She holds up her burned hand, showing it to him.
	
	                    LILLY
	          You asked me about this. You really and the view, followed by Bobo, neither looking out. Lilly
	turns to Bobo, who abruptly punches her hard in the stomach.
	She falls to the floor. her in seven years!
	
	Lilly enters, smiling in self-confidence. A large ugly burn
	is on the back of her right hand. BOBO (CONT'D)
	          While you put those in the towel.
	
	Lilly's very scared. She drops to her knees, spreads the He puts the cigar back in the ashtray as she rises, cradling
	her burnt hand. Not looking toward Bobo, hobbling with knees
	together, she starts from the room. TWO SHOT, closer, as Lilly turns, bending toward the oranges,
	and Bobo picks up his cigar, then lifts a foot and kicks her Bobo gets into the passenger seat, while Lilly nods
	convulsive agreement and hurries around to get behind the
	wheel. The car jolts forward, then smooths, and heads for the Lilly appears in the doorway, wearing a too-large man's
	raincoat. Bobo doesn't seem to notice her at first, then nods
	to her. ANOTHER ANGLE as Bobo steps across her and goes over to close
	the drapes over the view. Lilly sits up, watching him,
	waiting obediently. Bobo looks at her. Lilly drives along the highway, weeping, shaking, teeth
	chattering. Her hands are both high on the wheel, the back of
	the right hand developing a large red burn. throat with both hands, retching as he tries to inhale. Lilly
	looks up at the astonished waitress. AN ANGLE on Bobo, catching a bad smell, looking back down
	behind himself at Lilly's body. This is the result he wanted, the supermarket bag. He takes out and lights a cigar. Lilly
	comes back with a large white bath towel.
	
	                    BOBO (CONT'D) LILLY 
	          And to survive, my way, I need
	          money.
	          Bobo knows about the stash in the LILLY 
	          I will. So long, Bobo. Lilly's eyes briefly close, her shoulders sag. Then she goes
	back to the silent alert person she'd been. Bobo nods.
	
	                    BOBO AN ANGLE close on Lilly on the floor, Bobo's knees grinding
	back and forth into her back. BOBO
	              (impatient)
	          What's that, Lilly?
	
	Lilly pauses, bent over, tightly holding an orange. The door opens and Lilly enters, followed by Bobo. The thugs
	immediately rise and switch off the TV.
	
	                    BOBO LILLY
	              (begging)
	          It'll never happen again. I swear.
	
	                    BOBO
Roy's eyes open, he looks toward the voices.
	
	                    MYRA (O.S.)
	          I'm Roy's friend. Roy doesn't like this; he's feeling pressured. Myra sees it,
	but believes she's got him anyway, so she can let up. She
	pats his hand. ROY 
	          I've heard the name.
	
	                    MYRA 
	          It was beautiful. And getting Roy will not talk about this, with anyone. His response is
	cold, closing the subject.
	
	                    ROY
	          Her job. She hesitates, then stalks out, shutting the door.
	
	Hearing the door close, Roy spins around in the wheelchair to Roy lies supine on the bed, semi-conscious, half-covered by a
	sheet. Myra, casual, not noticing his condition, leans her Roy? He's always crying.
	
	                    CLERK
	              (sympathetic to Roy)
	          The kids beat him up, because his Roy, looking stunned, is among the deplaning passengers
	spreading out across the terminal. He's met by PIERSON, a
	plainclothes detective, and a uniformed COP. Roy's, her door slamming behind her.
	
	INT. HOTEL ROOM - NIGHT Roy's place. Dark. SOUNDS of lock being picked. The door
	opens, showing only blackness outside, Lilly enters and shuts
	the door, then switches on the main light. roper you'll ever see.
	
	Roy laughs, genuinely pleased by her and also tacitly letting
	his questions drop. Roy turns his head, gives Lilly an ironic smile. Lilly waits,
	holding herself in.
	
	                    ROY and one on the floor. She looks around at everything, awkward
	and embarrassed. But Roy hasn't said anything. And he's
	between her and the door. The women, startled, both move toward Roy, one on each side
	of the bed. ROY 
	          Why?
	
	                    LILLY (CONT'D)
	              (faint smile) her raised arms. He settles down, becomes heavily calm.
	
	                    ROY 
	          That's why we wouldn't work Roy walks toward Lilly's room as the two thugs pass him, on
	their way out. Roy knocks on Lilly's door, waits, knocks
	again. She stands, putting the attache case on the sofa next to
	where she was sitting. Roy, with a faint smile, watches her
	leave the room. LILLY
	          Oh! Roy! You scared me.
	
	Roy enters the room and shuts the door. ROY
	          You always say that!
	
	Lilly won't take him seriously, but she relents enough to
AN ANGLE on the soldiers as Roy starts by. The train lurches,
	and Roy falls heavily against their table, slopping their
	drinks and spilling some of his own on the table. ROY (CONT'D)
	          One of you fellows drop this?
	
	INT. TRAIN - DAY SHILL beside him, Roy facing the dealer, a ROPER next to Roy.
	On a briefcase on the dealer's lap are three cards, face up: ROY
	              (whispered)
	          Dark in here.
	
	INT. PASSENGER TRAIN - DAY AN ANGLE on the group. Roy squints at the cards, light and
	dark playing on his face.
	
	                    ROY He looks away, right hand moving minimally on left hand.
	
	                    ROY
	          Heads. INT. BAR CAR - DAY
	
	Roy now sits with the soldiers, eagerly listening to them
	talk. There are plastic glasses enough on the table for three card tricks for his own pleasure. Roy watches, then moves
	closer.
	
	                    ROY
	          Let me see how you did that one. The dealer turns aside, allowing himself to be distracted. He
	and the shill ARGUE nonsensically. The roper nudges Roy, then WIDE SHOT. Roy throws. They all look at the die. Roy spreads
	his hands; the good sport.
	
	                    ROY Weary bored people sit around waiting. Roy, 17, lugging a big
	suitcase, walks through, takes a seat near Mintz, who's doing five of spades, shows it to Roy, puts it back in the deck,
	shuffles, shows Roy the deck.
	
	                    MINTZ How much can I bet?
	
	INT. PASSENGER TRAIN - DAY
	
	The train runs through a forest, tree shadows making a light into Roy's solar plexus, driving the air out of him and
	propelling him back away from the bar, leaving the ten. The
	nearest CUSTOMERS on both sides become aware that something Myra's POV: Roy and the soldiers rolling the die for money.
	
	ECU, Myra, absorbed, watching. b.g., in consternation as Roy puts on the glasses and looks
	down at the cards.
	
	                    ROY play with the mark.
	
	                    ROY 
	          And when he got serious?
	
	                    MYRA ROY
	          Tails.
	
	Right again. He prepares to flip the coin, but then his hand Whoever finds the ace, wins.
	
	ECU, the dealer's hands, shuffling the cards at lightning
	speed. He deals the cards out face down. TWO SHOT, within the train. Myra looks questioningly at Roy
	as he stands.
	
	                    ROY
ROY 
	          Running your broker scam, you mean.
	
	                    MYRA
	              (enthusiastic) MYRA 
	          He retired, and that's it. But I
	          didn't. I'm still the best long-con Myra, dressed expensively and fashionably, sits with
	GLOUCESTER HEBBING, a stocky businessman, sixtyish. Their
	manner suggests intimacy. MYRA
	          You're on the grift. Same as me.
	
	                    ROY Myra sits in the client's chair, while at the desk sits the
	JEWELER, a pleasant but overweight man of 40, who studies a MYRA
	              (suddenly evasive)
	          He retired.
	
	                    ROY TWO SHOT, Myra and a BUSINESSMAN, sitting across the way,
	grinning at her. Myra registers him. ROY 
	          I've heard the name.
	
	                    MYRA 
	          It was beautiful. And getting MYRA 
	          No, no, Roy, just cash poor. They
	          had savings accounts, stocks to
	          sell, houses to mortgage. Sell Roy lies supine on the bed, semi-conscious, half-covered by a
	sheet. Myra, casual, not noticing his condition, leans her In gesturing, Myra "accidentally" loses the towel, then wraps
	it around herself again as the manager stares nervously away.
	She smiles, knowing she's got him. MYRA (V.O.) 
	          All over the southwest, you've got
	          these businessmen, they were making
	          money when everybody was making MYRA (CONT'D)
	          Wait. Hold it.
	
	                    DRIVER
	          That's the guy we're following. INT. JEWELER'S OFFICE - DAY
	
	Myra sits as before. The jeweler enters with a check, which Roy doesn't like this; he's feeling pressured. Myra sees it,
	but believes she's got him anyway, so she can let up. She
	pats his hand. MANAGER
	          My wife sent me here, Myra. For the
	          money. She's waiting.
	
	                    MYRA the similarity between herself and Myra, this could be Myra.)
	
	                    LILLY
	              (hesitant)
	          Roy? MYRA 
	          Oh, Roy, it was great! We were
	          rolling in dough, lived wherever we apparently-prosperous skyscrapers. Cole, a plausible rich
	businessman, happily greets Myra.
	
	                    COLE (screams at Myra)
	          You! You and your goddamn big
	          mouth!
	
	                    KYRA
ROY 
	          No, its -- Why did she--?
	
	He forces himself to look at the body again, his own face from the motel. The door to Lilly's room is visible in b.g.
	Roy walks toward the street from Lilly's room.
	
	                    DRIVER ROY 
	          Not that it matters.
	              (looks out)
	          This is the morgue? Roy's, her door slamming behind her.
	
	INT. HOTEL ROOM - NIGHT Roy's room. He has one of the clown pictures face down on the
	coffee table. He takes money from his jacket pockets, crams Roy lies supine on the bed, semi-conscious, half-covered by a
	sheet. Myra, casual, not noticing his condition, leans her Reaching the sidewalk, Roy turns to an empty cab parked on
	that side of the street, in front of the motel. Myra's driver
	shifts into gear. INT. BATHROOM - DAY
	
	A small crowded old-fashioned bathroom. Roy, shirt open and They embrace.
	
	INT. MOTEL ROOM - DAY Roy's POV: CU, the body's hands, crossed over the stomach,
	the wrists crossed, the palms down, the clear backs of both
	hands visible. pistol and puts the pistol under the pillow of the other bed.
	
	INT. MOTEL OFFICE - NIGHT INT. BEDROOM - DAY
	
	Again, anonymous hotel furniture. Roy and Myra naked in bed, Roy, looking stunned, is among the deplaning passengers
	spreading out across the terminal. He's met by PIERSON, a
	plainclothes detective, and a uniformed COP. AN ANGLE on Roy, arms folded across his torso, staring in
	shock toward the bar, where the space he filled has already INT. HOTEL ROOM - NIGHT
	
	Once he's alone, Roy stops trying to look like a good sport. fifty yards short of the motel.
	
	INT. CADILLAC - NIGHT INT. BEDROOM - DAY
	
	CU, Roy's sweat-covered face, eyelids fluttering. The car full of money. He's --
	          Lilly?
	
	INT. MOTEL ROOM - NIGHT under the bar with his right. He comes up with a sawed-off
	baseball bat. Roy, seeing it, throws his free arm up to Roy walks toward Lilly's room as the two thugs pass him, on
	their way out. Roy knocks on Lilly's door, waits, knocks
	again.
They embrace.
	
	INT. MOTEL ROOM - DAY Damn.
	
	INT. MOTEL ROOM - NIGHT
	
	Empty; as before. The door opens and the two thugs we saw pistol and puts the pistol under the pillow of the other bed.
	
	INT. MOTEL OFFICE - NIGHT Empty. The phone receiver dangles off the table on its cord.
	The door finishes closing.
	
	EXT. MOTEL - NIGHT You'll get yours, Mama. Oh, yes.
	
	INT. MOTEL ROOM - DAY Full of cash.
	
	They leave the room.
	
	EXT. MOTEL - NIGHT fifty yards short of the motel.
	
	INT. CADILLAC - NIGHT INT. ROOM 131 - NIGHT
	
	A clean anonymous motel room, with two beds. Lilly enters, small bags from her motel room, puts them on the back seat of
	the Cadillac, gets behind the wheel, drives away.
	
	INT. BATHROOM - DAY The car full of money. He's --
	          Lilly?
	
	INT. MOTEL ROOM - NIGHT from the motel. The door to Lilly's room is visible in b.g.
	Roy walks toward the street from Lilly's room.
	
	                    DRIVER EXT. ROAD - NIGHT
	
	Motel in b.g. The blue Cadillac, having turned around and
	come back, pulls off onto the shoulder of the road about with.
	
	INT. MORGUE VIEWING ROOM - DAY Roy's, her door slamming behind her.
	
	INT. HOTEL ROOM - NIGHT look into the room. Phone RINGS. At last, he goes back into
	the room.
	
	INT. HOTEL ROOM - NIGHT INT. MOTEL ROOM - NIGHT
	
	Lilly comes out of the bathroom, putting her lipstick away in INT. HOTEL ROOM - DAY
	
	Expensive room. Cole, naked, expression haunted and crazed, ROY 
	          No, its -- Why did she--?
	
	He forces himself to look at the body again, his own face visible through the open doorway.
	
	EXT. ARIZONA MOTEL - NIGHT INT. MOTEL OFFICE - NIGHT
	
	The CLERK, an elderly woman, turns away from a small TV set
	when Lilly enters.
AN ANGLE DOWN at Roy, face up, expression horrified, hands to
	his throat. A large triangle of glass is in his throat. Blood Glass will cut glass, Mrs. Langtry.
	          Do you know where it was purchased?
	
	INT. HOTEL ROOM - DAY Myra slaps her hand to her breast; blood spurts between her
	fingers. In terror, she turns toward Hebbing, who stares at of blood diagonally across his jacket, shirt and tie. She
	topples forward. Hebbing tries to hold her, but she slips to
	the floor. into the glass and into his face. Roy SCREAMS and topples off
	the chair, as the one remaining clasp on the case lets go and
	money goes flying, filling the air. the blood seeping down her white blouse. She tries to speak,
	can't. She reaches out, her bloody hand sliding down
	Hebbing's front without getting any purchase, leaving a swath Cole stands behind a pillar, watching. Across the way,
	Hebbing comes out of the office, staring around, trying to
	wipe the blood from his clothes. In obvious panic, he runs to picks up the attache case. Roy, lifting the glass to drink,
	turns forward again as Lilly spins forward, swinging the
	attache case at his head with all her might. The case crashes The drunk's friend arrives and helps Lilly get the drunk to
	his feet. The drunk is breathing now, but shaken. He looks at MYRA
	          But they must be! They cut glass!
	
	                    JEWELER
	              (wry) down. Her hands abruptly clamp on Lilly's throat. QUICK CUT.
	
	EXT. PHOENIX AIRPORT - DAY already dying. Blood spurts less forcefully. His hands fall
	to his sides, eyes stare upward, mouth still moves slightly.
	Lilly, shoving money away with her hands now, stares at him, He slaps her openhanded but hard, and she staggers back. He
	pursues her.
	
	                    ROY They both turn away at the same instant. Roy turns to the
	side to pick up the glass of water, to break the spell and
	the tension. Lilly turns back toward the coffee table and She hesitates, then stalks out, shutting the door.
	
	Hearing the door close, Roy spins around in the wheelchair to Go away, Lilly. Go away.
	
	Roy's eyes close. He looks dead. SLOW FADE. and the view, followed by Bobo, neither looking out. Lilly
	turns to Bobo, who abruptly punches her hard in the stomach.
	She falls to the floor. still, his face slack. The fever Mintz fades and disappears.
	
	EXT. HIGHWAY - DAY the desk. Myra, stripped to the waist (unconcerned about the
	others present) cleans blood from her breasts with damp
	towels. He and Myra look at one another across the room, upward, straight-arm, the gun moving up OUT OF FRAME. SOUND
	of shot. Blood sprays Lilly's face. Myra's body drops down
ROY
	              (full laugh)
	          Oh, that's it! You're stealing my into the glass and into his face. Roy SCREAMS and topples off
	the chair, as the one remaining clasp on the case lets go and
	money goes flying, filling the air. Roy's room. He has one of the clown pictures face down on the
	coffee table. He takes money from his jacket pockets, crams Roy, looking stunned, is among the deplaning passengers
	spreading out across the terminal. He's met by PIERSON, a
	plainclothes detective, and a uniformed COP. Roy? He's always crying.
	
	                    CLERK
	              (sympathetic to Roy)
	          The kids beat him up, because his ROY 
	          You must have some money.
	
	                    LILLY
	          Just a few bucks. I'm sorry. I hated to take your
	          money, but --
	
	                    ROY That's that, then.
	
	                    ROY
	              (starting to grin)
	          Oh, yeah. That's that. ROY 
	          And a month later, the sucker calls
	          the cops and you're on the run. do with it is up to you.
	
	                    ROY
	              (his back turned)
	          That's right. She hesitates, then stalks out, shutting the door.
	
	Hearing the door close, Roy spins around in the wheelchair to Roy walks toward Lilly's room as the two thugs pass him, on
	their way out. Roy knocks on Lilly's door, waits, knocks
	again. MYRA
	          Just wait.
	
	Roy enters the other cab, which drives away, as Lilly comes ROY 
	          Running your broker scam, you mean.
	
	                    MYRA
	              (enthusiastic) Lilly takes the second picture from the wall, puts it face
	down on the coffee table, opens the back, transfers the money
	to the case. She closes the case, attaches the one clasp that Go away, Lilly. Go away.
	
	Roy's eyes close. He looks dead. SLOW FADE. when he wins. ECU, Roy's hand scoops money.
	
	ECU, Myra, smiling, pleased. Roy's place. Dark. SOUNDS of lock being picked. The door
	opens, showing only blackness outside, Lilly enters and shuts
	the door, then switches on the main light. ROY 
	          And Myra's stuff?
	
	                    LILLY
	              (scornful) wanted, only pulled two or three
	          scams a year.
	
	                    ROY 
	          What happened to Cole?
from the motel. The door to Lilly's room is visible in b.g.
	Roy walks toward the street from Lilly's room.
	
	                    DRIVER Reaching the sidewalk, Roy turns to an empty cab parked on
	that side of the street, in front of the motel. Myra's driver
	shifts into gear. get out. Roy pays the driver, who opens the trunk to take out
	several pieces of luggage. Myra leans hesitantly out, as
	though afraid it's raining out there. MYRA
	          Just wait.
	
	Roy enters the other cab, which drives away, as Lilly comes Roy drives down a San Diego street, is stopped by a red
	light, looks at his watch. He's late.
	
	                    ROY She stands, putting the attache case on the sofa next to
	where she was sitting. Roy, with a faint smile, watches her
	leave the room. ROY 
	          Thank you.
	
	INT. POLICE CAR - DAY the office over there, gets into the Chrysler, backs it up,
	drives it out of sight past the motel. Myra puts the Cadillac
	in gear. it's out of sight among all the other cars. LONG BEAT.
	
	INT. BEDROOM - DAY A baby blue Cadillac parks in front of a jeweler.
	
	AN ANGLE on the driver's door as MYRA LANGTRY, 36, beautiful She hesitates, then stalks out, shutting the door.
	
	Hearing the door close, Roy spins around in the wheelchair to EXT. STREET - DAY
	
	Roy has been throwing up but is finished now. He's sprawled
	like a shot deer across the hood of his Honda, still and he slams the door.
	
	EXT. ROY'S APARTMENT - DAY The uniformed cop drives. Pierson and Roy sit in back.
	
	                    PIERSON 
	          I realize this is a shock. Roy's, her door slamming behind her.
	
	INT. HOTEL ROOM - NIGHT Lilly's Chrysler jounces out to the street, moving too fast,
	making the turn, racing away. CAMERA PANS to Myra's Cadillac, in an impersonal calculating way, gets out, carrying a small
	jewelry care, and locks the car. At first glance, Myra looks MYRA (CONT'D)
	          Wait. Hold it.
	
	                    DRIVER
	          That's the guy we're following. separated. The white Chrysler is one of these. Lilly walks to
	it from the track entrance. He tries to look through a crack in the drapes into the room,
	then turns to look at the empty place where Lilly's Chrysler
from the table, leaving their betting tickets behind. Lilly
	passes by, smoothly and casually scoops up the tickets, moves
	on along a row of tables, and there finding more tickets. ECU, Lilly's bag, compartmented, with stacks of money, small
	envelopes and notes on notepaper in each compartment. Lilly
	carefully files the betting slips. AN ANGLE on Lilly looking out at the tote board.
	
	EXT. TOTE BOARD - DAY AN ANGLE on a high-dollar betting window, as Lilly
	approaches, taking bank-banded wads of bills from her bag. AN ANGLE on the Chrysler as Lilly opens the trunk, puts her
	bag inside.
	
	CLOSE UP, Lilly and the trunk. She takes betting tickets from AN ANGLE on Lilly, not satisfied. She turns and goes back.
	
	AN ANGLE at the betting window as Lilly arrives and makes
	more bets. ROY
	          Sure.
	
	                    LILLY
	          The first day of the Delmar meet, EXT. RUIDOSO DOWNS - DAY
	
	Lilly moves away from the betting window, tucking betting
	tickets into her bag. notebook at the ready. The racetrack is visible in the b.g.
	
	                    LILLY
	          I'm done here. Do I come back to A clean anonymous Holiday Inn. Lilly, dressed for the track,
	sits at the round table under the swag light, sorting through
	her business purse. There's a folded newspaper on the table. AN ANGLE on Lilly, frowning at the tote board. She carries a
	large heavy shoulder-bag, which she opens, looking in it as
	though it were a file drawer. LILLY 
	          And to survive, my way, I need
	          money.
	          Bobo knows about the stash in the Lilly.
	
	She looks at him, attentive without hope.
	
	                    ROY This is Lilly making the best of the situation. She listens a
	bit more, GRUNTS a farewell, hangs up, moves to her car. AN ANGLE on Myra, on a different level, watching Lilly.
	
	AN ANGLE on Lilly at the betting windows. Lilly drives, holding herself together.
	
	EXT. HOTEL DURANDO - DAY SIMULTANEOUSLY:
	
	SCENE ONE: Lilly enters the track.
	
	SCENE TWO: Roy enters the bar. LILLY 
	          Fine.
	
	She starts to fill in the registration card. works, picks up the case.
	
	                    ROY (O.S.)
	          Hello, Lilly. LILLY
	          She was in her nightgown, you know,
	          the old grifter's dodge, nightgown
Roy's place. Dark. SOUNDS of lock being picked. The door
	opens, showing only blackness outside, Lilly enters and shuts
	the door, then switches on the main light. Roy walks toward Lilly's room as the two thugs pass him, on
	their way out. Roy knocks on Lilly's door, waits, knocks
	again. Roy, your mother's here.
	
	Roy, 10, comes reluctantly out to Lilly, sniffling and
	rubbing his arm. ROY
	          Sure I am. What made you turn up,
	          after all these years?
	
	                    LILLY LILLY
	          Oh! Roy! You scared me.
	
	Roy enters the room and shuts the door. from the motel. The door to Lilly's room is visible in b.g.
	Roy walks toward the street from Lilly's room.
	
	                    DRIVER HOLDS. SOUND of water running in sink. SOUND STOPS. Lilly
	reappears. She does not again look toward Roy. She picks up works, picks up the case.
	
	                    ROY (O.S.)
	          Hello, Lilly. AN ANGLE across the unmoving unconscious Roy toward the
	doorway. The apartment door beyond the living room opens,
	throwing light on Roy, who doesn't react. Lilly enters, in LILLY
	          You, too, Roy.
	
	Roy finds this parting unsatisfactory, but has nothing to Roy turns his head, gives Lilly an ironic smile. Lilly waits,
	holding herself in.
	
	                    ROY back down. Roy watches her, unmoving, expressionless. Lilly
	frowns, not quite looking at him.
	
	                    LILLY other bed sleeps through the scene.) Neither woman is yet
	aware that Roy's awake. Lilly looks Myra up and down, with
	obvious contempt. LILLY 
	          A future. The only future I've got.
	
	                    ROY Lilly.
	
	She looks at him, attentive without hope.
	
	                    ROY TWO SHOT, as Lilly gets to her feet and takes a step toward
	him. Roy's pressed back into his chair, trying to maintain a
	cold facade. TWO SHOT, as Lilly whirls around, terrified and then
	relieved. Roy stands in the open apartment doorway, blackness
	behind him. ROY 
	          No. I mean, I don't believe it.
	          Lilly is not a suicide. I know my ROY
	              (bewildered)
	          What?
	
	Lilly leans back again, but this time her manner is LILLY
	              (calm maternal advice)
	          Get off the grift, Roy.
Roy's eyes open, he looks toward the voices.
	
	                    MYRA (O.S.)
	          I'm Roy's friend. Roy doesn't like this; he's feeling pressured. Myra sees it,
	but believes she's got him anyway, so she can let up. She
	pats his hand. Roy will not talk about this, with anyone. His response is
	cold, closing the subject.
	
	                    ROY
	          Her job. Roy's, her door slamming behind her.
	
	INT. HOTEL ROOM - NIGHT Roy lies supine on the bed, semi-conscious, half-covered by a
	sheet. Myra, casual, not noticing his condition, leans her She hesitates, then stalks out, shutting the door.
	
	Hearing the door close, Roy spins around in the wheelchair to Roy's place. Dark. SOUNDS of lock being picked. The door
	opens, showing only blackness outside, Lilly enters and shuts
	the door, then switches on the main light. Roy? He's always crying.
	
	                    CLERK
	              (sympathetic to Roy)
	          The kids beat him up, because his and one on the floor. She looks around at everything, awkward
	and embarrassed. But Roy hasn't said anything. And he's
	between her and the door. The women, startled, both move toward Roy, one on each side
	of the bed. Roy walks toward Lilly's room as the two thugs pass him, on
	their way out. Roy knocks on Lilly's door, waits, knocks
	again. roper you'll ever see.
	
	Roy laughs, genuinely pleased by her and also tacitly letting
	his questions drop. Roy, looking stunned, is among the deplaning passengers
	spreading out across the terminal. He's met by PIERSON, a
	plainclothes detective, and a uniformed COP. her raised arms. He settles down, becomes heavily calm.
	
	                    ROY 
	          That's why we wouldn't work ROY 
	          Why?
	
	                    LILLY (CONT'D)
	              (faint smile) glowers at Roy instead.
	
	                    MYRA
	          Get well soon.
	
	                    ROY ROY 
	          I've heard the name.
	
	                    MYRA 
	          It was beautiful. And getting LILLY
	          Oh! Roy! You scared me.
	
	Roy enters the room and shuts the door. She stands, putting the attache case on the sofa next to
	where she was sitting. Roy, with a faint smile, watches her
	leave the room. Roy turns his head, gives Lilly an ironic smile. Lilly waits,
	holding herself in.
	
	                    ROY
LILLY 
	          And to survive, my way, I need
	          money.
	          Bobo knows about the stash in the This is Lilly making the best of the situation. She listens a
	bit more, GRUNTS a farewell, hangs up, moves to her car. ROY
	              (bewildered)
	          What?
	
	Lilly leans back again, but this time her manner is The drunk's friend arrives and helps Lilly get the drunk to
	his feet. The drunk is breathing now, but shaken. He looks at Lilly wrestles the rear seat out of position, reaches down
	into the space under and behind it, and brings out a soft Lilly sits back, showing that relief again.
	
	                    LILLY 
	          It is, isn't it? And maybe it's a to get to him, how to get through him or around him. She
	sighs, licks her lips.
	
	                    LILLY LILLY
	          She was in her nightgown, you know,
	          the old grifter's dodge, nightgown him, then shrugs and lets him go. The drunk makes his way to
	Lilly's table, leans on it.
	
	                    DRUNK (to the thugs)
	          Take a walk.
	
	The thugs leave the room as Lilly crosses to stand between US AN ANGLE on Lilly, frustrated, feeling the need to move, the
	pressure of pursuit. Her head turns back and forth, her body
	starts false gestures. Finally, abruptly, she gets to her she HISSES. Then, slowly, she regains control.
	
	WIDE SHOT as Lilly gets to her feet. She seems dazed now, understand. The doctor hangs up, turns to Lilly.
	
	                    DOCTOR
	              (lugubrious) throat with both hands, retching as he tries to inhale. Lilly
	looks up at the astonished waitress. He hesitates. It hadn't occurred to him Lilly might try to
	poison him or knock him out. He grins at her and takes a
	glass. ROY
	          You always say that!
	
	Lilly won't take him seriously, but she relents enough to INT. ROOM 131 - NIGHT
	
	A clean anonymous motel room, with two beds. Lilly enters, Lilly chances taking a step out onto the balcony. It's vital
	that she encourage this forgive-and-forget dialogue.
	
	                    LILLY Lilly's white Chrysler is parked next to an open-air phone.
	Traffic whizzes by. Lilly talks on the phone, with pen and pulls a chair over so it's directly between Lilly and the
	door. He sits, looking at her with polite interest.
	
	                    ROY
Myra, dressed expensively and fashionably, sits with
	GLOUCESTER HEBBING, a stocky businessman, sixtyish. Their
	manner suggests intimacy. In gesturing, Myra "accidentally" loses the towel, then wraps
	it around herself again as the manager stares nervously away.
	She smiles, knowing she's got him. TWO SHOT, Myra and a BUSINESSMAN, sitting across the way,
	grinning at her. Myra registers him. Roy doesn't like this; he's feeling pressured. Myra sees it,
	but believes she's got him anyway, so she can let up. She
	pats his hand. Myra sits in the client's chair, while at the desk sits the
	JEWELER, a pleasant but overweight man of 40, who studies a MYRA (V.O.) 
	          All over the southwest, you've got
	          these businessmen, they were making
	          money when everybody was making if she can borrow them for a minute. Men are always happy to
	do Myra favors; the man gives her the binoculars. She looks
	at the field briefly, then turns and looks through the MYRA (V.O.)
	          And now they're hurting. Everything
	          they had was because of oil. INT. JEWELER'S OFFICE - DAY
	
	Myra sits as before. The jeweler enters with a check, which Myra slaps her hand to her breast; blood spurts between her
	fingers. In terror, she turns toward Hebbing, who stares at Sure.
	
	INT. HOTEL CORRIDOR - NIGHT
	
	A little drunk and happy, Roy and Myra come down the corridor Roy lies supine on the bed, semi-conscious, half-covered by a
	sheet. Myra, casual, not noticing his condition, leans her ROY 
	          Running your broker scam, you mean.
	
	                    MYRA
	              (enthusiastic) She crosses to the door, pulls it open. The APARTMENT MANAGER
	enters; a sullen, nervous, heavyset man.
	
	                    MYRA you -- well, five hundred dollars.
	
	Myra expected -- and needed -- a lot more. She's worried,
	tense, but stuck. She nods. MYRA
	              (suddenly evasive)
	          He retired.
	
	                    ROY apparently-prosperous skyscrapers. Cole, a plausible rich
	businessman, happily greets Myra.
	
	                    COLE Myra's POV: Roy and the soldiers rolling the die for money.
	
	ECU, Myra, absorbed, watching. locked. He crosses to the main door, looks out, cautiously
	creeps from the room.
	
	Myra sits up. Cole ignores him, staring in frantic hatred at Myra.
	
	                    COLE 
	          You ruined me! You destroyed me!
ROY 
	          And Myra's stuff?
	
	                    LILLY
	              (scornful) ROY
	          That's just Lilly's way.
	
	                    MYRA other bed sleeps through the scene.) Neither woman is yet
	aware that Roy's awake. Lilly looks Myra up and down, with
	obvious contempt. Lilly has nothing but contempt for Myra. To be humiliated in
	front of Myra -- and by her son -- is the worst thing that the similarity between herself and Myra, this could be Myra.)
	
	                    LILLY
	              (hesitant)
	          Roy? MYRA 
	          And you don't even know it.
	
	Angry again, Roy steps forward. She hastily steps outside, Roy lies supine on the bed, semi-conscious, half-covered by a
	sheet. Myra, casual, not noticing his condition, leans her MYRA
	          Just wait.
	
	Roy enters the other cab, which drives away, as Lilly comes THREE SHOT, Myra and Lilly both leaning over to look down at
	Roy's sleepy face.
	
	                    MYRA Roy doesn't like this; he's feeling pressured. Myra sees it,
	but believes she's got him anyway, so she can let up. She
	pats his hand. ROY 
	          No. I mean, I don't believe it.
	          Lilly is not a suicide. I know my ROY 
	          I've heard the name.
	
	                    MYRA 
	          It was beautiful. And getting Myra moves one pace to the side, studying Lilly's face.
	
	                    MYRA
	          Oh, of course, now that I see you MYRA
	              (suddenly evasive)
	          He retired.
	
	                    ROY ROY
	              (bewildered)
	          What?
	
	Lilly leans back again, but this time her manner is LILLY
	          Oh! Roy! You scared me.
	
	Roy enters the room and shuts the door. Myra stalks out. Acting as though Myra hadn't existed, Lilly
	puts her bag on the bed, takes mail from it. Roy's eyes open, he looks toward the voices.
	
	                    MYRA (O.S.)
	          I'm Roy's friend. ROY 
	          Why?
	
	                    LILLY (CONT'D)
	              (faint smile) Lilly makes a face, but no comment, at Myra's name, as she
	closes the door.
	
	                    LILLY
LILLY 
	          And to survive, my way, I need
	          money.
	          Bobo knows about the stash in the and the view, followed by Bobo, neither looking out. Lilly
	turns to Bobo, who abruptly punches her hard in the stomach.
	She falls to the floor. BOBO (CONT'D)
	          While you put those in the towel.
	
	Lilly's very scared. She drops to her knees, spreads the Bobo gets into the passenger seat, while Lilly nods
	convulsive agreement and hurries around to get behind the
	wheel. The car jolts forward, then smooths, and heads for the Lilly appears in the doorway, wearing a too-large man's
	raincoat. Bobo doesn't seem to notice her at first, then nods
	to her. Lilly takes the second picture from the wall, puts it face
	down on the coffee table, opens the back, transfers the money
	to the case. She closes the case, attaches the one clasp that The door opens and Lilly enters, followed by Bobo. The thugs
	immediately rise and switch off the TV.
	
	                    BOBO The car full of money. He's --
	          Lilly?
	
	INT. MOTEL ROOM - NIGHT he doesn't steal a little, he's
	          steeling big.
	
	                    BOBO 
	          You know it, Lilly. ECU, Lilly's bag, compartmented, with stacks of money, small
	envelopes and notes on notepaper in each compartment. Lilly
	carefully files the betting slips. the back, lifts off the back, and reveals stacks of money
	hidden inside. He takes two wads of money out, counting them,
	putting them on the coffee table, then fits the back in ANOTHER ANGLE as Bobo steps across her and goes over to close
	the drapes over the view. Lilly sits up, watching him,
	waiting obediently. Bobo looks at her. Lilly wrestles the rear seat out of position, reaches down
	into the space under and behind it, and brings out a soft the supermarket bag. He takes out and lights a cigar. Lilly
	comes back with a large white bath towel.
	
	                    BOBO (CONT'D) TWO SHOT, closer, as Lilly turns, bending toward the oranges,
	and Bobo picks up his cigar, then lifts a foot and kicks her Lilly's eyes briefly close, her shoulders sag. Then she goes
	back to the silent alert person she'd been. Bobo nods.
	
	                    BOBO AN ANGLE on Bobo, catching a bad smell, looking back down
	behind himself at Lilly's body. This is the result he wanted, Lilly leaves the balcony. Bobo eats more orange, looking out
	at the ocean. His expression is stern but calm.
	
	INT. CHRYSLER - DAY LILLY
	          I never fucked up before, Bobo.
	
	                    BOBO
	          You expect me to buy this? LILLY 
	          I will. So long, Bobo.
Roy's room. He has one of the clown pictures face down on the
	coffee table. He takes money from his jacket pockets, crams INT. BEDROOM - DAY
	
	Again, anonymous hotel furniture. Roy and Myra naked in bed, Roy, looking stunned, is among the deplaning passengers
	spreading out across the terminal. He's met by PIERSON, a
	plainclothes detective, and a uniformed COP. Roy's, her door slamming behind her.
	
	INT. HOTEL ROOM - NIGHT ROY 
	          No, its -- Why did she--?
	
	He forces himself to look at the body again, his own face SHILL beside him, Roy facing the dealer, a ROPER next to Roy.
	On a briefcase on the dealer's lap are three cards, face up: Roy lies supine on the bed, semi-conscious, half-covered by a
	sheet. Myra, casual, not noticing his condition, leans her feet, looks at Roy, looks away, picks up the attache case.
	
	CU, Roy, alert. He won't let her reach the door. Roy walks toward Lilly's room as the two thugs pass him, on
	their way out. Roy knocks on Lilly's door, waits, knocks
	again. INT. HOTEL ROOM - DAY
	
	Expensive room. Cole, naked, expression haunted and crazed, INT. HOTEL ROOM - NIGHT
	
	Once he's alone, Roy stops trying to look like a good sport. from the motel. The door to Lilly's room is visible in b.g.
	Roy walks toward the street from Lilly's room.
	
	                    DRIVER look into the room. Phone RINGS. At last, he goes back into
	the room.
	
	INT. HOTEL ROOM - NIGHT You stay down real good.
	
	                    ROY
	          One of my talents.
	
	                    BLONDE Roy?
	
	INT. OFFICE - NIGHT
	
	Irv the accountant's office in Baltimore. He looks secretive gray 'A' can be seen on the back of one of the non-crimped
	cards. Roy's hand reaches out and flips it over. It's the ace
	of spades. INT. BEDROOM - DAY
	
	AN ANGLE across Roy toward the doorway. Roy, eyes closed, INT. BATHROOM - DAY
	
	A small crowded old-fashioned bathroom. Roy, shirt open and ROY 
	          Not that it matters.
	              (looks out)
	          This is the morgue? Roy's place. Dark. SOUNDS of lock being picked. The door
	opens, showing only blackness outside, Lilly enters and shuts
	the door, then switches on the main light.
picks up the attache case. Roy, lifting the glass to drink,
	turns forward again as Lilly spins forward, swinging the
	attache case at his head with all her might. The case crashes He hesitates. It hadn't occurred to him Lilly might try to
	poison him or knock him out. He grins at her and takes a
	glass. upward, straight-arm, the gun moving up OUT OF FRAME. SOUND
	of shot. Blood sprays Lilly's face. Myra's body drops down Lilly has nothing but contempt for Myra. To be humiliated in
	front of Myra -- and by her son -- is the worst thing that towel, swings it forward, lets it drop open. Oranges roll on
	the floor. Lilly stares, wide-eyed, recognizing reprieve. Myra stalks out. Acting as though Myra hadn't existed, Lilly
	puts her bag on the bed, takes mail from it. LILLY (CONT'D)
	          I shouldn't have hit him that hard.
	          I guess I don't know my own
	          strength. Glass will cut glass, Mrs. Langtry.
	          Do you know where it was purchased?
	
	INT. HOTEL ROOM - DAY down. Her hands abruptly clamp on Lilly's throat. QUICK CUT.
	
	EXT. PHOENIX AIRPORT - DAY and the view, followed by Bobo, neither looking out. Lilly
	turns to Bobo, who abruptly punches her hard in the stomach.
	She falls to the floor. Myra slaps her hand to her breast; blood spurts between her
	fingers. In terror, she turns toward Hebbing, who stares at already dying. Blood spurts less forcefully. His hands fall
	to his sides, eyes stare upward, mouth still moves slightly.
	Lilly, shoving money away with her hands now, stares at him, TWO SHOT, as Lilly whirls around, terrified and then
	relieved. Roy stands in the open apartment doorway, blackness
	behind him. MYRA'S POV: Foreshortened through the binoculars, Lilly opens
	the Chrysler's trunk, stashes money. Lilly appears in the doorway, wearing a too-large man's
	raincoat. Bobo doesn't seem to notice her at first, then nods
	to her. FRAME, abruptly clamp on Lilly's throat. Lilly's eyes pop
	open wide, staring, her mouth stretches open. Myra's arms are
	locked straight, pressing her weight down onto her hands AN ANGLE beside Lilly, inside the car. From the seat beside
	her she picks up Myra's large dangly earrings and fixes them Roy walks toward Lilly's room as the two thugs pass him, on
	their way out. Roy knocks on Lilly's door, waits, knocks
	again. Go away, Lilly. Go away.
	
	Roy's eyes close. He looks dead. SLOW FADE. sort of accident. He's had an
	          internal hemorrhage, he's bleeding
	          to death inside.
	
	                    LILLY
Lilly's Chrysler jounces out to the street, moving too fast,
	making the turn, racing away. CAMERA PANS to Myra's Cadillac, and the view, followed by Bobo, neither looking out. Lilly
	turns to Bobo, who abruptly punches her hard in the stomach.
	She falls to the floor. Lilly has nothing but contempt for Myra. To be humiliated in
	front of Myra -- and by her son -- is the worst thing that down. Her hands abruptly clamp on Lilly's throat. QUICK CUT.
	
	EXT. PHOENIX AIRPORT - DAY EXT. RUIDOSO DOWNS - DAY
	
	Lilly moves away from the betting window, tucking betting
	tickets into her bag. This is Lilly making the best of the situation. She listens a
	bit more, GRUNTS a farewell, hangs up, moves to her car. several lanes of heavy Los Angeles-bound traffic. LONG BEAT.
	Hundreds of cars rush by. CAMERA PANS with Lilly's white AN ANGLE on Lilly looking out at the tote board.
	
	EXT. TOTE BOARD - DAY SIMULTANEOUSLY:
	
	SCENE ONE: Lilly enters the track.
	
	SCENE TWO: Roy enters the bar. AN ANGLE on the Chrysler as Lilly opens the trunk, puts her
	bag inside.
	
	CLOSE UP, Lilly and the trunk. She takes betting tickets from Lilly drives, holding herself together.
	
	EXT. HOTEL DURANDO - DAY from the table, leaving their betting tickets behind. Lilly
	passes by, smoothly and casually scoops up the tickets, moves
	on along a row of tables, and there finding more tickets. Lilly's white Chrysler is parked next to an open-air phone.
	Traffic whizzes by. Lilly talks on the phone, with pen and ECU, wads of bills on the floor, getting bloody.
	
	CU, Lilly, in agony, but looking down, kicking. LILLY (CONT'D)
	          I shouldn't have hit him that hard.
	          I guess I don't know my own
	          strength. He hesitates. It hadn't occurred to him Lilly might try to
	poison him or knock him out. He grins at her and takes a
	glass. AN ANGLE on Lilly, not satisfied. She turns and goes back.
	
	AN ANGLE at the betting window as Lilly arrives and makes
	more bets. waitress to solve the problem, but the waitress stands there
	with the coffee pot, looking helpless. The drunk bends to
	slide onto the seat. Lilly, exasperated, rabbit punches him Lilly.
	
	She looks at him, attentive without hope.
	
	                    ROY notebook at the ready. The racetrack is visible in the b.g.
	
	                    LILLY
	          I'm done here. Do I come back to
LILLY
	          Oh! Roy! You scared me.
	
	Roy enters the room and shuts the door. Lilly.
	
	                    ROY
	              (doesn't get it) )
	          What? works, picks up the case.
	
	                    ROY (O.S.)
	          Hello, Lilly. Roy walks toward Lilly's room as the two thugs pass him, on
	their way out. Roy knocks on Lilly's door, waits, knocks
	again. from the motel. The door to Lilly's room is visible in b.g.
	Roy walks toward the street from Lilly's room.
	
	                    DRIVER LILLY
	          You, too, Roy.
	
	Roy finds this parting unsatisfactory, but has nothing to LILLY
	              (calm maternal advice)
	          Get off the grift, Roy. LILLY 
	          A future. The only future I've got.
	
	                    ROY ROY
	              (bewildered)
	          What?
	
	Lilly leans back again, but this time her manner is ROY
	              (tossing It away)
	          Oh, yeah?
	              (very casual, to Lilly)
	          Thanks. ROY 
	          No. I mean, I don't believe it.
	          Lilly is not a suicide. I know my Roy's place. Dark. SOUNDS of lock being picked. The door
	opens, showing only blackness outside, Lilly enters and shuts
	the door, then switches on the main light. ROY 
	          Lilly, I've got a couple things to
	          think about. Well, kind of job ROY 
	          You must have some money.
	
	                    LILLY
	          Just a few bucks. ROY 
	          Why?
	
	                    LILLY (CONT'D)
	              (faint smile) Roy turns his head, gives Lilly an ironic smile. Lilly waits,
	holding herself in.
	
	                    ROY Lilly.
	
	She looks at him, attentive without hope.
	
	                    ROY pulls a chair over so it's directly between Lilly and the
	door. He sits, looking at her with polite interest.
	
	                    ROY are.
	
	TWO SHOT. Lilly leans forward toward Roy, inviting him.
	
	                    LILLY ROY
	          That's just Lilly's way.
	
	                    MYRA
LILLY 
	          A bad mother. By any standards.
	          I've thought about it, you know,
	          from your side, since then. I know Lilly sits back, showing that relief again.
	
	                    LILLY 
	          It is, isn't it? And maybe it's a Lilly has nothing but contempt for Myra. To be humiliated in
	front of Myra -- and by her son -- is the worst thing that It's time for Lilly to show tough, and she knows it.
	
	                    LILLY ROY 
	          No. I mean, I don't believe it.
	          Lilly is not a suicide. I know my she HISSES. Then, slowly, she regains control.
	
	WIDE SHOT as Lilly gets to her feet. She seems dazed now, LILLY 
	          And to survive, my way, I need
	          money.
	          Bobo knows about the stash in the Lilly.
	
	She looks at him, attentive without hope.
	
	                    ROY understand. The doctor hangs up, turns to Lilly.
	
	                    DOCTOR
	              (lugubrious) LILLY 
	          A future. The only future I've got.
	
	                    ROY CU, Lilly, almost fainting with relief.
	
	WIDE SHOT. Lilly looks at the other picture, looks again at could happen to her. She makes as dignified an exit as she
	can.
	
	                    LILLY her in seven years!
	
	Lilly enters, smiling in self-confidence. A large ugly burn
	is on the back of her right hand. This is Lilly making the best of the situation. She listens a
	bit more, GRUNTS a farewell, hangs up, moves to her car. down. Her hands abruptly clamp on Lilly's throat. QUICK CUT.
	
	EXT. PHOENIX AIRPORT - DAY The drunk's friend arrives and helps Lilly get the drunk to
	his feet. The drunk is breathing now, but shaken. He looks at ROY
	              (bewildered)
	          What?
	
	Lilly leans back again, but this time her manner is LILLY
	              (startled)
	          My God!
	
	She turns, hurries back to the living room, looks around for money for my own good! How very
	          motherly of you, Lilly.
	
	Once again, Lilly drops back against the sofa back. Another She holds up her burned hand, showing it to him.
	
	                    LILLY
	          You asked me about this. You really
ROY 
	          No, its -- Why did she--?
	
	He forces himself to look at the body again, his own face Roy lies supine on the bed, semi-conscious, half-covered by a
	sheet. Myra, casual, not noticing his condition, leans her MYRA
	              (reluctant)
	          Well, no, Roy. Your mother found
	          you. ROY
	              (hoarse)
	          What's that all about? Of course
	          you're my mother. Of course you all right. It really is your
	          mother, Mister Dillon.
	
	                    ROY ROY
	          You're dead, Lilly, it worked.
	
	                    LILLY ROY 
	          Not that it matters.
	              (looks out)
	          This is the morgue? Roy, looking stunned, is among the deplaning passengers
	spreading out across the terminal. He's met by PIERSON, a
	plainclothes detective, and a uniformed COP. his mother makes her uncomfortable.
	
	                    MYRA
	          Roy... Your mom saved your life. Do you have any particular reason
	          to say that?
	
	                    ROY 
	          My mother... Well, I guess it MYRA (O.S.)
	          No, really, you're Roy's mother?
	          That's impossible! Go away, Lilly. Go away.
	
	Roy's eyes close. He looks dead. SLOW FADE. ROY
	              (truly astonished)
	          Mama!
	
	                    MYRA ROY 
	          No. I mean, I don't believe it.
	          Lilly is not a suicide. I know my Roy will not talk about this, with anyone. His response is
	cold, closing the subject.
	
	                    ROY
	          Her job. TWO SHOT, as Lilly whirls around, terrified and then
	relieved. Roy stands in the open apartment doorway, blackness
	behind him. ROY 
	          Oh, Jesus.
	
	                    PIERSON 
	          No question, huh? Roy, your mother's here.
	
	Roy, 10, comes reluctantly out to Lilly, sniffling and
	rubbing his arm. Perk, remember?
	
	                    ROY 
	          Okay, fine. Perk, the truth is, I very cold look. He knows, and Roy knows he knows. Roy tries
	an innocent smile, which doesn't work. Roy moves.
Roy doesn't like this; he's feeling pressured. Myra sees it,
	but believes she's got him anyway, so she can let up. She
	pats his hand. MYRA 
	          And you don't even know it.
	
	Angry again, Roy steps forward. She hastily steps outside, Myra looks back at Roy. Her expression makes it clear she
	isn't going to tell him any more than she already has. Second time I gave it to you.
	
	Roy gives her a cold smile, then turns to Myra for the ironic
	explanation. ROY 
	          What I say is, no. We don't do
	          partners.
	
	                    MYRA (CONT'D) glowers at Roy instead.
	
	                    MYRA
	          Get well soon.
	
	                    ROY ROY 
	          And Myra's stuff?
	
	                    LILLY
	              (scornful) Cole ignores him, staring in frantic hatred at Myra.
	
	                    COLE 
	          You ruined me! You destroyed me! Roy lies supine on the bed, semi-conscious, half-covered by a
	sheet. Myra, casual, not noticing his condition, leans her MYRA 
	          No! Because I --
	
	                    ROY
	              (pointing at her) ROY
	          She didn't see you, in other words.
	
	                    MYRA 
	          I'm not trying to make trouble, INT. BEDROOM - DAY
	
	Again, anonymous hotel furniture. Roy and Myra naked in bed, other bed sleeps through the scene.) Neither woman is yet
	aware that Roy's awake. Lilly looks Myra up and down, with
	obvious contempt. Roy's eyes open, he looks toward the voices.
	
	                    MYRA (O.S.)
	          I'm Roy's friend. Myra comes out of the cab. She's feeling testy. Roy's in a
	good mood and ignores her bad temper.
	
	                    MYRA MYRA (CONT'D)
	          Gangway!
	
	Roy steps back, holding his door open. ROY 
	          I just bet you are, too. And now
	          you're trying to rope me.
	
	                    MYRA AN ANGLE directly at the door as Roy opens it, showing Myra's
	door open across the way, Myra standing in her doorway naked.
	She waves at him to move over. his mother makes her uncomfortable.
	
	                    MYRA
	          Roy... Your mom saved your life. Sure.
	
	INT. HOTEL CORRIDOR - NIGHT
	
	A little drunk and happy, Roy and Myra come down the corridor
LILLY
	              (calm maternal advice)
	          Get off the grift, Roy. ROY 
	          No. I mean, I don't believe it.
	          Lilly is not a suicide. I know my LILLY
	          You, too, Roy.
	
	Roy finds this parting unsatisfactory, but has nothing to ROY 
	          Why?
	
	                    LILLY (CONT'D)
	              (faint smile) ROY
	              (bewildered)
	          What?
	
	Lilly leans back again, but this time her manner is ROY
	          No.
	
	Lilly sits back again, brooding at Roy, trying to think how ROY
	          You always say that!
	
	Lilly won't take him seriously, but she relents enough to TWO SHOT, as Lilly gets to her feet and takes a step toward
	him. Roy's pressed back into his chair, trying to maintain a
	cold facade. Go away, Lilly. Go away.
	
	Roy's eyes close. He looks dead. SLOW FADE. Roy turns his head, gives Lilly an ironic smile. Lilly waits,
	holding herself in.
	
	                    ROY ROY
	              (tossing It away)
	          Oh, yeah?
	              (very casual, to Lilly)
	          Thanks. ROY
	          That's just Lilly's way.
	
	                    MYRA Lilly.
	
	                    ROY
	              (doesn't get it) )
	          What? throat with both hands, retching as he tries to inhale. Lilly
	looks up at the astonished waitress. ROY 
	          And Myra's stuff?
	
	                    LILLY
	              (scornful) LILLY 
	          A future. The only future I've got.
	
	                    ROY back down. Roy watches her, unmoving, expressionless. Lilly
	frowns, not quite looking at him.
	
	                    LILLY Roy walks toward Lilly's room as the two thugs pass him, on
	their way out. Roy knocks on Lilly's door, waits, knocks
	again. (there's no food)
	          Hah.
	
	Lilly gives him a jaundiced look, walks Roy to the stairs and pulls a chair over so it's directly between Lilly and the
	door. He sits, looking at her with polite interest.
	
	                    ROY
understand. The doctor hangs up, turns to Lilly.
	
	                    DOCTOR
	              (lugubrious) The drunk's friend arrives and helps Lilly get the drunk to
	his feet. The drunk is breathing now, but shaken. He looks at Go away, Lilly. Go away.
	
	Roy's eyes close. He looks dead. SLOW FADE. ROY
	          You're dead, Lilly, it worked.
	
	                    LILLY ROY 
	          No. I mean, I don't believe it.
	          Lilly is not a suicide. I know my the similarity between herself and Myra, this could be Myra.)
	
	                    LILLY
	              (hesitant)
	          Roy? AN ANGLE on Bobo, catching a bad smell, looking back down
	behind himself at Lilly's body. This is the result he wanted, down. Her hands abruptly clamp on Lilly's throat. QUICK CUT.
	
	EXT. PHOENIX AIRPORT - DAY Lilly.
	
	She looks at him, attentive without hope.
	
	                    ROY CU, Lilly, almost fainting with relief.
	
	WIDE SHOT. Lilly looks at the other picture, looks again at upward, straight-arm, the gun moving up OUT OF FRAME. SOUND
	of shot. Blood sprays Lilly's face. Myra's body drops down LILLY
	              (startled)
	          My God!
	
	She turns, hurries back to the living room, looks around for throat with both hands, retching as he tries to inhale. Lilly
	looks up at the astonished waitress. ROY
	              (bewildered)
	          What?
	
	Lilly leans back again, but this time her manner is LILLY
	          She was in her nightgown, you know,
	          the old grifter's dodge, nightgown on the sleeping form of Lilly, she puts the empty ice bucket
	on the empty bed, then moves closer to Lilly. CAMERA PANS in, and the view, followed by Bobo, neither looking out. Lilly
	turns to Bobo, who abruptly punches her hard in the stomach.
	She falls to the floor. Lilly sits back, showing that relief again.
	
	                    LILLY 
	          It is, isn't it? And maybe it's a the door, opens it. Light bathes Lilly. The doctor steps back
	across the threshold, waiting for the ambulance. He looks
	back at Lilly, who stares at him. works, picks up the case.
	
	                    ROY (O.S.)
	          Hello, Lilly.
are.
	
	TWO SHOT. Lilly leans forward toward Roy, inviting him.
	
	                    LILLY ROY
	              (bewildered)
	          What?
	
	Lilly leans back again, but this time her manner is Roy turns his head, gives Lilly an ironic smile. Lilly waits,
	holding herself in.
	
	                    ROY LILLY
	          Oh! Roy! You scared me.
	
	Roy enters the room and shuts the door. TWO SHOT, as Lilly gets to her feet and takes a step toward
	him. Roy's pressed back into his chair, trying to maintain a
	cold facade. pulls a chair over so it's directly between Lilly and the
	door. He sits, looking at her with polite interest.
	
	                    ROY other bed sleeps through the scene.) Neither woman is yet
	aware that Roy's awake. Lilly looks Myra up and down, with
	obvious contempt. Roy walks toward Lilly's room as the two thugs pass him, on
	their way out. Roy knocks on Lilly's door, waits, knocks
	again. ROY
	          No.
	
	Lilly sits back again, brooding at Roy, trying to think how Roy's place. Dark. SOUNDS of lock being picked. The door
	opens, showing only blackness outside, Lilly enters and shuts
	the door, then switches on the main light. ROY
	              (tossing It away)
	          Oh, yeah?
	              (very casual, to Lilly)
	          Thanks. ROY
	          You always say that!
	
	Lilly won't take him seriously, but she relents enough to INT. LIVING ROOM - NIGHT
	
	Lilly enters with the tray, crosses to Roy, presents the
	glasses, speaks as he reaches for one. picks up the attache case. Roy, lifting the glass to drink,
	turns forward again as Lilly spins forward, swinging the
	attache case at his head with all her might. The case crashes ROY 
	          Why?
	
	                    LILLY (CONT'D)
	              (faint smile) back down. Roy watches her, unmoving, expressionless. Lilly
	frowns, not quite looking at him.
	
	                    LILLY LILLY
	          You, too, Roy.
	
	Roy finds this parting unsatisfactory, but has nothing to LILLY
	          Just for a minute.
	
	She backs up, sits on the sofa, puts the case on her lap. Roy Lilly.
	
	She looks at him, attentive without hope.
	
	                    ROY on the sleeping form of Lilly, she puts the empty ice bucket
	on the empty bed, then moves closer to Lilly. CAMERA PANS in,
he doesn't steal a little, he's
	          steeling big.
	
	                    BOBO 
	          You know it, Lilly. LILLY 
	          And to survive, my way, I need
	          money.
	          Bobo knows about the stash in the Lilly takes the second picture from the wall, puts it face
	down on the coffee table, opens the back, transfers the money
	to the case. She closes the case, attaches the one clasp that from the table, leaving their betting tickets behind. Lilly
	passes by, smoothly and casually scoops up the tickets, moves
	on along a row of tables, and there finding more tickets. Lilly wrestles the rear seat out of position, reaches down
	into the space under and behind it, and brings out a soft The car full of money. He's --
	          Lilly?
	
	INT. MOTEL ROOM - NIGHT Lilly switches on the light as she enters the room. She looks
	around, crosses to the closet, goes through the stuff in
	there, finds an old attache case on the shelf. She brings it understand. The doctor hangs up, turns to Lilly.
	
	                    DOCTOR
	              (lugubrious) works, picks up the case.
	
	                    ROY (O.S.)
	          Hello, Lilly. Roy's place. Dark. SOUNDS of lock being picked. The door
	opens, showing only blackness outside, Lilly enters and shuts
	the door, then switches on the main light. Lilly has nothing but contempt for Myra. To be humiliated in
	front of Myra -- and by her son -- is the worst thing that LILLY
	          I never fucked up before, Bobo.
	
	                    BOBO
	          You expect me to buy this? LILLY
	          She was in her nightgown, you know,
	          the old grifter's dodge, nightgown ROY
	          That's just Lilly's way.
	
	                    MYRA (to the thugs)
	          Take a walk.
	
	The thugs leave the room as Lilly crosses to stand between US LILLY
	          Oh, well, you know. I just clip a
	          buck here and a buck there. Not
	          enough to notice. INT. ROOM 131 - NIGHT
	
	A clean anonymous motel room, with two beds. Lilly enters, Lilly.
	
	She looks at him, attentive without hope.
	
	                    ROY Myra stalks out. Acting as though Myra hadn't existed, Lilly
	puts her bag on the bed, takes mail from it. and the view, followed by Bobo, neither looking out. Lilly
	turns to Bobo, who abruptly punches her hard in the stomach.
	She falls to the floor.
LILLY
	          Oh! Roy! You scared me.
	
	Roy enters the room and shuts the door. ROY
	              (bewildered)
	          What?
	
	Lilly leans back again, but this time her manner is Roy turns his head, gives Lilly an ironic smile. Lilly waits,
	holding herself in.
	
	                    ROY pulls a chair over so it's directly between Lilly and the
	door. He sits, looking at her with polite interest.
	
	                    ROY TWO SHOT, as Lilly gets to her feet and takes a step toward
	him. Roy's pressed back into his chair, trying to maintain a
	cold facade. Lilly.
	
	She looks at him, attentive without hope.
	
	                    ROY are.
	
	TWO SHOT. Lilly leans forward toward Roy, inviting him.
	
	                    LILLY Roy walks toward Lilly's room as the two thugs pass him, on
	their way out. Roy knocks on Lilly's door, waits, knocks
	again. the door, opens it. Light bathes Lilly. The doctor steps back
	across the threshold, waiting for the ambulance. He looks
	back at Lilly, who stares at him. back down. Roy watches her, unmoving, expressionless. Lilly
	frowns, not quite looking at him.
	
	                    LILLY ROY 
	          No. I mean, I don't believe it.
	          Lilly is not a suicide. I know my ECU, Lilly's feet kicking the bills away from the blood. 
	
	TWO SHOT, as Lilly drops to her knees beside Roy, who's ROY
	          You always say that!
	
	Lilly won't take him seriously, but she relents enough to ROY 
	          Lilly, Jesus, what are you doing?
	
	                    LILLY
	          Is there nothing I can do, Roy, works, picks up the case.
	
	                    ROY (O.S.)
	          Hello, Lilly. TWO SHOT, as Lilly whirls around, terrified and then
	relieved. Roy stands in the open apartment doorway, blackness
	behind him. LILLY
	          Just for a minute.
	
	She backs up, sits on the sofa, puts the case on her lap. Roy other bed sleeps through the scene.) Neither woman is yet
	aware that Roy's awake. Lilly looks Myra up and down, with
	obvious contempt. ROY
	              (tossing It away)
	          Oh, yeah?
	              (very casual, to Lilly)
	          Thanks. LILLY
	          You, too, Roy.
	
	Roy finds this parting unsatisfactory, but has nothing to
With what does Bobo burn Lilly's hand? What is the name of Roy's girlfriend? What type of game does Roy play with a group of sailors on the train? What was the name of the greedy oil investor Myra conned? What did Roy see on the body he identified in the motel room? Whose dead body was in the motel room? Whose neck was slashed by glass at the end? Who stole Roy's money at the end? What hue was the person wearing who drove off in Roy's car? What bookmaker does Lilly Dillon work for? Where does Lilly visit her son Roy who she didn't see in 8 years? Who is Roy's girlfriend? What does Lilly do to get out of late rent with her landlord? What greedy oil investor did Myra take advantage of? What does Myra say Roy did to Lilly? Where does Lilly hide stashes of money stolen from Bobo? Who does the FBI agent ask Roy to identify face down in a hotel room?  Who does Lilly unintentionally kill by swinging a suitcase with a glass slashing him? How is Lilly punished for missing a race with a big payout in La Jolla? What line of business do Lilly and Roy work in? When does Lilly redeem herself as a mother? How is it known that Roy lied when he identified the dead body as his mother to the FBI? What accusation does Myra make of Roy after he turns down her offer? Why does Lilly claim Roy literally does not have the stomach for the grift? Who was the corpse identified as Lilly? How does Lilly try to seduce Roy? Who has Lilly been stealing from over the years? How does Lilly show her concern for Roy when he's receiving medical assistance?
A lit cigar.  cigar
Myra Langtry. Myra Langtry
Rigged dice. Rigged dice game
Gloucester Hebbing. Gloucester Hebbing
There wasn't a cigar burn on the corpse's hand.  No burn on the hand 
Myra Langtry's body.  Myra's Langtry
Roy's neck.  Roy
His mother, Lilly Dillon.  Lilly
The color red.  Red
Bobo Justus Bobo Justus
Los Angeles in Los Angeles 
Myra Langtry Myra Langtry
She offers sex to forget the rent She uses her sex appeal 
Gloucester Hebbing Gloucesterb Hebbing 
Myra accuses Roy of having an incestuous interest in Lilly Have an incestuous interest in her
in her car trunk The trunk of her car 
Lilly Lilly's body
Roy Her son, Roy.
Bobo burns her hand with a cigar? She was burned with a cigar on her hand 
They are grifters. Conartists
She doesn't. She doesn't.
The corpse did not have a cigar burn to the hand. No cigar burn.
An incestuous interest in Lilly. Myra accuses Roy of having an incentuous flame for his mother.
She is being sarcastic in response to his internal bleeding after being punched in the stomach. because they beat him in the stomach
Myra Langtry. Myra
She tells Roy he is not her son. By saying he's not her son 
Bobo Justus. Bobo
She threatens to kill the doctor if Roy dies. She threatens the doctors