room. She sits down across from him. Looks him in the eye.</scene_description>
    <character>EMILY</character>
    <dialogue>So what is this? Some sort of pervert hotel?</dialogue>
    <scene_description>Miles is in rough shape. His face peppered with buckshot and glass. He's whimpering. She slaps him out of it.</scene_description>
    <character>EMILY</character>
    <dialogue>Hey -- c'mon --</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>MILES</character>
    <dialogue>No? Yes? I don't know. You shot me in the face.</dialogue>
    <character>EMILY</character>
    <dialogue>Let's be clear. I shot another man who had it comin'. You were back there being creepy and caught a face of buckshot for your trouble. Hold still. You got glass in your head.</dialogue>
    <scene_description>She looks over his wounds. Brushes some of the larger chunks of glass away.</scene_description>
    <character>MILES</character>
    <dialogue>How's it look?</dialogue>
    <character>EMILY</character>
    <dialogue>I honestly can't remember what you looked like before this, but you should probably make peace with the fact that things have changed.</dialogue>
    <character>MILES</character>
    <dialogue>Are you gonna kill me?</dialogue>
    <character>EMILY</character>
    <parenthetical>(thinks)</parenthetical>
    <dialogue>How can I not, after what you've seen?</dialogue>
    <character>MILES</character>
    <dialogue>I seen worse. And I ain't said a thing.</dialogue>
    <character>EMILY</character>
    <dialogue>You've seen worse than a man gettin' sawn in half with a shotgun?</dialogue>
    <scene_description>Miles thinks about it. His haunted eyes start to drift.</scene_description>
    <character>MILES</character>
    <dialogue>I seen all sorts of bad.</dialogue>
    <scene_description>In the background, Rose continues to build her project. CONTINUED: (2)</scene_description>
    <character>MILES</character>
    <dialogue>I seen a Senator beat up a whore so bad she had to shove her own stockings back where her teeth used to be, to keep from bleedin' out through the mouth. I seen... I seen a junkie paint "Sorry" on the wall in his own filth, like that'd make it easier when I cleaned all that shit off his cold body.</dialogue>
    <parenthetical>(thinks)</parenthetical>
    <dialogue>I saw a man lay with a wolf once. Guy drags a full grown, feral wolf on a choke-chain into his room. Ties it up to the bed. Then takes off all his clothes, climbs in bed beside it, and holds the thing all night. Like, it wasn't sexual, but it wasn't not sexual, either.</dialogue>
    <parenthetical>(thinks)</parenthetical>
    <dialogue>Guy just lay there crying. Saying "Help me" while he held that wolf. All night.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I never told nobody 'bout none of that.</dialogue>
    <character>EMILY</character>
    <parenthetical>(Jesus Christ)</parenthetical>
    <dialogue>I ain't so sure you shoulda told me that now.</dialogue>
    <scene_description>A beat. And then we hear Rose's footsteps ring out as she begins to run... climbing up the furniture stack and leaping into the air... Rose catches hold of THE CHANDELIER. She swings back and forth with glee, like a child at the playground. The light in the room swings back and forth, back and forth... Emily stares at Rose. I can't even deal with this shit right now. She lights a cigarette. She and Miles watch Rose swing back and forth for a beat. Miles glances back at Emily.</scene_description>
    <character>MILES</character>
    <parenthetical>(quietly)</parenthetical>
    <dialogue>You don't have to kill me.</dialogue>
    <scene_description>CONTINUED: (3)</scene_description>
    <character>MILES</character>
    <dialogue>What could I even say about you anyway? "Some girls shot a guy who was gonna shoot them?" I don't even know your names.</dialogue>
    <character>ROSE</character>
    <dialogue>I'm Rose!</dialogue>
    <scene_description>Miles winces. So does Emily.</scene_description>
    <character>EMILY</character>
    <dialogue>Don't tell him your --</dialogue>
    <character>ROSE</character>
    <dialogue>Rose Summerspring.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>That's my sister Emily.</dialogue>
    <scene_description>Emily's eyes fall. A hint of sadness now as she glances at Miles. They share a look. As though they both know what this means. Emily thinks. Then she picks up her shotgun and walks over to the front desk. Miles watches Rose swing.</scene_description>
    <character>ROSE</character>
    <dialogue>What's your name?</dialogue>
    <character>MILES</character>
    <dialogue>Miles. Miles Miller.</dialogue>
    <character>ROSE</character>
    <dialogue>Nice to meet you, Miles.</dialogue>
    <scene_description>CLOSE ON THE LEDGER. Emily rips the page free. She looks at the names. Thinks.</scene_description>
    <character>EMILY</character>
    <dialogue>Where are the others?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ROOM FIVE - NIGHT</stage_direction>
    <scene_description>CLOSE ON THE METRONOME. A finger comes into frame. Starts the pendulum rod. Tick... tick... tick... Darlene sits in a chair in the middle of her room. We start creeping towards her. CONTINUED: Tick... tick... tick... She reaches up, grabs her hair. Pulls at it. It's A WIG. She tosses it aside. She glances up at herself in THE MIRROR. Tick... tick... tick... She begins to sing.</scene_description>
    <character>DARLENE</character>
    <dialogue>I need love, love, to ease my mind... I need to find time, someone to call mine...</dialogue>
    <scene_description>Her voice is soft at first. Timid. Weak.</scene_description>
    <character>DARLENE</character>
    <dialogue>My mama said...</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CORRIDOR - CONTINUOUS</stage_direction>
    <scene_description>Emily walks through the dark corridor. She's carrying the shotgun. She walks past Room Four. Stops at Room Five. Sees Darlene sitting in the middle of her room. Hands in her lap. Singing. Emily frowns. Flips the switch on the intercom.</scene_description>
    <character>DARLENE (IN ROOM)</character>
    <dialogue>...no you just have to wait... she said love don't come easy, it's a game of give and take...</dialogue>
    <scene_description>Emily watches. Darlene takes up most of the window. We may notice the beds behind her have been moved slightly.</scene_description>
    <character>DARLENE (IN ROOM)</character>
    <dialogue>You can't hurry love... no you just have to wait... you got to trust, give it time... no matter how long it takes...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ROOM FIVE - CONTINUOUS</stage_direction>
    <scene_description>IN THE ROOM. Darlene closes her eyes. Voice starting to get STRONGER. CONTINUED:</scene_description>
    <character>DARLENE</character>
    <dialogue>But how many heartaches must I stand? Before I find a love to let me live again...</dialogue>
    <scene_description>As she sings, camera starts to drift... behind Darlene... to floor space between the beds...</scene_description>
    <character>DARLENE</character>
    <dialogue>Right now the only thing... that keeps me hanging on...</dialogue>
    <scene_description>...where Dock is busy trying to tear up the floor.</scene_description>
    <character>DARLENE</character>
    <dialogue>...when I feel my strength, yeah is almost gone... I remember mama said...</dialogue>
    <scene_description>It's tough goings. Dock has to stay low between the beds. He's got the carpet torn up, and he's trying to wedge the crowbar in between the boards.</scene_description>
    <character>DARLENE</character>
    <dialogue>You can't hurry love, no you just have to wait...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CORRIDOR - CONTINUOUS</stage_direction>
    <scene_description>Emily steps closer to the mirror.</scene_description>
    <character>DARLENE</character>
    <dialogue>She said love don't come easy, it's a game of give and take...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ROOM FIVE - NIGHT</stage_direction>
    <scene_description>CLOSE ON DOCK. Sweat dripping down his brow as he works.</scene_description>
    <character>DARLENE</character>
    <dialogue>How long must I wait? How much more can I take?</dialogue>
    <scene_description>DOCK'S POV. Down the canyons of the beds, he has a clear view of Darlene in her chair. He watches her sing.</scene_description>
    <character>DARLENE</character>
    <dialogue>Before loneliness will cause my heart... heart to break?</dialogue>
    <scene_description>Darlene claps her hands. Stands up. Losing herself in the music now. CONTINUED:</scene_description>
    <character>DARLENE</character>
    <dialogue>No I can't bear to live my life alone...</dialogue>
    <scene_description>She claps in time to the beat. Dock grabs his hammer.</scene_description>
    <character>DARLENE</character>
    <dialogue>I grow impatient for a love to call my own...</dialogue>
    <scene_description>She locks eyes with Dock for a moment while she dances.</scene_description>
    <character>DARLENE</character>
    <dialogue>But when I feel that I, I can't go on...</dialogue>
    <scene_description>She claps. Dock strikes his hammer at the exact same time.</scene_description>
    <character>DARLENE</character>
    <dialogue>These precious words keep me hanging on...</dialogue>
    <scene_description>She claps. Dock strikes.</scene_description>
    <character>DARLENE</character>
    <dialogue>I remember mama said... you can't hurry love... you just have to wait...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CORRIDOR - CONTINUOUS</stage_direction>
    <scene_description>CLOSE ON EMILY.</scene_description>
    <character>DARLENE</character>
    <dialogue>She said love don't come easy, it's a game of give and take...</dialogue>
    <scene_description>In the corridor, the claps and DARLENE'S VOICE cover any sound of Dock working. But Emily keeps watching.</scene_description>
    <character>DARLENE</character>
    <dialogue>You can't hurry love... no, you just have to wait... she said trust, give it time... no matter how long it takes...</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Now break...</dialogue>
    <scene_description>Tick... tick... tick...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROOM FIVE - CONTINUOUS</stage_direction>
    <scene_description>Song break. The room goes entirely silent. Just the sound of that metronome. Tick... tick... tick... Darlene sways. She catches a glimpse of Dock between the beds. Crowbar under the boards. Ready to pry. Frozen. Watching Darlene. Darlene squares herself to the mirror. Tick... tick... tick...</scene_description>
    <character>DARLENE</character>
    <dialogue>No, love, love... don't come easy...</dialogue>
    <scene_description>She walks towards the mirror. We follow.</scene_description>
    <character>DARLENE</character>
    <dialogue>But I keep on waiting... anticipating...</dialogue>
    <scene_description>She's belting it out now. Her voice full of power. She walks right up close to the mirror... looks herself in the eye...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CORRIDOR - CONTINUOUS</stage_direction>
    <scene_description>It looks like Emily and Darlene are standing nose-to-nose.</scene_description>
    <character>DARLENE</character>
    <dialogue>For that soft voice... to talk to me at night... for some tender arms... to hold me tight...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ROOM FIVE - CONTINUOUS</stage_direction>
    <scene_description>And Darlene screams:</scene_description>
    <character>DARLENE</character>
    <dialogue>I keep waiting...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CORRIDOR - CONTINUOUS</stage_direction>
    <scene_description>Emily jumps back. Startled. But Darlene keeps swaying.</scene_description>
    <character>DARLENE</character>
    <dialogue>I keep on waiting...</dialogue>
    <scene_description>CONTINUED: She claps. It almost looks like she's having fun.</scene_description>
    <character>DARLENE</character>
    <dialogue>But it ain't easy...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ROOM FIVE - CONTINUOUS</stage_direction>
    <scene_description>CLOSE ON DOCK. As he pries up the boards under cover of Darlene's singing.</scene_description>
    <character>DARLENE</character>
    <dialogue>It ain't easy. But mama said...</dialogue>
    <scene_description>The board clears. There. Down in the dirt. THE RED BAG.</scene_description>
    <character>DARLENE</character>
    <dialogue>You can't hurry love... no you just have to wait...</dialogue>
    <scene_description>Darlene sways back into Dock's view.</scene_description>
    <character>DARLENE</character>
    <dialogue>She said to trust, give it time...</dialogue>
    <scene_description>They LOCK EYES. It's there. Darlene's eyes dance.</scene_description>
    <character>DARLENE</character>
    <dialogue>No matter how long it takes.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CORRIDOR - NIGHT</stage_direction>
    <scene_description>Emily turns away.</scene_description>
    <character>DARLENE</character>
    <dialogue>You can't hurry love... no --</dialogue>
    <scene_description>Click. Emily shuts off the intercom. The world goes eerily silent once again. Emily walks through the halls. Stops at Room Four. It's empty. She stares at it. Thinks.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOUNGE - NIGHT</stage_direction>
    <scene_description>"I Think We're Alone Now" by Tommy James & the Shondells plays on the jukebox. The chandelier is now on the ground, smashed. Rose seems unfazed. She pulls a log out of the fireplace and uses it to light the braziers around the room.</scene_description>
    <character>MILES</character>
    <dialogue>Rose? That's your name, right? Please, Rose... please don't kill me.</dialogue>
    <scene_description>Rose stands motionless in the center of the room.</scene_description>
    <character>ROSE</character>
    <dialogue>It ain't entirely up to me.</dialogue>
    <scene_description>FLASHBACK TO: MALIBU MANSION - NIGHT Same framing. Rose stands over what looks like a DEAD BODY. BACK TO: LOUNGE - CONTINUOUS</scene_description>
    <character>MILES</character>
    <dialogue>You can talk to her. She's your sister? She'll listen to you.</dialogue>
    <character>ROSE</character>
    <dialogue>It's not up to her, either.</dialogue>
    <character>MILES</character>
    <dialogue>Who's it up to?</dialogue>
    <scene_description>OFF ROSE, MATCH CUT TO: MALIBU MANSION - NIGHT CLOSE ON ROSE. As she stares down at the body, we see the SHADOW OF A MAN in the WINDOW behind her. BACK TO: LOUNGE - CONTINUOUS Rose doesn't respond to Miles. She turns to light another brazier. CONTINUED: Emily enters. Deep in thought. She sets the shotgun down on the front desk. She drums her fingers on the desk. Something about this is not right...</scene_description>
    <character>EMILY</character>
    <dialogue>Where's the priest?</dialogue>
    <scene_description>She looks across the room. Miles shifts uncomfortably.</scene_description>
    <character>EMILY</character>
    <dialogue>Miles?</dialogue>
    <character>MILES</character>
    <dialogue>I don't know.</dialogue>
    <scene_description>Emily moves towards him.</scene_description>
    <character>EMILY</character>
    <dialogue>But you know something, don't you?</dialogue>
    <scene_description>She reaches into her pocket. Pulls out Miles' heroin. Slaps it on the table.</scene_description>
    <character>EMILY</character>
    <dialogue>This is yours?</dialogue>
    <scene_description>Miles nods.</scene_description>
    <character>EMILY</character>
    <dialogue>You want it?</dialogue>
    <scene_description>Miles stares at the heroin. Nods.</scene_description>
    <character>EMILY</character>
    <dialogue>Where's the priest?</dialogue>
    <character>MILES</character>
    <dialogue>I don't know. I promise. I want to find him, too. Please.</dialogue>
    <scene_description>Tears start to well up in his eyes.</scene_description>
    <character>MILES</character>
    <dialogue>Please. I'll do whatever you want. Just let me talk to the priest when you find him.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Just let me talk to him before you kill me.</dialogue>
    <scene_description>In the background, Rose pirouettes on the border. CONTINUED: (2)</scene_description>
    <character>ROSE</character>
    <dialogue>I been trying to tell him, we might not have to kill him. But it's not up to us.</dialogue>
    <scene_description>Emily's face falls. Wait. What?</scene_description>
    <character>EMILY</character>
    <dialogue>Who's it up to?</dialogue>
    <scene_description>A CHILL runs down her spine as she looks to her sister.</scene_description>
    <character>EMILY</character>
    <dialogue>Rosie... what did you do?</dialogue>
    <scene_description>In the darkness behind Emily, the shadows MOVE...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOM FIVE - NIGHT</stage_direction>
    <scene_description>Darlene and Dock slip out of Room Five. Darlene holds the gun, Dock holds the bag. They keep their eyes locked on THE LOBBY as they creep towards the parking lot. They give each other a look. We did it. Darlene motions for Dock to wait. She creeps forward, stares at the front windows of the lobby. It's DARK. Why's it so dark? She waits as the sound of thunder crashes around them. We can feel Darlene's heart pounding. Something is wrong... but, if we're gonna move, we better move now. Darlene turns to Dock... let's go... And a man has a knife at Dock's throat. Darlene's eyes go wide with shock. She starts to raise the gun... a hand whips out of the shadows behind her, grabs her arm, puts a knife to Darlene's throat... It all happens FAST in the flashing tempest of the storm. "Twelve-Thirty" by The Mamas & the Papas starts to play. I used to live in New York City... Everything there was dark and dirty... A MAN approaches. He's walking towards them though the deluge. As the lightning FLASHES, we catch glimpses of THIS MAN: He's young. Late-twenties, if we'd had to guess. He's wearing a white shirt, open all the way to his navel. CONTINUED: He's barefoot. His feet step through the parking lot with rhythm, as though he can hear music nobody else can. Darlene and Dock lock eyes. Stare at this approaching figure. Outside my window, there's a steeple... The man stops as he nears. Lifts his face to the rain. Bathes in the storm as though it was a warm shower. With a clock that always reads twelve-thirty... The man smiles. The music SWELLS to CRESCENDO.</scene_description>
    <character>MAN IN THE RAIN</character>
    <dialogue>Howdy.</dialogue>
    <scene_description>CUT TO BLACK.: TITLE: Billy Lee The four-part harmony sings: "Young girls are coming to the canyon..."</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TOPANGA CANYON - DAY</stage_direction>
    <scene_description>We're looking STRAIGHT DOWN on a field of yellow wildflowers. A nude man runs through the field, cutting the frame. "And in the mornings I can see them walking..." We finally get a good look at HIS FACE. This is BILLY LEE. As he walks through the field of wildflowers, we can see a group of mostly-naked followers behind him. We may see Rose back there. Billy Lee leads them through the yellow. Feels the sun.</scene_description>
    <character>BILLY LEE (PRE-LAP)</character>
    <dialogue>How long you lookin' to stay with us?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS - DUSK</stage_direction>
    <scene_description>Billy stares at Emily. It's just the two of them. They're both clothed. They walk through the dense oaks and eucalyptus trees. CONTINUED: Emily shifts under his gaze.</scene_description>
    <character>EMILY</character>
    <dialogue>I'll be here as long as my sister is, I suppose.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>You don't get to be part of the family just 'cause you're kin. Why do you want to be here?</dialogue>
    <character>EMILY</character>
    <dialogue>Rosie says you treat her good. I 'ppreciate that.</dialogue>
    <scene_description>They come upon a large, gnarled oak. Billy Lee sizes it up, starts climbing it. Emily watches.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>That's the second time you brought up your sister when I was askin' 'bout you. Don't worry about Rosie. Rosie's right where she needs to be.</dialogue>
    <parenthetical>(climbs)</parenthetical>
    <dialogue>You comin' up?</dialogue>
    <scene_description>Emily stays right where she is.</scene_description>
    <character>EMILY</character>
    <dialogue>I'm fine.</dialogue>
    <scene_description>Billy Lee leaps from bough to branch to bough with relative ease. Clearly at home up in the treetops.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Don't get me wrong. I know what you've done for your sister. She'd still be in that house in Alabama without you. So thank you. Sincerely. For sendin' her our way.</dialogue>
    <character>EMILY</character>
    <parenthetical>(bristles)</parenthetical>
    <dialogue>Rosie... she told you about where we come from?</dialogue>
    <character>BILLY LEE</character>
    <dialogue>Sure. Not that I particularly care. You know who else has a rough past, Emily? Fuckin' everyone.</dialogue>
    <scene_description>CONTINUED: (2) He climbs higher and higher.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>These trees don't care about your past. This canyon don't care about your past. You want to be someone else?</dialogue>
    <scene_description>He rips free a handful of leaves, tosses them down towards Emily with flourish.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Poof!</dialogue>
    <scene_description>The leaves flutter all around Emily.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>You're someone else.</dialogue>
    <scene_description>The leaves settle. Billy Lee looks down at Emily with THOSE EYES.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Or maybe you're still you.</dialogue>
    <parenthetical>(shrugs)</parenthetical>
    <dialogue>I don't know. We'll see, I guess.</dialogue>
    <scene_description>Emily stares up at Billy Lee. He breaks gaze first. Smiles.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>You sure you ain't coming up?</dialogue>
    <scene_description>CLOSE ON BILLY LEE. As he stares out from the bough. Leaves framing his face.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>You can see the whole world from up here.</dialogue>
    <scene_description>MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BONFIRE - NIGHT</stage_direction>
    <scene_description>SAME FRAMING. CLOSE ON BILLY LEE. The bonfire flames frame his face:</scene_description>
    <character>BILLY LEE</character>
    <dialogue>What does God mean to you?</dialogue>
    <scene_description>He stares at the assembled crowd of HIS FOLLOWERS: All young. Nobody over thirty. Everybody half-clothed. Free. They drape over one another in the firelight. CONTINUED:</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Is He some being in the sky? Do you pray to Him at night? Do you ask Him to watch over you?</dialogue>
    <scene_description>There's Emily. Watching from the edge. Billy Lee starts to drift towards her.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Is He here with us now?</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Would you know God if he was standing right in front of you?</dialogue>
    <scene_description>He locks eyes with Emily.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Or maybe... maybe there is no God.</dialogue>
    <parenthetical>(mock whispers)</parenthetical>
    <dialogue>Maybe it's all lies.</dialogue>
    <scene_description>He turns his attention back to the crowd. Warm again.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>I honestly don't know the answer. Part of me thinks that if I just keep talking 'til the drugs kick in, you all will think I'm insightful. Is it working? Give it a second.</dialogue>
    <scene_description>Everyone laughs. They're all enraptured by him.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>I ain't saying I got it all figured out. But. I do see the game. They define right and wrong and then make you choose. That's how it all starts. With a simple choice. Which side are you on? Up/Down. Good/Evil. Right/Wrong. God... or no God. It's simple. Just pick.</dialogue>
    <parenthetical>(to Rose)</parenthetical>
    <dialogue>Boots. Quick. Choose. Are you good or are you bad?</dialogue>
    <character>ROSE</character>
    <dialogue>I'm neither.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>She's cheating. She knows what answer I'm looking for.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>BILLY LEE</character>
    <dialogue>I'm giving a whole speech here, Rosie. In front of people. Don't mess this up for me.</dialogue>
    <parenthetical>(crowd laughs)</parenthetical>
    <dialogue>They'll get you to pick. You get older, the world changes. Sooner or later, you'll need something. And they'll get you to pick a side. You won't even know what happened. Watch. I'll do it right now.</dialogue>
    <parenthetical>(locks eyes with Emily)</parenthetical>
    <dialogue>I'll do it right now with my star pupil.</dialogue>
    <scene_description>He smiles. Turns to Rose.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Boots, why don't you come up here and help me out?</dialogue>
    <scene_description>He chooses another girl.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>And Millie, why don't you join us, too. We're gonna have a tussle tonight.</dialogue>
    <scene_description>The crowd cheers, excited.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Been a while since we've had a tussle, right? Oh, but Rosie don't want to tussle, right? She's smart enough to know not to play the game, right? But this is how I get her. I dangle something she really wants. You two are gonna have a proper tussle tonight. And the winner... well, the winner gets to sleep in the big house with me tonight. How'd that be?</dialogue>
    <scene_description>And from the looks on both Rose and Millie's faces, it's clear this is quite an honor.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>See? Now we got skin in the game, as they say.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>What do you think, Boots? Want to play?</dialogue>
    <scene_description>CONTINUED: (3)</scene_description>
    <character>ROSE</character>
    <parenthetical>(quietly)</parenthetical>
    <dialogue>Yes.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>So pick a side. Do want to be Right or do you want to be Wrong?</dialogue>
    <character>ROSE</character>
    <dialogue>I'll be Right.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>Then Millie will be Wrong. Let's have ourselves an allegory.</dialogue>
    <scene_description>The girls nod. They size each other up and down. Billy circles the crowd. Positions himself so he's between the girls and Emily.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>You girls make sure you stop when I tell you to stop. Not like last time, Millie, you hear me.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>All right, then. Have at it.</dialogue>
    <scene_description>The girls charge each other. It happens fast. They SLAM into each other and crash into the ground. It's surprisingly violent. Emily steps forward to help her sister. But Billy Lee steps right in her way.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Easy, Emily. She's a big girl. She can take care of herself.</dialogue>
    <scene_description>Emily's eyes dart to her sister. ON THE GROUND: Rose belts Millie in the face. Millie claws at Rose. The crowd roars approval.</scene_description>
    <character>BILY LEE</character>
    <parenthetical>(back to crowd)</parenthetical>
    <dialogue>Now. Here's the important part. While they're fighting, what am I doing? Cause I sure as hell ain't fighting. What am I doing? I'm watching them. Gettin' off on it. And then, while they're distracted, I'm coming over here. I'm taking what's theirs.</dialogue>
    <scene_description>CONTINUED: (4) He goes over to where Rose was sitting. Grabs her bag. Pulls out her cigarettes, stuffs them in his pocket.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>I'm the one already sleeping in the big house, and I'm robbing them blind. This is all mine now. And they don't even notice, 'cause they're too busy playing my game.</dialogue>
    <scene_description>ON THE GROUND. Rose spits blood as Millie cracks her. Emily steps forward, but Billy Lee flashes her a look that says don't you fucking dare. Rose lets out a primal scream and head-butts Millie in the face. Millie goes momentarily limp. Rose rolls on top of her. WHACK. Punches her right in the face. WHACK. Hits her again.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>All right.</dialogue>
    <scene_description>But Rose doesn't stop.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>All right, Rosie. Shit.</dialogue>
    <scene_description>He pulls Rose off Millie. Gestures to one of his lieutenants, WADE, to help up Millie.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>You did good. Tussle's over. Now love each other.</dialogue>
    <scene_description>The crowd cheers. People slap congratulations to Rose and Millie. Rose gives Millie a hug. Millie looks dazed. Beaten. Ashamed. Rose wipes her lip. She has blood on her face.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>What are we doing out here, anyway? We just a bunch of kids doing drugs and fucking each other in the woods?</dialogue>
    <parenthetical>(thinks about it)</parenthetical>
    <dialogue>That doesn't sound so bad, actually, now that I say it out loud.</dialogue>
    <parenthetical>(everyone laughs)</parenthetical>
    <scene_description>CONTINUED: (5)</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Shit, maybe we do have it figured out after all.</dialogue>
    <scene_description>Everyone laughs, cheers. Billy Lee lets the crowd settle. Billy Lee cups Rose's face. Kisses her lips. Tastes her blood. Looks to the crowd.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Maybe we won't play their game no more.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Maybe we won't listen to their lies.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Maybe the only truth in this world is here...</dialogue>
    <scene_description>He places his hand on his own chest. He puts his hand on the woman next to him. And the man next to her. Goes down the line.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>And here... and here... and right here.</dialogue>
    <scene_description>The crowd cheers. He circles back to Rose and holds her. He locks eyes with Emily across the fire.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Maybe. For tonight. We get to be our own Gods.</dialogue>
    <scene_description>The crowd erupts into cheers. Emily holds his gaze. MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOUNGE - NIGHT</stage_direction>
    <scene_description>Emily stares forward as Wade cinches ropes tight around her. Next to her, ANNABELL, a wiry woman in her twenties, is cinching ropes around a panicked Miles.</scene_description>
    <character>MILES</character>
    <parenthetical>(looks to Dock)</parenthetical>
    <dialogue>Bless me Father for I have sinned --</dialogue>
    <scene_description>CONTINUED: ROMAN and FLICKER, two men in their twenties, are now busy cinching ropes around both Dock and Darlene. Across the room, in California, Billy Lee is on the couch holding Rose in his arms.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Kid, if you don't shut up, I'm gonna tie your mouth shut.</dialogue>
    <character>MILES</character>
    <dialogue>Father, please --</dialogue>
    <scene_description>Billy Lee looks to Annabell. Do it. She takes the bandana from her neck and ties it around Miles' mouth. Billy Lee kisses Rose. Smooths her hair. Picks up the red bag. And the film can. As he crosses, we get a better look at the room: Dock, Darlene, Emily, and Miles are all now tied in chairs near a roulette table in Nevada. Billy Lee takes the red bag and dumps all the cash on the roulette table. He stares at Dock and Darlene. Tosses the film can on the table as well. Darlene looks at the film can. Looks at Dock. What is that? Dock says nothing. Billy Lee stares at them. Thinks. He grabs THE LEDGER PAGE.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>So I'm guessing you're Father Flynn, which makes the dead guy in seven Laramie Seymour Sullivan. And you're Darlene Sweet, right? Though I suppose you could be Fuck You, but something tells me that's my Emily here. Any other people in this hotel?</dialogue>
    <scene_description>The four of them trade glances. Eyes look to Miles. He shakes his head. No.</scene_description>
    <character>BILLY LEE</character>
    <parenthetical>(reads name tag)</parenthetical>
    <dialogue>Miles. I'm gonna have my friends search this hotel. They find any other souls, you die bad. Understand?</dialogue>
    <scene_description>Miles nods. CONTINUED: (2)</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Any other people here?</dialogue>
    <scene_description>Miles shakes his head. Billy studies him. Thinks.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Annabell, Wade. You two are on sentry. Stand behind these four. They try to get out of those seats, shoot 'em in the back of the head.</dialogue>
    <scene_description>They do as instructed. Wade has a rifle. Annabell picks up Emily's shotgun.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Flicker, Roman -- go get that body out of room seven. Find his car keys, stick the body and all his stuff in the trunk. After that, go room to room. Find anybody, bring 'em here. In fact, you find anything of interest, you bring it here.</dialogue>
    <character>FLICKER</character>
    <dialogue>Define "of interest."</dialogue>
    <character>BILLY LEE</character>
    <dialogue>"Oh wow oh wow, Billy Lee should see this."</dialogue>
    <scene_description>Flicker and Roman nod. Head towards the door. As they go:</scene_description>
    <character>FLICKER</character>
    <parenthetical>(re: the four)</parenthetical>
    <dialogue>And them?</dialogue>
    <character>BILLY LEE</character>
    <dialogue>I don't know. But I'd leave some room in that trunk.</dialogue>
    <scene_description>Ding. Flicker and Roman leave. Billy Lee crosses to the bar. Pours himself a drink. Crosses back into Nevada. Sits down at the table.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Hiya, Em.</dialogue>
    <scene_description>She stares at him. CONTINUED: (3)</scene_description>
    <character>EMILY</character>
    <dialogue>Billy Lee.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>You left without sayin' goodbye.</dialogue>
    <scene_description>She doesn't respond.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Did you think I wouldn't take offense?</dialogue>
    <character>EMILY</character>
    <dialogue>Naw, I figured you would.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>But I'd be ready when you did.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>You don't look ready.</dialogue>
    <character>EMILY</character>
    <dialogue>You caught me on a bad night.</dialogue>
    <scene_description>Billy Lee almost laughs at that.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Ain't that the luck.</dialogue>
    <parenthetical>(then, quietly)</parenthetical>
    <dialogue>You tell them what she did?</dialogue>
    <scene_description>Emily shakes her head. No.</scene_description>
    <character>ROSE</character>
    <dialogue>What'd I do?</dialogue>
    <parenthetical>(remembers)</parenthetical>
    <dialogue>Oh. Right.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I'm sorry 'bout all that.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>That's okay, Boots. We'll deal with that when we get back to California.</dialogue>
    <parenthetical>(looks around)</parenthetical>
    <dialogue>We got us a Nevada problem now.</dialogue>
    <scene_description>Billy Lee takes a drink. Thinks. Looks to Miles.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>So what is this -- some sort of pervert hotel?</dialogue>
    <scene_description>The four sit in silence. Miles looks at a loss. What? CONTINUED: (4)</scene_description>
    <character>DOCK</character>
    <dialogue>The kid can't answer you. You tied his mouth shut.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>Why don't I ask you, then? Why don't I ask the priest walking out of the hotel with a bag full of money?</dialogue>
    <character>DOCK</character>
    <dialogue>All right.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Yes. I think it's some sort of pervert hotel.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Kid told me he films people doing... what not, then sends the films off to his bosses.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>Who are his bosses?</dialogue>
    <character>DOCK</character>
    <parenthetical>(shrugs)</parenthetical>
    <dialogue>People who own the hotel? I don't know. Does it really matter?</dialogue>
    <scene_description>Billy Lee studies Miles. Shrugs. I guess it doesn't.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>And he just offered this up to you?</dialogue>
    <character>DOCK</character>
    <dialogue>I think he was trying to confess. I think it's been weighing on him.</dialogue>
    <parenthetical>(looks at Miles)</parenthetical>
    <dialogue>I think he's trying to confess right now. Because he knows how this is gonna go. And he fears for his soul.</dialogue>
    <scene_description>Tears well up in Miles' eyes. He nods. That's right. Billy Lee rolls his eyes. Pats Miles on the face.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>If you're so worried about your soul, kid, maybe you shouldn't been doing all this bad shit in the first place, huh?</dialogue>
    <scene_description>CONTINUED: (5) He opens the film can. Unspools the 16mm film. Holds it up to the light to get a better look. Squints. He jumps in surprise. Holy shit.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Is that who I think it is?</dialogue>
    <scene_description>Miles nods.</scene_description>
    <character>ROSE</character>
    <dialogue>Who? I want to see.</dialogue>
    <scene_description>Billy Lee tosses Rose the film. Studies Dock.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Now what's a man of God like yourself doing with that in your coat?</dialogue>
    <scene_description>Rose holds the film up to the light.</scene_description>
    <character>ROSE</character>
    <dialogue>It's just people fucking.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Wait... I know him.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>He's dead.</dialogue>
    <character>BILLY LEE</character>
    <parenthetical>(nods)</parenthetical>
    <dialogue>That he is, Rose. That he is.</dialogue>
    <scene_description>Billy Lee drums his fingers on his face. Looks to Darlene.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Where's the money come from?</dialogue>
    <character>DOCK</character>
    <dialogue>It's --</dialogue>
    <character>BILLY LEE</character>
    <dialogue>I ain't asking you right now, Father.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Where's the money come from?</dialogue>
    <scene_description>Hold on Darlene. As she stares at these children around her. Then. Defiant:</scene_description>
    <character>DARLENE</character>
    <dialogue>It's mine.</dialogue>
    <scene_description>CONTINUED: (6)</scene_description>
    <character>BILLY LEE</character>
    <parenthetical>(laughs)</parenthetical>
    <dialogue>It's yours.</dialogue>
    <parenthetical>(all right then)</parenthetical>
    <dialogue>So where's a girl like you get all this money from?</dialogue>
    <character>DARLENE</character>
    <dialogue>I earned it. Singing.</dialogue>
    <character>BILLY LEE</character>
    <parenthetical>(okay)</parenthetical>
    <dialogue>You must be one hell of a singer, then.</dialogue>
    <character>DARLENE</character>
    <dialogue>I am.</dialogue>
    <scene_description>She holds his gaze. After a moment, Billy Lee looks away. He turns his attention back to Dock.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Where's the money come from?</dialogue>
    <character>DOCK</character>
    <dialogue>She's telling you the truth. That's her money. She earned it singing.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>And you're a man of the cloth.</dialogue>
    <character>DOCK</character>
    <dialogue>I am.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>I forgot to mention...</dialogue>
    <scene_description>Billy Lee finishes his drink. Leans in close to Dock. Stares at him with THOSE EYES.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>I hate priests.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>You want to change your story?</dialogue>
    <scene_description>Dock doesn't flinch. Stares right back.</scene_description>
    <character>DOCK</character>
    <dialogue>Nope.</dialogue>
    <scene_description>CONTINUED: (7) Hold for a moment. These two men staring each other down. Then. Billy Lee smiles.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Alrighty then.</dialogue>
    <scene_description>He hops up.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Boots, why don't you find us something to listen to on that there jukebox. It's too quiet in here. Gives me the willies.</dialogue>
    <scene_description>He grabs Dock's change from where it fell on the floor earlier. Tosses Rose a quarter. She picks a song. "Hush" by Deep Purple starts playing. Rose and Billy Lee sway a bit to the bass line. HOLD ON DOCK AND DARLENE as the music plays around them. Darlene tense. Dock listening.</scene_description>
    <character>DOCK</character>
    <dialogue>Who's this?</dialogue>
    <scene_description>Darlene looks at him. Realizes he's serious.</scene_description>
    <character>DARLENE</character>
    <dialogue>It's... Deep Purple. I think. But, it was originally someone else. Billy Joe Royal, maybe?</dialogue>
    <scene_description>Dock listens. Frowns. Shakes his head.</scene_description>
    <character>DOCK</character>
    <dialogue>It's not for me.</dialogue>
    <scene_description>Billy Lee crosses back over to the table. We may notice he has THE REVOLVER tucked into the front of his jeans.</scene_description>
    <character>BILLY LEE</character>
    <parenthetical>(to Dock and Darlene)</parenthetical>
    <dialogue>I want you two to pay real close attention to what happens next.</dialogue>
    <scene_description>CONTINUED: (8)</scene_description>
    <character>BILLY LEE</character>
    <dialogue>And keep it right up there in the front of your mind when I ask you questions looking for truthful answers.</dialogue>
    <scene_description>He sits down at the end of the table close to Emily and Miles. He stares right at Emily.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Emily.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Pick a color. Red or black.</dialogue>
    <scene_description>Across the room, Rose looks up from the film. Emily stares at Billy Lee. Then she shakes her head.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Well that's not hardly nice. I'm offering you a chance here on account of the fact that we're practically family. That's downright charitable of me, considering.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Boots, you hear what your sister's doing?</dialogue>
    <scene_description>Rose looks at Emily with sad eyes.</scene_description>
    <character>ROSE</character>
    <dialogue>Emily... if Billy Lee's offering you a chance... you should take it.</dialogue>
    <scene_description>Billy Lee smiles. Nods. Locks those eyes on Emily.</scene_description>
    <character>BILLY LEE</character>
    <parenthetical>(leans in)</parenthetical>
    <dialogue>Did you really think you could take what's mine and I wouldn't come a- huntin'?</dialogue>
    <character>EMILY</character>
    <dialogue>She ain't yours.</dialogue>
    <character>BILLY LEE</character>
    <parenthetical>(oh yeah?)</parenthetical>
    <dialogue>Rosie? Are you mine?</dialogue>
    <scene_description>Rose smiles.</scene_description>
    <character>ROSE</character>
    <dialogue>Of course!</dialogue>
    <scene_description>CONTINUED: (9) Billy Lee shrugs. There you go. He pours himself another drink.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>We used to raise goats out on the farm. Boer goats, 'cause you can breed 'em year round. Bucks are ready to go once they're about seven weeks old. Seven weeks!</dialogue>
    <parenthetical>(looks to Wade)</parenthetical>
    <dialogue>Can you imagine? Think of something that happened to you seven weeks ago. If you were a baby then, you'd be fucking now.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>'Cause you're male, I mean. The does take about eight months 'fore they're much use. And you learn. When you got a litter, you learn to separate the females before those bucks come ruttin'. 'Cause once those does go into heat... they'll kill each other. I seen it over and over. They'll bash each others heads until their brains spill out in the dirt. Happens with mothers- daughters, too. Something about the blood, I guess. But it ain't like the sisters.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Ain't nothing as violent as sisters.</dialogue>
    <scene_description>He finishes his drink.</scene_description>
    <character>EMILY</character>
    <parenthetical>(quietly)</parenthetical>
    <dialogue>None of that is true.</dialogue>
    <scene_description>Billy Lee looks at her. I'm sorry?</scene_description>
    <character>EMILY</character>
    <dialogue>There wasn't no violence 'til you.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>Maybe. Maybe not. But it's there now, though, isn't it?</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Pick a color, Em. I ain't askin' again.</dialogue>
    <scene_description>HOLD ON EMILY. As she studies this man. As she looks to her sister. As she sees her sister nod. Do it, Em... CONTINUED: (10) Emily's shoulders fall. Then.</scene_description>
    <character>EMILY</character>
    <dialogue>Red.</dialogue>
    <scene_description>Billy Lee looks mildly surprised. Good. He gives Annabell a look. She steps in closer behind the four.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Well then I guess that makes you black, alter boy.</dialogue>
    <scene_description>And Billy Lee spins the roulette ball. Everyone TENSES as they realize what's happening. The ball whips around the wheel. Wade and Annabell lean in with their guns. Their eyes saying stay in your fucking seats. Miles coughs beneath his gag. Billy Lee takes pity on him.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>You got some prayers, you can say 'em now.</dialogue>
    <scene_description>Billy Lee pulls down Miles' gag.</scene_description>
    <character>MILES</character>
    <dialogue>Forgive me Father for I have sinned, please -- I done so much worse than you know --</dialogue>
    <scene_description>Billy Lee starts laughing.</scene_description>
    <character>MILES</character>
    <dialogue>Father Flynn, please, I have sinned and I repent --</dialogue>
    <scene_description>Dock stares at Miles. Genuine sadness on his face. He shakes his head.</scene_description>
    <character>DOCK</character>
    <dialogue>Kid...</dialogue>
    <scene_description>Clack. The ball slows in its revolution, letting out a sharp crack as it bounces in the tray.</scene_description>
    <character>MILES</character>
    <dialogue>Father Flynn --</dialogue>
    <character>BILLY LEE</character>
    <dialogue>Do you want to tell him or you want me to do it?</dialogue>
    <scene_description>CONTINUED: (11) Clack. I HAVE SINNED AND I REPENT --</scene_description>
    <character>DOCK</character>
    <dialogue>Miles...</dialogue>
    <character>BILLY LEE</character>
    <dialogue>He's not a fucking priest, kid.</dialogue>
    <scene_description>CLOSE ON MILES. As Billy Lee's words land. As he sees Dock, finally, for who he really is. And he realizes he's going to Hell. Clack. The ball comes to a stop in the tray. Red.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Well, it looks like the Lord hasn't forsaken you yet.</dialogue>
    <scene_description>Billy Lee pulls his revolver. And shoots Emily right in the chest. BANG BANG BANG. She pitches straight backwards. Knocking over Miles. She crashes to the floor. We're CLOSE ON HER as she hits the ground. On impact, we -- MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUMMERSPRING HOUSE - NIGHT</stage_direction>
    <scene_description>YOUNG EMILY screams out as her sister is ripped out from under the bed beside her. MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOUNGE - NIGHT</stage_direction>
    <scene_description>Emily's eyes look up to her sister. Billy Lee steps in beside Rose.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>I gave her a fair shake, Rose.</dialogue>
    <scene_description>CONTINUED: CLOSE ON ROSE, as she nods -- MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUMMERSPRING HOUSE - NIGHT</stage_direction>
    <scene_description>YOUNG ROSE, in her father's arms, stares back at her sister as she's carried away. Her father holds her close. MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOUNGE - NIGHT</stage_direction>
    <scene_description>Billy Lee holds Rose. Emily's eyes go dim. ON MILES. On the ground, rocking back and forth. Crying. Hands still bound in front of him. Staring at Emily's dead body.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Now then. Who wants to play next?</dialogue>
    <scene_description>Darlene and Dock tense in their seats.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Ah ah -- Wade, Annabell -- keep a close eye there. Everyone's liable to get more squirrelly now that they know the stakes.</dialogue>
    <parenthetical>(to Dock)</parenthetical>
    <dialogue>She'll cut you in half with that shotgun.</dialogue>
    <scene_description>Billy Lee sits down across from Dock and Darlene. Grabs the roulette ball. Tosses it back and forth in his hand.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>You two gonna be more forthcoming?</dialogue>
    <scene_description>Dock thinks about it. Nods.</scene_description>
    <character>DOCK</character>
    <dialogue>Sure.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Could I have some of that whiskey?</dialogue>
    <character>BILLY LEE</character>
    <parenthetical>(studies him)</parenthetical>
    <dialogue>Why not.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Boots! Get the padre here a glass.</dialogue>
    <scene_description>CONTINUED: She does. As she crosses back to the table, her eyes linger on the body of her dead sister. Miles whimpers on the ground. He's muttering something to himself as he rocks back and forth.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Kid, you don't shut the fuck up, I'm gonna make you play again.</dialogue>
    <scene_description>Miles quiets down. Rose puts the glass on the table. Billy Lee pours Dock a drink. Dock's hands are tied behind his back. He doesn't know what to do. Rose looks at Billy Lee. You want me to untie him?</scene_description>
    <character>BILLY LEE</character>
    <dialogue>No. His hands stay tied.</dialogue>
    <scene_description>Billy Lee picks up the drink. Holds it to Dock's lips. Dock drinks.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Where's the money from?</dialogue>
    <character>DOCK</character>
    <dialogue>I stole it from a bank about a decade ago. I hid it here, but got myself caught by the cops. Did some time. Got out a few days ago. Came back tonight to retrieve it.</dialogue>
    <scene_description>And he says it real matter-of-fact. So much so, it takes Billy Lee a second to absorb it. Then he laughs.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Tonight.</dialogue>
    <scene_description>Dock nods.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Why you dressed up like a priest?</dialogue>
    <scene_description>ON MILES. Watching Dock across the room.</scene_description>
    <character>DOCK</character>
    <dialogue>I didn't want too many questions. People tend to look the other way when you're wearing a collar.</dialogue>
    <scene_description>Billy Lee nods. Satisfied. Looks to Darlene.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>And you?</dialogue>
    <scene_description>CONTINUED: (2) Darlene shifts a bit in her seat.</scene_description>
    <character>DARLENE</character>
    <dialogue>I'm just a singer. The money happened to be hid in my room. He said he'd split it with me if I helped him get it back.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>'Course he did. 'Cause that ain't even the real score, is it, padre? No, 'cause you found this.</dialogue>
    <scene_description>Billy Lee picks up the film. Brings it back to the table.</scene_description>
    <character>BILLY LEE</character>
    <parenthetical>(to Darlene)</parenthetical>
    <dialogue>I bet he didn't tell you about this, did he? Don't you even want to see who's on it?</dialogue>
    <character>DARLENE</character>
    <dialogue>No. I don't. It doesn't matter.</dialogue>
    <character>BILLY LEE</character>
    <parenthetical>(laughs)</parenthetical>
    <dialogue>Darlin', then you ain't understandin' what's on this --</dialogue>
    <character>DARLENE</character>
    <dialogue>Stop. Stop talking.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I don't need to look at the film. Let me guess: it's some man who talks a lot. He talks so much he thinks he believes in something. But really... he just wants to fuck who he wants to fuck.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I've seen that enough. I'm not even angry about it anymore. I'm just tired. I'm just bored. Of men like you. You think I don't see you for what you are? A fragile little man. Preying on the weak and the lost.</dialogue>
    <scene_description>He starts to speak, but she cuts him off --</scene_description>
    <character>DARLENE</character>
    <dialogue>I've heard it. I don't care.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <scene_description>CONTINUED: (3)</scene_description>
    <character>DARLENE</character>
    <dialogue>I'd rather sit here and listen to the rain.</dialogue>
    <scene_description>Billy Lee's eyes flash. Darlene doesn't blink. The whole room seems to hold its breath. We hear the rain outside. It seems to be getting louder. Then. Billy Lee breaks Darlene's gaze. The violence in his eyes vanishes as quickly as it appeared. He throws a patronizing shrug Darlene's way --</scene_description>
    <character>BILLY LEE</character>
    <dialogue>You go right ahead.</dialogue>
    <scene_description>And turns his attention back to Dock.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Why didn't you just leave when you had the film? That's worth way more than some bag of money.</dialogue>
    <scene_description>Dock considers.</scene_description>
    <character>DOCK</character>
    <dialogue>I did time for that money. My brother died for that money. That money's mine.</dialogue>
    <character>DARLENE</character>
    <dialogue>That money's ours.</dialogue>
    <character>DOCK</character>
    <dialogue>That money's ours.</dialogue>
    <character>ROSE</character>
    <dialogue>Why's that filmstrip worth so much anyway? That guy's dead. Who cares?</dialogue>
    <character>BILLY LEE</character>
    <dialogue>Well, Boots... sometimes, the memory of a man matters more than the man himself. Ain't that right, padre?</dialogue>
    <character>DOCK</character>
    <dialogue>If you say so.</dialogue>
    <scene_description>Billy Lee drums his fingers. Thinks. CONTINUED: (4)</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Who's gonna come looking for this money?</dialogue>
    <character>DOCK</character>
    <dialogue>Nobody.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>Somebody's always looking for money.</dialogue>
    <character>DOCK</character>
    <dialogue>They're all gone. 'Cept me.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>And who are you again? Let's say I want to check this story out... who am I looking for? What's your real name, father?</dialogue>
    <character>DOCK</character>
    <parenthetical>(nods)</parenthetical>
    <dialogue>It's...</dialogue>
    <scene_description>And Dock's face goes blank.</scene_description>
    <character>DOCK</character>
    <parenthetical>(searches)</parenthetical>
    <dialogue>It's, um...</dialogue>
    <scene_description>Dock almost laughs at the absurdity. He can't remember his own name. But then we see real fear in his eyes, just like we saw in the prison. Just like we saw when we first met him, standing in the parking lot. He can't remember. He looks to Miles.</scene_description>
    <character>DOCK</character>
    <parenthetical>(hang on)</parenthetical>
    <dialogue>It's...</dialogue>
    <scene_description>Billy Lee rolls his eyes. Dock looks to Darlene. Almost pleading.</scene_description>
    <character>DOCK</character>
    <dialogue>Did I tell you my real name?</dialogue>
    <scene_description>Darlene looks at Dock with sympathetic eyes. CONTINUED: (5)</scene_description>
    <character>DARLENE</character>
    <dialogue>You never did.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>Really? Now you want to start playing games again?</dialogue>
    <character>DARLENE</character>
    <dialogue>He can't remember. His mind -- it ain't all there no more.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>That's what he told you.</dialogue>
    <character>DARLENE</character>
    <dialogue>He did.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>And you believe anything this old crook says.</dialogue>
    <character>DARLENE</character>
    <dialogue>I believe that much. Yeah.</dialogue>
    <scene_description>Billy Lee stares at both of them. Fed up with all of this.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Well then. Let's see if we can't jog his memory.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Darlene. Pick a color.</dialogue>
    <scene_description>BOOM. Right then, a violent CLAP of thunder shakes the hotel. And all the power goes out in the room. Everyone jumps in surprise. Dock and Darlene realize, too late, they missed a chance. But Annabell and Wade still have guns trained at their heads. Billy Lee holds up his hands. Take it easy, take it easy... Everything QUIET. The jukebox silent. Billy Lee starts laughing.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Oof. That's right unsettling.</dialogue>
    <scene_description>The only light comes from the firepits around the room. CONTINUED:</scene_description>
    <character>BILLY LEE</character>
    <parenthetical>(shivers)</parenthetical>
    <dialogue>It's quiet again.</dialogue>
    <character>ROSE</character>
    <dialogue>I don't like it.</dialogue>
    <character>BILLY LEE</character>
    <dialogue>No, I don't like it either.</dialogue>
    <parenthetical>(thinks)</parenthetical>
    <dialogue>Ain't you supposed to be a singer? Why don't you sing something for us, then, Darlene?</dialogue>
    <scene_description>Darlene's eyes go cold. She stares at Billy Lee. After a moment, she shakes her head.</scene_description>
    <character>DARLENE</character>
    <dialogue>No thank you.</dialogue>
    <scene_description>Billy Lee smiles.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Tell you what. You sing something for us. And if you're as good as you say, I won't make you play the game.</dialogue>
    <character>DOCK</character>
    <dialogue>Don't do it.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>He's gonna do what he's gonna do. But he don't deserve to hear you sing.</dialogue>
    <character>DARLENE</character>
    <dialogue>No. He does not.</dialogue>
    <scene_description>Billy Lee stares at both of them. Unable to mask his anger at Dock's words.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Suit your fuckin' selves.</dialogue>
    <scene_description>Billy Lee spins the roulette ball.</scene_description>
    <character>DARLENE</character>
    <dialogue>Wait.</dialogue>
    <scene_description>Billy Lee catches the roulette ball. Everything goes silent. Everyone stares at Darlene. CONTINUED: (2) HOLD ON DARLENE. As she looks at these people around her. These felons, these criminals, these children. All of them. She closes her eyes.</scene_description>
    <character>DARLENE</character>
    <dialogue>Oh... My love...</dialogue>
    <scene_description>Her body relaxes. As though she's no longer here in this dead-end border hotel. Her words come out quiet, never weak.</scene_description>
    <character>DARLENE</character>
    <dialogue>My darling, I've... hungered for your touch...</dialogue>
    <scene_description>Everyone dead still as she sings. The firelight casting orange flickering shadows on their faces as they watch.</scene_description>
    <character>DARLENE</character>
    <dialogue>A long, lonely time.</dialogue>
    <scene_description>Her voice grows LOUDER.</scene_description>
    <character>DARLENE</character>
    <dialogue>And time... goes by, so slowly.... And time, can do so much...</dialogue>
    <parenthetical>(belting it out now)</parenthetical>
    <dialogue>Are you, still --</dialogue>
    <character>BILLY LEE</character>
    <dialogue>I've heard better.</dialogue>
    <scene_description>He spins the roulette ball. Dock's eyes go blood simple. WHAM! Dock explodes out of his seat, shattering his chair. He slams his forehead right into Billy Lee's face. Blood SPLATTERS as Billy Lee's nose SHATTERS -- Billy Lee and Dock topple backwards -- And a bunch of things happen ALL AT ONCE: -- Dock and Billy Lee crash right into one of the firepits, sending fire and embers and flaming logs everywhere. -- Annabell, surprised by the violence, FIRES HER SHOTGUN. BOOM! The sound rips through the room, the buck shot cutting through the air where Dock just was, blasting flames and shredding furniture. -- Darlene, moving on terror and instinct, kicks herself backwards, away from the table. The table FLIPS -- CONTINUED: -- Everyone hits the ground in a mess of CASH, CHIPS, WHISKEY, and GLASS. Dock lands right on top of Billy Lee. Billy Lee's gun goes skittering across the floor. And stops right between Darlene and Miles. Annabell raises her shotgun again. Pulls the trigger. But Rose grabs the barrel at the last second.</scene_description>
    <character>ROSE</character>
    <dialogue>NO!</dialogue>
    <scene_description>BOOM. The shot cuts the room. Blows another brazier into a fireball.</scene_description>
    <character>ROSE</character>
    <dialogue>You'll hit Billy Lee!</dialogue>
    <scene_description>Dock and Billy Lee tear into each other on the ground. Violent and feral -- two men desperately trying to kill each other. Billy Lee bashes Dock -- Dock grabs a FLAMING LOG -- WHAM! He bashes Billy Lee in the face again and AGAIN -- ashes and FLAMES spread -- Rose SCREAMS. She dives at Dock. Tackles him off of Billy Lee. Annabell and Wade can't get clean shots. FLAMES leap throughout the lobby, burning the rugs, the couches, the walls. ON THE GROUND: Darlene looks at the gun. Just feet from her. But her hands are tied behind her back. She looks Miles in the eyes. He can grab it.</scene_description>
    <character>DARLENE</character>
    <dialogue>Miles --</dialogue>
    <scene_description>But Miles is terrified. No longer fully with us anymore. Rocking back and forth on the ground. Crying. We start to hear what he's been muttering this entire time:</scene_description>
    <character>MILES</character>
    <dialogue>I can't I swore to God I can't kill no more people --</dialogue>
    <character>DARLENE</character>
    <dialogue>Miles, HELP US --</dialogue>
    <character>MILES</character>
    <dialogue>I can't kill no more people.</dialogue>
    <scene_description>CONTINUED: And Darlene finally realizes what he's saying. Wait. What? Her words come out almost as a reflex:</scene_description>
    <character>DARLENE</character>
    <dialogue>H-how many people have you killed, Miles?</dialogue>
    <scene_description>CLOSE ON MILES as he thinks about it.</scene_description>
    <character>MILES</character>
    <dialogue>One-hundred and twenty-three.</dialogue>
    <scene_description>CUT TO BLACK.: TITLE: Maintenance Closet</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MILLER FARM - DAY</stage_direction>
    <scene_description>SAME FRAMING. Eight-year-old MILES MILLER raises a rifle. He takes his time, sites the rifle... CRACK. Whump. Widen to reveal Miles is standing on his family farm. They're having some sort of family gathering. Brothers and sisters, aunts and uncles all eating food, drinking moonshine, having a day. But everyone's watching Miles. CRACK. Whump. This little eight-year-old boy is shooting sparrows out of the air while they're in flight with a rifle. Miles' AUNTIE RUTH stands next to his momma, GINGER.</scene_description>
    <character>AUNTIE RUTH</character>
    <dialogue>Ho my heavens, Ginger! Look what your boy can do. If you're not careful, you're gonna have an army sniper in the family.</dialogue>
    <character>GINGER</character>
    <dialogue>Over my dead body. Daddy'd roll in his grave if I let Miles join the Army. No sir...</dialogue>
    <scene_description>CONTINUED: ON MILES. Firing his rifle. We can see Ruth and Ginger in the background.</scene_description>
    <character>GINGER</character>
    <dialogue>That boy is a Marine if there ever was one.</dialogue>
    <scene_description>MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. KHE SAHN - NIGHT</stage_direction>
    <scene_description>SAME FRAMING. Miles, now grown, fires his sniper rifle as fast as he can as the cacophony of war rings out all around him. Two SOLDIERS stand in the frame where Auntie Ruth and Ginger stood. They look up at the sound of --</scene_description>
    <character>SOLDIER</character>
    <dialogue>INCOMING!</dialogue>
    <scene_description>BOOM. The soldiers are obliterated. Miles is blasted down the hill. The blood of his company all over him. We're in Khe Sanh, January, 1968. One of the bloodiest battles of the entire war. All around us: bullets fly, artillery explodes, men scream. SERGEANT RENFRO races forward. Yanks Miles to his feet.</scene_description>
    <character>SERGEANT RENFRO</character>
    <dialogue>Miller! Why the fuck have you stopped shooting!?</dialogue>
    <scene_description>Miles' head is ringing. He's clearly in shock. Terrified. As he stares at the war around him --</scene_description>
    <character>MILES</character>
    <dialogue>I can't -- I can't do it no more --</dialogue>
    <character>SERGEANT RENFRO</character>
    <dialogue>Get back on your fucking post! We don't hold this line, WE ALL DIE!</dialogue>
    <parenthetical>(then)</parenthetical>
    <character>MILLER!</character>
    <dialogue>Miles shakes his head. He's gone. Clearly in shock. Renfro stares at him. Genuine compassion in his eyes.</dialogue>
    <character>SERGEANT RENFRO</character>
    <dialogue>Miles.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Miles. I don't want to die here. I don't want to die here on this hill tonight.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>SERGEANT RENFRO</character>
    <parenthetical>(then)</parenthetical>
    <dialogue>I want to go home.</dialogue>
    <scene_description>Miles stares at Renfro. Hearing him.</scene_description>
    <character>SERGEANT RENFRO</character>
    <dialogue>Do you want to go home?</dialogue>
    <scene_description>Miles stares at the violence all around him. He nods.</scene_description>
    <character>SERGEANT RENFRO</character>
    <dialogue>Good.</dialogue>
    <scene_description>Sergeant Renfro thrusts the rifle back in Miles' hands.</scene_description>
    <character>SERGEANT RENFRO</character>
    <dialogue>Now shoot every fucking thing that moves.</dialogue>
    <scene_description>Miles nods. He raises his rifle once again. CRACK. Whump. CRACK. Whump. ANGLE IN ON MILES. Crack. Whump. Settling close on HIS EYES. Crack. Whump. MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. KHE SANH - DAY</stage_direction>
    <scene_description>SAME FRAMING. Miles' eyes SNAP OPEN. He gasps for air. As though awakening from a horrible nightmare. WIDEN. It's three days later. Miles is half-buried in the jungle. A mess of ruined bunker and debris all around him. It's day now. It's clear. It's quiet. Miles pulls himself from his shallow grave. He steps out of the clearing. His face blank. Deep in shock. The walking dead. He face doesn't react to what he's seeing. We angle around to reveal: The aftermath of The Bloody Battle of Khe Sanh. Dead bodies EVERYWHERE. Hundreds... no... thousands... North Vietnamese and U.S. Solders, all around. All half-buried in the sordid muck of Vietnam. CONTINUED: Miles walks through the carnage. His hands start shaking. He drops to his knees. He begins to pray.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOUNGE - NIGHT</stage_direction>
    <scene_description>SAME FRAMING. ON MILES. Shaking his head. Near-catatonic.</scene_description>
    <character>MILES</character>
    <dialogue>I can't do it... I swore to God... I can't kill no more people... I can't...</dialogue>
    <scene_description>ON DARLENE. Watching Miles. And, yes, there's no real way she can know what he's done, but she can see enough in his face. She can see he's in agony. She can see he's lost. Her face softens. Genuine compassion in her voice.</scene_description>
    <character>DARLENE</character>
    <dialogue>It's all right, Miles. You don't have to kill no more people.</dialogue>
    <scene_description>Those words seem to get through to Miles. Darlene closes her eyes.</scene_description>
    <character>DARLENE</character>
    <dialogue>I don't want to die. Please don't let me die here, Lord.</dialogue>
    <scene_description>Miles looks at her. ACROSS THE ROOM: Wade CRACKS Dock across the back of the head with the rifle. Dock goes limp. Billy Lee skitters free. Wade and Annabell pummel Dock. AROUND THEM: smoke and fire fill the room. Billy Lee struggles to his feet. His nose destroyed. His face covered in blood. Fury in his eyes. Billy Lee grabs Annabell's shotgun from the floor. Finds loose shells. Reloads it.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Get him up.</dialogue>
    <scene_description>Wade and Annabell yank Dock to his feet. CONTINUED: Dock's face is beat up pretty good. But he's alert. His eyes still register when Billy Lee takes the shotgun and sticks it right up under Dock's chin.</scene_description>
    <character>BILLY LEE</character>
    <dialogue>See if you can't remember this.</dialogue>
    <scene_description>Click. Billy Lee freezes as he hears the unmistakable sound of a revolver being cocked behind him. Everyone turns. To find Miles. On his feet. Pointing the gun right at Billy Lee. Billy Lee holds his hand up. Calm down...</scene_description>
    <character>BILLY LEE</character>
    <dialogue>Take it easy, alter-bo--</dialogue>
    <scene_description>CRACK. Miles shoots Billy Lee right between the eyes. Rose lets out a horrific, primal scream.</scene_description>
    <character>ROSE</character>
    <dialogue>NOOOOOO!</dialogue>
    <scene_description>Wade swings his rifle, Annabell reaches for Billy Lee's shotgun... CRACK CRACK. Two shots. On the move. Miles drills them both right between the eyes. Whump whump. Rose cradles Billy Lee's body in her arms. Screaming.</scene_description>
    <character>ROSE</character>
    <dialogue>No BILLY LEE no!</dialogue>
    <scene_description>Miles keeps moving. We see the soldier now. He checks the load on the revolver. One bullet left. He grabs the hunting knife off the floor. Hands Dock the revolver. Keeps moving. Miles kicks Wade's rifle up to himself. Catches it in a smooth motion. Dives towards the front window. CRASH! He breaks the front window with the butt of his rifle.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARKING LOT - NIGHT</stage_direction>
    <scene_description>Remember Flicker and Roman? They had just finished loading Dwight's body into the trunk when they heard the commotion. CONTINUED: And now they're frozen in the parking lot. Crouched behind cars. Holding their guns. They peek their heads up, trying to get a sightline to the front window. Trying to figure out what the hell's going on in that lobby. Flicker and Roman lock eyes. Ready to move. Flicker peeks over the car. CRACK. Flicker's head explodes. Roman jumps in surprise. CRACK. Roman takes it right between the eyes. Whump. Whump. Two down. INT LOUNGE - NIGHT Dock cuts Darlene free, helps to her feet. She rubs her wrists. They look towards -- ROSE. Screaming and crying on the ground. Rocking Billy Lee's dead body in her arms.</scene_description>
    <character>ROSE</character>
    <dialogue>No no no no no... don't leave me, Billy Lee, don't leave me...</dialogue>
    <scene_description>Miles listens to her cries. The soldier falls away. The innocent boy returns. He drops his rifle. Walks over to her. Puts his hand on her shoulder.</scene_description>
    <character>MILES</character>
    <dialogue>I'm sorry. I'm so sorry.</dialogue>
    <scene_description>Rose's eyes narrow. She pulls THE KNIFE out of Billy Lee's belt. SHRACK. She cuts Miles' stomach open. Miles pitches backwards. Whump. His body lands right on the border between California and Nevada.</scene_description>
    <character>DARLENE</character>
    <dialogue>NO --</dialogue>
    <scene_description>BANG. Dock shoots Rose in the chest with the revolver. She slumps dead. Still entangled in California with Billy Lee. ON THE GROUND. Miles gasps. Looks at his hands. Blood everywhere. Oh god. Darlene races to him. Holds this terrified boy.</scene_description>
    <character>MILES</character>
    <dialogue>No no no no -- I can't die. I don't want to die... not yet --</dialogue>
    <scene_description>Darlene looks at Miles wound. Sees how bad it is. Looks to Dock for help. Dock's frozen. Flames starting to burn all around him.</scene_description>
    <character>MILES</character>
    <dialogue>No no Lord please no I can't die not like this --</dialogue>
    <character>DARLENE</character>
    <dialogue>Help him.</dialogue>
    <scene_description>Dock steps across the line into Nevada. Kneels down next to them. Sees the bad news for himself. There's nothing to be done...</scene_description>
    <character>DOCK</character>
    <dialogue>I can't.</dialogue>
    <character>MILES</character>
    <dialogue>Please God I don't want to die not yet --</dialogue>
    <scene_description>Darlene grabs Dock's shoulder. Looks him in the eye.</scene_description>
    <character>DARLENE</character>
    <dialogue>Help him.</dialogue>
    <scene_description>CLOSE ON DOCK. As he realizes what she's saying. As clarity washes over him.</scene_description>
    <character>DOCK</character>
    <parenthetical>(quietly)</parenthetical>
    <dialogue>Confess.</dialogue>
    <scene_description>He takes Miles in his arms.</scene_description>
    <character>DOCK</character>
    <dialogue>My son. Confess.</dialogue>
    <scene_description>Miles stares up at Dock. Confused. Dying. He shakes his head. Blood coughing from his lips. CONTINUED:</scene_description>
    <character>MILES</character>
    <dialogue>You're not... You're not a...</dialogue>
    <character>DOCK</character>
    <dialogue>Miles Miller. My name is Father Daniel Flynn. And I am here to absolve you of your sins.</dialogue>
    <scene_description>ON MILES. As he stares at Dock. A calm starting to wash over him.</scene_description>
    <character>MILES</character>
    <dialogue>Bless me, Father, for I have sinned...</dialogue>
    <scene_description>Dock holds him. Nods. Continue.</scene_description>
    <character>MILES</character>
    <dialogue>I've sinned, I've sinned more times than I can count. I've killed, I've killed so many people... in war, here, I know it was wrong they told me to do it and I know it was wrong and I did it anyway... I'm so sorry, Father...</dialogue>
    <character>DOCK</character>
    <dialogue>It's all right.</dialogue>
    <character>MILES</character>
    <dialogue>It's not. I did so much bad. I lied. I stole. I hurt people. I killed people. I did it all even though I know it was wrong... I'm so sorry, Father...</dialogue>
    <scene_description>ON DOCK. Staring at this terrified boy in his arms.</scene_description>
    <character>DOCK</character>
    <dialogue>Do you seek absolution for your sins?</dialogue>
    <character>MILES</character>
    <dialogue>I do. Yes.</dialogue>
    <character>DOCK</character>
    <dialogue>Do you give yourself to the mercy of the Lord?</dialogue>
    <character>MILES</character>
    <dialogue>Yes.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>DOCK</character>
    <dialogue>Will you give to Him the time you have left?</dialogue>
    <character>MILES</character>
    <dialogue>I'm too late.</dialogue>
    <character>DOCK</character>
    <dialogue>It is never too late, my son.</dialogue>
    <character>MILES</character>
    <dialogue>Yes. I will try. I will try to be better. I will try to be a better man.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I repent. Father Flynn, I repent.</dialogue>
    <parenthetical>(coughs blood)</parenthetical>
    <dialogue>Lord, I'm sorry. I'm so sorry.</dialogue>
    <scene_description>Dock takes his hand, places it on Miles' chest. Holds his gaze. Shh.</scene_description>
    <character>DOCK</character>
    <dialogue>You are forgiven.</dialogue>
    <scene_description>Miles begins to relax as soon as he hears those words.</scene_description>
    <character>DOCK</character>
    <dialogue>Miles Miller. In the name of the Father, the Son, and the Holy Spirit... you are forgiven.</dialogue>
    <scene_description>Miles nods. His eyes drift to the middle distance. At peace, finally. He dies in Dock's arms. A moment. Dock and Darlene share a look. Dock lays Miles' body down gently to the ground. Darlene closes his eyes. Dock and Darlene stand. They look around. The flames are now crawling the walls. Smoke billows through the room. They glance at each other. A silent agreement. They spring to action. They both scoop up what cash they can. They stuff it into the red bag. Time to go. As they're leaving, Dock sees THE FILM CAN. CONTINUED: He picks it up. Thinks. Hands it to Darlene. She stares at it for a moment. Then she throws it into the fire. WHUMP. We're CLOSE on the film reel as it burns and twists and smokes in the heat. Somebody tosses THE LEDGER PAGE on top of it as well. We see the names, underlit by the flames: Laramie Seymour Sullivan... Fuck You... Darlene Sweet... Father Daniel Flynn... Dock and Darlene head for the door. HOLD ON THE PAPER. The names burst into flame. WIDE ON THE ROOM. As flames devour the El Royale, Dock opens the Nevada door for Darlene. We see the first rays of dawn on the horizon. Ring-ring. CUT TO BLACK.: TITLE: Reno OVER BLACK, we hear the sounds of a not-so-bustling keno parlor. People talking, slot machines ringing... We hear the voice of MILTON WYRICK, our emcee for the evening...</scene_description>
    <character>MILTON (O.S.)</character>
    <dialogue>Folks, I feel like we've got a genuine Humdinger Jackpot in here tonight, I really do...</dialogue>
    <scene_description>TITLE: Humdinger Lounge</scene_description>
    <character>MILTON (O.S.)</character>
    <dialogue>Last time I felt this way, we gave away a brand new, candy-apple red Chrysler De Soto to a lovely couple from St. Paul, Minnesota.</dialogue>
    <scene_description>TITLE: 6 p.m. shift CONTINUED:</scene_description>
    <character>MILTON (O.S.)</character>
    <dialogue>Bill and Elaine... McIntyre, I want to say. Good people. Could be you. Here we go...</dialogue>
    <scene_description>TITLE: Wednesday</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HUMDINGER LOUNGE - NIGHT</stage_direction>
    <scene_description>We're FOLLOWING A MAN as he walks through the Humdinger Lounge, Reno's sixth-best combination dinner lounge and keno parlor. We hear the sound of the emcee calling to us from another room:</scene_description>
    <character>MILTON (O.S.)</character>
    <dialogue>Seven, nine, sixteen, thirty-one, forty-two, forty-seven, sixty- three, seventy-six, and... eighty.</dialogue>
    <scene_description>The man makes his way through the smoke-filled rows of people playing slots. He's heading towards the back lounge, where a group of musicians are setting up on a small corner stage. The man stops at the threshold. He rubs his hands on his pants. As though he's not quite sure what to do. He looks for a seat in the lounge. (There are plenty available.)</scene_description>
    <character>MILTON (ONSTAGE)</character>
    <dialogue>If you hit, come see the cashier so we can get you down before the next draw.</dialogue>
    <scene_description>The man sits down. We see his face. It's Dock.</scene_description>
    <character>MILTON</character>
    <dialogue>Now, we've got a special treat for you tonight. Coming to you all the way from beautiful Los Angeles, California. You've heard her sing on records with artists such as The Crystals, Martha Reeves, The Marvelettes, Wilson Pickett, and The Miracles. Ladies and gentlemen, let's give a warm, Reno welcome to... Darlene Sweet!</dialogue>
    <scene_description>CONTINUED: (2) Darlene steps on stage to a scattering of applause. We may notice she has a brand new dress. She nods hello to her band for the evening. Hi boys. She looks to the audience.</scene_description>
    <character>DARLENE</character>
    <dialogue>Thank y'all for coming out to listen to me tonight.</dialogue>
    <scene_description>A moment. As she stands in the light. Grateful for her life.</scene_description>
    <character>DARLENE</character>
    <dialogue>It means the world.</dialogue>
    <scene_description>She sees Dock. Sitting alone in the back of the room. She almost seems surprised to see him. It's you. He nods hello. She smiles. Hello, Dock. Then. Back to business. Two, three, four... Darlene grabs the microphone. CUT TO BLACK.: The End OVER CREDITS: Darlene Sweet and her backup band level the 6 p.m. Wednesday crowd at the Humdinger Lounge with an absolutely blistering cover of Sam & Dave's "Hold On, I'm Coming." Don't you ever be sad... Lean on me, when times are bad... Just hold on. I'm coming.</scene_description>
  </scene>
</script>

Summary: The El Royale, once popular with the wealthy until losing its gambling license, is a hotel that straddles the California–Nevada border. In 1959, Felix O'Kelly hides a money bag under the floorboards of his room. His accomplice arrives and shoots him dead. A decade later, Catholic priest Daniel Flynn, singer Darlene Sweet, salesman Laramie Seymour Sullivan, and hippie Emily Summerspring arrive at the hotel, now run solely by heroin addict Miles Miller, and book separate rooms. Upon checking into the honeymoon suite, Laramie begins removing wiretaps but unexpectedly finds a second set as well. After stealing the hotel's master key, he discovers a secret corridor where every room can be observed through one-way mirrors and filmed with a camera. Laramie sees Darlene singing, Daniel removing the floorboards of his room, and Emily holding a young woman captive. In the parking lot, Laramie calls into the FBI, revealing himself to be Special Agent Dwight Broadbeck. He is instructed by J. Edgar Hoover to focus on his mission of collecting the surveillance materials the FBI had planted and ignore the 'kidnapping'. Believing the mission has been compromised, Dwight is also told to prevent the guests from leaving. To do so, Dwight disables all their cars. Daniel invites Darlene to join him for dinner in the hotel lounge. There, Darlene says she is practicing for a performance in Reno and Daniel reveals his memory is deteriorating. While he is getting drinks, she sees him spiking her beverage and she knocks him unconscious with a bottle. Miles later finds and revives Daniel, telling him that he wants to undertake a confession but Daniel refuses. Miles, looking for the missing master key, leads Daniel to the secret corridor, explaining that he used to regularly film intimate encounters that he had to send to his superiors. Miles also admits to having withheld one incriminating film of a deceased public figure who had been kind to him. When Daniel leaves to evaluate said film, Miles witnesses through the one-way mirror Dwight attempting to rescue Emily's hostage, who is revealed to be her younger sister, Rose. When Emily kills Dwight with a shotgun, it also shoots out the mirror, revealing the corridor and injuring Miles. Before these events, Emily had forcibly removed her sister from a dangerous cult, led by Billy Lee. In the present, Rose secretly calls Billy to tell him where she is. A witness to Dwight's murder, Darlene tries to escape but fails due to his tampering with her vehicle. Daniel arrives and reveals to her that he is Dock O'Kelly, imprisoned since a bank robbery in 1959. Recently paroled, he arrived in disguise to retrieve the money hidden by his brother Felix. Due to Dock's failing memory, he picked the wrong room and tried to drug Darlene to gain access to hers. To gain her trust, he offers to split the cash with her. After retrieving the money, Billy and his cult arrive and take the pair, Emily, and Miles hostage. In a flashback, Billy tells his cult how people are forced to choose sides and, as an allegory, gets Rose to fight another girl for the chance to sleep with him as Emily watches nearby. In the present, a compliant Rose watches Billy as he interrogates the group and finds the film, which he realizes is more valuable than the money. He forces Emily to choose a color in a game of roulette between her and Miles, and kills her when she loses. Before Billy completes another round of roulette, Dock attacks him, a melee ensues, and a fire begins to spread. When Darlene implores Miles to pick up a gun and help, it is revealed that he served in the Vietnam War as a sniper and killed 123 people. A defiant Miles kills Billy and his followers, but a distraught Rose stabs him in the stomach before being shot by Dock. Darlene convinces "Father Flynn" to absolve Miles of the guilt over his wartime actions before he dies. They then toss the film into the fire and leave with the money. Sometime later in Reno, Dock attends Darlene's soul performance at a nightclub.