"LAST CHANCE DINER"

by
Steven J. Weller
Steven J. Weller
512 S. Hobart Blvd. #205
Los Angeles, CA 90020
(323) 799-8004
steven_weller01@hotmail.com
FADE IN:
INT. BANK - DAY
Late afternoon, and the branch is almost empty.
At the table with withdrawal and deposit slips stands AMANDA,
early 20s, attractive and very sophisticated in a charcoal
blazer and a silver camisole blouse. She has her head down,
concentrating on her paperwork with a pen in hand.
On the deposit slip, though, are just doodles - crude
drawings of stars and spirals that belong in a child's
notebook. Without looking up, her eyes flit around the room,
surreptitiously checking out the people in the bank.
We can't quite see any of their faces.
They flit to the SECURITY GUARD, making note of the old-
school revolver at his hip. He glances in her direction and
she immediately turns away, avoiding eye contact.
Her eyes dart to the lone TELLER, a slender young woman
behind the counter, engrossed in a transaction. A MALE
CUSTOMER, mid-30s in casual slacks, counts out a stack of
large bills.
Amanda's eyes flicker sideways, toward the only other
employee in the bank - a middle-aged MANAGER sitting behind a
desk in a corner. He works diligently on his computer, but
after a moment he feels her eyes on him, and looks up.
Her eyes instantly go back down, almost panicked at having
been caught looking.
Behind the Male Customer in line stands a FEMALE CUSTOMER,
late 20s in business casual, with a chequebook in her hand.
She doesn't notice anything as she patiently waits her turn.
Behind her stands the only other person in the bank - a man,
RAY, in a flower shop delivery uniform, holding a plain white
flower box with a ribbon on it. His face we can see - he's
in his mid-20s, good looking, and also patiently waiting.
He casually glances over to Amanda, who keeps her head down
but looks up, making eye contact. He smiles at her. The
name patch on his jacket reads "Eduardo."
With an almost child-like innocence, she suppresses a giggle
as she smiles back. Barely moving, she shoots a look over to
the Security Guard. Specifically, to his revolver.
Ray's eyes follow hers, and when he and Amanda make eye
contact again a moment later, he gives her the tiniest of
nods.
She looks up from her doodling and crumples the deposit slip,
taking it with her as she heads straight for the door. Just
as she reaches it, Ray rips open the flower box and pulls out
a pistol-grip shotgun, cocking it dramatically.
RAY
Nobody move, this is a robbery!
Amanda pulls open the door and walks casually out of the
bank.
EXT. BANK - DAY
The door to the bank opens and out steps Ray, calm and in no
hurry. He holds the shotgun loosely under his jacket with
one hand, and in the other he has a canvas bank bag with some
cash in it. It doesn't look like a lot.
He steps to the curb where Amanda waits, sitting behind the
wheel of an 80s-era muscle car. The motor's running; a deep,
grumbling purr as it idles. She reaches across the seat and
opens the door, looking very nervous.
Ray slides the shotgun into the back seat and climbs in next
to her, the bag on his lap. He reaches into it as Amanda
reaches for the gear shift, ready to peel out.
RAY
Not yet.
She pulls her hand away from the gear shift like it's burned
her, gently revving the engine as Ray roots around in the
bag.
AMANDA
Can't we count it later, sweetie?
RAY
It'll just take a sec, baby.
He's clearly not counting as he digs through the meager take
from the robbery.
AMANDA
Ray? Sweetie? What are you
looking for?
He still doesn't look up at her, at all.
2.
RAY
A stack of twenties.
In the distance, the sound of approaching police sirens can
be heard, as he pulls out a bundled stack of crisp twenty
dollar bills. He tosses it out of the window and onto the
sidewalk, getting it well behind the car.
Amanda turns to look, confused and upset. She turns the look
to Ray.
AMANDA
Ray? Sweetie? That's two thousand
bucks, why are you throwing it
away?
At that instant, the stack explodes into a cloud of bright
blue dye. The report makes Amanda jump and scream a little,
but Ray's still as cool and collected as ever.
RAY
(calmly)
Now.
Amanda, still confused and a bit frightened, looks around
without doing anything. The sirens are getting closer.
RAY (cont'd)
(a burst of anger)
NOW!!!
She pushes in the clutch and slams the car into gear, smoking
the tires as they take off.
I/E. CAR/CITY STREETS - DAY
Hunched over the wheel, a look of terror on her face, Amanda
navigates along the street. With her foot glued to the
floor, the car accelerates like a rocket. There's no traffic
to speak of.
Ray spots the mouth of an alley, and points it out to her.
RAY
Left, in there.
Looking like she's still learning to drive, Amanda down-
shifts to a more reasonable speed and makes the turn into the
alley. The sirens are getting louder and louder.
3.
I/E. CAR/ALLEY - DAY
A cube truck sits parked in the alley, filling almost half of
the width. Behind it sits a dumpster, with more than enough
room between the two for the car. Ray points.
RAY
In there, baby.
She pulls the car up behind the truck, parallel to the wall
and snug to the rear of the vehicle, and puts the car into
reverse.
Ray reaches over and turns the key off, then unlatches his
door. Amanda looks up, a question on her lips.
Ray grabs her by the arm as he opens his door, roughly
dragging her over to the passenger seat as he climbs out.
EXT. ALLEY - DAY
With a cautious look back to the mouth to the alley, he steps
over to the dumpster, stripping off his jacket as he goes.
The coast is still clear, so he pushes the dumpster out half-
way, blocking the view from that end of the alley.
He crouches down as the sirens approach, easily hiding behind
the dumpster. He waits for a moment and they pass by, the
sound receding into the distance.
He stands, still calm, and walks to the drivers' side door of
the car. Tossing his delivery jacket into the back seat, he
withdraws a black leather jacket to replace it. He slides
into it and the car, almost in a single move.
I/E. CAR/ALLEY - DAY
Behind the wheel, Ray listens to the sirens - fading in the
distance, then getting louder again, then changing
directions. His head follows their movements, concentrating
on exactly where they are. It sounds like they've lost him.
He turns the key, and the engine rumbles to life again like a
growling animal. Amanda curls up on her seat in a near-fetal
position, watching Ray and trying to keep perfectly quiet.
After another moment of tracking the sounds of the police
sirens, Ray very, very slowly backs the car up, almost
touching the dumpster with the rear bumper. Almost, but not
quite.
4.
The only sound is the deep, throaty purr of the engine, until
Ray suddenly pops the clutch. The car explodes out around
the truck, wildly accelerating to the other end of the alley.
Once there, they fishtail out onto the street.
I/E. CAR/CITY STREETS - DAY
Weaving in and out of traffic, Ray rockets the car at break-
neck speed along a street in the business district. He
drives like he's been doing it all his life, without tension
or fear, knowing his next moves well in advance.
Amanda still sits curled up, but she looks out the windows
with an appreciation bordering on fascination. A real-life
roller coaster, just for her.
Ray's eyes flick up to the rear-view mirror, searching for
something behind him. After another moment of high-speed
exhibition, he hears (rather than sees) what he's looking for
- the return of police sirens behind them.
Amanda looks over to him, worry on her face as she hears
them, too. Ray flashes her a smile, and she returns it with
child-like enthusiasm.
Ray steps even harder on the gas, and the car leaps toward
the next intersection.
Grabbing the emergency brake and cranking the wheel, Ray
drifts around the corner sideways, the car still going way
too fast for the amount of traffic around them. The tires
smoke as they grind from lateral to forward motion.
The moment the car has cleared the intersection and is hidden
by the buildings, Ray downshifts, the engine revving as the
car slows down to a more normal speed.
With Amanda looking over the back of her seat, Ray drives
easily into an underground parking garage.
INT. UNDERGROUND PARKING GARAGE - DAY
Ray slides the car smoothly into an open space, shutting off
the engine. He sinks down in his seat, hiding his head below
the back. Amanda makes sure she's not visible as well, and
they exchange conspiratorial smiles.
Outside the garage, on the street, sirens can again be heard
approaching. They race past the entrance without slowing
down, and fade quickly into the distance.
5.
Ray sits up straight in his seat, listening for another
moment. When he's sure the coast is once again clear, he
starts the car.
He just-as-smoothly backs out and drives back up to the
entrance, stopping to check traffic and even using his turn
signal. They head off in the opposite direction from the
police cars.
EXT. FREEWAY ENTRANCE - DAY
The car drives easily onto the freeway, headed out of town
and toward the desert. The late afternoon sun begins its
inexorable descent toward the horizon.
I/E. CAR/FREEWAY - DAY
Amanda sits in the passenger seat, with the bank bag on her
lap. She carefully sorts the money, so all of the bills are
face up and in the same orientation as she counts it.
Ray, behind the wheel, glances over toward her every now and
again, a little bit annoyed. With her, with the money, with
the world in general. The adrenaline rush has worn off,
leaving him a little cranky and her a little out of sorts.
The sun continues to set as Ray takes an exit onto another,
smaller highway. The landscape is gradually changing to
desert.
AMANDA
This is... eighteen thousand, four
hundred and twenty-one dollars,
Ray.
RAY
Great.
AMANDA
It would have been twenty thousand,
except you threw out that stack of
twenties--
RAY
It wasn't a stack of twenties,
Amanda, it was a dye pack! You sat
there and watched it blow the hell
up!
She cringes back.
6.
AMANDA
But there was money in it, is all
I'm saying. Maybe next time we can
take out the--
RAY
(explaining, as if to a
small child)
No, sweetie, it's not like that.
It's just hollowed-out paper with a
twenty on the top to make it look
like a stack of money. If you try
to take the money off, it blows up
right in your face.
AMANDA
Oh.
RAY
And all over all of the rest of the
money. So you can't spend it. Any
of it.
AMANDA
Okay, okay. So, we have eighteen
thousand, four hundred and twenty-
one dollars.
Amanda looks, a little wistfully, out of her window as the
sun slips below the horizon.
RAY
Which is pretty good. Average for
a bank robbery is only about seven
thousand dollars. We did more than
twice that.
AMANDA
Oh, yeah? Says who?
RAY
The F.B.I., that's who. It's on
their website.
AMANDA
You went to the F.B.I. website?
RAY
At the library, sure. So they
can't trace anything.
7.
AMANDA
(with a smile)
You're so smart, baby.
They exit onto an even smaller road, heading off into the
desert and into the growing darkness.
EXT. DESERT ROAD - NIGHT
The car is pulled off onto the shoulder, partially obscured
by some scrub undergrowth. Not that it matters - there isn't
another vehicle to be seen or heard, anywhere. The middle of
nowhere.
Amanda, naked, lies sprawled across the hood of the car, with
Ray on top of her. He grinds away, lost in the moment. She
seems less involved, and less enthused.
About the time she starts to get into it, Ray finishes,
loudly, laughing as he does so. He climbs off of her, now in
much better spirits.
Amanda gets up, feigning satisfaction.
AMANDA
Wow, Ray, that was amazing!
Ray grabs his pants but doesn't put them on as he walks to
the rear of the car.
RAY
Just what the doctor ordered.
He pulls the keys out of the pocket and unlocks the trunk, as
Amanda walks around to catch up to him. She picks her
hastily-discarded clothes up off the ground as she goes.
Ray leans into the trunk, looking for something. It's nearly
full, with a brace of five-gallon gas cans, an emergency kit,
a spare tire, road flares, a couple of small suitcases, a
tool box, etc.
He comes up with what he's looking for - a license plate.
Grabbing that and the tool box, he squats down behind the
car, popping open the box and pulling out a screwdriver.
Amanda giggles a little at the sight of him.
AMANDA
You need to put your pants back on,
Ray.
8.
He looks up at her with a smile as he takes off the license
plate.
RAY
Oh, yeah? Well, you need to leave
yours off, baby.
She giggles at the attention.
AMANDA
You like the way I look?
Ray continues swapping the license plates.
RAY
You know I do.
AMANDA
You want me to dance for you, baby?
RAY
I ab-so-lutely do.
She walks back to the passenger-side door and leans in,
dropping her clothes on the seat as she reaches for the
radio. She turns it on, but all there is, is static. She
twists the dial, but there's nothing.
AMANDA
Ray? There's no music on the
radio.
Ray stands, the task finished. He pulls on his pants and
walks up to meet her.
RAY
That's okay, baby. I'm getting
kinda' hungry. You hungry?
AMANDA
Yeah, I'm hungry. Did you pack
anything?
RAY
I'll bet we can find someplace
along here, get some dinner, maybe
something cold to drink. Sound
good?
AMANDA
Sounds good to me, baby.
He smacks her on her naked butt.
9.
RAY
Then get dressed! We can't go
walking into someplace with you all
naked and sexy, now, can we?
She giggles and grabs her clothes, getting dressed in the
moonlight.
Ray reaches in behind her seat and takes out the shotgun,
taking both it and the bag of money back to the trunk.
He tucks them both in securely, then fishes around a little
more to come up with a Colt .45 1911. He checks the magazine
and then chambers a round. Setting the safety, he tucks it
into the back of his belt, and slams the trunk lid.
Amanda, wearing the sheer blouse and slacks, carefully folds
her blazer and puts it into the back seat as Ray opens the
drivers' side door.
RAY (cont'd)
You ready?
AMANDA
All set, baby.
They both climb in and the engine roars to life. The car
peels out in a shower of gravel, leaving the original license
plate behind on the shoulder.
I/E. CAR/DESERT ROAD - NIGHT
The car slides down the road in the darkness, all alone.
Nothing but the desert around them - rocks and sand and scrub
brush. Not even the occasional road sign. Just emptiness.
RAY
I figure it's too late to try to
check into a motel without it
looking suspicious, so we'll just
drive straight through. We can
find someplace tomorrow afternoon,
get some rest, get cleaned up.
AMANDA
It's okay, I'm not sleepy or
anything. But I am kinda' hungry.
RAY
Well, keep your eyes peeled for
someplace, we'll get us some
dinner.
10.
She scans around the barren desert landscape, but there's
nothing to be seen - not even the far-off lights of a city on
the horizon.
LATER
Amanda lies curled up on her seat, no longer looking.
Ray spots something in the distance - a glow of light from
over the crest of a small rise.
RAY (cont'd)
You see that?
Amanda instantly perks up, looking out the window and
scanning the darkness. Her eyes lite on the glow ahead of
them.
AMANDA
I see it, baby, I see it!
RAY
Let's hope they're open.
They drive on, cresting the rise to reveal the LAST CHANCE
DINER - a converted railroad car with a tall sign out front
and a small kitchen grafted onto the back.
The meager parking lot - maybe all of four cars' worth - is
empty, but the lights are on and there appears to be a small
handful of people inside.
Ray smiles, broadly.
RAY (cont'd)
I smell dinner!
He wheels the car into the parking lot, pulling up along side
the place.
EXT. THE LAST CHANCE DINER - NIGHT
Ray's door pops open and he climbs out, looking the place
over. The front's all glass, with a door dead-center. It
looks bright and cheerful and inviting.
He turns back to the car, leaning in his door to talk to
Amanda.
RAY
It looks good, baby, and no cops.
Let's go get some dinner, okay?
11.
She opens her door and climbs out, taking a moment to stretch
before she heads to the front door. Ray waits for her, but
only for a moment, and a little impatiently.
INT. THE LAST CHANCE DINER - NIGHT
Ray and Amanda saunter through the front door and into the
compact space. A bakery case with a couple of pies, directly
opposite the door, splits the long narrow counter in two.
The WAITRESS, behind the counter, looks back from her
conversation with the COOK - barely visible through the pass-
through to the kitchen - to greet them.
WAITRESS
Evening, folks, we've been
expecting you.
Amanda looks shocked.
AMANDA
You have?
The Waitress explains, causally.
WAITRESS
Oh, sweetie, it's just what I
always say. You kids want to sit
here at the counter, or do you want
a booth?
RAY
A booth, maybe.
The Waitress gestures to the row of them - single-seat
banquettes lining the front wall of the diner.
WAITRESS
Help yourself; I'll have menus for
you in a sec.
Ray picks the booth closest to the door, and they sit.
RAY
(quietly, to Amanda)
Just four people, baby.
She looks behind her, awkwardly, to see a couple in another
booth. A YOUNG MAN, early 30s, in casual slacks, and a YOUNG
WOMAN, late 20s, in jeans and sandals.
12.
Ray reaches up to touch her chin, surprisingly gently,
turning her head back so they're looking each other in the
eyes.
RAY (cont'd)
(with a smile)
Try not to be so obvious, okay?
She starts to speak, but the Waitress arrives at the side of
the booth, a pot of coffee in one hand and two small glasses
of ice water in the other. She sets down the glasses and
turns over the coffee cups already sitting on the table.
WAITRESS
Coffee?
RAY
Yeah, sure.
She pours, looking over to Amanda.
WAITRESS
How 'bout you, sweetie?
Amanda smiles big, child-like smile.
AMANDA
Yes, please!
The Waitress fills her cup as well, gesturing to the back of
the table.
WAITRESS
Cream and sugar's right there,
sweetie.
AMANDA
Thank you.
The Waitress reaches into her apron and pulls out two small
laminated menus, setting them on the table in front of them.
WAITRESS
Let me know what I can get for you.
We don't have any specials; it's
all good.
(she calls back to the
kitchen)
Isn't that right, Cookie?
13.
COOK
(calling out from the
kitchen)
We're out of the meatloaf.
Ray reaches into his jacket pocket and withdraws his cell
phone, checking the screen. He runs his thumb across it, but
doesn't see what he's looking for.
WAITRESS
(O.S.)
Sorry, sweetie, but we don't get
service out here.
Ray looks up at the sound of her voice, and spots the antique-
looking pay phone on the wall, next to the bathroom door.
There's a prominent OUT OF ORDER sign hanging from it.
RAY
(a little annoyed again)
What time is it, anyway?
The Waitress shrugs, casually.
WAITRESS
Late.
RAY
(more annoyed)
What, don't you even know what time
it is--
Amanda looks up from her menu, smiling.
AMANDA
Can I get fried chicken, baby?
RAY
(distracted)
What? Yeah, fine, get the fried
chicken, whatever.
The Waitress grabs her pad and jots it down.
WAITRESS
(to Amanda)
Mashed potatoes and gravy?
AMANDA
Yeah!
14.
WAITRESS
That comes with a side salad or
cole slaw. Which do you like?
AMANDA
I want... I want the cole slaw.
WAITRESS
(to Ray)
How about you, sweetie, have you
decided yet?
Ray, dragged away from his annoyance, looks at the menu.
RAY
No meatloaf, huh?
WAITRESS
Sorry, hon.
RAY
Gimme a... gimme a cheeseburger,
rare, and fries.
The Waitress jots it down.
AMANDA
Oooh, can I get french fries
instead?
The Waitress makes the change, scratching out the original
note.
WAITRESS
Sure thing, sweetie. It'll just be
a few minutes.
She walks all the way back to the far end of the counter and
around to 'her' side of it, tearing off the slip as she goes.
As she arrives behind the cash register, she pushes the slip
through the pass-through.
The Cook grabs it without a word and begins to prepare the
food.
Ray, trying not to be too obvious himself, casually checks
out the diner - exits, layout, who's where, etc.
Amanda dumps a lot of sugar into her coffee, then sniffs the
cream-like substance in the tiny pitcher, wrinkling her nose.
AMANDA
Fake.
15.
Ray looks back to her, distracted.
RAY
Hmm?
She pours a healthy splash of it into her cup anyway.
AMANDA
Nothin'.
She picks up a fork and stirs, then licks it off by putting
the whole thing in her mouth.
RAY
(quietly)
The place is almost empty, and they
can't even call the cops.
Amanda looks up at him with a deep, dramatic sigh.
AMANDA
We don't really need it, sweetie.
Can't we just eat dinner?
Ray leans in, conspiratorially, subtly glancing over to the
Waitress. She leans on the wall next to the register, a book
in her hand, paying them no attention at all.
RAY
It's just sitting here, baby.
There's no one could do anything,
even if they wanted to.
She takes her fork by one of the tines, absentmindedly
scratching her name into the table top.
AMANDA
But there's, like, fifty bucks in
the register, tops. I thought you
wanted to put some space between us
and this kinda' thing, for tonight.
Ray surreptitiously slides the .45 out of the back of his
waistband, easing it under his thigh. With his thumb, he
flicks the safety off.
RAY
We're in, we're out, we scoop up
the cash and we're back on the
road.
Amanda, knowing she has no say in the matter, none the less
tries to stand her ground.
16.
AMANDA
Can't we eat dinner first? I'm
hungry, Ray.
RAY
There's plenty of places to eat
that aren't this set up, sweetie, I
think we--
A sharp CRACK snaps them both out of their intimate
conversation. They both look up to see the Young Man,
standing at the counter with an easy smile, two empty coffee
cups in front of him.
The Waitress pulls a pot of coffee up from underneath and
fills them both, as he turns his smile toward Ray and Amanda.
YOUNG MAN
You folks just passing through?
Ray's hand slides off the pistol as he turns to face him.
Amanda, looking guilty, slides the saucer from her coffee cup
over her name, now scratched into the Formica.
RAY
Yeah, I guess you could say that.
Ray looks away, clearly not interested in the conversation.
Amanda, though, speaks up - to Ray's obvious annoyance.
AMANDA
How about you?
The Young Man gestures toward the Young Woman, all the way at
the end of the line of banquettes.
YOUNG MAN
We were headed elsewhere, but we
kinda' got side-tracked. Lucky to
find this place.
AMANDA
Yeah, lucky, huh?
Ray shoots her a look of daggers, but Amanda turns back to
the Young Man and tries to keep the conversation going.
AMANDA (cont'd)
Where you guys coming from?
17.
YOUNG MAN
Well, I think she was--
At that instant, the sound of a toilet flushing interrupts
the conversation.
Ray nearly has a heart attack at the sound, as his eyes snap
to the bathroom door. Amanda follows his gaze, as does the
Young Man - though he does so mostly because it seems to have
frightened Ray so much.
The bathroom door opens to reveal a PARK RANGER, in a forest-
green uniform with a brown leather gun belt, complete with
revolver and radio. He still has a paper towel in his hands,
drying them off.
Ray's hand goes to his own weapon, but Amanda speaks up
before he can pull it out.
AMANDA
Wow, you startled us! We didn't
know anybody else was here!
Ray looks over to her, his panic growing fast. His eyes flit
around the diner, suddenly aware that everyone's staring at
him. He takes a breath and tries for calm.
RAY
You a cop?
The Park Ranger looks him over, a little carefully, and gives
a measured response.
PARK RANGER
No, park ranger. I mostly keep
track of the wildlife out here.
Ray, sensing he's now being evaluated by a man in a uniform
with a gun at his hip, tries to recover.
RAY
Oh, right. I saw the uniform, and
I just thought...
PARK RANGER
Right.
He sits on the last stool at the counter, all the way over by
the cash register, as the Waitress pulls up a cup and saucer
and pours him some coffee.
18.
Looking hard at Ray and Amanda, the Young Man picks up his
own cup of coffee and turns, finding himself face to face
with the Young Woman - also with a nervous eye on the two.
She reaches out and takes her cup, exchanging a worried look
with the Young Man.
YOUNG WOMAN
It's going to be cold by the time
you get it back to the table.
The Waitress chimes in, trying to bring the energy in the
room back to normal.
WAITRESS
Next time I'll come to you,
sweetie.
Both the Young Man and the Young Woman make the effort to
keep things calm.
YOUNG WOMAN
No worries. You're on your feet
all night anyway...
YOUNG MAN
Yeah, you go ahead and relax.
We're all set.
They walk back to their booth, trying not to look back at Ray
and Amanda as they go.
Amanda breathes a sigh of relief as she picks up her coffee
cup and takes a drink.
AMANDA
Wow, that was close.
Ray lets his hand slide down to the pistol under his thigh,
flipping the safety back on with his thumb. He hasn't calmed
down; he's just got it under control.
RAY
Yeah. Close.
He looks past Amanda to watch the other two customers, who
whisper quietly to each other - obviously about what just
happened.
He looks back over his shoulder to catch a glimpse of the
Park Ranger and the Waitress, doing exactly the same thing -
all of them careful not to look at Ray and Amanda as they do
so.
19.
RAY (cont'd)
Real close.
Amanda reaches across the table and puts her hand over his.
AMANDA
But there's nothing to worry about,
baby, we're just going to have some
dinner--
There's a DING as the Cook hits the bell on the pass-through.
Both Amanda and Ray look up and over.
AMANDA (cont'd)
See? There's the food.
Ray lets out a long, calming breath, then looks back to
Amanda.
RAY
Yeah.
She pulls her napkin out from under her silverware and
unfolds it.
AMANDA
I wonder if it's gonna be white
meat or dark meat? I didn't think
to ask. Did you tell her what kind
of cheese you wanted?
The Waitress arrives at the side of the table, the plates
balanced on her arm.
WAITRESS
Here we are, guys, one
cheeseburger, rare, with fries--
Ray explodes up out of his seat, hitting her with his
shoulder like a football player. She lurches back into the
counter, the plates crashing to the floor and the food
scattering.
AMANDA
RAY!
Ray swings the .45, striking the Waitress' face as she
struggle to regain her feet. She goes down again.
The Park Ranger, shocked, makes a clumsy grab for the
revolver at his hip as he stands up, but he's too late.
20.
Ray fires a single shot, from only a few feet away, striking
him square in the chest.
The Young Woman screams.
The Park Ranger stops short, then pitches over, collapsing in
front of the counter.
Ray spins to face the Young Woman and the Young Man, still
seated in their booth, with the .45 levelled at them.
RAY
You wanna be a hero? Huh?
Both shake their heads in terror, raising their hands.
Amanda sits and fumes as Ray grabs the Waitress by the arm,
dragging her to her feet. Her cheek is cut and her nose is
bleeding.
He hops over the counter and drags her along behind him.
RAY (cont'd)
You know the drill, bitch, open it
up!
She punches the proper keys on the ancient-looking register
and the drawer pops open with a DING.
Ray scoops out the very few bills, but he doesn't count it.
Amanda, looking entirely put out, walks to the counter as Ray
pushes the Waitress backward, knocking her to the floor.
She holds out her hand and Ray presses the money into it.
RAY (cont'd)
(grinning broadly)
Let's go, baby.
He hops back over the counter and grabs Amanda by the hand,
fairly dragging her to the front door. She seems mostly
annoyed by the whole thing, but Ray looks like he just scored
the winning touchdown.
The Cook, terrified, peeks up over the pass-through.
EXT. THE LAST CHANCE DINER - NIGHT
Ray runs to the car, jumping in and starting it up as Amanda
reluctantly makes her way to her side. Ray's already revving
the engine by the time she pulls her door closed.
21.
He burns rubber as he rockets out of the parking lot.
I/E. CAR/DESERT ROAD - NIGHT
Amanda sulks in the passenger seat, counting the tiny stack
of bills from the register.
Ray, behind the wheel, rides the adrenaline as they hurtle
down the dark, empty road.
AMANDA
You didn't have to hit her so hard.
RAY
Yeah, well, that's life in the big
city, babe. Can't make an omelette
and all that.
She finishes counting and sorting the money.
AMANDA
She would have given you the money
without even hitting her, Ray.
She's gonna have a scar now. For
forty-two dollars.
RAY
(confused)
For what?
Amanda holds up the few assorted bills so Ray can see them.
AMANDA
The money? The reason you hit that
poor girl? It's forty-two dollars.
Ray, clearly, had forgotten all about the money.
RAY
Oh, that. We're still doing okay
from the bank, though. It's all
good.
AMANDA
No, Ray, it's NOT all good.
They're gonna call somebody
eventually, and they got a good
look at you. At both of us. And
at the car. And it's not like
there's a lot of traffic out here
to get lost in--
22.
Ray snaps to her, violence in his eyes.
RAY
Just shut up about it! It's done,
so it's done. We can't take it
back, so just... deal with it.
Amanda cowers back, a bit, but less so than before. Still
sulking.
AMANDA
And I'm still hungry.
Ray smacks the steering wheel with the flat of his hand,
frustrated.
RAY
Fine! As soon as I find someplace,
I'll pull over and you can get some
dinner! Jeez!
They drive on, in silence - Amanda sulking and Ray stewing.
LATER
Ray spots a familiar glow in the distance, just over a small
rise.
RAY (cont'd)
There, you see? I told you there'd
be someplace else.
Amanda looks up, seeing it as well.
AMANDA
(still sulking)
Good.
They clear the rise and the source of the light is revealed.
It looks like exactly the same place as before - a converted
railroad car with a tall sign out front and a small kitchen
grafted onto the back. The sign reads LAST CHANCE DINER.
AMANDA (cont'd)
What...?
RAY
Must be a chain of them.
Amanda stares at the place as they pull up, an uneasy look on
her face.
23.
AMANDA
That's not... something's not
right, Ray.
He heads for the empty parking lot.
RAY
Relax, it's nothing to worry about.
Just another diner. And now we
already know what's on the menu--
As he pulls into the lot, they can both see into the windows.
At the cash register stands the same Waitress, with no
visible injuries, talking through the pass-through to the
same Cook - exactly like before.
She turns at the sound of the approaching car, seeing Ray and
Amanda but with no look of recognition on her face.
Amanda's face goes pale as she recognizes the Waitress.
RAY (cont'd)
Shit!
He stands on the gas and the car, not having come to a stop
in the first place, peels out of the parking lot.
RAY (cont'd)
Shit! Shit! Shit!!!
Amanda, her knees up on the seat, looks out the back window
as the diner recedes in the distance.
AMANDA
(terrified)
Ray? What's going on?
Ray frantically scans the rear-view mirror, the side mirrors,
and out all of the windows. They're still alone on the road.
RAY
We just... we just got turned
around, maybe.
AMANDA
But we didn't turn!
RAY
Well then the road curves or
something!
24.
EXT. DESERT ROAD - NIGHT
The car sits parked by the side of the road, in the darkness.
Ray, his cell phone held high, paces around on the shoulder,
looking for a signal.
Amanda leans against the side of the car, holding herself
closely, trembling in fear.
AMANDA
There isn't anybody you could call,
Ray.
Ray doesn't look at her - just at the phone, with mounting
desperation.
RAY
I just need a signal so I can use
the GPS. Or the clock. Or
anything!
He takes the phone down and shakes it, looking at the screen
again, hoping for anything.
There's nothing.
RAY (cont'd)
Shit!
AMANDA
I don't think it's going to do any
good, baby...
Ray gives up on the phone and looks to the sky.
RAY
We're going... we're going east,
right?
(no response)
RIGHT?!
Amanda looks up.
AMANDA
East? I don't know. How would I
know?
RAY
I should have brought a map.
Damned phone!
25.
He shakes it again, then tries for calm. Forcing himself.
RAY (cont'd)
Alright. The moon is over there,
right?
Amanda looks up and follows his finger, pointing to the moon.
AMANDA
Yeah, it's right there.
RAY
So, as long as it's over there,
we're headed in the same direction,
right?
AMANDA
I guess.
RAY
So it doesn't matter if it's east
or not, so long as we're not going
in circles, we'll come to someplace
eventually and we can figure out
where we are. Right? RIGHT?!
AMANDA
Okay, okay, the moon is over there.
RAY
So we just keep driving, and keep
an eye on the moon, and we're good
to go.
Ray, happy to have a plan, strides purposefully over to the
drivers' side door and grabs the handle.
Amanda stands, still looking uneasy as she stares at the
moon.
RAY (cont'd)
So let's go!
She looks up with a start, then climbs into the car.
Ray slams the door and starts the engine.
On the shoulder behind them, unseen, lies a discarded license
plate - the same one that Ray had swapped out before.
They peel out and onto the highway, in yet another shower of
gravel.
26.