ELVIS

Screenplay by

BAZ LUHRMANN & SAM BROMELL

and
BAZ LUHRMANN & CRAIG PEARCE
and
JEREMY DONER

Story by

BAZ LUHRMANN and JEREMY DONER

This script is the confidential and proprietary

property of Warner Bros. Pictures and no portion of
it may be performed, distributed, reproduced, used,
quoted or published without prior written permission.

FINAL SHOOTING SCRIPT

March 5, 2021
Warner Bros. Pictures © 2020
4000 Warner Boulevard WARNER BROS. ENT.
Burbank, California 91522 All Rights Reserved
 1.

FADE IN:

INT. ORDINARY APT. (VEGAS) - LATE AFTERNOON (1997)

The sun-spotted hand of an old man adjusts a radio dial.

RADIO ANNOUNCER (V.O.)

(on radio)
It's a beautiful jackpot of a day
here in Las Vegas and, you guessed
it, the biggest song of 1997...

The jaunty Euro hit "Macarena!" plays as a frail,

corpulent MAN ascends a ladder and strains to lift a box
marked, "CHRISTMAS CARDS, 1997."

Annoyed by the music, he flicks the dial again: ear-

splitting white noise.

THUD! He crashes onto the floor. CHRISTMAS CARDS are

splayed around him.

OLD COLONEL (V.O.)

I know what you're thinking... who
the hell is this Colonel fellow?

The man's fleshy, grey face gasping desperately. This is

COLONEL TOM PARKER (87).

We TRACK ACROSS him to the Christmas cards: a portrait of

Elvis, magnificent, king-like, beside the old man
dressed in an ill-fitting Santa suit. An inscription
reads: "Merry Christmas, from Elvis and the Colonel."

SMASH CUT TO:

EXT. LAS VEGAS STRIP - DUSK

SIRENS BLARE! As an AMBULANCE screams through the neon

heart of Sin City, we hear...

RADIO ANNOUNCER (V.O.)

Colonel Tom Parker, legendary
manager of Elvis Presley, has been
rushed to Valley Hospital...

INT. AMBULANCE - CONTINUOUS ACTION

LOOKING DOWN ON: Colonel. Eyes closed. Dead-looking.

MEDICS attempt to revive him.

(CONTINUED)
 2.
CONTINUED:

OLD COLONEL (V.O.)

There are some who’d make me out
to be the villain of this here
story...

EXT. INTERNATIONAL HOTEL - DUSK

The ambulance races past the International Hotel.

The CAMERA WHIP PANS TO its towering sign: "THE STAR TREK
EXPERIENCE: BOLDLY GOING WHERE NO MAN HAS GONE BEFORE."

The sign SPINS ON ITS AXIS as we JOURNEY BACK TO the

International of the 1970s. The sign now heralding:
"ELVIS!"

EXT. INTERNATIONAL HOTEL - PORTE COCHERE - NIGHT (1974)

We STREAM ALONG WITH the ELVIS FANS pouring out of limos

and THROUGH the hotel's glass doors...

OLD COLONEL (V.O.)

Who’d say I exploited the boy and
stole all his money...

A CAMERA CREW shoots 16MM FOOTAGE of CROWDS being ushered

through the lobby. QUICK CUTS of every possible
permutation of merchandise being snatched up by the
adoring crowds.

OLD COLONEL (V.O.)

Trapped him in Vegas and enabled
his drug addiction...

INT. INTERNATIONAL HOTEL - SERVICE CORRIDOR - NIGHT

SPLASH! We're UNDERWATER. A DROWNED MAN, pale face

obscured by long, black tendrils of hair...

INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT

Onstage, a WARM-UP COMEDIAN cracks cheesy gags.

INT. INTERNATIONAL HOTEL - CASINO - NIGHT

By a roped-off craps table, a gold trolley stacked high

with chips. A small crowd looks on as a gruff-looking
security guard, RED WEST, ushers in the beige TOM DISKIN.
He leans in to the cigar-puffing silhouette of the
Colonel, whispering in his ear.

(CONTINUED)
 3.
CONTINUED:

OLD COLONEL (V.O.)

And eventually, when I had
squeezed all I could out of him...

INT. INTERNATIONAL HOTEL - SERVICE CORRIDOR - NIGHT

SUDDENLY: THE DROWNED MAN is pulled by his hair from a

bucket of ice water! This is ELVIS PRESLEY (38).

OLD COLONEL (V.O.)

... I destroyed him.

TILT UP as a still corpulent, but younger, 64-YEAR-OLD

COLONEL enters, brandishing his elephant-headed cane. He
takes in the situation before him.

Elvis has collapsed on the floor. His bodyguards, SONNY

and Red West, hold staff at bay. Childhood friend JERRY
SCHILLING shoots a recriminating glance at the Colonel.

NURSE TISH suppresses panic as DR. NICK holds Elvis’ head

above a bucket of ice water. Everyone looks to Colonel.

OLD COLONEL (V.O.)

That's right. It was me who killed
Elvis Presley.

Colonel’s steely gaze. A frightening moment of

consideration as we hear...

COLONEL
Now, you listen up real good. The
only thing that matters is that
that man gets on that stage
tonight!

But then, Nurse Tish pipes up courageously.

NURSE TISH
If he was my son...

She glances to a grey-haired man with a pencil mustache

arriving meekly in the shadows. This is VERNON PRESLEY
(57). Elvis’ father.

NURSE TISH
... I’d put him in the hospital.

Suddenly cold, off-handed:

COLONEL
Of course, it’s a Presley
Enterprises decision, Vernon...

All eyes on Vernon.

 4.

INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT

The comic, running out of gags, stalls for time. The

crowd grows restless at their tables.

INT. INTERNATIONAL HOTEL - SERVICE CORRIDOR - NIGHT

After an eternity, Vernon mumbles:

VERNON
What can you do for him, Dr. Nick?

Dr. Nick pops open his BAG OF TRICKS. WE GLIMPSE: MEDS,

PILLS, SYRINGES. As Dr. Nick prepares an injection...

INT. INTERNATIONAL HOTEL - BACKSTAGE - NIGHT

DUM! DUM! DUM! DUM! A thunderous drum roll...

As now we see IMAGES in the style of A SUPERHERO DONNING

HIS COSTUME: WHITE JUMPSUIT! DIAMOND-ENCRUSTED PRIZE-
FIGHTER BELT! 9MM SLIPPED INTO HIS LEFT BOOT, GOLD PPK
SLIPPED IN HIS RIGHT! CHRISTIAN, JEWISH, AND BUDDHIST
BLING! THE LIGHTNING BOLT NECKLACE ALREADY IN PLACE!!!

AN AMERICAN EAGLE CAPE SPREADS ITS RHINESTONE WINGS!

ELVIS
(sings)
Glory! Glory!!! Halleluuuujah!!!

The eagle turns to REVEAL: Superhero Elvis, reaching for

the final divine notes, spreading his wings up to God...

ELVIS
(sings)
His truuuuth is maaaarching
ooooonnnnn!!!!!!!!

The ballad crescendos! Elvis’ giant band lashes their

instruments. Two gospel choirs: one white, one Black.

ELVIS
(sings)
His truuuuth is maaaarching
ooooonnnnn!!!!!!!!

As the last chords thunder through the night, we GO TO...

 5.

EXT. INTERNATIONAL HOTEL - NIGHT

The Elvis sign has transformed back into "The Star Trek
Experience." With a BEEP, BEEP, we--

JUMP CUT BACK TO:

INT. VALLEY HOSPITAL - COLONEL’S ROOM - NIGHT (1997)

The ‘90s Hilton seen THROUGH the window. Colonel lies in

a hospital bed.

The Colonel jolts upward.

OLD COLONEL
No!... It's not true. I didn't
kill him... I loved him. I didn’t
kill him. But I know who did.

He looks up to the morphine drip. The BEEP, BEEP of the

heart monitor transforms into a MUSICAL PULSE as morphine
snakes down a plastic tube into the Colonel's arm.

OLD COLONEL
It weren’t me...

Colonel slowly pulls back the bedsheets and stands,

taking his IV stand with him. We TRACK ACROSS get well
paraphernalia. A red balloon appears, seemingly part of
the get well gifts. Colonel is drawn toward it.

OLD COLONEL
And it weren’t nothing to do with
what them dirt farmers and
muckrakers wrote up in all them
books.

The beat kicks in, balloon in one hand, IV stand in the

other. He shuffles down the corridor to the music.

OLD COLONEL
Evil manager? I wasn't his
manager! I was his promoter! It
was my job to present him to you.
To sell, package, and make money
in every conceivable way! And I
did!

As he glides down the corridor, a photo of Elvis and

Colonel appears.

OLD COLONEL
Elvis, the showman, and the
Colonel, the snowman.

(CONTINUED)
 6.
CONTINUED:

Colonel's elephant-headed cane appears in his hand and he

gestures towards the walls, now collaged with snapshots
of Colonel and Elvis.

OLD COLONEL
There are thousands of photos of
me and my boy...

A collage of a thousand images now sprawls across both

sides of the corridor.

OLD COLONEL
Huddled, plotting, planning, and
whispering! Only I know what we
talked of. I know what was said.

The hospital hallway gives way to a corridor of Elvis

merchandise, packed with stuffed hound dogs, calendars,
buttons, hats and more balloons.

OLD COLONEL
But I never wrote no book. I never
sold my story. I never told the
real story. I never told the truth
about me and my boy. I never
talked...

The Colonel dons a boater hat.

OLD COLONEL
... until now!!

CUT TO a gold curtain rising to reveal: Old Colonel, now

resplendent in a striped blazer, every inch the carnival
barker, miming along to a contemporary, orchestral
version of Elvis' song, "Carnival Time." Colonel sashays
and warbles down a staircase into SPACE.

OLD COLONEL
(miming to Elvis)
Come on kids from eight to eighty
Hey there, mister, bring your lady
There's a big show on the inside
It's carnival time!

He balances on a tightrope above an abstract Vegas Strip.

OLD COLONEL
(miming to Elvis)
Popcorn, peanuts, and cotton candy
Pink lemonade that's dan-dan-dandy
Be a big shot for a dollar.
It's carnival time!

(CONTINUED)
 7.
CONTINUED: (2)

Grabbing a bunch of balloons, he glides down off the

tightrope. He spins a roulette wheel, taking us back in
time...

Colonel, now with a stick-and-bindle over his shoulder,

runs along a WIGGLY CARPET that leads to a far-away model
of a 1930s carnival.

OLD COLONEL
As an orphan, I ran away to the
carnival, where I learned my
trade... the snow job.

PUSH IN on a red curtain touting "Tom Parker's Famous

Dancing Chickens."

OLD COLONEL (V.O.)

Tom Parker’s Famous Dancing
Chickens!

Curtains fly open to reveal Old Colonel in front of a

stage on which ordinary chickens cluck about. A band
plays side-stage. A group of RUBES watches, intrigued.

OLD COLONEL
Ladies and gentleman, direct from
the deepest jungles of Peru... The
high-kicking chorus line of the
Barnyard Ballet!

CLOSE ON Colonel as he reveals the gas burners, secretly

heating the underside of the stage.

OLD COLONEL
(to camera)
Now then... the snow job! The art
of emptying a rube’s wallet while
leaving them with nothing but a
smile on their face.

As the plates heat up, the chickens appear to dance. The

rubes applaud! A mystical, minor-chord version of
"Carnival Time" begins.

OLD COLONEL
It was also in the carnival that I
learned from the great Madame
Zeena...

Colonel gestures to a caravan and we ZOOM TOWARDS it to

find MADAME ZEENA, a fortune teller gazing down into a
crystal ball.

(CONTINUED)
 8.
CONTINUED: (3)

OLD COLONEL
The dark arts of hypnotism,
mentalism, and how to read a man's
greatest flaws and desires.

We see Colonel inside the ball, a backdrop of a European

village behind him. He waves his elephant cane to the
CAMERA, hypnotizing us, and throws cash in the air. As
the cash floats downward, it becomes falling snow.

OLD COLONEL
Of course, any promoter is limited
by the draw of his attraction.

We TRACK ACCROSS posters of the carnival oddities....

MERMAID MONSTER, LOBSTER BOY, ALIGATOR MAN.

OLD COLONEL
I had my acts... the Mermaid
Monster, Lobster Boy...

A young man (the silhouette of Elvis) stands in front of

THE GEEK poster.

OLD COLONEL
But the act that always made the
most snow is the one that excited
the audience with what they truly
feared and desired.

Old Colonel’s sun-spotted claw reaches out towards the

silhouette...

OLD COLONEL
The Geek...

Colonel pulls a lever and suddenly, jackpot on the slot

machine! ‘DING DING DING’ Elvis and Geek heads. Colonel
dances along a HALL OF MIRRORS in which we see
reflections of Elvis.

OLD COLONEL
(miming to Elvis)
Roustabouts are roustabout'n
And there's happy shouts, children
shoutin'
If you've got doubts quit your
doubtin'

We see teddy bears reflected in the mirrors!

OLD COLONEL
(miming to Elvis)
There's thrills...

Hound dogs reflected in the mirrors!

(CONTINUED)
 9.
CONTINUED: (4)

OLD COLONEL
(miming to Elvis)
It's spice...

Rows and rows of merchandise fill the mirrors!

OLD COLONEL
It's cheap at half the price!

Colonel sings as he bobs along on his Jamboree cart,

pulled by elephants. Inanimate merchandise comes to life
and marches along behind him! Thanksgiving Day Parade-
style hound dog balloons drift overhead.

OLD COLONEL
(miming to Elvis)
So don't be bashful, buy a ticket
Get the habit never kick it

CUT TO the band back in the ‘Dancing Chickens’ tent, who

pluck along.

OLD COLONEL
(miming to Elvis)
Hear the band there...

CUT TO the dancing chickens.

OLD COLONEL
(shouting at
chickens)
Don't just stand there!

With a gesture of his cane to the audience:

OLD COLONEL
I was an impresario of
astonishment!

Colonel runs up a wiggly carpet to a Carnival.

OLD COLONEL
It's carnival time!!

He hitches a ride on a tremendous Ferris Wheel, swooping

into the sky above the glittering, soft-focused lights of
the midway. Hank Snow's country and western ballad, “Fool
Such As I" softly begins.

OLD COLONEL
My next attraction was in the
country music business. I
partnered with one of its biggest
stars... Hank Snow!

(CONTINUED)
 10.
CONTINUED: (5)

The Colonel looks below, where HANK SNOW, a ten-gallon-

hatted diminutive country singer, and his troubadours
perform on a stage at the Carnival.

HANK SNOW
(sings)
Pardon me if I’m sentimental when
we say goodbye...

The country music crowd is delighted.

OLD COLONEL
(miming to Hank Snow)
Now and then, there's a fool such
as I...
(speaking to camera)
Prophetic words. Hank Snow, such a
fool.

Looking on from the wings: an identically-dressed 19-year-

old version of Hank, JIMMIE RODGERS SNOW.

OLD COLONEL
And his hapless son, Jimmie
Rodgers Snow.

An abstract version of Elvis' "That's All Right" begins

to overwhelm the sound of Hank's voice. With the turn of
the Ferris wheel, night becomes day...

EXT. CARNIVAL - DAY (1955)

Carnies pack up the carnival, tawdry in the morning

light. The abstract “That’s All Right“ transforms into
the original song, emanating in mono from a car radio.

CRANE DOWN to discover Jimmie Rodgers Snow, clutching a

record as he passes a gum-chewing teenager in the cab of
a truck. He flashes the record.

JIMMMY
Hot diggity dog, I got one! It
will blow their socks off.

We FOLLOW Jimmie to an open-flap chow tent, pitched

amidst the vehicles.

EXT. CARNIVAL - CHOW TENT - CONTINUOUS ACTION

45-YEAR-OLD COLONEL puffs his cigar and points with his

cane to a huge map of the South splayed in front of him.

(CONTINUED)
 11.
CONTINUED:

COLONEL
Security, Diskin! Tell the mayors
of all these towns that we need a
police escort when Hank arrives in
town.

Colonel points to a couple more engagements on the map.

Typing out instructions at a nearby desk, is his
impossibly-bland lieutenant TOM DISKIN (35).

COLONEL
In Baton Rouge, we’ll stage a
carny wedding at the top of the
Ferris wheel. Madam Zeena, pick
out your next husband. In New
Orleans we’re going to use a
loudspeaker to announce you, Hank.
(to the Little
People)
Meaz-y leaz-ittle freaz-iends,
you’re going to be marching in a
parade!

LITTLE PEOPLE
Feaz-uck!/Sheaz-it!

HANK SNOW (O.S.)

And I'll be riding an elephant
too?

Next to Diskin, a nudie-suited Hank Snow strums his

guitar and half-listens to the Colonel. Around them, a
variety of COUNTRY PERFORMERS, as well as the odd
SIDESHOW CARNY, Zeena among them.

COLONEL
A man on an elephant seems
important.

DISKIN
(sotto)
And taller...

HANK SNOW
But we still need a novelty act to
bring in the young folk.

COLONEL
That’s why I’ve got you a meeting
with the Duke of Paducah tonight.
If we can book the funniest mouth
in the South as our opening act,
we’ll have the best show of the
season. We’ll be feasting on cake.

(CONTINUED)
 12.
CONTINUED: (2)

Suddenly, we hear Elvis' high-pitched voice cutting off

Hank, mid-strum:

ELVIS (V.O.)
(on record)
That's all right, mama
That's all right with you
That's all right, mama
Any way you do...

All turn to see Jimmie Rodgers defiantly standing next to

the portable record player.

HANK SNOW
Jimmie, turn that racket off!

JIMMIE RODGERS SNOW

But y'all have to hear this! Kids
all over town are singing it
everywhere I go.

All present listen intently.

HANK SNOW
I hear Negro rhythms...

JIMMIE RODGERS SNOW

But with a country flavor!

Diskin picks up the record sleeve.

DISKIN
Sun Records, that’s Sam Phillips’
label.

COLONEL
Phillips? That fella who makes
race records? With all them
colored singers?

JIMMIE RODGERS SNOW

This fella’s on the ‘Hayride’
tonight, after me, in the
newcomers spot.

COLONEL
They ain't puttin' a colored boy
on the ‘Hayride’!

JIMMIE RODGERS SNOW

That’s the thing! He’s white!

The Colonel plucks the cigar from his mouth.

COLONEL
White...
(CONTINUED)
 13.
CONTINUED: (3)

Suddenly, the voice of radio announcer DEWEY PHILLIPS can

be heard wafting in from the cab of the nearby truck.

DEWEY PHILLIPS (V.O.)

(on radio)
What do you think, Memphis?
Should we play it for the 27th
time?

Colonel rests his cane on his shoulder. He's strangely

still, which has the effect of drawing everyone in.

OLD COLONEL (V.O.)

It doesn't matter if you do ten
stupid things... As long as you do
one smart one.

Colonel intones hypnotically:

COLONEL
How far to Shreveport, Diskin?

DISKIN
Two hours.

COLONEL
Send the Duke our apologies. We’re
going to the Hayride.

As the Colonel and Diskin make a beeline for their

vehicle, Hank catches on:

HANK SNOW
Ahh... A novelty act!

EXT. "HAYRIDE” AUDITORIUM - NIGHT

HIGH WIDE OVER the Shreveport auditorium. We can hear

Jimmie Rodgers Snow singing within:

JIMMIE RODGERS SNOW (V.O.)

How do you think I feel?
I know your love’s not real...

INT. "HAYRIDE” AUDITORIUM - NIGHT

On stage, six diamond-studded, ten-gallon-hatted COWBOYS

croon around a COWGIRL, the object of Jimmie Rodgers
Snow’s affection.

JIMMIE RODGERS SNOW

(sings)
Another’s purdy speech,
(MORE) (CONTINUED)
 14.
CONTINUED:
JIMMIE RODGERS SNOW (CONT'D)
Has put you out of reach
How do you think I feel...?

At the back of the auditorium, Diskin and Hank look on as

Jimmie leads the delighted audience to clap-and-respond.

HANK SNOW
The apple doesn’t fall far from
the tree! Jimmie has them eating
out of the palm of his hand!
(beat)
Where’s Colonel?

DISKIN
Making enquiries.

INT. "HAYRIDE” AUDITORIUM - BACKSTAGE - NIGHT

Colonel is behind the backdrop, gathering intel from

Hayride founder, HORACE LOGAN. PERFORMERS come and go.

COLONEL
Have you heard that fella singing
‘All Right Mama,’ the new record
on the Sun Label?

HORACE LOGAN
The pop jocks are playing him,
country deejays, too. Hell, even
the colored kids are buying his
record.

COLONEL
Colored kids? Where might I find
this act?

HORACE LOGAN
Dressing rooms!

As Horace reenters the stage, he gestures in the

direction of the dressing rooms from which a YOUNG MAN
carrying a guitar appears, heading for the stage door.

The Young Man stops briefly to address the house drummer

D.J FONTANA sitting backstage:

YOUNG MAN
Hey, you the house drummer? Just
play the back beat and stay out of
our way!

D.J. nods as the Young Man runs past the STAGE MANAGER.

(CONTINUED)
 15.
CONTINUED:

STAGE MANAGER
Ellis Presley, Blue Moon Boys,
you’re up next.

Colonel follows, watching THROUGH the window as...

EXT. "HAYRIDE” AUDITORIUM - ALLEY - CONTINUOUS ACTION

The Young Man descends the stairs, passing a PICKUP

TRUCK, in which good ole boys drink beer and flirt with
their gals.

He joins BILL BLACK (28), who cradles a double-bass

beneath the stairs. Bill reads a poster for tonight’s
show. At the bottom, “THE BLUE MOON BOYS” and misspelled,
“ELLIS PRESLEY.”

SCOTTY
Bill... Go time.

BILL
I know. Ellis Presley... Got a
nice ring to it.

The Young Man turns, REVEAL:SCOTTY MOORE (24). He shakes

his head. They grab their instruments.

SCOTTY
This thing in tune?

BILL
Close enough.

The beautiful and formidable DIXIE LOCKE (17) joins them,

holding a bottle of PEPSI COLA.

SCOTTY
How is ‘Ellis’s stomach?

DIXIE
Thought I’d grab him a Pepsi, but
poor thing’s still shaking like a
leaf.

BILL
(to Scotty)
What’d they say?

SCOTTY
Newcomer’s spot or nothing. We’re
next.

DIXIE
You better come talk to him,
Scotty. He listens to you.
(CONTINUED)
 16.
CONTINUED:

They all look up towards the sound of Jimmie Rogers

Snow’s number, and begin making their way across the
alley, towards two PARENTS huddled around a barely
visible BOY of around 20 years of age.

NELL (O.S.)
Hey Tommy, that’s him over there.

The trio passes a skinny country jock, TOMMY, arm around

NELL, his conservatively-dressed girlfriend, in the back
of a pickup.

NELL
That boy from Memphis whose record
everybody’s talking about.

TOMMY
(incredulous)
You mean the white kid that’s
singing race music?

Tommy addresses Scotty and Bill.

TOMMY
Hey Scotty Moore! You manage him?
(laughing)
Better tell him to watch out. One
day somebody’s going to beat the
hell outta him and peel them Negro
outfits right off his hide.

BILL
Sorry fella, the strip show costs
extra…

Laughter from Nell sends Tommy seething.

Scotty, Bill and Dixie arrive alongside the family as,

THROUGH the steps, Colonel glimpses the unseen Boy's
constantly-shaking, pink-trousered leg. The boy’s shy,
vulnerable voice:

BOY (O.S.)
W-what if I forget the words on
live radio? I ain’t no Jimmie
Rogers Snow...

He hears the father: VERNON (38), good looks faded by

hard years and disappointment.

VERNON
No one expects you to be Jimmie
Rogers Snow.

BILL
Its just a bit of clowning around.
(CONTINUED)
 17.
CONTINUED: (2)

SCOTTY
That’s how we got this thing
started in the first place.

BETWEEN THE STEPS, Colonel can now see the mother, GLADYS
(43), intense and nervy, with smoldering Clara Bow eyes.

GLADYS
Scotty and Bill are right, Elvis.
You’re not out there on your own.
You boys are a band. The Lord gave
us music to bring people together.
We’re like a family, and family’s
the most important thing of all.

She strokes the Boy's neck as he drinks from a public

water fountain, one marked "WHITE," the other "COLORED."
Gladys indicates that they should all take up each
other’s hands.

GLADYS
If the good Lord wants to speak
through song here tonight, we are
but vessels of His will. Come on
now, Booby...

She looks up to the moonlight and intones mysteriously:

GLADYS
Jesse is shining bright tonight.

They all look up. Unsure of what they're doing, the

Colonel follows their gaze to see the moon shining above.

Gladys leads the group in song as one-by-one, they all

join:

GLADYS/VERNON/DIXIE/SCOTTY/BILL/
BOY
(sing)
Some glad morning...
When this life is over...
I'll fly away...

OLD COLONEL (V.O.)

From my first encounter, this
insular, strange family was unique
in its closeness.

GLADYS/VERNON/DIXIE/SCOTTY/BILL/
BOY
(sing)
I’ll fly away, oh glory...

The CAMERA TRACKS ACROSS their faces, SETTLING ON Vernon.

(CONTINUED)
 18.
CONTINUED: (3)

OLD COLONEL (V.O.)

The boy's daddy had gone to jail.

The CAMERA PASSES ACROSS the fountain marked “WHITE”...

OLD COLONEL (V.O.)

Leaving the boy and his mama alone
in one of four white houses in a
Black neighborhood.

... and settles on the fountain marked “COLORED."

MATCH CUT TO:

EXT. SHAKE RAG - AFTERNOON (1947)

An identical "COLORED" sign above a water fountain from

which SMOKY BELL (12) drinks. Next to him, a boy sits,
face buried in a CAPTAIN MARVEL JR. comic book.

The family’s singing transforms into a powerful,

spiritual version of "I'll Fly Away" emanating from a
distant PENTECOSTAL TENT.

The comic lowers and we see YOUNG ELVIS PRESLEY (12). His
hair and a crudely-fashioned cardboard lightning bolt
around his neck match the look of his comic book hero.

Young Elvis stands and looks towards the tent.

OLD COLONEL (V.O.)

It was there he first felt the
pull between the sacred...

A sharp WHISTLE! Smoky and Young Elvis look to their

SKINNY AFRICAN-AMERICAN FRIEND, waving them towards a
JUKE JOINT that hangs off the road.

BIG BOY CRUDUP (V.O.)

Whoooooooa, black snake crawlin’
in my room!

OLD COLONEL (V.O.)

... and the profane.

The boys run off towards the juke joint as Young Elvis
stuffs his comic in the back pocket of his overalls.

INT. JUKE JOINT - AFTERNOON

YOUNG ELVIS’ POV THROUGH A SPYHOLE: A smoky room. The

nimble fingers of bluesman BIG BOY CRUDUP work the frets
of his weathered guitar. A drunk male CUSTOMER shakes his
leg in an erotic dance with a BORDELLO GIRL.
(CONTINUED)
 19.
CONTINUED:

BIG BOY CRUDUP

(sings)
Whoooooa, black snake crawlin' in
my room!
Some pretty mama better come and
get this black snake soon.

EXT. SHAKE RAG - JUKE JOINT - AFTERNOON

The shocked boys fight over the spyhole.

BIG BOY CRUDUP (O.S.)

(sings)
That’s all right, mama
That’s all right with you...

It's too much for Young Elvis. He pulls away.

EXT. SHAKE RAG - AFTERNOON

HIGH WIDE: The boys give chase as Young Elvis bolts

towards the Pentecostal tent where the spiritual version
of "I'll Fly Away" swells up.

INT. PENTECOSTAL TENT - AFTERNOON

The other boys watch from the open flap as Young Elvis
moves forward, arms aloft, becoming the music.

EXT. "HAYRIDE” AUDITORIUM - BACK ALLEY - NIGHT (1955)

The Colonel glimpses just the Boy’s heavy-lidded,

mascaraed eyes.

ELVIS (BOY)
(sings)
I'll fly away, I'll fly away...

INT. PENTECOSTAL TENT - AFTERNOON (1947)

Smoky reaches for Young Elvis. Suddenly, his hand is

stayed by THE PASTOR.

PASTOR
Leave him be; he’s with the
spirit.

As Young Elvis' rapture builds, the CAMERA ASCENDS and

the spiritual is overlaid with:

(CONTINUED)
 20.
CONTINUED:

BIG BOY CRUDUP (V.O.)

Whoooooooa, black snake crawlin’
in my room!
That's alright, mama, that's
alright with you,
That's alright, mama, any way you
do.

EXT. "HAYRIDE” AUDITORIUM - ALLEY - NIGHT (1955)

The shy boy duets with Crudup across time.

ELVIS
(sings)
I'll fly away, I'll fly away...

SAM PHILLIPS (31), stern, and his no-nonsense secretary

MARION KEISKER (36) appear at the stage door.

SAM PHILLIPS
Better get on up! They’ve just
made a big announcement about you
on the radio.

MARION
Folks are real excited!
(sotto)
Sam, don’t look so worried.

As Sam and Marion leave, Colonel uses this opportunity to

follow them back inside the stage door.

OLD COLONEL (V.O.)

Sam Phillips was on a mission to
save the world by recording black
music...

Colonel peels off and finds himself looking through the

dock door, where he can see Elvis and the boys ascending
the stairs, the family in tow.

EXT. SUN STUDIOS - DUSK (1954)

A converted shopfront. A neon sign reads: “SUN STUDIOS.

HAVE YOUR VOICE RECORDED -- ONE DOLLAR!” The music from
the Pentecostal church continues underneath.

Marion crosses the road to the studio, carrying coffee

and donuts.

OLD COLONEL (V.O.)

But it didn’t pay, so he tried to
find a white country-and-western
star.
 21.

INT. SUN STUDIOS - CONTROL ROOM - DUSK

We follow Marion as she passes Scotty, Bill and the young

boy in the studio. Scotty is packing up his guitar.

SCOTTY
Sorry kid, I’ve got to work
tomorrow.

Marion enters the control room and plonks a coffee down

in front of Sam, despondent at the control desk.

SAM
I don’t know what it is you see in
this boy...

Marion looks up. Although they can't hear, she can see
Elvis larking around in the studio.

MARION
I just think he’s... different.

She flicks a switch. An intrigued Sam looks up and rises

to his feet.

INT. SUN STUDIOS - RECORDING ROOM - LATER

Sam, Marion, Scotty and Bill looking at Elvis, a moment

of shocked pause. Sam repositions the microphone in front
of Elvis.

SAM PHILLIPS
How do you know Big Boy Crudup?

Elvis shrugs. He starts to sing “That's Alright, Mama”

over the Pentecostal music. Scotty and Bill join... CUT
TO hours later, the musicians are shaping up the track.

INT. "HAYRIDE” AUDITORIUM - NIGHT (1955)

Elvis and the boys make their way inside. Using

instruments being loaded through the dock door as cover,
Colonel positions himself to get as close as possible.

As Elvis and the boys prepare to take the stage, Colonel

begins to ascend the stairs to the fly tower above.

INT. PENTECOSTAL TENT - AFTERNOON (1947)

The singing reaches a powerful crescendo as Young Elvis

is possessed by the sacred and the profane.

(CONTINUED)
 22.
CONTINUED:

ELVIS (V.O.)
(in Sun Studios)
That's all right, mama...

The distant and dreamlike sound of HORACE LOGAN’s voice:

HORACE LOGAN (V.O.)

A young man from Memphis,
Tennessee... song on the Sun
label... sky-rocketed right up the
charts... Elvis Presley! Let's
give him a nice hand.

Tepid applause takes us to...

INT. "HAYRIDE” AUDITORIUM - STAGE - NIGHT (1955)

CLOSE ON Elvis’ shaking legs. TILT UP to DISCOVER a pink

jacket over feminine black lace. A white-hot spotlight
REVEALS his face: heavy with makeup, slumberous,
piercing, blue eyes stare back. His greasy black hair is
an architectural wonder and slashes across his forehead
like a scar.

This is ELVIS PRESLEY at 20. He is beautiful, defiant,

innocent, strange.

OLD COLONEL (V.O.)

I cannot overstate how strange he
looked. I'd seen clowns with less
makeup.

The Colonel looks out into the auditorium. Bodies

shifting in rickety chairs. Portraits of disdain,
disgust, and confusion. The South as it stands, soon to
be changed forever.

HORACE LOGAN (O.S.)

Elvis, how are you this evening?

ELVIS
Just fine. How're you, sir?

HORACE LOGAN
Are you all geared up with your
band there to...

ELVIS
I'm all geared up.

HORACE LOGAN
... to let us hear your songs?

Elvis, flustered, realizes he’s cut Horace off.

(CONTINUED)
 23.
CONTINUED:

ELVIS
Uh, well, I'd just like to say how
happy we are to be down here. It's
a real honor for us to be- get a
chance to appear on the Louisiana
Hayride. We're gonna do a song for
you we got out on Sun Records...
you got anything else to say, Sir?

HORACE LOGAN
No, I'm ready!

Elvis looks up to the heavens...

ELVIS
It goes something like this...

At the front of the auditorium, an anxious Vernon stares

at the floor. Beside him, Gladys stares into the eyes of
her son. This does not go unnoticed by the Colonel.

Elvis’ chest heaves, mind races, heart pounds.

ELVIS
(sings)
Ohh, baby, baby, baby, baby, baby
Baby, baby, baby, baby, baby...

Snickers from the audience.

The Colonel puffs his cigar, eyes narrow. Maybe this

boy's not for the stage.

ELVIS
(sings)
Come back, baby, I wanna play
house with you.

In the front row, two of the country kids from the side
alley: pretty-girl NELL and her skinny country jock
boyfriend, TOMMY, chewing gum and smirking--

TOMMY
Get a haircut, fairy!

A flash of anger across Elvis’ face. He wails back:

ELVIS
(sings)
Weeeeeellll, you may go to
college, you may go to school,
You may have a pink Cadillac,
But don't you be nobody's fool.

(CONTINUED)
 24.
CONTINUED: (2)

A cluster of girls in the front start to clap and wriggle

in their chairs excitedly. Colonel climbs the ladder to
the gantry.

ELVIS
(sings)
Now, baby, come back, baby, come.
Come back, baby come...

CAMERA CURLS DOWN Elvis’ body, revealing what all the

fuss is about.

ELVIS
(sings)
Come back, baby, I want to play
house with you!

Elvis’ raw nervous energy has caused his habitually shaky

leg to go into overdrive! The front of his pleated,
pegged pants flaps like a tent in a storm.

Fascinated, Colonel begins to cross the gantry for a

better vantage point.

ELVIS
(sings)
Well, listen to me, baby
What I’m talking about...

The unpegged pants seem to suggest, and maybe it's true,

that all hell is breaking loose down there.

ELVIS
(sings)
Come on back to me, little girl
So we can play some house.

A GIRL in the audience SCREAMS! Elvis and the band

falter, confused by the reaction.

ELVIS
(sings)
Now baby, come back baby, come
Come back baby, come...

Marion Keisker shushes the girl who screamed, beside her.

ELVIS
(sings)
Come back baby
I wanna play house with you...

But then there’s ANOTHER SCREAM, and then ANOTHER, mixed

with an uncertain laughter. The Colonel takes note.

(CONTINUED)
 25.
CONTINUED: (3)

During the guitar solo, Elvis, confused, spins and yells

to Scotty and Bill:

ELVIS
What are they hollerin’ at?

BILL
It's the... wiggle.

ELVIS
The what?!

BILL
The wiggle!

BILL AND SCOTTY

(in unison)
Do more!

Bill slaps out a bass feature, riding Elvis’ energy as

the singer throws several thrusts out towards the girls.
They react in waves of squeals and screams.

Colonel descends the stairs side-stage onto the

auditorium floor.

ELVIS
(sings)
Well, this is one thing, baby
That I want you to know...

Marion, eyes locked on Elvis, as if suddenly beset by the

devil, finds herself standing and screaming, too.

Colonel, now amongst the audience, clocks this reaction

as he crocodiles across auditorium.

Gladys and Dixie watch, horrified.

GLADYS
Please, Lord, don't let them hurt
my baby!

VERNON
Hurt him? Looks like they
wanna...

He sees Dixie and coughs, embarrassed.

ELVIS
(sings)
Well, listen to me, baby
Try to understand...

Colonel eyes every face in the audience as he makes his

way side-stage.
(CONTINUED)
 26.
CONTINUED: (4)

Nell is drawn toward the stage, Tommy follows her.

TOMMY
(to Elvis)
Pucker up, buttercup.

Elvis, mic in his fist, leans in and enrages Tommy by

sing-whispering a capella to sweet Nell:

ELVIS
(sings)
I'd rather be dead, little
girl...
(eyes on Tommy)
... than to see you with another
man.

Time stands still; a dramatic, tense pause. CUT TO Hank

in the wings who, having discovered his son Jimmie, leans
in and utters with revulsion:

HANK SNOW
Oh, my Lord... What in God’s sweet
name am I looking at?

JIMMIE
Pa...

HANK
What were you thinking, Jimmie?

JIMMIE
I guess I thought... I don’t know
what I’m thinking.

Jimmie bites his nail. Hank, in exasperation:

HANK
Where is Colonel?

Jimmie indicates toward the Colonel, watching from the

auditorium.

Elvis flicks his hair and a drop of sweat falls across

Nell's cheek. It's too much -- she implodes. Nell latches
on to Elvis' jacket, then another girl, and another.

ELVIS
(sings)
Come back, baby, I want to play
house with you!

Suddenly, Hank appears behind Colonel.

(CONTINUED)
 27.
CONTINUED: (5)

HANK SNOW
If we leave now we can still meet
with the Duke of Paducah...

Colonel ignores him, frozen in disbelief at what he's

witnessing. Traces of "Black Snake Moan" join the score --
the profane.

ELVIS
(sings)
Oh, baby, baby, baby, baby...

OLD COLONEL (V.O.)

And there it was. I saw it! They
would come to call it ‘teenage
hysteria.’ Whatever it was he was
doing, it touched something within
her. The urgent, desperate need to
consume and be consumed.

Marion and Sam look to each other, witnessing a miracle.

Hank witnesses a travesty: his son Jimmie, awestruck.

Elvis sinks momentarily beneath the throng of girls,

tearing at him, scratching his skin.

Nell, possessed, rips off Elvis’ jacket. Suddenly, she’s

accosted from behind! Gladys grabs the jacket, screaming:

GLADYS
Why are you trying to kill my
son?!

Gladys recoils in shock, holding Elvis’ jacket. The

curtain crashes closed. CLOSE on Colonel as we see the
last glimmer of Elvis, rescued by Scotty, tumbling back
through the blue curtains.

OLD COLONEL (V.O.)

It was the greatest carnival
attraction I’d ever seen...

EXT. MEMPHIS, TENNESSEE - DAY

The once-crucial cotton port on the snaking Mississippi

River and its triple-spanned bridge.

OLD COLONEL (V.O.)

He was my destiny.
 28.

EXT. LAUDERDALE COURTS (MEMPHIS) - DAY

A large grass courtyard surrounded by a three-story red-

brick building. Mothers gossip, kids play football and
ride bikes. We catch on the radios all over:

RADIO ANNOUNCER (V.O.)

Here's a new one from Memphis'
own... Elvis Presley!

The opening lyrics of Elvis’ latest recording “Blue Moon”

can be heard, as a Crown Electric truck pulls up.

ELVIS (V.O.)
(vocal)
Blue moon,
You saw me standing alone,
Without a dream in my heart,
Without a love of my own...

INT. CROWN ELECTRIC TRUCK - DAY

We catch a glimpse of Elvis’ eyes in the rear-view

mirror. CUT TO his hand, taking up his guitar.

EXT. LAUDERDALE COURTS - DAY

As he alights from the truck, we catch Elvis in his two-

tone shoes and grey Crown Electric uniform.

He makes his way down the path, through the Courts, as

girls and boys look on, somewhat confused by Elvis’
sudden notoriety.

MEAN BOY
Hey squirrel, nice sideburns.

COOL GIRL
Hey Elvis.

They stare after Elvis as he crosses the courtyard and

enters the building. We GLIMPSE a humble living room
THROUGH a second-story window.

INT. PRESLEY APARTMENT - CONTINUOUS ACTION

A hand holds back the curtain. The girls can clearly be

seen, staring up. The curtain drops. We turn, and it is
Gladys inside the Presley’s humble apartment.

(CONTINUED)
 29.
CONTINUED:

GLADYS
Elvis is home! Billy, go wash up
then keep setting the table for
dinner!

Wide-eyed COUSIN BILLY (15) races for the door.

BILLY
Ok, Aunt Gladys! I’m gonna see
Elvis for a second.

Gladys is clearly anxious as she crosses to the kitchen,

where Dixie is helping prepare dinner.

GLADYS
Vernon, Elvis is home.

Passing Vernon on the phone, we catch a few lines of the

conversation:

VERNON
Yeah, well, Elvis done good but...
Jimmie Rodgers Snow, he put on a
real good show.

Gladys takes a bowl of carrots from Dixie.

GLADYS
I’ll do that, Dixie, honey. What
you gonna see at the movies?

Dixie rushes to go freshen up.

DIXIE
Um, I’m not sure!

"Blue Moon" continues to play on a radio on the kitchen

windowsill. It’s too much for Gladys and she snaps the
radio off, anxiety palpable in her face. We CUT DOWN to
the radio again but strangely, an a capella version of
“Blue moon” can be heard.

ELVIS (V.O.)
(sings)
Oooohhh, oooohhh, eeee-aahhh...

Beyond the radio, through the window, the lights in the

other apartments illuminate, signaling the transition
from day to night.

Neighbors lean out windows, eavesdropping.

 30.

EXT. LAUDERDALE COURTS - STAIRWELL - EVENING

Floating through the window and into the stairwell, we

discover the source of the music. It’s Elvis, later that
night, now joined by his girl, Dixie.

Having taken out the trash, he still holds the can in his
hand as he serenades Dixie.

ELVIS
(sings)
Without a love of my own...

Their lips almost touch. Elvis stares into Dixie’s eyes.

ELVIS
(disbelief)
Hank Snow...

Dixie, a little disappointed, discreetly rolls her eyes.

But Elvis is lost in the thought.

ELVIS
I used to play his records every
day with Mama and now he’s
personally asked for me to be on
his tour.... I can’t believe it.

The trash can clatters to the ground. Elvis scurries down

to retrieve it. Dixie, a loving roll of the eyes:

DIXIE
So, is that a yes?

ELVIS
Ahh yes?

DIXIE
Coming with me to Goldsmith's on
Sunday to pick out my prom dress.

ELVIS
Oh, sure, baby...

Elvis, having retrieved the can, is ascending the stairs.

DIXIE
Elvis, after prom, all the couples
are going to the teen canteen.

She takes the initiative and they kiss...

ELVIS
Wait, Sunday? Hell, we’re in New
Orleans.

(CONTINUED)
 31.
CONTINUED:

Dixie is crestfallen.

ELVIS
But I’ll be back for the dance and
Mama can help you pick out your
dress.

GLADYS
Elvis, dinner’s ready! Better wash
up or you’ll be late for the
movies.

ELVIS
Alright, Mama. I'm sorry, baby.
It's just so much, so quick.

DIXIE
You told your parents?

INT. PRESLEY APARTMENT - LIVING ROOM - DAY

Out the window, the GIRLS in the courtyard stare up.

GLADYS (O.S.)
So, without so much as a word to
your daddy and me...

Gladys snaps the curtain shut.

GLADYS
You quit your job to run around in
that rickety jalopy, speeding down
dangerous roads, getting girls all
hopped up...

Elvis is now resplendent in a top-to-toe pink suit, his

immaculately quaffed bouffant of hair towering over his
scowling forehead. Clearly, things have not gone well.

Vernon is sitting on the couch as Dixie finishes setting

a makeshift dining table for dinner. Billy fills glasses
with iced tea. GRANDMA DODGER (65) sits silently in the
corner. Tension as Gladys serves up the meatloaf.

GLADYS
Soon, you'll be drinking, going
off to them slut parties--

ELVIS
Mama!

GLADYS
Not keeping the Sabbath...
(to everyone)
Dinner!
(MORE) (CONTINUED)
 32.
CONTINUED:
GLADYS (CONT'D)
(to Elvis)
You just sit down now, eat!

Billy, Dixie and Elvis take their seats.

ELVIS
But Mama, it's only four days!

GLADYS
Yeah, four days! And then what?

VERNON
I knew a fella once, got his
record on the radio, and it was
all over in a flash.

ELVIS
Mr Phillips says every time I
perform onstage, it's gonna help
the record sell and we could make
some real money! I ain't gonna do
that driving a truck for Crown
Electric.

VERNON
Electrician is a good, stable job,
whereas I don't know a guitar
player worth a damn.

GLADYS
You listen to your Daddy.

At the exact moment Gladys speaks, the phone rings. Billy

jumps up to answer.

BILLY
It's my mama! She's with Aunt
Cletus and all the cousins on a
shared line... She wants to talk
to you. She heard Elvis on the
radio.

GLADYS
I can't right now!

ELVIS
Please, Mama! I'm just trying to
take care of my babies, that's all
I ever cared about! I ain’t ever
gonna let us be in a place again
where Daddy gets in trouble with
the law to put food on the table.

GLADYS
ELVIS!

(CONTINUED)
 33.
CONTINUED: (2)

A tense silence. Vernon hangs his head, humiliated.

GLADYS
As the good Lord warns us, ‘Do not
wear yourself out to get rich, do
not trust your own Goddamn
cleverness!’

Overwhelmed, she storms out.

VERNON
I want to work. I do the best I
can with my back...

Dixie gestures towards the hallway and Gladys’ bedroom.

DIXIE
Elvis, you’ve upset your mama.

40 Elvis follows Gladys. 40

INT. PRESLEY APARTMENT - BEDROOM - CONTINUOUS ACTION

A pill being removed from a lacquered medication box.

Gladys gulps it down as Elvis appears in the doorway

through the mirror. She's breathing heavily, tears
streaming down her cheeks, black with mascara.

ELVIS
(half-jokingly)
I'm going to buy you one of them
pink Cadillacs, like you saw back
when you was working at the
hospital.

Gladys breaks a little. She turns to him, embarrassed.

GLADYS
I don't need no pink Cadillac.

ELVIS
Satnin'...

Elvis takes up Gladys' face in his hands, the tears

running from her eyes.

ELVIS
I just gotta be making the most of
this thing while I can. It's like
Daddy says, this could all be over
in a flash.

With this thought, Gladys' mood changes. Still anxious,

she sits at the dressing table, somewhat in a dream.
(CONTINUED)
 34.
CONTINUED:

GLADYS
I'm not fearful of it being over,
Boobie...

She looks up to him.

GLADYS
It's the opposite...

She looks back to the mirror, messing with her hair.

GLADYS
Oh Lord, I look a frightful mess.

Unconsciously takes up a lipstick.

GLADYS
I don't know how to explain it,
but I saw it in that girl's eyes,
I saw it.

ELVIS
There's nothing to fear. They're
just kids getting all hopped up.

Applying lipstick, as if the very act comforts her.

GLADYS
No, it's more than that. It's
something I don't understand.
It's something beyond us. But I
know whatever it is, it's
something that can come between
us.

Elvis throws his arms around Gladys from behind, nuzzling

her neck as if she were a giant Teddy bear.

ELVIS
No, no, no... ain't nothing ever
going to do that. You're my girl,
my Satnin'. You'll always be my
best-est girl.

Gladys looks up into his eyes.

ELVIS
I'll call you every night.
Nothing, but nothing's gonna come
between us.

Gladys, pleading like a child:

GLADYS
You promise me, Boobie?

(CONTINUED)
 35.
CONTINUED: (2)

Elvis, now the adult, reassuring the child that all will
be well:

ELVIS
I promise. I promise, I promise, I
promise...

EXT. LAUDERDALE COURTS - DAY

As Scotty helps Bill squeeze the double bass into the

CHEVY BEL AIR, Elvis gives Dixie a final kiss. The boys
tumble into the car. Vernon and Gladys wave with Billy by
their side as the car tears off into the future.

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

OLD COLONEL
(to camera)
Wanna bet?

He spins the roulette wheel and looks up to see Scotty’s

car driving away from Lauderdale Courts. To the iconic
opening of "Mystery Train," the roulette wheel transforms
into a SPINNING CHROME HUBCAP.

MONTAGE - EXT. RURAL ROAD (1955)

It's an AQUATONE BLUE SEDAN emblazoned with "Hank Snow's

Jamboree Attractions Tour!" Diskin at the wheel, Colonel
beside him. In an almost reckless gesture, the sedan
overtakes all the cars in a convoy.

COLONEL
Let’s pull over for lunch. What is
the name of the next place?

DISKIN
The Tasty Grill.

COLONEL
Tasty Grill.

COLONEL
(over megaphone)
Your attention please, your
attention please. We will be
pulling over for lunch up ahead at
the Tasty Grill. Lunchtime at the
Tasty Grill.

They approach Scotty's Chevy Bel Air, double bass

squeezed inside. Siting the boy’s car, Colonel hurriedly
winds the window down and turns to Diskin.
(CONTINUED)
 36.
CONTINUED:

COLONEL
Slow down.

The sedan holds alongside the Chevy, Colonel pretending

not to notice the boys. A complete transformation,
Colonel announces with bonhomie:

COLONEL
(over megaphone)
Can I have your attention, this is
your morning bulletin. Colonel’s
promotional machine never fails!
The ‘Hank Snow All-Star Jamboree
Tour’ has completely sold out.
That’s right. And to celebrate I’m
buying all of you great artists
complimentary pie at the good old
Tasty Grill!

BILL
Who the hell is that?

ELVIS
That’s Colonel Tom Parker. He
knows all the big wheels in the
business. He made Eddy Arnold a
movie star.

SCOTTY
I heard he screwed him over.

Bill diffuses the tension.

BILL
I heard there’s free pie at the
Tasty Grill.

DISSOLVE THROUGH a LARGE POSTER headlined with "HANK

SNOW." At the bottom of a long list of supporting
artists: "Elvis Presley and the Blue Moon Boys."

EXT. SMALL COUNTRY DINER - DAY

The convoy is parked outside.

INT. SMALL COUNTRY DINER - DAY

Hank at the counter, flanked by Jimmie, performers, and

crew. Elvis and the boys, strangers to it all, are
relegated to the periphery, by the window.

TAP TAP TAP! Elvis looks up to see the Colonel waggling

his cane THROUGH the plate glass.

(CONTINUED)
 37.
CONTINUED:

SCOTTY
Here he is. The man himself.

Colonel enters briskly, Diskin keeping pace.

COLONEL
Hello everybody, how’s the pie?
It’s cheap at half the price!

Everyone is confused at Colonel’s sudden generosity.

COLONEL
Hank! I’m here to check your
placement in the jukebox.

Colonel arrives at the jukebox, perusing the singles on

offer in the machine:

COLONEL
‘Let Me Go, Lover’, Hank Snow.
‘Conscience I'm Guilty’, Hank
Snow. ‘Cryin' Prayin' Waitin'
Hopin', Hank Snow.

Everyone applauds as Colonel makes his way over to Hank.

COLONEL
All hit records, all RCA! Can't
beat their distribution.

But Hank is distracted by the sight of Elvis and the boys

on the other side of the cafe. He turns to Colonel.

HANK
Colonel, what is that boy doing on
our tour?!

COLONEL
I told you all about him? He comes
from a good Christian family.

HANK
I do not recall.

COLONEL
And more importantly, about him
wanting to record one of your
songs?

HANK
Which one?

COLONEL
All of them! Them young’uns buy an
lot of his records.

(CONTINUED)
 38.
CONTINUED: (2)

JIMMIE
That’s no lie, Pa. Kids these days
are buying more than adults!

Colonel pats Jimmie on the back.

COLONEL
Think of the money in the bank,
Hank.

JIMMIE
Wouldn’t want to miss out.

Hank, confused and bemused, glances towards Elvis and

considers what Colonel has said.

HANK
Well you warn him plenty, none of
those lewd gyrations or sudden
jerky movements.

Colonel, with an ambiguous nod of the head:

COLONEL
I’ll speak to the boy
immediately...

CUT TO Elvis at the table, clearly anxious.

ELVIS
You got a dime for the pay phone?
I promised to call Dixie and Mama-

But before he can finish his sentence:

COLONEL
Well, if it ain’t the new act...

The boys look up and there, towering over them, is the

Colonel. Elvis nervously leaps to his feet, proffering
his hand.

ELVIS
Colonel Parker, sir? Elvis
Presley.

COLONEL
Right. You’re the fella with that
funny new record all the kids are
listening to...

Scotty shifts defensively in the booth.

SCOTTY
It's getting lots of radio play,
sir.
(CONTINUED)
 39.
CONTINUED: (3)

COLONEL
Who are you?

BILL
Blue Moon Boys.

COLONEL
I did not see that record of yours
on the jukebox... What label are
you on?

ELVIS
Sun... Sun Records. Sam Phillips.

COLONEL
Sun... If I were you, young man, I
would have a talk with my manager.

SCOTTY
That's me.

COLONEL
Hmm... Well, if you are his
manager I have two words for you:
one is distribution, and the other
is distribution... The pie is not
always free.

Colonel turns to the assembled company.

COLONEL
Alright, remember folks, show time
is snow time! Hank Snow time. See
you all in New Orleans.

With this, Colonel is gone. CLOSE ON Bill holding yet

another forkful of pie.

BILL
Free pie, huh? What’s that
supposed to mean?

Colonel taps on the glass and reiterates one last time:

COLONEL
Distribution.

ELVIS
It means our record should be on
that jukebox.

A glimmer of tension between Elvis and Scotty.

DISSOLVE THROUGH another poster, and another. "Elvis

Presley and the Blue Moon Boys" climbing up the bill.
 40.

INT. AUDITORIUM - NIGHT

Elvis busts two strings on his guitar! He stands, blue-

suited, legs apart, motionless...

Teenage fans sizzling like eggs in a pan.

ELVIS
(A cappella)
I’m gonna hold my baby
As tight as I can
Well, tonight she’ll know
I’m a mighty, mighty, man
I heard the news
There’s good rockin’ tonight

Then suddenly, Elvis‘ body jackknifes! Scotty and Bill

take their cue. The crowd loses it!

ELVIS
(sings)
Well, we’re gonna rock
We gonna rock
Let’s rock
C’mon and rock...

As Elvis apes fornication, Hank, spruced and ready, joins

Colonel and his son Jimmie, now sporting slick pompadour
and sideburns, in the wings just in time to observe...

A PAIR OF PANTIES landing center stage!

ELVIS
(sings)
We’re gonna rock
All our blues away...

To Hank's horror, he sees another PAIR OF PANTIES! And

ANOTHER! Elvis caricatures an orgasmic shimmy.

HANK
Colonel, is that a pair of young
lady’s intimates I see upon the
stage?

COLONEL
Yes, I believe it is, Hank.

HANK
That best not happen when he sings
one of my songs.

COLONEL
I’m sure it won’t.

An apoplectic Hank storms off.

(CONTINUED)
 41.
CONTINUED:

INT. MOTEL - ROOM - NIGHT

Elvis is pacing with the phone, just his pants on. A

TAPPING at the door, a FEW GIRLS GIGGLE outside.

ELVIS
(whispering)
Baby, no... It’s just part of our
act. We’re savin’ ourselves, like
we said... Love you...

The CLICK of the phone. He falls back onto the bed. Then
there comes a tapping. Softly. Steadily.

ELVIS
Is that a cheeseburger I hear
knocking at my door, Scotty?

Shirtless, Elvis gets up and opens the door to find a doe-

eyed FEMALE FAN...

She walks past Elvis, into the room. The fan lowers of
the strap of her dress and they fall to the bed together.

We PAN OFF TO a map of Florida.

INT./EXT. CHEVY BEL AIR - DAY

Scotty drives. Elvis looks despondent.

SCOTTY
Aw, come on, EP. Life on the road
ain’t the concern of folks back
home.

BILL
Why don’t you try one of these?

Bill offers up a small, white pill. Elvis considers it...

BILLY
Put the pep back in your step.

Elvis takes it with a swig of coke and we CUT TO:

EXT. DAYTONA CARNIVAL - STAGE - NIGHT

In a shower of panties, Elvis and the boys scuttle off

stage, past Colonel. Jimmie follows Elvis.

(CONTINUED)
 42.
CONTINUED:

JIMMIE
Elvis! Elvis! I told them. I told
them but they didn't wanna believe
me! You're one of a kind! You're
something else and I promise, I'll
put my heart in it. I wanna be
just like you!

Colonel looks to ashen Hank, trembling with rage.

HANK SNOW
I can no longer in good conscience
appear onstage with that boy!

COLONEL
(nonplussed)
It is a conundrum, a conundrum...

HANK SNOW
After I perform, I shall spend the
night in prayer.

COLONEL
And I will do what needs to be
done.

EXT. CARNY CAMP - BACKSTAGE - NIGHT

Music, laughter. Through the doorway of Hank Snow’s

trailer, we see Hank in silent prayer. Emerging from the
trailer, he discovers a backstage petting party and slams
his door shut in disgust.

Scotty and a showgirl make their way through the party,

past pompadoured Jimmie performing on top of a table.
They tumble past Colonel, and into one of the trailers.

Elvis apart, gazing at the Ferris wheel, perturbed.

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

OLD COLONEL
I saw him alone, lost. A good
promoter knows the perfect
moment...

We FOLLOW Old Colonel's sun-spotted claw as it almost

comes to rest on Elvis' shoulder.

SCOTTY (V.O.)
Elvis!!!
 43.

EXT. CARNY CAMP - NIGHT (1955)

Colonel, unseen, is standing behind Elvis.

Scotty, Bill, Jimmie and a bevy of girls are making their

way towards an enormous, illuminated clown's mouth.

BILL
Elvis, let’s go!

Elvis runs after them.

EXT./INT. CARNIVAL - HALL OF MIRRORS - NIGHT

Trailing the rest of the gang, Elvis enters the Hall of

Mirrors under the watchful gaze of ROY LUMOUS, the carny
fixer, lurking in the shadows.

We see Colonel appear in the reflection of a mirror. He

passes Lumous, speaking in a secret carny language:

COLONEL
You ceaz-ould get leaz-ost in heaz-
ere.

LUMOUS
Yeaz-ou ceaz-ould.

Lumous pulls a lever.

INT. CARNIVAL - HALL OF MIRRORS - NIGHT

The whole party reflected in the mirrors. Lumous’

tattooed hand closes a mirrored door. As if by magic,
Scotty, Bill, and the others disappear before our eyes,
leaving Elvis alone.

ELVIS
Fellas?... Bill?... Quit fooling
around.

COLONEL (O.S.)
Lost, my boy?...

Elvis spins, surprised by the apparition of the Colonel.

ELVIS
Colonel Parker, sir...

COLONEL
You look lost.

Elvis looks around, but he cannot even guess the way out.

(CONTINUED)
 44.
CONTINUED:

ELVIS
(laughing to self)
Well, I was with the guys, then
they just... Yeah, I guess I am.

COLONEL
The roar of the crowd, life on the
road. Then calling home,
pretending to loved ones nothing
has changed, when everything
has... Lost.

Elvis tries to laugh it off.

ELVIS
I'm sorry, sir. I meant I don't
know the way out.

Colonel jovially concurs.

COLONEL
That's precisely what I am saying.
I saw you, standing apart from the
others, burdened... Like you
‘don't know the way out of this.’

Colonel pushes a mirror in which Elvis is reflected. It

swings open, revealing a shadowy world behind the midway.

COLONEL
But I do... Allow me to show you.

ZEENA (V.O.)
(sings)
Snowman's comin', yes, he's
comin'...

EXT. CARNIVAL - NIGHT

Elvis follows the Colonel as he skirts the canvas backs

of the tents, greeting roustabouts and freaks warmly as
he goes. Leaning into a group of LITTLE PEOPLE:

COLONEL
Miss Becky, Miss Kathy. A reaz-ed
one with the reaz-ubes?

The group giggles and nods.

COLONEL
(to Elvis)
Snowfall.

Colonel takes in their surroundings with a gesture of his

cane.
(CONTINUED)
 45.
CONTINUED:

COLONEL
The language of the carnival. I'm
one of them. I came into this
world an orphan, you see, in
Huntington, West Virginia... But I
ran away, to join the circus.

ZEENA (O.S.)
(sings)
To sprinkle you with snow...

COLONEL
You're either circus, or you're
not. It's in your nature.

ZEENA
(sings)
He'll say ‘one, two, three,’ and
you'll be...
In cotton candy land...

They come upon Zeena on the steps of her trailer.

COLONEL
(to Zeena)
Al-A-Ga-Zam.

ZEENA
Al-A-Ga-Zam.

COLONEL
(to Elvis)
Madam Zeena and I had a mentalist
act together.
(to Madam Zeena)
Madam Zeena, young Mr. Presley.

ZEENA
Poor, white boy from Mississippi,
sings and the very rocks and
stones stand and follow...

ELVIS
And some of the girls, too, ma’am.

ZEENA
(to Colonel)
You’ll go far with the Colonel.

Elvis looks confused as he and the Colonel move off.

COLONEL
I saw you perform at the
‘Hayride.’

(CONTINUED)
 46.
CONTINUED: (2)

ELVIS
You were there?

COLONEL
Yes, I was. And seeing you there
made me realize it was our destiny
to be together.

They stop walking and Colonel looks Elvis in the eye.

COLONEL
I wish to promote you, Mr.
Presley.

Without missing a beat:

ELVIS
My brother told me you would come
one day.

Colonel was not expecting this. Colonel brings his cane

slowly to his forehead, and punts on what he saw outside
the “Hayride.”

COLONEL
Ahh... Jesse?

They have arrived alongside the GEEK TENT.

ELVIS
Yeah, Jesse. He died when we were
born.

COLONEL
Twins...

ELVIS
But he's with me, always. Mama
says when Jesse died, I got the
strength of two men.

COLONEL
That would explain your tremendous
energy on stage.

We follow Colonel’s gaze to Hank and his band, signing

autographs at a distance. We see Bill, Scotty and Jimmie
searching around the carnival, presumably for Elvis.

COLONEL
The very same energy that upsets
Mr. Snow so very much.

ELVIS
Sir, the way the kids react? It’s
not my fault...
(CONTINUED)
 47.
CONTINUED: (3)

COLONEL
It is your fault.

Elvis, his attention caught by the performance of the

Geek, is lost in reverie. Colonel leans over to Lumous,
positioned in the ticket booth. He whispers into his ear:

COLONEL
Nobody on the Erie...

With this, Lumous dispatches two BOY CLOWNS towards a

GRIZZLED TATTOOED CARNY at the base of the Ferris Wheel.

Eyes locked on Elvis, Colonel indicates with his cane

towards the Ferris wheel and intones with gravity:

COLONEL
Mr. Presley, are you afraid of
heights?

The Grizzled Tattooed Carny pulls a lever, halting the

great wheel.

ELVIS
No, sir. I'm not.

EXT. FERRIS WHEEL - NIGHT

Colonel and Elvis swish into the air. Colonel looks out
over the SPARKLING MIDWAY.

COLONEL
Your future, Mr. Presley, blazing
before you. Recording contracts,
television, even Hollywood.

ELVIS
You’re great, Colonel. The best
person I could ever hope to work
with. I ain’t never said this to
anybody before, but I believe I
can be great, too.

COLONEL
We can be great together. But to
achieve this, I will need to
represent you exclusively.

ELVIS
What about Hank Snow?

COLONEL
Hank wants you off the tour.

CREAK! The wheel stops.

(CONTINUED)
 48.
CONTINUED:

COLONEL
I will have to leave Hank. We will
both have to make sacrifices...
You will need a label with
national distribution.

The implication sits heavy with Elvis.

ELVIS
RCA?

Colonel nods.

COLONEL
RCA.

ELVIS
Sam Phillips discovered me.

COLONEL
I know we have a way to help Sam
understand that it would be
foolish of him to hold you back.

FLASH FORWARD - INT. SUN STUDIOS - NIGHT

We come down onto Sun Studios late at night. Through the

neon-lit shop window, we see Elvis slumped in a chair.
Marion serves him hot cocoa. Sam leans on Marion’s desk.
There’s a feeling of sadness and finality in the air.

Sam, as if picking up the Colonel’s cue:

SAM
RCA does have the distribution...

ELVIS
(sincere)
I just need to know that you’ll
still be there with me as friends.

SAM
Hey, don’t doubt that. We’re not
going anywhere. Marion and I just
don’t wanna stand in your way,
that’s all.

Marion leans forward, hand on Elvis’s shoulder.

MARION
The world needs to hear you sing,
Elvis.

(CONTINUED)
 49.
CONTINUED:

OLD COLONEL (V.O.)

And you needed the highest payment
in the history of music to save
your business.

END FLASH FORWARD.

EXT. FERRIS WHEEL - NIGHT

COLONEL
It’s just business, show business.
To be truly great requires truly
great sacrifices. You will need to
be free of any entanglements...

As the CAMERA TILTS UP TO the stars, the haunting sound

of Elvis’ “Tomorrow Night."

FLASH FORWARD - EXT. TEEN CANTEEN - NIGHT

We TILT DOWN to discover a row of parked cars. We reveal

Elvis in his pink tux. Dixie, in her prom dress, crying.

ELVIS
(burdened)
Colonel says that with all the
publicity that's gonna be comin',
well, he might have to put it out
there that...

He's nervous to say this next thing, guilty...

ELVIS
I don't have a girl...

DIXIE
(hurt)
Colonel says, Elvis? Or you say?

Elvis stares into her eyes.

ELVIS
I love you, Dixie Locke. I always
will...

END FLASH FORWARD.

EXT. FERRIS WHEEL - NIGHT

Elvis still in a reverie, imagining Dixie’s feelings.

Colonel leans in and breaks him from his reverie with:

(CONTINUED)
 50.
CONTINUED:

COLONEL
And then we will need your
parents' legal commitment. They
may need a bit of convincing
themselves...

FLASH FORWARD - INT. SUN STUDIOS - DAY

As Marion ushers Gladys and Vernon towards a table of

paperwork, Gladys whispers to Vernon.

GLADYS
Sam Phillips is a good man, who we
can trust; we don’t know this
Colonel from a nail in the wall...

COLONEL
I am of the firm belief that
family is the most important thing
in the world. With that in mind,
I’ve taken the liberty of making
these contracts out in the name of
‘Elvis Presley Enterprises,’ a
family business.

Colonel gestures in the air.

COLONEL
And I was thinking... ‘Vernon
Presley: Business Manager!’

The room applauds. Vernon is dumbfounded by the status

bestowed upon him.

ELVIS
What do you think, Daddy?

VERNON
I like it very much, son.

Colonel notices Cousin Billy, excitedly looking on.

COLONEL
You know Billy, Elvis is going to
need a lot of help on the tour...

ELVIS
Hell, you could be my road manager
one day, Billy!

Billy beams, and all laugh. Colonel solemnly signs and

offers the pen to Gladys.

(CONTINUED)
 51.
CONTINUED:

COLONEL
Mrs. Presley, your son has a
unique gift. It's as if he has the
strength of two men inside of him.

Elvis clocks this unspoken moment of collusion between

them. Gladys stares, pen suspended above the contract.

END FLASH FORWARD.

EXT. FERRIS WHEEL - NIGHT

Elvis looks away from the Colonel, out over the midway.

ELVIS
You know, Colonel, I'd do just
about anything to make sure my
mama and daddy never have to live
in no poverty ever again...

FLASH FORWARD - INT. SUN STUDIOS - DAY

Gladys looks at all the beaming faces in the room. Elvis

tucks Gladys’ hand inside of his.

ELVIS
Say yes, Mama. It’s gonna turn out
so nice.

Then, ever-so-slowly, Gladys puts pen to paper.

END FLASH FORWARD.

EXT. FERRIS WHEEL - NIGHT

ELVIS
I wasn’t foolin’ when I told those
other kids I was gonna buy 'em a
Cadillac one day.

COLONEL
With me, my boy, we could buy them
two Cadillacs.

ELVIS
A hundred...

COLONEL
Two hundred. A thousand...

ELVIS
(enjoying the game)
A million...
(CONTINUED)
 52.
CONTINUED:

COLONEL
An aeroplane?

ELVIS
A rocket ship!
(as they laugh)
Well, maybe not a rocket ship;
Mama don’t like me to fly. But me,
I’ve always wanted to fly. Fast.
Faster than the speed of light to
the Rock of Eternity...

COLONEL
The Rock of Eternity?

ELVIS
(slowly revealing)
Captain Marvel Jr. He’s my
favorite comic book hero. He
flies.

COLONEL
What about you, Mr. Presley? Are
you ready to fly?

Elvis turns back and looks Colonel directly in the eye.

ELVIS
Yes, sir, I’m ready. Ready to fly.

FLASH FORWARD - INT. SUN STUDIOS - DAY

With a FLASH, the iconic photograph of Elvis Presley and

Colonel Tom Parker's union.

END FLASH FORWARD.

EXT. FERRIS WHEEL - NIGHT

As the wheel turns, Elvis and the Colonel do, indeed,

appear to be flying...

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

To a "DNA" track, we APPROACH a noir-lit Elvis caged in

an abstract thicket of microphones.

OLD COLONEL (V.O.)

My boy's gift was to understand
how young people felt...

(CONTINUED)
 53.
CONTINUED:

ELVIS
(sings)
Weeeeeeeell since my baby left me!
I found a new place to dwell...

The voices of gray-suited EXECUTIVES in the shadows:

EXECUTIVES (V.O.)
Morbid. Odd. We can't release
this.

ELVIS
(sings)
It’s down at the end of lonely
street at heartbreak hotel...

We DISSOLVE THROUGH HEADLINES: "First No. 1!" “The King

of Western Bop!” "First Gold Record! "

OLD COLONEL (V.O.)

It was a hit. After hit, after
hit.

EXT. GRACELAND - GATES - DAY (1956)

CLOSE ON an Elvis number plate.

OLD COLONEL (V.O.)

Together, we made a blizzard.

We see a candy-pink Cadillac swing through a wooden gate,

a sunglass-ed Dodger hanging out a window. They pass
grazing cattle and a sign: "SOLD! GRACELAND FARM."

MONTAGE - INT./EXT. GRACELAND - DAY

In front of a white-columned 1930s Colonial mansion,

Elvis bounds from the car, beaming as he holds out the
keys to Gladys. Gladys crosses the threshold in tears.
Vernon hangs back in awe.

Before our eyes, the interior of Graceland transforms

into all that money can buy!

As televisions and phones are being unpacked, we see

Gladys, now in a different costume, standing with her
newly introduced MAID.

A little flummoxed, Gladys follows the maid as she

carries a brand new MIXER to the kitchen. We WHIP PAN to
Gladys, now in a different costume on a different day,
chasing chickens past the maid who is laying out fine
china on the dining table.

(CONTINUED)
 54.
CONTINUED:

Gladys herds the chickens into the front yard and through
a dozen Cadillacs, finally mustering them towards Dodger.

A football suddenly smashes amidst the chickens.

Irritated, Dodger hurls the football back to the horse
yards where Elvis catches it and is crash-tackled by the
West cousins as Jerry looks on. A noisy GO-CART driven by
Billy cuts through the fray and through the Cadillacs,
almost colliding with Gladys and the chickens.

WIDE SHOT: a portrait of the mayhem. CRANE DOWN through

the trees to discover the rickety wooden fence is now
replaced by the famous music gates, fans gathered around,
opening as delivery trucks make their way through.

OLD COLONEL (V.O.)

I booked him on television, I got
him that screen test, and a seven-
picture deal with Paramount!

END MONTAGE.

INT. GRACELAND - DAY

OLD COLONEL (V.O.)

But most importantly...

We follow the boxes as they’re unloaded from the truck

outside and carried into Graceland by two workmen.

OLD COLONEL (V.O.)

I created something never before
seen. One day it would become
known as...

CAMERA moves to a box that explodes open with hundreds of

‘Loving You’ cushions with Elvis’ face on it.

COLONEL
Merchandise! Your face on every
conceivable object!

Colonel scoops the cushions up, throwing them towards

Vernon, Elvis, Dodger, Gladys, and Cousin Billy.

COLONEL
Teddy Bear perfume, Elvis
lipsticks...

Diskin takes a plaster bust from its box.

COLONEL
And plaster busts!

(CONTINUED)
 55.
CONTINUED:

DISKIN
... of questionable likeness.

Colonel scoops up one of the ‘I Love Elvis’ pins.

COLONEL
Something for everyone to show
their love... Oh look, Dodger,
what’s that behind your ear?

Colonel leans in and does a magic trick, pulling the pin

from behind Dodger’s ear.

GLADYS (O.S.)
I hate Elvis?

Colonel’s face darkens. Gladys is holding one of the

other ‘I Hate Elvis’ pins.

COLONEL
Yes, I hate Elvis. To my way of
thinking, ‘I Love Elvis’ is easy
to sell, but those that hate your
son will do so whether we profit
or not.

He takes the pin from Gladys and turns to Elvis.

COLONEL
After all, what is hate worth if
it's free?

Elvis takes the pin and examines it while considering the

Colonel’s point. After a heavy moment, Elvis cracks a
smile. He stands and pins it on his lapel.

ELVIS
The snowman strikes again...

They all laugh. CUT AWAY to Gladys, a look of concern.

OLD COLONEL (V.O.)

But what was it people hated
exactly?

We ZOOM down on the ‘I Hate Elvis’ pin.

OLD COLONEL (V.O.)

Even in high school, Elvis was
listening to Black radio, going to
their churches, and hanging out on
Beale Street...
 56.

EXT. BEALE STREET (MEMPHIS) - DAY (1954)

The ‘hate’ badge blossoms into a flower, pinned to the

lapel of a dapper African-American gent painted on a
mural on the side of LANSKY BROS. clothing store. We pan
off the building to reveal:

HIGH WIDE OVER the two miles of Beale Street, a thriving,

densely-packed hub of Black culture.

INT./EXT. CLUB HANDY - CONTINUOUS

Through a second-story window, BIG MAMA THORNTON, a

dynamic singer with a deep, rich voice, rehearses with
her BAND.

BIG MAMA THORNTON

(sings)
Youuuu ain’t nuthin’ but a hound
dog! Been snoopin’ round my door!

The camera descends...

EXT. BEALE STREET (MEMPHIS) - DAY

... as the Crown Electric truck pulls up to the curb.

BIG MAMA THORNTON (V.O.)

(vocal)
You ain’t nuthin’ but a hound dog!
Been snoopin’ round my door!

We PICK UP ON the legs of Elvis as he alights in his

uniform, pink socks, and two-tone shoes. He walks through
the bustling crowd as we see portraits of life on Beale.

OLD COLONEL (V.O.)

Elvis wasn’t just into the music.
It was the look...

INT./EXT. LANSKY BROS. - CONTINUOUS

Elvis stops, admiring a peacock-dapper gentlemen's store,

resplendent with the styles of the Black music scene.

OLD COLONEL (V.O.)

Bernard Lansky dressed everyone
from Duke Ellington to B.B. King.

THROUGH the window, B.B. KING is fitted by LANSKY amidst

bright, Lifesaver colors.

(CONTINUED)
 57.
CONTINUED:

OLD COLONEL (V.O.)

Elvis sought out the styles and
the stars of the beating heart of
Black music in the South...

Elvis, face against the glass, gapes in admiration.

Lansky shows B.B. to the door.

LANSKY
We’ll have everything ready for
Chicago.

B.B. KING
Well I hope Chicago is ready for
these nice threads!

LANSKY
Knock ‘em dead.

Elvis watches as B.B. jumps in his car and disappears

down the street, then turns back to Mr. Lansky.

ELVIS
That was Mr. B.B. King.

LANSKY
Indeed it was. And you would be...
eyeball buying?

Elvis’ eyes turn back to a particularly suave pink suit

displayed prominently in the window.

OLD COLONEL (V.O.)

... and pretty soon, they sought
him out, too.

MATCH CUT TO:

INT./EXT. LANSKY BROS. - DAY (1956)

The same pink suit in Lansky’s window and now beside it,
a photo of Elvis wearing the suit on stage.

LANSKY
Son, ever since you first came in
here, you’ve been saying you’re
gonna buy me out but I told you...

We push past the window to where Elvis is now together

with B.B. and Lansky, buying up the store. Clerks’ arms
are piled with Elvis' purchases: brightly-striped shirts
and jackets of every description.

LANSKY
Buy from me, don’t buy me out!
(CONTINUED)
 58.
CONTINUED:

ELVIS
Mr. Lansky, it’s Milton Berle. The
whole of America will be watching!

LANSKY
I don’t watch television.

B.B. KING
So what’s it gonna be? How are you
gonna blow their wigs off?

ELVIS
Well the network wants me to do a
ballad... but I was thinking of
cuttin’ it up with ‘Hound Dog’.

B.B. contemplating the enormity of it all:

B.B. KING
Elvis Presley. ‘Hound Dog’. Uncle
Miltie. Strange things happening
every day...

As Elvis riffs, starting to give B.B. King a sneak peek

of his performance, we MATCH CUT TO:

INT. NBC STUDIOS (LOS ANGELES) - DAY

ON Elvis, cutting the music into half time.

ELVIS
(sings)
You ain't nothin' but a hound dog!
Cryin' all the time!

Colonel watches from the studio floor, Diskin beside him.

COLONEL
Behold. Tomorrow all of America is
going to be talking about Elvis
Presley.

Elvis launches onto his toes, thrusts his pelvis out

towards America, and BOOM!

OLD COLONEL (V.O.)

Suddenly, he became a gateway to
Black culture, beamed out into
every living room in America...

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

Elvis' body and sound ripples out through 50 MILLION TVs!

(CONTINUED)
 59.
CONTINUED:

ELVIS (V.O.)
(vocal)
You ain't nothin' but a hound dog!
Cryin' all the time!

As one TV FILLS THE SCREEN, we find ourselves in...

INT. SENATOR EASTLAND’S HOUSE - FAMILY ROOM - NIGHT

An ideal American family: MOTHER, THREE DAUGHTERS, and a

SON sit around the television, watching Uncle Miltie.

Behind them, we glimpse the FATHER in his study, reading

the paper, surrounded by SUITED COLLEAGUES.

INT. NBC STUDIOS (LOS ANGELES) - DAY

Elvis' performance sends a ripple of laughter out through

the predominantly female audience.

MATCH CUT TO:

INT. GRACELAND - DAY

-- another screen, as we find ourselves with Gladys,

Vernon, Dixie, and the extended Presley family, all
crowded around the television set.

GLADYS
Even as a little one, he made me
laugh so! He's so funny!

INT. SENATOR EASTLAND’S HOUSE - STUDY - NIGHT

A newspaper headline: “Segregation Unconstitutional:

Supreme Court Strikes Down Mississippi Bus Law.”

The paper lowers to reveal the all-American father,

SENATOR "BIG JIM" EASTLAND, chomping a cigar.

EASTLAND COLLEAGUE (O.S.)

And for the next leg of your
Racial Integrity tour, we've
booked the Overton Park Shell in
Memphis...

But Eastland doesn't hear him, distracted by the sound of

his children's laughter. He rises, moving towards the
television.

SENATOR EASTLAND
What are they laughing about?
 60.

INT. NBC STUDIOS (LOS ANGELES) - DAY

Elvis pushes his gyration further and further. The whole

experience has taken on a more raw and intense tone.

INT. SENATOR EASTLAND’S HOUSE - FAMILY ROOM - NIGHT

The blue light of the television dances across Eastland's

disturbed face, boiling with rage.

SENATOR EASTLAND
Who the hell is that?

MRS. EASTLAND
(unsettled)
It's that boy from Memphis.

Eastland glances to his besotted daughters, barely able

to conceal their desire.

EASTLAND’S DAUGHTER
Elvis Presley...

Eastland does a double-take, catching the same look on

the face of his son. A rising, volcanic revulsion as
Elvis comes back to real time:

ELVIS (V.O.)
(vocal)
And you ain’t no friend of mine!

INT. GRACELAND - LIVING ROOM - DAY

The Presley family whoops and hollers as Berle kids

around with Elvis, pretending to gyrate.

INT. SENATOR EASTLAND’S HOUSE - FAMILY ROOM - NIGHT

Eastland strides aggressively toward the television, face

contorted in a white rage, body shaking with hate.

SENATOR EASTLAND
A white boy from Memphis... moving
like a goddamn--?!

The screen snaps black! A dark chord. The fun is over.

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

Eastland, isolated. He speaks from behind a desk:

(CONTINUED)
 61.
CONTINUED:

SENATOR EASTLAND
The obscenity and vulgarity of
this rock and roll music is
obviously a means by which the
white man and his children can be
driven to the level of the Negro!

We PULL BACK and Eastland is on a 1950s TV.

OLD COLONEL (V.O.)

It was putting it on the
television that caused the
problem... It became politics.
And politics ain’t good for
business.

Another TV, and another, until the SCREEN is FILLED with

1950s TVs on which outraged critics decry:

VARIOUS CRITICS (V.O.)

Vulgarity!/Mongrel music!/Bebop is
Communism!/Ask Your Preacher about
Jungle Music!

POLITICIAN (V.O.)
The subversives who own, control,
and dominate the entertainment
industry...

We PUSH THROUGH a headline: “Public Outcry: Steve Allen

under pressure to cancel Elvis.”

EXT. HUDSON THEATER (NEW YORK) - DAY (1956)

TRACKING DOWN the neon-lit "NBC TELEVISION" sign that

precedes the Steve Allen “Tonight Show.”

POLITICIAN (V.O.)
... are determined to spread
Africanized culture, influencing
your children to accept Negroes!

CAMERA GLIDES OVER the massive crowds of reporters,

rubber-necking pedestrians, and Black and white teens
spilling over the sidewalk outside.

As we start to hear the sweet sound of Elvis' voice

singing a gospel song to a simple piano accompaniment, we
GO THROUGH the stage door window...

ELVIS (V.O.)
(vocal)
I ask the Lord for everything,
I count my blessings each day...
 62.

INT. HUDSON THEATER - REHEARSAL ROOM - CONTINUOUS ACTION

We DISCOVER Colonel's cane and feet walking across the

newspaper-strewn floor. A copy of The Memphis Press-
Scimitar is dropped on the ground.

Above a photo of Elvis at the fairgrounds on “colored

night,” a headline reads: “Rock ‘n’ Roll Phenomenon
Cracks Memphis Segregation Laws." The CAMERA TILTS UP...

OLD COLONEL (V.O.)

We had to change course fast.

... and we FIND Elvis at a piano in the corner.

ELVIS
(sings)
And he’ll come to you,
If you’ll ask him to.
He’s only a prayer away.
Is your heart filled with pain?
Shall I come back again?
Tell me dear, are you lonesome
tonight?

Elvis stops, sensing the Colonel's presence. He looks

down at one of the headlines at his feet: "Elvis the
Pelvis belongs in the Jungle!"

ELVIS
(shaking his head)
Elvis the Pelvis... That’s one of
the most childish expressions I
ever heard coming from an adult.

Elvis looks up to see Scotty and Bill at the other end of

the room, reading the papers. Everyone is on eggshells.

ELVIS
Mr. Allen gonna cancel me from the
show?

COLONEL
(somber)
Yes.

Elvis looks up, ashen. Scotty and Bill are on their feet.
They expected as much, but it still stings.

COLONEL
He's replacing you with America's
greatest singer...

A rack of tail suits is wheeled in, followed by a tailor.

(CONTINUED)
 63.
CONTINUED:

ELVIS
Mario Lanza...?

COLONEL
Someone greater!

Elvis stands to examine the suits.

COLONEL
The new Elvis Presley! I snowed
him! I snowed him. You wear these
here tails, it’s a custom job;
sing the hound dog; it will be a
light-hearted, sophisticated
family show.

ELVIS
I can't move in one of these.

COLONEL
That's the whole point.

Colonel stops, sudden gravitas:

COLONEL (CONT’D)
Allen’s only agreed as long as
there’s no wiggling of the hips.

ELVIS
I can’t figure it out. What am I
doing wrong? My own mother
approves of what I’m doing.

Colonel points at all the papers on the ground.

COLONEL (CONT’D)
Have you seen the papers?

ELVIS
Yeah, the papers say I shot my
mother and smoke marijuana...

COLONEL
The papers say your movement has
the style of a colored man.

Colonel picks up the copy of The Memphis Press-Scimitar,

featuring Elvis breaking segregation laws.

COLONEL (CONT’D)
And that you are breaking
segregation laws.

Colonel leans in.

(CONTINUED)
 64.
CONTINUED: (2)

COLONEL (CONT’D)
It’s a simple plan. A good plan.
You do the Allen show, family
style. Tomorrow, we'll return to
Memphis and snow them with a 4th
of July children’s charity
concert. Then we can put this
unfortunate misstep behind us.

Colonel holds the tails up to Elvis. He looks at them.

COLONEL (CONT’D)
Now, do we want to go into
politics or stay in show business?

Elvis has no comeback.

SCOTTY
Hey Colonel, what do the light-
hearted, sophisticated, Blue Moon
Boys wear?

COLONEL
(dismissive)
We didn't discuss it.

As Colonel snaps the gap in the clothes rack shut, the

CAMERA rushes through black and discovers...

INT. STEVE ALLEN STUDIOS - STAGE - NIGHT

Steve Allen, introducing Elvis. Elvis turns to camera,

now dressed in the tails. His face is a mask of horror.
Staring back at him: a live BASSET HOUND in a top hat.
The Blue Moon Boys look on.

An abstract nightmare of images: the dog barking; a flat

audience not reacting; Steve Allen laughing.

A keening scream of humiliation.

CUT TO: Elvis rushing from the stage, pushing past Scotty
and Bill who follow.

INT. STEVE ALLEN STUDIOS - REHEARSAL ROOM - LATER

Elvis bursts into the room tearing off the tails--

ELVIS
God damn it... damn it!

He hurls the tails on the ground, turning to Scotty and

Bill who are right behind him.

(CONTINUED)
 65.
CONTINUED:

ELVIS
He could have given me some
warning. I know how to do a skit.
I could have made it funny.

SCOTTY
It weren’t meant to be funny. It
were meant to make fun of us and
it did. It were the most stupid,
embarrassing, humiliating thing I
ever did.

ELVIS
What the hell do you want me to do
about it?

Scotty, totally out of character, yells:

SCOTTY
We're musicians!

All three of them are silenced by the thought.

SCOTTY
Well, we used to be. We used to be
a band, now we're... I don't know
what we are.

He looks at Elvis and turns to go.

SCOTTY
I'll... see you back in Memphis.

Only Bill now, he nods his head with deep affirmation.

BILL
You looked good in them tails...

He turns and leaves.

EXT. GRACELAND - FRONT GATES - DAY

Elvis’ purple El Dorado arrives at the front gates,

thronged as usual with fans.

Vernon drives, Elvis beside him. Elvis is visibly shaken

as he sees that some of the fans hold signs that read:
“No New Elvis,” “We Want Old Elvis,” etc...

VERNON
Not signing today, son?

Elvis just stares ahead, despondent.

 66.

INT. GRACELAND - LIVING ROOM - DAY

The family are mid-argument. The news plays on the

television. Vernon changes the channel.

VERNON
These bus boycotts aren’t doing
nothing for nobody far as I can
see.
(to Elvis)
I like what you done with the TV
thing. I like the bit with the
dog... I like dogs

THROUGH the window, Billy can be seen playing in Elvis'

eccentric German MESSERSCHMITT CAR.

Dodger sits at the dining room table while Gladys

prepares for dinner. Strewn around the house are teddy
bears, fan mail, and new appliances.

GLADYS
Those New York people were using
you to poke fun at the whole
South! Getting a laugh outta
putting the hillbilly in a tail
coat and singin’ to a dog.

ELVIS
God damn it, Mama, it were either
that or get canceled! Then that's
it for television. And Colonel
says we running outta states I’m
welcome in, and they don't pay
unless I can perform. Colonel says
I play the charity concert
tomorrow night...

Elvis can't bring himself to say “the new Elvis.“

ELVIS
... family style. Then everybody
calms down and we can get back on
track.

VERNON
Someone’s gotta think about
keeping a roof over our heads.

GLADYS
We’ve always managed a roof over
our head, Vernon!

ELVIS
Daddy’s business manager, Mama,
it’s his job.
(CONTINUED)
 67.
CONTINUED:

GLADYS
We was doin’ just fine, before
that man came along.

ELVIS
(defensive)
Colonel’s got us all this.

GLADYS
I don’t want all this! You’re
unhappy...

ELVIS
(tries to deny it)
I’m not...

GLADYS
You’re losing yourself, baby. The
way you sing and move, it’s God-
given, so there can’t be nothin’
wrong with it. Satnin’ knows...

Suddenly, Billy and a tangle of muddy cousins burst in!

BILLY
Hey, E.P., can we close down the
movie house and see Godzilla
tonight!?

ELVIS
No! And don’t tramp mud in the
house, Billy!
(back to Gladys)
You ain’t never happy! No matter
what I do, no matter how much I
give you, it ain’t never enough!

He’s looking at his family. They love him dearly, but

they can’t relate to the life he leads.

ELVIS
(making for the door)
And I wish you wouldn’t drink so
much! It ain’t good for ya!

GLADYS
Baby! Come back!

But he’s gone.

EXT. GRACELAND - DUSK

Elvis peels out in his PURPLE CADILLAC EL DORADO.

 68.

EXT. GATES OF GRACELAND - CONTINUOUS ACTION

He negotiates the car through fans gathered at the gates.

From a spot across the street, a BLACK SEDAN follows.

INT./EXT. EL DORADO - CONTINUOUS ACTION

Elvis punches on the radio. “Hound Dog” plays. He flips

through the stations: another Elvis track, and another.
He changes the station again, landing on “Rip It Up.”

The song invades the soundtrack and the El Dorado tears

off as we TILT UP TO downtown Memphis.

EXT. BEALE STREET - NIGHT

HIGH, OUTSIDE, LOOKING IN THROUGH the second-story

window, above which hangs the neon sign of "Club Handy."

CRANE DOWN to see a sharply-dressed B.B. King leaning on

the sill. He sees the El Dorado squeal to a halt across
the road.

RACK DOWN THE LINE. Break, grind, switch off, key out,
slam door. Elvis is out, collar up.

B.B. KING
E.P.!

Elvis spies the long line outside the door and a couple
patrons pointing in recognition. B.B. mimes ‘I got you.’

CAMERA JAMS UP TO the other window and THROUGH INTO...

INT. CLUB HANDY - NIGHT

Elvis and B.B. are now outside the upstairs doors to the
club. They’re greeted by the owner, SUNBEAM MITCHELL.

B.B. KING
Listen man, if you’re sad and you
wanna be sad, you’re at the right
place. If you’re happy and you
wanna be happy, guess what? You’re
at the right place. What you need
is the tonic that ails you.

LITTLE RICHARD (O.S.)

Let it all hang out!

The many patrons inside the club repeat the call.

(CONTINUED)
 69.
CONTINUED:

B.B. KING
Listen to the man. Let it all hang
out. Come on, let it all hang out.

Memphis photographer ERNEST WITHERS shakes hands with

B.B. and Elvis. Then as the doors swing open, B.B. King
leads Elvis through the ecstatic throng. As usual, Elvis
the only white face in the room.

A flash of lightning on stage in the form of a rouged and

lipsticked face beneath a towering bouffant: 19-year-old
wild-child LITTLE RICHARD.

LITTLE RICHARD
(sings)
A-wop-bop-a-loo-bop-a-wop-bam-
boom!
Tutti Frutti, good booty!
Tutti Frutti, good booty!

To the delight of the crowd, Little Richard bangs the

piano like a percussive instrument.

LITTLE RICHARD
(sings)
I got a girl named Sue
She knows just what to do
I got a girl named Sue
She knows just what to do

Elvis follows B.B. snaking through the crowd, as Sunbeam

Mitchell guides them across the room.

ELVIS
Man, he is cuttin’ it!

B.B. KING
Sister Rosetta found this kid in
the backwaters of Georgia.

ELVIS
I should get the Colonel to book
him on ‘Steve Allen’... they gonna
love his moves.

On top of the piano now, Little Richard pulls open his

shirt to the delight of the crowd.

LITTLE RICHARD
(vocal)
A-wop-bop-a-loo-bop-a-wop-bam-
boom!

A constant flutter of girls surround B.B. and Elvis as

they slide into their corner table.

(CONTINUED)
 70.
CONTINUED: (2)

ELVIS
(sings)
A-wop-bop-a-loo-bop-a-wop-bam-
boom!
(speaks)
Man, he sings the hell outta that
song. I'd love to record that.

B.B. eases back, cigarette dangling from his fingers.

B.B. KING
If you do, you'll make a whole lot
more money than that kid could
ever dream of...

Little Richard's voice cuts through raucous applause:

LITTLE RICHARD
She's a sister of the Lord and a
sister to all of us, without whom
we would not even be here...
Sister Rosetta Tharpe!

Elvis perks up as SISTER ROSETTA THARPE takes the stage,

electric guitar slung over her shoulder.

SISTER ROSETTA THARPE

(sings)
Up above my head, I hear music in
the air...

The energy irresistible, Elvis and B.B. get up from their

table and join the audience.

A guitar solo takes us outside, where we can see the

parked car that tailed Elvis.

B.B. KING
Friends of yours?

EXT. BEALE STREET - CONTINUOUS ACTION

From the car, two SHADOWY FIGURES look up at the window:

the silhouette of Elvis dancing with a young girl.

The lights of Beale Street go off, and as the noise and

energy of Club Handy dissipates, we hear the strains of
the Gospel classic “Working On A Building.”

INT. CLUB HANDY - LATER

Through the window, we can see the crowd has gone,. The
club’s staff puts chairs on tables.

(CONTINUED)
 71.
CONTINUED:

Elvis, B.B., Sister Rosetta, Little Richard and the house

band hang around for a final drink and a late-night
Gospel session.

As a song concludes, Elvis and B.B. wander to the bar.

B.B. KING
That’s a nice ride you rolled up
in tonight.

ELVIS
It’s no giant B.B. King bus!

Beside the bar, B.B. deftly hoists himself through an

open window onto the fire escape, Elvis follows.

B.B. KING
Big Red! Yeah, I can go where I
want, play where I want, and if
they don’t like it, I can go
someplace else. It’s about
control, man. It’s like having my
own label: if you don’t do the
business, the business will do
you.

ELVIS
(brushing it off)
I leave all that to the Colonel.

B.B. KING
So it’s his idea, this “New
Elvis”?

Elvis nods as B.B. lights a cigarette.

B.B. KING
I don’t get it, man. Cats buy your
records because they like what you
do, not ‘cause you’re dressed up
like some... butler! You really
think those kids want to see
“Elvis the butler” at this
Russwood Park gig tomorrow?

ELVIS
I ain’t wearing no tails. I just
got to back off the moves, is all.
Colonel says if I don’t, they
gonna put me in jail.

B.B. laughs at the prospect.

B.B. KING
C’mon man, they’re not gonna put
you in jail.
(MORE) (CONTINUED)
 72.
CONTINUED: (2)
B.B. KING (CONT'D)
They might put me in jail for
walking down the street, but you a
famous white boy! Too many people
are making too much money outta
you to put you in jail.

The truth of this hangs heavy with Elvis as, from inside,
Sister Rosetta develops the jam into one of her songs.

SISTER ROSETTA THARPE

(sings)
Every day... yes! There are
strange things happening every
day!

ELVIS
You think so?

B.B. KING
I know so. Colonel’s too smart.
There’s got to be another reason.

Just then, Ernest Withers calls out through the window:

ERNEST WITHERS
Hey, Elvis, B.B.! Give us a smile!

The FLASH BULB BURNS the SCREEN while the unanswered

question is memorialized in Elvis' eyes. “Strange Things”
takes on a sinister undertone...

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

We PULL OUT from the photo of B.B. and Elvis, arm-in-arm,

now on the front of page of THE MEMPHIS WORLD.

SISTER ROSETTA THARPE (V.O.)

(vocal)
Every day... every day...

More photos: Elvis at the WDIA Goodwill Revue. Elvis at

the fairgrounds on “colored night.”

SENATOR EASTLAND
Elvis and B.B. King at Club Handy,
with Rufus Thomas and some colored
children at the WDIA Goodwill
Revue. Your boy on colored night
at the Memphis fairgrounds...

Senator Eastland stands over Colonel. Through Rosetta

Tharpe's high-pitched keening, we catch only snippets:

(CONTINUED)
 73.
CONTINUED:

SENATOR EASTLAND
... found your records... unfit
for military duty... acute
psychopathic state...

COLONEL
I was pretending to be crazy, I
wanted out! I was just a boy from
Huntington West Virginia.

SENATOR EASTLAND
... before the Army, we found no
record of you at all...

Colonel looks up, ashen. Caught.

SENATOR EASTLAND
You were never a Colonel, never a
Tom, never a Parker.

EXT. RUSSWOOD PARK BASEBALL STADIUM - NIGHT (1956)

As the VICE SQUAD installs movie cameras, POLICE erect a

barrier separating BLACK and WHITE TEENS. On the open
stage on the field, a 4th of July kick line number...

As "Strange Things" builds menacingly, CRANE HIGH...

A WHITE PATROL CAR makes its way through the crush of

people and traffic outside.

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

Eastland appears, orating before a Confederate flag.

SENATOR EASTLAND
The South will retain segregation.
The governor of a sovereign State
can use the force at his
command...

OLD COLONEL (V.O.)

That very night of the charity
show, Senator Eastland was holding
a segregationist rally not 3 miles
away at the Memphis bandshell.

INT. PATROL CAR - NIGHT (1956)

A PATROLMAN and a POLICE CHIEF in the front. Elvis in the

back, head-to-toe in jet black, but for red tie and
socks. Colonel, beaming, leans on his cane beside him.
Fans press against the windows. The tension is palpable.
(CONTINUED)
 74.
CONTINUED:

COLONEL
The mayor loved you on the ‘Steve
Allen’ show. All the important
people did. What are you singing
tonight?

Elvis, still not looking at him:

ELVIS
I made no decision. I’ll feel it.

COLONEL
Pay no mind to the big cameras.
That’s just our friends in the
Vice Squad. They don’t mean
nothin.
(to the Police Chief)
Ain’t that right, Chief?

The Police Chief, a stone cold affirmation:

POLICE CHIEF
As long as you don’t so much as
wiggle a finger.

The car pulls up at the back of the open stage and

Colonel laughs as they alight.

EXT. RUSSWOOD PARK BASEBALL STADIUM - CONTINUOUS ACTION

Colonel guides Elvis through a corridor of police. Elvis

approaches his family.

GLADYS
Jesse’s with us tonight, baby.

VERNON
Play it smart out there, son.

BILLY
Give ‘em hell.

DEWEY PHILLIPS (O.S.)

I know a lot of the young people
are excited for our next act...

THE CROWD GOES BESERK. Scotty and Bill take the stage.
Before Elvis follows, Colonel leans in for a final word.

COLONEL
All you gotta do is stand there,
sing the nice song, smile the nice
smile, no wiggling! And then we
can get back to our show business.
And have fun!

(CONTINUED)
 75.
CONTINUED: (2)

Elvis stares opaquely back.

DEWEY PHILLIPS (O.S.)

AND HERE HE IS... ELVIS PRESLEY!!!

102-103 To deafening applause, Elvis runs on stage. 102-103

EXT. RUSSWOOD PARK STADIUM - STAGE - CONTINUOUS ACTION

Arriving at the microphone, he holds his hand up in the

air to quiet the audience. The crowd settles, immense
tension in the air.

Colonel and the police, Gladys, Vernon, Dodger, and

Billy, all look on anxiously from the roped-off area.

ELVIS
(humble)
There’s been a lot of talk about
the New Elvis.

The crowd boos.

ELVIS
And you know, that other guy.

Elvis can see the cameras of the Vice Squad and with a
smirk, he raises his pinky finger into the air.

The perplexed and bewildered faces of THE CONVALESCENT

CHILDREN’S HOME CHARITY COMMITTEE, sitting side-by-side
with THE MAYOR, THE MINISTER, and the Police Chief as
well as VARIOUS DIGNITARIES.

Elvis suggestively wiggles his finger towards the camera.

ELVIS
(sings)
You ain't nothing but a hound dog
crying all the time...

A squall of ear-shattering screams and laughter as he

mocks the surveillance. CUT TO the stony faces of the
Mayor and dignitaries, appalled.

After a moment, Elvis looks up and can just hear Senator

Eastland's rally on the wind:

EASTLAND (O.S.)
... civil and other, to maintain
public order, and prevent crime
and riots...

(CONTINUED)
 76.
CONTINUED:

ELVIS
There's a lot of people saying a
lot of things.

Elvis looks to the Colonel. They hold each other’s gaze

for what seems like an eternity.

ELVIS
You gotta listen to the people you
love.

He looks to Gladys and Vernon.

ELVIS
But in the end you gotta listen to
yourself.

Elvis places his guitar down.

ELVIS
You know, those people in New York
are not gonna change me none.

He glances to Scotty and Bill and whispers to their

incredible excitement and delight:

ELVIS
Trouble.

Then, in a building crescendo, he virtually screams.

ELVIS
(yells)
I'm gonna show you what the real
Elvis is like tonight!

The band kicks in like a Molotov cocktail.

ELVIS
(sings)
If you're looking for trouble
You came to the right place!
If you're looking for trouble
Just look right in my face!
I was born standing up
And talking back...

14,000 white and Black teenagers thunder the chorus!

ELVIS/CROWD
(sing)
My daddy was a green-eyed mountain
jack!
Because I'm evil, my middle name
is misery!

(CONTINUED)
 77.
CONTINUED: (2)

The place goes bananas! The rope fence is CRUSHED under

the jitterbugging, jiving, writhing youth. The line
between Black and white bleeds together in the mayhem.

ELVIS/CROWD
(sing)
I'm evil, evil, evil, as can be!!!

He dances and grinds, exploding with sexuality.

ELVIS/CROWD
(sing)
So don’t mess around, don’t mess
around,
Don’t mess around with me!

He staggers around the stage as if drunk. Falling to the

ground, grinding on the mic stand as if making love.

Amidst the hysterical youth, a WHITE GIRL deliriously

dances with a HIP YOUNG FAN.

ELVIS/CROWD
(sing)
I’m evil, evil, evil as can be!

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

SENATOR EASTLAND
He can use these forces to prevent
the racial integration of schools
if this is necessary under the
police power of the States to
prevent disorder and riots. In
fact it is his duty to preserve
order and prevent turmoil and
strife within the state.

Eastland stops and slowly turns toward the overwhelming

din of the hysterical fans.

OLD COLONEL (V.O.)

That night, the noise was so great
it could be heard at Eastland's
rally.

Eastland, as he realizes that the hordes are coming.

EXT. RUSSWOOD PARK STADIUM - FIELD - NIGHT (1956)

Police try to press the crowd back. Colonel turns to the

family. He can see things are getting out of hand.

(CONTINUED)
 78.
CONTINUED:

COLONEL
Now, I know that Elvis would want
me to look after your safety and I
think now would be a very good
time to get back into the car.

VERNON
What? Now?

Colonel makes his way over to Diskin. Elvis becomes

wildly provocative with RCA’s mascot, Nipper the dog.

COLONEL
Our friends at RCA are not gonna
be too happy when they hear about
that.

The sergeant’s men begin to move the family towards their

waiting vehicle. As Colonel repositions himself beneath
the stage, it is clear to him that things have gotten
completely out of control. He barks to the sergeant:

COLONEL
Get him off the stage!
(to Diskin)
Protect the merchandise!

ELVIS/CROWD
(sing)
SO DON'T MESS AROUND, DON'T MESS
AROUND, MESS AROUND...

But before Elvis can finish, THE CROWD RUSHES THE STAGE
and the sergeant’s men surround him. He drops the
microphone. The boys abandon their instruments. The
police throw a wall around Elvis, dragging him away, as
Scotty and Bill are sucked back into the melée.

INT./EXT. PATROL CAR/RUSSWOOD PARK - NIGHT

The police sergeant and his men try to hustle Gladys into
the car. She stops, seeing Elvis is not yet safe.

GLADYS
Elvis! Elvis! Get in the car!

Elvis gets thrown into a police car as Gladys is dragged

by Vernon into the family car. THROUGH the rear window,
Elvis glimpses their car and the vehicle with Scotty and
Bill departing in different directions.

At the center of it all, the Colonel stands with the

stage collapsing behind him.

(CONTINUED)
 79.
CONTINUED:

Elvis drops his head back, looking up as 4th of July

fireworks explode all around him. He closes his eyes.

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

OLD COLONEL
He didn't listen...

Colonel UPTURNS the table!!

OLD COLONEL
HE DIDN'T LISTEN TO ME!!

A dramatic, operatic version of ‘Jailhouse Rock’ builds

as we hear the BING-BING-BING of the slot machines,
infused with Colonel's heavy breathing.

OLD COLONEL
The charismatic child had no idea
of the terrible price we would
both pay for his glorious tantrum.
I had to find a way out, a way to
save him.

EXT. GRACELAND - DAY (1958)

Drizzle smears the lonely Cadillacs in the driveway.

INT. GRACELAND - LIVING ROOM - DAY

It’s gloomy and cold. Gladys sits with Vernon around the
fire, Colonel nearby. Elvis on the lounge, singing.

ELVIS
(sings)
Well, I went to the bayou just
last night
There was no moon, but the stars
were bright..

Gladys holds a drink, shaking. Vernon stares blankly

ahead. Elvis in shock.

GLADYS
No, there’s no way I’m letting my
baby go to Germany for two years!

VERNON
Your cousin all but lost his mind
when they sent him to Korea.

(CONTINUED)
 80.
CONTINUED:

COLONEL
It is either the army or jail.
There’s something else, Vernon. I
vouched for your integrity, but
they've been poking in your
background.

GLADYS
He passed a bad check to put food
on the table. They were hard
times...

ELVIS
We don’t have nothing to be
ashamed of! My daddy’s a good man.

COLONEL
But your papa did go to jail. And
if you go, too? Well, you know how
they are with their flashy
headlines. Elvis the draft-dodger,
a family of delinquents. We may
never book another date or sell
another record!

ELVIS
This is my fault.

COLONEL
My boy, don't blame yourself. I
was partially responsible.

Colonel takes an “I Hate Elvis” pin from his pocket.

COLONEL
But when I tried to warn you, you
made your own choice. Now, to my
way of thinking, the Army can be a
new beginning for us all. Let them
cut your hair, prove that you're a
clean-cut, all- American boy, a
patriot. Do your two years and
when you come back, I promise you,
I will have done everything to
make you the biggest star in
Hollywood! And you will choose
your own pictures.

ELVIS
It’s gonna be ok, Mama...
(turning to Colonel)
Do you think they’d let me do the
movie before I ship off?

(CONTINUED)
 81.
CONTINUED: (2)

COLONEL
(reassuringly)
I could get a deferment. So you
will do the ‘King Creole’ picture
and then we’ll be off.

Colonel nods, holding up the pin.

COLONEL
But no more of this.

He throws the “I Hate Elvis” pin into the fire and the
word "hate" shrivels and melts in the flames.

Gladys’ desperate sobs are drowned out by the angry growl

of HAIR CLIPPERS as we--

TRANSITION TO:

INT. BARBERSHOP (FORT CHAFFEE) - DAY (1958)

Clippers cleave Elvis' rich, dark locks, sending them

cascading onto the cold, cement floor.

ELVIS
Hair today, gone tomorrow.

INT. GRACELAND - NIGHT

A glass tumbler falls from Gladys’ hand. She crumples to

the ground, distraught. Vernon stands, helpless.

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

A choir sings a dark version of “Heartbreak Hotel” as Old

Colonel turns to see Gladys’ casket in the distance.

OLD COLONEL
She had fretted losing her second
son her whole life.

As he gets closer, Elvis appears, crying over his mother.

OLD COLONEL
I had to let the world know that
my boy was a good, dutiful son,
and nothing like the rebel
delinquent they feared.
 82.

INT. GRACELAND - MUSIC ROOM - DAY (1958)

The extended Presley clan gathers round the casket. Elvis

wails from the back of the house.

OLD COLONEL (V.O.)

I couldn’t let a good funeral go
to waste.

Colonel sees Vernon, destroyed, sitting at the foot of

the stairs. He moves towards him.

COLONEL
There are some fine folk from the
press out front... a few words,
pictures... then they will leave
us alone.

Vernon cuts him off, shaking his head. He nods towards a

back room and the sound of Elvis’ inconsolable sobs.

VERNON
He won’t. I can't get him to do
anything. I keep asking myself,
what would she do?

COLONEL
Yes, he trusted her like nobody
else and now she’s gone and what
does he have now?

This thought cuts through to Vernon.

VERNON
He has you... He trusts you! Talk
to him.

Colonel, as if the thought had never occurred to him:

COLONEL
It ain’t my place...

VERNON
Can you do it? Please Colonel, we
need your help...

Colonel nods his head, making his way down the hall.

INT. GRACELAND - GLADYS’ BEDROOM - CONTINUOUS ACTION

Colonel enters. Elvis, inconsolable, curled up in the

closet with one of her dresses. After a moment...

(CONTINUED)
 83.
CONTINUED:

ELVIS
(ever-so-softly)
All this has been for my Satnin'.
And now she can't even enjoy it.

COLONEL
(warmly)
Your poor Daddy is doing the best
he knows how but he is
overwhelmed. He just keeps asking
himself over and over again, what
she would have done? He needs your
help... out there.

ELVIS
No, I can't go out there. I just
want to stay here forever.

COLONEL
My boy. No one could never replace
her, but listen to me. From this
moment on, anything she would have
done, I will carry out in her
name. While you are overseas I'll
stay home and I will work and I
will worry while you serve your
time in the Army. Trust me.

The Colonel takes Elvis, guiding him gently to his feet.

COLONEL
Now come, go stand by your Papa,
comfort him, comfort your friends,
family, and even your fans.
Because if you don't, then all
your Mama sacrificed for you will
have been for nothing... Trust me.

Elvis nods his head gently and then, unexpectedly, lays

his head on the Colonel's shoulder and whispers:

ELVIS
No matter what happens, stay with
me through thick or thin, okay?

Colonel's hands move ever-so-slowly toward Elvis'

shoulders, barely touching them in a strange, suspended
gesture as Elvis weeps into his shoulder.

ELVIS
You're like... you’re like...
 84.

EXT. GRACELAND - FRONT STEPS - DAY

The popping of FLASHBULBS. Elvis and Vernon sit on the

steps amidst a scrum of newspapermen and photographers.

ELVIS (V.O.)
... a father to me.

REPORTER (V.O.)
Young Mr. Presley, a rock and
roller no more...

EXT. NEW YORK HARBOR - DAY

THE U.S.S. Randall sails past THE STATUE OF LIBERTY...

REPORTER (V.O.)
... is doing his duty and joining
the ranks of the U.S. Army...

INT. U.S.S. RANDALL - CABIN - DAY

Elvis lies in his bunk, in uniform.

REPORTER (V.O.)
... to serve like any ordinary,
patriotic young American.

Tears streaming from his eyes as he sings to himself:

ELVIS
(sings)
I get so lonely, I get so lonely,
I get so lonely...
(whispers)
I could die...

EXT. OCEAN - NIGHT

The U.S.S. Randall is tiny against the horizon. We TILT

UP INTO the starry, black night and --

MATCH CUT TO:

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

The artificial fiber-optic starry night of the casino

ceiling. The Colonel is lying on his back, between the
endless blackjack tables, relieved. Rain begins to fall.

(CONTINUED)
 85.
CONTINUED:

OLD COLONEL
I had done it; Elvis Presley would
return a clean-cut, all-American
boy. But I failed. I did not
consider the most dangerous thing
of all... love.

Colonel stands, now holding an umbrella, and looks out to

the misty streets of Bad Nauheim as a car drives past.

EXT. ELVIS' HOUSE (BAD NAUHEIM) - DUSK (1959)

An unprepossessing two-story cottage. Fans cluster around

the fence, craning their necks.

OLD COLONEL (V.O.)

... love!!

SLOW CRANE UP OVER the front of the house, as we GLIMPSE

a party through the ground floor windows.

OLD COLONEL (V.O.)

Suddenly, no one else existed but
the pretty teenage daughter of a
United States Air Force officer.

PUSH PAST leaves, THROUGH to a second-story window, where

we discover a beribboned ponytail against the glass.

PRISCILLA (O.S.)
The second I walked in the door
they started bombarding me with
all these questions and I just
said ‘Excuse me if you don’t mind,
please, I’d like to go to bed.’
And then he said to me...

The girl turns. Doll-like, with cool, turquoise eyes:

PRISCILLA BEAULIEU. She looks down on the fans below.

PRISCILLA
(imitating a man)
‘You know Priscilla, he's got
girls all over the world, okay?
Girls that are waiting outside his
house. Girls that are writing him
endless fan mail.’ And then Mommy
says to me, ‘Oh my goodness, what
could he possibly see in you? What
do you two do up there all night?’
And I just said...
 86.

INT. ELVIS' HOUSE (BAD NAUHEIM) - BEDROOM - NIGHT

Peculiar bric-a-brac fills Elvis' room. Bags of fan mail,

piles of stuffed animals. THROUGH the open door, we see
several other officers and their dates milling around.

PRISCILLA
‘We talk and listen to music,
that’s all. The fan mail and those
other girls, that's just his job.’
And then they were going on about
that photo of you and Natalie Wood
riding around on that bike in
Memphis...

We FOLLOW Priscilla as she gets down to join Elvis,

sitting on the floor in his military uniform.

PRISCILLA
But then I said, and I said this
very calmly: ‘Listen, he’s just
lonely and quite frankly, so am
I.’ And they didn’t have anything
to say to that, so I just went to
bed.

ELVIS
I've never met anyone like you.

PRISCILLA
I hope not...

ELVIS
You understand it all.

PRISCILLA
I don’t think I understand it all,
I think I just understand you.
(then; masking
jealousy)
What is Natalie Wood like?

ELVIS
She’s nice. She’s been writing to
me about acting. You know, I'm
making a study of Marlon Brando
and James Dean. Natalie writes
about working with him, and ‘Rebel
Without a Cause.’

PRISCILLA
‘Rebel’?

ELVIS
You’ve never seen ‘Rebel Without a
Cause’?
(MORE) (CONTINUED)
 87.
CONTINUED:
ELVIS (CONT'D)
Oh, that’s one of my favorite
movies. James Dean, he’s a genius
at acting. God, I just hope to one
day be as good as him. The
Colonel’s promised me that when I
get back, he’s gonna set me up in
Hollywood to be a serious actor...
(suddenly shy)
It’s really what I dream of.

A young sergeant, CHARLIE HODGE, appears at the doorway.

CHARLIE
E.P., you promised the Captain
you’d have her back by 7.

ELVIS
Hey Charlie, what’s that behind
you?

Charlie turns away as Elvis slams the door shut.

ELVIS
He don’t boss me around.

Elvis looks out the french doors, onto the street where
fans are still staring up. He closes the curtains.

Priscilla, now standing by Elvis’ side, looks up to him

and fills him with confidence as she says:

PRISCILLA
Well, I think if you dream it,
you’ll do it.

ELVIS
You do?

PRISCILLA
I really do.

ELVIS
Yeah?

PRISCILLA
Yeah.

For the first time since Gladys’ death, someone believes

in him. They look at each other and kiss.

INT. PRESS CONFERENCE - DAY (1960)

Elvis appears behind a tangle of microphones.

(CONTINUED)
 88.
CONTINUED:

INTERVIEWER (O.S.)
I understand you want to become a
dramatic actor, is that right?

ELVIS
Well, sir, that’s my big ambition.
It takes a lot of time, a lot of
experience, but I hope I make it.
That’s what I wanna do.

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

OLD COLONEL (V.O.)

He was as good as Brando. But you
didn’t want to see him in movies
where he didn’t sing!

HOLLYWOOD MOVIE MONTAGE - ARCHIVAL FOOTAGE (1960S)

We see a TRAILER-STYLE MONTAGE of 60s ELVIS FILMS as he’s

hidden away in a Hollywood bubble.

OLD COLONEL (V.O.)

Thanks to me, his life became one
big Hollywood movie!

INT. ELVIS' VISTA-LINER BUS - DAY

Elvis and Priscilla, lying on a bed in an oddly-shaped

room, swathed entirely in red velvet.

OLD COLONEL (V.O.)

Starring Priscilla!

As the intro to ‘Viva Las Vegas’ kicks, Elvis pulls a

curtain to reveal they are in fact on his decked-out
VISTALINER BUS as it speeds through the desert. Suddenly,
Priscilla has her iconic beehive and a glam 60s look!

ELVIS
(sings)
Bright light city gonna set my
soul, gonna set my soul on fire!

They sashay down the bus, as members of the Memphis Mafia

pop their heads out of every nook and cranny.

OLD COLONEL (V.O.)

And a cast of his buddies and
cousins, his ‘Memphis Mafia’!

(CONTINUED)
 89.
CONTINUED:

The bus hurtles through an abstract, neon Vegas as their

Hollywood romance plays out through clips from 60s Elvis
films and realist Super 8 footage.

INT. HOTEL ROOM - DAY

The gang all attend Elvis and Priscilla’s wedding.

OLD COLONEL (V.O.)

There was a fairytale wedding. And
a honeymoon, on Frank Sinatra’s
jet!

INT. HOSPITAL - DAY

Now Priscilla cradles newborn baby LISA MARIE.

OLD COLONEL ICE (V.O.)

And introducing baby Lisa Marie!

INT. SOUNDSTAGE (REAR PROJECTION) - DAY

Elvis water-skis with THREE BIKINI-CLAD GIRLS in front of

a rear-projected body of water.

OLD COLONEL (V.O.)

I made him the highest paid actor
in Hollywood history. We had a lot
of fun! But Elvis was a young man,
and of course, he got distracted.
So we made them faster and
cheaper. Is it my fault the world
changed?

BANG! The assassination of Martin Luther King Jr.

provides an abrupt gear shift into “Edge of Reality.”

We GO WIDE to reveal the back projection set surrounding

Elvis as he water skis. PRODUCTON CREW hurl buckets of
water across Elvis’ face.

INT. ELVIS' VISTA-LINER BUS - DAY

Elvis is learning his lines. Jerry, fielding a phone call

further down the bus. Suddenly, Elvis notices over
Jerry’s shoulder on the TV, Walter Cronkite with a news
bulletin: the shocking reality that MLK has been
assassinated in Memphis.

(CONTINUED)
 90.
CONTINUED:

ELVIS (V.O.)
(vocal)
I walk along a thin line darling
Dark shadows follow me...

Rising in disbelief, Elvis slowly makes his way towards

the television as Jerry turns up the volume. Both men are
completely numb.

INT. MGM SOUNDSTAGE - ARCHIVAL FOOTAGE

Elvis, clad in a blue pajama suit, films the “Edge of

Reality” number from Live a Little, Love a Little.

ELVIS
(sings)
Here's where life's dream lies
disillusioned,
The edge of reality...

We continue to INTERCUT between the back projection,

ridiculous films, and archival footage of Vietnam, the
Beatles, the Civil Rights movement, etc.

Headlines appear: “NEW ELVIS STINKER BOMBS!” “ANOTHER

FLOP!” “THERE’S NO MORE APPETITE FOR PRESLEY PICTURES!”

EXT. MGM BACKLOT - DAY

We come off the sign on the water tower that reads, “MGM
Studios.” We pick up a golf cart traveling through the
MGM backlot Western set.

It quickly veers towards Elvis’ Vista-Liner surrounded by

an assortment of cars, a mirror image of the 1950s carny
camp. As the golf cart pulls to a halt, the Memphis Mafia
can be seen having a water fight.

OLD COLONEL (V.O.)

It don’t matter how hard I worked,
how many snow jobs I came up with,
how much snow I made them. My boy
loved to spend and with them
hillbillies around him, the money
would just melt away...

Billy, alighting from the golf cart, is carrying Elvis’

blue pajama costume. He passes Vernon and Priscilla,
talking quietly:

VERNON
With the sale of Circle G, horses,
vehicles...
(MORE)
(CONTINUED)
 91.
CONTINUED:
VERNON (CONT'D)
that will cover the payroll. But
that new security at Graceland is
gonna have to wait.

As Billy enters the Vista-Liner...

INT. ELVIS’ VISTA-LINER BUS - DAY

He can see Walter Cronkite on the television behind the

driver’s seat.

WALTER CRONKITE (V.O.)

(on TV)
Dr. Martin Luther King, the
apostle of nonviolence in the
civil rights movement, has been
shot to death in Memphis,
Tennessee...

BILLY
They need you on set, EP.

Billy looks around and can see Elvis, collapsed on the

banquette, devastated. Jerry sits next to him.

ELVIS
(in disbelief)
Dr. King. He always spoke the
truth.

“Edge of Reality” reaches its finish, and we hear...

COLONEL (O.S.)
(singing)
Here comes Santa Claus
Here comes Santa Claus
Right down Santa Claus lane...

EXT. MGM STUDIOS - DAY

TRACK ACROSS a table with models of a European village,

Santa’s sleigh, dancing girls. A festive-sweatered Elvis
figurine receives a little nudge from Colonel’s cane.

COLONEL
‘Elvis Presley’s Wonderful World
of Christmas!’ A television
special like the world ain’t never
seen before... Three days to tape,
no audience, no music to learn and
every one of them Christmas carols
is a solid-gold hit!

(CONTINUED)
 92.
CONTINUED:

Vernon and the Memphis Mafia admire Singer sewing

machines, vacuum cleaners, and more. Priscilla stands at
a distance, watching a Singer portable television as it
plays news of riots back in Memphis.

Elvis holds baby Lisa Marie, looking upon all the

standees with his image, holding Singer products.

COLONEL
And for this, the sponsors at
Singer Sewing Machines will give
us... unprecedented what, Diskin?

Diskin dutifully makes a show of checking his notes.

DISKIN
Unprecedented profit
participation. Provided you appear
in at least one knitted Christmas
sweater.

COLONEL
Made on one of these here home-
kitting apparatuses! No more knit
one, purl two!

Elvis joins Priscilla, handing her Lisa Marie. They

glance at what’s playing out on the television.

PRISCILLA
Memphis is burning...

Vernon looks to Elvis for his approval.

VERNON
‘Elvis Presley’s Wonderful World
of Christmas.’ I like it very
much!

COLONEL
It’s gonna be a lot of fun. I hope
Presley Enterprises are dreaming
of a white Christmas because it’s
definitely gonna snow!

ELVIS
A Christmas special? Is this
really the best you can do,
Admiral?

PRISCILLA
We came to Hollywood, Colonel, so
Elvis could be a serious actor.

(CONTINUED)
 93.
CONTINUED: (2)

COLONEL
My dear, for the last 5 years,
your husband has been the highest
paid actor in Hollywood!

ELVIS
And now I’m unemployable.

COLONEL
We took these Hollywood phonies
for every nickel they had. It’s
time to pack our tent and move on
to greener pastures. We’ve had
Elvis the rebel. Elvis the movie
star. Now we’re going to see
Elvis, the family entertainer.

Jerry pipes up.

JERRY
And appliance salesman?

Big laughs. Elvis looks to Jerry with a face like

thunder.

ELVIS
You think that’s funny? I don’t
need you to question me about what
I gotta do to support my family
and every person here. Is that
goddamn clear?

Elvis slams into the Vista-Liner.

COLONEL
(to Priscilla)
I’m sorry, my dear.
(to Jerry)
Well, Mr. Schilling, Elvis’
audience is no longer screaming
teenage girls. They are grown-ups;
they are wives and mothers and
they watch television and they buy
sewing machines.
(remembering)
Ah, the radio promotions... Would
you take that in to Mr. Presley
and play it for him to get his
approval?

JERRY
Colonel, I don’t work for you.
(indicating the bus)
I’m just a friend of that guy in
there.

(CONTINUED)
 94.
CONTINUED: (3)

Colonel, a murderous look. He turns to Vernon.

COLONEL
Well, Vernon, shall we begin to
draw up the contracts?

VERNON
Let’s do it.

INT. ELVIS’ VISTA-LINER BUS - DAY

Elvis, fuming, storms in and rips off his collar. The

aftermath of the Dr. King assassination plays on the TV.

BILLY
Hey EP, do you wanna run lines?

ELVIS
Mhmm.

BILLY
Okay. So uh... Greg walks up to
the receptionist dressed in a
lingerie cat costume. ‘Aren’t you
cold?’

ELVIS
Huh? No I’m fine.

BILLY
No, that’s the line.

ELVIS
Oh.
(with a smarmy wink)
‘Aren’t you cold?’

A KNOCK.

BILLY
(seductively)
‘Only from nine to five.’

Billy returns to his bunk as Jerry enters.

JERRY
I’m sorry.

Elvis refuses to acknowledge him.

JERRY
(treads cautiously)
I’ve been offered a job here in
L.A. I’m gonna take it.
(CONTINUED)
 95.
CONTINUED:

Elvis is suddenly at a loss.

ELVIS
Hey, man... I wasn’t angry at you.
Let me make it up to you. There’s
a new Shelby Cobra coming out.
I’ll buy you some new wheels.

JERRY
It’s got nothing to do with money.

Elvis lets this sink in; no one talks to him like this.

ELVIS
Man, I need you here as a friend.

Jerry stops, the anger has abated. He nods his head to

the TV, where James Brown and the Rolling Stones perform.

JERRY
These TV guys. They’re the ones
that put James Brown and the
Rolling Stones on the T.A.M.I
Show. They’re really plugged in, I
met them.

Elvis nods.

JERRY
I could set up a meeting.

Elvis is interested, but he masks it flippantly.

ELVIS
To see what they can do with ‘Here
Comes Santa Clause?’

JERRY
(playing along)
Peace, love, and Christmas
cookies. Could be crazy...

Suddenly, Charlie’s voice:

CHARLIE (O.S.)
Colonel’s already got the guy who
does all the Singer specials.

Elvis and Jerry turn to see Charlie in the doorway. He is

delivering the tape recorder with the promotion tape
already loaded, setting it down on the bed. We don’t know
how long Charlie’s been listening.

(CONTINUED)
 96.
CONTINUED: (2)

CHARLIE
He did Bing Crosby, I loved that.
Colonel wants you to listen to
this and approve it. Then they
want you back on set in five.

Charlie leaves as Billy enters to start dressing Elvis.

JERRY
I'm just saying, you should work
with new people...

Jerry’s words hang in the air, clearly about more than

just the TV special. Before he leaves, Jerry turns back
to Elvis.

JERRY
Its like you always say, EP.
Colonel’s got a lot of ideas.

EXT. ELVIS’ VISTA-LINER BUS - NIGHT

It’s late. Priscilla sits in the limo, amidst a convoy of

cars idling outside the Vista-Liner. Billy packs away an
Elvis standee in the boot of a car.

BILLY
That’s the last of it.

Charlie approaches Priscilla’s window, leaning in.

CHARLIE
He’s just laying in there,
watching the Reverend’s funeral...

PRISCILLA
I’ll go check on him. Thank you.

Priscilla exits and approaches the bus.

INT. ELVIS’ VISTA-LINER BUS - NIGHT

ANNOUNCER (V.O.)
What a beautiful rendition of
“Here Comes Santa Claus” that was!
With all the sparkle and magic
that the season brings!

On the back television, sound muted: somber images of

Reverend Martin Luther King Jr’s memorial.

(CONTINUED)
 97.
CONTINUED:

ANNOUNCER (V.O.)
And you’ll be even warmer this
season in a 12-gauge, cable-knit
woolen sweater, made right at home
on the Singer Sewing’s SK155 Home
Knitter! And now...

Discover Elvis, sprawled on the red velvet bed. The tape

recorder next to him. His blank stare illuminated in the
dark by the blue light of the television.

ANNOUNCER (V.O.)
... heeeeere’s Elvis!

CLICK. The tape recorder stops.

Elvis stares blankly at the television. His breathing

heavy. Tears begin to form in his eyes. Suddenly, the
sound of the door opening.

PRISCILLA
(quietly)
Satnin’. Can I watch the memorial
with you?

ELVIS
Please.

Priscilla slides into the bed beside him.

ELVIS
I’m so tired of playing Elvis
Presley.

PRISCILLA
You don’t have to. We could run
away to France or Italy and live
off the land. Eat baguettes,
snails, and cheese. Little Lisa
could learn French.

Elvis breathes deep, fighting for control.

ELVIS
I wish we could. Too many people
rely on me.

PRISCILLA
I love you. Your daughter loves
you. We don't care about the money
or anything else. We just want you
to be happy. You’re only really
happy when you sing the music you
love.

(CONTINUED)
 98.
CONTINUED: (2)

ON THE SCREEN: MAHALIA JACKSON steps up to the microphone

and begins to sing “Take My Hand, Precious Lord.”

ELVIS
(distant; broken)
That’s Mahalia Jackson... I used
to hear her sing at East Trigg
Church. That’s the music that
makes me happy.

Elvis eases the sound of the television up on the remote.

With this, a MATCH SHOT as...

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

Mahalia and CHOIR now appear. In front of them at the

pulpit, the fiery REVEREND BREWSTER:

REVEREND BREWSTER
Many have lost their lives for
this cause, so remember, when
things are too dangerous to say...
sing!

The choir lifts Mahalia's voice higher.

MAHALIA
(sings)
Joshua fought the battle of
Jericho, Jericho, Jericho

MAHALIA AND CHOIR

(sing)
Joshua fought the battle of
Jericho, and the walls came
tumbling down!

A sudden blast of HEAVY ROCK MUSIC.

EXT. LOS ANGELES - AERIAL SHOT - LATE AFTERNOON (1968)

The rock continues as a convoy of 2 BLACK CARS and a BLUE

LIMO cuts through the Hollywood Hills.

INT. LIMO - LATE AFTERNOON

MUSIC LOUD as inside one of the cars, two groovy hepcats,

STEVE BINDER (35) and BONES HOWE (35), sit facing
backwards. They stare intensely, barely breathing.

Seated opposite, Sonny and Red West stare blankly back.

 99.

EXT. LOS ANGELES - AERIAL SHOT - LATE AFTERNOON

Music builds as the convoy threads the road that traces

up to and above the derelict Hollywood sign.

EXT. LOOKOUT ABOVE THE HOLLYWOOD SIGN - LATE AFTERNOON

The convoy squeals to a dusty halt near Jerry, who has

been waiting for them. Memphis Mafia jump out and open
the door of the limo. Binder and Bones get out.

JERRY
Mr. Binder, Mr. Howe, thanks for
coming... One thing, gentlemen:
don’t call it a Christmas Special.

Binder and Bones nervously glance at one another; the

whole thing feels like some kind of elaborate Mafia hit.
The Wests stay back as Jerry leads Binder and Bones down
a dusty dirt track.

EXT. HOLLYWOOD SIGN - CONTINUOUS ACTION

As they round a bend, DISCOVER Elvis, haloed by the

setting sun, sitting on part of the dilapidated sign and
gazing across the valley toward Griffith Observatory.

Jerry hangs back, but motions that Binder and Bones

should approach. They do so...

Elvis continues to stare as he senses their presence.

ELVIS
When I first came to Hollywood,
I’d come up here and sit for
hours. Right over there is where
they shot Rebel. I dreamt of
being a great actor like Jimmy
Dean. This sign was beautiful
then, and now... It feels as
though lots of things are like
that these days; broke down, beat-
up, rotten.
(turning to them)
I really liked what you guys did
putting James Brown together with
the Rolling Stones.

BINDER
(extremely nervous)
We’re big fans of yours, too.
It’s, just, uh, Mr. Presley...

(CONTINUED)
 100.
CONTINUED:

ELVIS
Elvis.

BINDER
Elvis. Christmas specials aren’t
our thing, man.

Elvis looks at them sharply-- then, that charming smile.

ELVIS
I know. But tell me honestly,
where do you boys think my
career’s at right now?

BONES
(slow; nervous)
Ah, well, it’s...

BINDER
(direct)
In the toilet, Elvis.

Elvis, half a beat of shock. And then he laughs, really

laughs, like he hasn’t in years.

ELVIS
(to Jerry)
You hear that Jerry?
(to Binder and Bones)
I knew you were the right guys for
this job!

He jumps down from the sign.

ELVIS
When I was starting out, some
people wanted to put me in jail,
hell, even kill me, ‘cause of the
way I moved. They cut my hair,
put me in uniform, and sent me
away. It killed my mama... And
ever since, I been lost. When
you’re lost...
(a cautious thought)
People take advantage. I thought
you fellas might help me get back
to who I really am.

Binder and Bones are affected by Elvis’ honesty.

BINDER
(probing)
Who are you, Elvis?

(CONTINUED)
 101.
CONTINUED: (2)

ELVIS
I sure as hell ain’t somebody who
sings Christmas songs by a
fireplace for an hour.

BINDER
(cautiously)
What does the Colonel think?

Suddenly, Elvis flares up.

ELVIS
I don’t give a damn what the
Colonel thinks.

BONES
I see... Well, if you want to find
yourself, first thing you do is to
go home.

Binder picks up the cue.

BINDER
Metaphorically speaking. You know,
get back to who you really are,
musically.

Elvis is not sure, Bones chimes in:

BONES
Yeah, we could get your old band
back together...

BINDER
Play the tracks that made people
call you the devil and trash your
records in the street.

BONES
A leather jacket; raw and dirty!

BINDER
But first, you need an audience.

Elvis smashed by nerves, barely able to say the word:

ELVIS
Audience?
(tries to laugh it
off)
No, man... I haven’t played in
front of an audience in ten years.

BINDER
That’s my point.

(CONTINUED)
 102.
CONTINUED: (3)

Elvis looks out over the L.A. grid as lights turn on and
sparkle.

ELVIS
You think we could do some Gospel?

Binder and Bones look at each other, blindsided, as the

decrepit Hollywood sign transforms into...

EXT. NBC STUDIOS - DAY

A sign: "NBC COLOR CITY."

INT. NBC STUDIOS - STAGE - DAY

Elvis stands on the stage steps with Priscilla and Jerry,

looking out at the studio and its empty bleachers.

JERRY
The Blossoms are set to tape the
Gospel sequence tomorrow, but
first it’s you in the round, the
acoustic set with Scotty and DJ,
everything with the audience.
Colonel won’t give us any static
so long as we do the two Christmas
numbers in the...

PRISCILLA
... understated sweaters?

Jerry looks up. Elvis seems disturbed.

JERRY
He’s got to keep the Singer execs
happy.

PRISCILLA
What’s the matter, honey?

ELVIS
Audience... I didn’t exactly agree
to that. I think I’d be better
without an audience.

Jerry looks to Priscilla, tense.

JERRY
They’re already here.

ELVIS
Send them home.

(CONTINUED)
 103.
CONTINUED:

PRISCILLA
We can do that.

JERRY
We could send them home.

ELVIS
I like that.

Priscilla moves closer to Elvis.

PRISCILLA
Honey, Binder’s whole idea was
that the world sees you how I see
you at home. Making jokes with
your friends, laughing, having
fun, playing the music you love.

ELVIS
My hands are sweaty.

PRISCILLA
Look at me. I know you’re scared.
It’s scary, but the man I love has
never done anything extraordinary
without fear.

ELVIS
Yeah, you know, I just... I don’t
know if I can be that without a
script.

Elvis walks to center stage, looking around.

ELVIS
What if nothing comes?

As he turns, we PUSH IN, the roar of the crowd audible...

INT. NBC STUDIOS - STAGE - LATER

Bones stands in Elvis’ place, warming up the LIVE

AUDIENCE who fills the bleachers. Applause sign flashing.

INT. NBC STUDIOS - CORRIDOR - DAY

Stoic-looking SINGER SEWING EXECUTIVES follow behind

Colonel as he speaks, Diskin dutifully behind him. A
Christmas Sweater is wheeled past by an assistant.

COLONEL
Mr. Presley is interested in a few
of Mr. Bindle’s ideas but... Ahh,
the Christmas sweater!
(MORE) (CONTINUED)
 104.
CONTINUED:
COLONEL (CONT'D)
(to the assistant)
Into Mr. Presley’s dressing room.
(to the Singer Execs)
We will be singing at least three
spectacular Christmas songs in
that very sweater. To the control
room.

Colonel ushers the group to the stairs.

COLONEL
It was knitted on the SK551—

DISKIN
(whispers)
The SK155.

COLONEL
Oh the SK155. Thank you, Mr
Diskin.

The group continues up the stairs...

INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION

... and arrives in the control room where Binder and AN

ASSISTANT sit behind the desk.

COLONEL
There will be ‘Silence is the
Night,’ ‘Here Comes Santa Claus.’
And Diskin what’s the one about
the boy?

DISKIN
The Little Drummer Boy.

COLONEL
Yes, the Little Drummer Boy.

SENIOR SINGER EXEC

Ahh... yes.

The Singer executive mimes drumming.

COLONEL
We’re going to be starting with
‘Here Comes Santa Claus.’ Isn’t
that right, Bindle?

BINDER
Absolutely, the Christmas numbers
will come later in the show.
 105.

INT. NBC STUDIOS - CORRIDOR - DAY

FAST TRACK WITH and UP Elvis' black-leather-clad legs,

FOLLOWING him as he charges through the corridor.

BONES (V.O.)
And now, ladies and gentlemen...

INT. NBC STUDIOS - STAGE/CONTROL ROOM - CONTINUOUS ACTION

As we ENTER the studio, Priscilla touches Elvis' hand

discreetly. The FLOOR MANAGER guides her to her place.

BONES
... here’s Elvis Presley!

Elvis takes the stage like a boxer entering the ring, met
with polite applause. These aren't the adoring fans he
once knew. He nervously clears his throat.

ELVIS
Well, I gotta do this sooner or
later, so it might as well do it
now, baby...

He cues the band-- a mistimed opening stab and Elvis

misses the cue. A ripple of confusion through the
audience.

INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION

Bones enters the control room and shares a worried look

with Binder. The Colonel can see Elvis’ face on all the
monitors, sweating, insecure. He hisses to Binder:

COLONEL
This is precisely why he shouldn’t
be in front of a live audience.

BINDER
(over intercom)
Sorry, E.P., technical problem...

COLONEL
Get them out now, and let’s get on
with the Christmas number!

The hard-faced SINGER EXECUTIVES are confused. Binder

looks to Bones, and then to the monitors.

BINDER
(a second intercom)
Standby for ‘Here Comes Santa
Clause.’
(CONTINUED)
 106.
CONTINUED:

Colonel pretends to be in control. Diskin nods along.

COLONEL
(to Singer Execs)
Technical difficulties... Please
standby.

INT. NBC STUDIOS - CORRIDOR - CONTINUOUS ACTION

The DANCE CAPTAIN leads a posse of DANCING SANTAS,

stretching and preparing to go on.

INT. NBC STUDIOS - STAGE - CONTINUOUS ACTION

Elvis looks to Priscilla in the shadows, sensing a do-or-

die moment. He cracks a joke with a wry smile:

ELVIS
How do you like it so far?

The audience laughs, a sudden connection.

We PUSH IN ON the monitor of one of the TV cameras as

Elvis throws back his head, cues the band, and... music
and voice come together in a tremendous, rocking entry:

ELVIS
(sings)
Well, since my baby left me...
I found a new place to dwell
It's down at the end of lonely
street
At Heartbreak Hotel...

He connects with the audience as only Elvis can. Elvis

Presley is reborn.

INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION

Binder and Bones look on with pride. Colonel's face

falls. The Singer Executives seem uncertain.

JUNIOR SINGER EXEC

Well, that was... energetic.

SENIOR SINGER EXEC

Is ‘Here Comes Santa Claus’ next?

COLONEL
Absolutely! I see no reason why
not.

He thunders out of the room, Diskin in tow.

 107.

INT. NBC STUDIOS - STAGE - CONTINUOUS ACTION

ELVIS
(sings)
You ain't nothing but a hound dog,
cryin' all the time.

INT. NBC STUDIOS - CORRIDOR - CONTINUOUS ACTION

Colonel hurtles down the stairs, huffing and puffing.

INT. NBC STUDIOS - STAGE - CONTINUOUS ACTION

Elvis launches into “Jailhouse Rock.”

ELVIS
(sings)
Warden threw a party in the county
jail,
The prison band was there and they
began to wail...

The crowd erupts into applause. Priscilla can't believe

her eyes.

ELVIS
Thank you! It's been a long time,
baby! My boy, my boy!

INT. NBC STUDIOS - CORRIDOR - CONTINUOUS ACTION

Colonel bounds down the stairs with Diskin.

COLONEL
I do not know what is going on.
Sweating in black leather, singing
‘Hound Dog,’ what does that have
to do with Christmas?

They reach the corridor and suddenly, Scotty Moore and

D.J. Fontana cross Colonel's path. He turns to Diskin:

COLONEL
The Blue Moon Boys?! What are they
doing here?!

Colonel follows them towards the stage.

INT. NBC STUDIOS - STAGE - LATER

The musicians are now gathered on the stage to do the sit-

down section.
(CONTINUED)
 108.
CONTINUED:

ELVIS
My boy, my boy!

CHARLIE
My boy, my boy.

ELVIS
OK... Well goodnight...

Elvis jokingly pretends to leave.

ELVIS
Uh, are we on television? Are we
on television?

CHARLIE
No, we’re on a train to Tulsa.

ELVUS
Let’s see, what do I do now folks?

SCOTTY
Why don’t you play that ‘Trying To
Get To You’ one time?

ELVIS
Twelve years he played guitar for
me man, didn’t say anything. Now
let me swap that axe with you,
champ.

With this, they exchange guitars and settle in. Elvis

launches into “Trying to Get to You,” raw and intense,
while staring at Priscilla.

ELVIS
(sings)
Ever since I read your letter,
Where you said you loved me true,
I’ve been traveling night and day
I’ve kept running all the way
Baby, trying to get to you.

Everyone in the control room watches on with delight.

Colonel watches from the shadows, the realization dawning
that they’ve all been conspiring against him. He leaves
in a fury.

INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION

Diskin is offering refreshments as Colonel thunders in,

out of breath, barking at Binder:

(CONTINUED)
 109.
CONTINUED:

COLONEL
I think it is time for ‘Here Comes
Santa Claus.’ Is that understood,
Mr. Bindle?

BINDER
Absolutely...

BONES
Right after ‘Elvis Talks.’

COLONEL
Talks? No, no, no. What does Elvis
talk about?

BINDER
About himself.

INT. NBC STUDIOS - STAGE - DAY

ELVIS
Alright, give me that piece of
paper, man. I’m gonna see what I’m
supposed to do next here.

Charlie hands Elvis the cue sheet.

ELVIS
It says here, ‘Elvis will talk
about first record...’

CHARLIE
Little late.

ELVIS
It says here, ‘Elvis will talk
about shooting from the waist down
and not being able to touch hands
with body-- body with hands.’
(laughs)
I just got this show off the air,
boy, I tell you.

The boys laugh at the ludicrous suggestion. Elvis looks

around and tosses the cue sheet aside. The audience
laughs. After a moment, Elvis speaks from the heart:

ELVIS
Anyway... I’d like to talk a
little about music... Very little.
There’s been a big change in the
music field in the last ten or
twelve years. And uh, I like a lot
of the new groups, the Beatles and
the Beards, and the whoever...
(MORE) (CONTINUED)
 110.
CONTINUED:
ELVIS (CONT'D)
But a lot of it is basically, our
music is basically... rock ’n’
roll music is basically, uh...
Gospel or rhythm and blues.
People have been adding to it,
adding instruments to it,
experimenting with it. But it uh,
it all boils down to just uh... I
don’t know what I’m talking about
really, I’m just mumbling, man.

SCOTTY
Hey, Elvis, why don't you talk
about, uh... little finger?

They share a look-- connecting.

ELVIS
The little finger. Yeah that’s all
I could move at Russwood.

Elvis thinks back...

ELVIS
The uh, the police filmed the show
on the 4th of July in Memphis
because the PTA or the YMCA or
somebody, they thought I was uh...
something.

As the audience chuckles, Elvis' eyes flick up to Colonel

in the control room.

ELVIS
So uh, the police came out to film
the show. So they told me I
couldn’t move, I had to stand
still. The only thing I could move
was my little finger like that,
man.
(wiggles finger)
You ain’t nothin’ but a hound dog
Crying all the time...
If you’re looking for trouble, you
came to the right place...

The band and audience crack up as the soulful strains of

"Sometimes I Feel Like a Motherless Child," sung by
Darlene Love begins...

ELVIS
But, uh, that’s one thing about
this TV special that I’m doing.
They’re gonna let me do what I
wanna do...

(CONTINUED)
 111.
CONTINUED: (2)

Elvis looks up into the camera.

INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION

On the monitors, Elvis is in closeup. It’s almost as if

he is looking straight at Colonel.

ELVIS (V.O.)
(on monitor)
Sing the music that I want. Music
that I love...

INT. NBC STUDIOS - STAGE - CONTINUOUS ACTION

Elvis looks to Priscilla.

ELVIS
The music that makes me happy.

INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION

Binder looks from the control desk to the Colonel

watching Elvis on the monitors, who is clearly taking
this personally.

MATCH TO:

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

Old Colonel watching Elvis, the control room now on the

carpet in Space with rows of monitors.

OLD COLONEL
Those know-it-all hippies poisoned
Elvis. And now my boy, mocking me!

ELVIS
(on monitor)
I was supposed to turn my back on
my fans, but I didn't. And
because of that, they sent me to
the Army.

OLD COLONEL
Blaming me?! When I saved him?

ELVIS
(on monitor)
And ever since then, I lost
everything I ever cared about. My
friends, loved ones, my music...
 112.

INT. NBC STUDIOS - STAGE - DAY (1968)

Back in reality, Elvis stares at the Colonel, who watches

from the control room.

ELVIS (V.O.)
And most of all, I lost my dear,
sweet mama... My Satnin'...

A spotlight reveals African-American dance legend CLAUDE

THOMPSON as he begins an exquisite solo.

DARLENE LOVE (V.O.)

Sometimes I feel like a motherless
child.
Sometimes I feel like a motherless
child...

Elvis watches from the shadows, singing to himself.

ELVIS
(sings)
Sometimes I feel like a motherless
child...
a long way from home...

Claude continues dancing his solo.

OLD COLONEL (V.O.)

Singer were about to walk out; I
had one final chance...!

INT. NBC STUDIOS - CORRIDOR - DAY

Colonel yells at the Floor Manager:

COLONEL
Young man, you tell them it’s time
for ‘Here Comes Santa Claus.’ I
said so. Now, now!

FLOOR MANAGER
First positions! Not here, out
there! Go, go. Sleighs! Where’s
the sleigh?

Santas stub out cigarettes and don their hats! A large

wooden sleigh is dragged into position.

INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION

THROUGH the glass at the back of the room, we see Colonel

barrel along the corridor...

(CONTINUED)
 113.
CONTINUED:

He bursts in right as Binder pushes the intercom.

BINDER
Cue the gospel and then we'll
segue straight into the whorehouse
and kung-fu spectacular. Go!

The Singer Executives stare with unforgiving horror and

head for the exit. A final word to Colonel.

SENIOR SINGER EXEC

You’ll be hearing from our
lawyers. Santa Claus is bringing
you a lawsuit!

COLONEL
But we have ‘Little Drummer Boy’!

Colonel turns. Through the monitors, we--

MATCH TO:

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

Colonel is surrounded by monitors showing Elvis in the

different dance numbers. As he spins:

OLD COLONEL
Kung-fu fighters! An all-colors-of-
the-rainbow ballet!

Colonel keeps spinning around to see the monitor with

Elvis in the bordello number.

OLD COLONEL
This was not part of the plan! And
it was a good plan!

TOP SHOT: Suddenly Colonel is revealed on the NBC stage

amongst a flower of fans and bordello dancers.

OLD COLONEL
Street whores... To sell sewing
machines at Christmas time!

He’s aggressed by multiple gospel singers, kung-fu

fighters, bordello girls. The music intensifies into an
orchestral cacophony, the memory of the comeback takes on
a nightmarish quality.

ELVIS
(sings)
If you ever take a trip down to
the ocean
Find yourself down around Mobile
(CONTINUED)
 114.
CONTINUED:

OLD COLONEL
Singer wasn't going to sell a
single sewing machine!

ELVIS
(sings)
If you got a little time to kill
Just follow that crowd of people
You'll wind up out on his dance
floor

OLD COLONEL
We would be in breach! Sued by our
own sponsors for breach of
contract.

ELVIS
(sings)
Diggin' the finest little five
piece group
Up and down the Gulf of Mexico
Guess who's leadin' that five-
piece band,
Well, wouldn't ya know, it's that
Swingin' little guitar man.

OLD COLONEL
We were going to be ruined in this
town! We’d be laughed right out of
show business

ELVIS (V.O.)
(sings)
Ha, ha, ha, ha!
Ha, ha, ha, ha!

OLD COLONEL
Everything was going backwards.

PULL OUT to reveal Elvis and the Blue Moon Boys sitting
on the stage.

ELVIS
(sings)
Well, I'm the king of the jungle,
They call me the Tiger Man.
And if you cross my path,
You take your own life in your
hands.

As the nightmare Elvis mash-up begins to peak, multiple

Elvises now join the ensemble.

(CONTINUED)
 115.
CONTINUED: (2)

OLD COLONEL
I betrayed you? You betrayed me!
This television broadcast was our
last chance! I'd given my word to
our sponsors! Something had to be
done!

SUDDENLY, THE SOUND OF A GUNSHOT!

YOUNG STAGEHAND (V.O.)

They shot him! Bobby! Kennedy!!!

INT. NBC STUDIOS - STAGE - NIGHT (1968)

The tragic news tears through the cast as they rush from
the stage.

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

Old Colonel, once again alone on the carpet of Space,

stares at thousands of 1970s televisions on which the
Kennedy tragedy plays out.

PUSH IN on a screen: images from the Ambassador Hotel.

INT. NBC STUDIOS - DRESSING ROOM - NIGHT

The whole cast and crew, many in tears, gather around the
TV, which plays news of the Robert Kennedy assassination.
Elvis’ eyes are glued to the screen.

NBC FLOOR MANAGER

Steve, we gotta get back to work.

Binder stands:

BINDER
Listen... I just want to say that
I’m looking at all of us...
(re: himself)
Jewish director, black
choreographer, Puerto Rican
choreographer, dance sections of
black, white and you know, purple.
And of course...
(to Elvis)
Our gentleman from Tupelo... And
to me, this is the kind of nation
we are. Right here. In this room.
And we cannot end this show with
‘Here Comes Santa Claus.’ We have
to say something. You have to make
a statement, E.P.
(CONTINUED)
 116.
CONTINUED:

COLONEL (O.S.)
Mr. Presley does not make
statements.

The curtain that hides Elvis’ bedroom is slowly drawn

back. It’s the Colonel. He walks in and stares the entire
room down.

COLONEL
He sings ‘Here Comes Santa Claus’,
and wishes everyone ‘Merry
Christmas’ and ‘Goodnight.’

Colonel's jabs at the dial; the screen goes black.

COLONEL
The show must go on.

The West cousins and the Floor Manager move everyone out
of the room. Elvis says nothing. Faces fall, disgusted by
the cowardice of the King.

INT. NBC STUDIOS - CONTROL ROOM

It’s late and Bones is making coffee for himself and

Binder as they watch coverage of the Robert Kennedy
shooting on the monitors. PUSH IN ON: a monitor.

INT. NBC - DRESSING ROOM - LATER

MATCH SHOT: pull out on a miniature TV in Elvis’ dressing

room. Billy helps Elvis into his robe.

COLONEL
Poor Mrs. Kennedy. A tragedy, a
tragedy... But it has nothing to
do with us.

Suddenly, Elvis bursts through the curtains.

ELVIS
It has everything to do with us...

COLONEL
I just do not think we should be
making speeches about politics and
religion.

ELVIS
Dr. King was shot eight miles from
Graceland, while I was out here
singing to turtles. And now this,
and all you can think about is how
many goddamn sweaters I can sell?!
(CONTINUED)
 117.
CONTINUED:

This wounds Colonel's pride.

COLONEL
I'm a promoter, that’s what I do.

But Elvis does not back down...

ELVIS
Well I’m Elvis Presley. That’s
what I do.

The Colonel's eye takes on that crocodile gleam.

COLONEL
Well, Mr. Bindle has really gotten
inside your head with all of his
hippy friends. You actually think
that singing your old songs
dressed in black leather,
sweating, mumbling incoherently to
the audience, was a good show?

ELVIS
Colonel, I know when I’ve excited
an audience.

The Colonel rounds on him.

COLONEL
That was not a real audience my
boy. There was a sign flashing
‘applaud’ telling them when to
clap for you.

This touches Elvis' Achilles heel. The Colonel knows he's

landed a blow and drives in, brandishing his cane.

COLONEL
This entire jamboree is an
embarrassment!
(thud goes the cane)
You have embarrassed the
sponsors...
(off thud)
You have embarrassed yourself...
(off thud)
And you have embarrassed me...
(off thud)
Now, you can sing whatever songs
you and Mr. Bindle choose for 55
minutes, but at the end of the
show there will be a Christmas
song.
(MORE)

(CONTINUED)
 118.
CONTINUED: (2)
COLONEL (CONT'D)
Or we will be sued-- no, you will
be sued for breach of contract,
because I will no longer be the
promoter your career... I will
have to leave you.

Elvis takes this in. Colonel makes his way to the door.

COLONEL
I have convinced our friends at
Singer to come back tomorrow for
‘Here Comes Santa Claus.’ I’ll see
you in the morning, Mr.
Presley.
(turning before he
exits)
Oh, and as I recall, Dr. King said
rock and roll contributed to
juvenile delinquency.

Elvis turns back to the television. PUSH IN ON: L.B.J. on

the television and MATCH CUT TO:

INT. NBC STUDIOS - CONTROL ROOM/STAGE - NIGHT

L.B.J. on the monitor in the control room. Binder turns

off the three monitors with a ‘click, click, click.’
Bones behind him. He notices Elvis down in the studio.

CUT TO: the abandoned studio floor. A stark work light

slashes the Santa set, where Elvis stands in deep
contemplation. He sings a couple of melancholic lines
from "Here Comes Santa Claus.”

BINDER (V.O.)
(intercom)
We're set for the number tomorrow
right E.P?

Elvis looks up to Binder in the control room.

BINDER
It's pretty familiar territory...
Is it okay if we just run through
it in the morning?

He looks to Bones, pulling on his jacket to leave, weary

with disappointment. Elvis stares back at Binder and
Bones, defiance in his eyes...

ELVIS
A reverend told me once: ‘When
things are too dangerous to say...
sing.’
 119.

INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION

Binder ponders. He turns to Bones, who has stopped

putting on his jacket. Binder looks down at the script he
was about to throw out. We hear simple piano chords.

CLOSE ON Binder’s script as we match cut to...

INT. NBC STUDIOS - DRESSING ROOM - NIGHT

TOP SHOT: Elvis, lying on the floor, holding Binder’s

script. He moves the paper to reveal the lyrics to ‘If I
Can Dream’ on the flip-side. Binder, Bones and BILLY
GOLDENBERG are around the piano, shaping up a song.

ELVIS
(sings)
There must be lights burning
brighter somewhere
Got to be birds flying higher in a
sky more blue...

Time passes and the piano chords transform into a warm,

stirring brass section.

INT. NBC STUDIOS - CONTROL ROOM - DAY

We once again see Colonel barreling along past the window

at the back of the room, wearing a Christmas sweater.
Diskin, also in sweater, and Charlie Hodge in tow.

CHARLIE
They were in there all night...

COLONEL
Doing what?

CHARLIE
Working on the new song. He says
he’s singing it...

COLONEL
New song? No.

Colonel enters the control room.

COLONEL
Oh, it's beginning to look a lot
like Christmas! Mr. Bindle... You
and I are on the same page at
last.

(CONTINUED)
 120.
CONTINUED:

Binder looks up. Eight monitors hold a wide shot of the

Santa set with dancers and a choreographer rehearsing
“Here Comes Santa Claus.”

Colonel turns to the Singer Executives, but before he can

speak, we hear the stirring brass, and the Singer
Executives' faces turn ashen.

BINDER
Bring up the lights on the sign.

INT. NBC STUDIOS - STAGE - CONTINUOUS ACTION

The West cousins pull back a curtain to reveal a white-

suited Elvis. Priscilla kisses him before he takes the
stage.

PRISCILLA
Good luck, baby.

Suddenly, the TV cameras turn away from the Santa set and
towards the giant “ELVIS” letters illuminated in red.

INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION

The Colonel moves in disbelief to the window as a crane

with a CAMERAMAN sweeps in front of his reddening face.

INT. NBC STUDIOS - STAGE - CONTINUOUS ACTION

Elvis, now fully revealed in the spotlight, sings as if

speaking to the whole world from the depths of his soul.

ELVIS
(sings)
We're lost in a cloud!
With too much rain!

The cast looks on, moved by the power of the message and
the voice.

ELVIS
(sings)
We're trapped in a world!
That's troubled with pain!
But as long as a man
Has the strength to dream... He
can redeem his soul
And fly!
 121.

INT. NBC STUDIOS - CONTROL ROOM - DAY

Colonel’s face is like thunder. Diskin, inscrutable, yet

an undeniable inner approval.

Just then, Priscilla walks in. She shares a look with

Binder and stands by him.

ELVIS (V.O.)
Deep in my heart there's a
tremblin' question
Still I am sure that the answer,
answer's gonna come somehow
Out there in the dark, there's a
beckoning candle
And while I can think, while I can
talk

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

ELVIS (V.O.)
While I can stand, while I can
walk
While I can dream, please let my
dream
Come true, right now!!!

Colonel, now walking away from the Elvis set, back into
the ghostly casino whence he came.

OLD COLONEL
I was certain it was going to be a
disaster.

We STAY ON Colonel’s face as it transforms.

OLD COLONEL
(a tepid whisper)
But I was wrong.

Never before have we seen the Colonel so vulnerable.

EXT. GRACELAND - DAY (1969)

A lively picnic to the sounds of Elvis’ ‘Memphis

Tennessee.’ Elvis and Priscilla race around on a golf
cart. A new era at Graceland.

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

Old Colonel sits ever-so-slowly at the roulette table,

his face frozen in catatonic despair. He SCREAMS...

(CONTINUED)
 122.
CONTINUED:

OLD COLONEL
Wrong!

His breath heavy, full of self-pity.

OLD COLONEL
All those years I stood by him.
One little mistake and he leaves
me?!

INT. GRACELAND - MUSIC ROOM - AFTERNOON (1969)

Graceland, completely reimagined in a hip, sixties look,

with an equally hip cocktail party in swing. Elvis,
Priscilla, Jerry ,and a cool, rangy character, TOM
HULETT, look over the plans for a touring plane.

JERRY
Air Presley’s new wings.

ELVIS
(sings)
I’ll fly away, oh glory
I’ll fly away, in my Convair 880.

HULETT
With a state room in the back,
extra seating in the front.

PRISCILLA
You mean we can sleep on the
plane?

HULETT
That’s the whole point! When you
play stadiums, it’s like a week of
shows in just one night. So when
it’s done, you hop on the plane
and go where you want...

ELVIS
“Go where you want, play where you
want, and if they don’t like it,
go some place else.” B.B. King
told me that.

HULETT
B.B. knows, man... I’ve been doing
some research. Last year alone,
you turned down two offers in
Germany and Japan for a million
bucks... for one night! You know
who gets offers like that?

Elvis shrugs.
(CONTINUED)
 123.
CONTINUED:

HULETT
Nobody... Nobody except Elvis.
Aaron. Presley. Just last week,
with our newest group, Led
Zeppelin, they sold out the
Coliseum in Vancouver. Just
imagine what you could do. Why the
Colonel turned them down is beyond
me.

JERRY
Well if you figure it out, let us
know.

A tense moment. Elvis spies little LISA MARIE and picks

her up.

PRISCILLA
We should call it the “Lisa
Marie.” Are you guys hungry? Let’s
eat.

Joining Vernon, his new wife, DEE, Charlie, Lamar and

girlfriends, they hold court like the Kennedys.

They all sit down for dinner. A phone RINGS. Charlie pops
out, and back in.

CHARLIE
Hey EP, it’s the Colonel.

ELVIS
Not now, Charlie. I’m sitting down
to dinner with my family.

CHARLIE
(into the phone)
You’re gonna have to call back
later.

ELVIS
(to the table)
I want you to get me some songs. I
want you to get me some songs,
too. I want every one of you, if
you know somebody, to get me some
songs.

LAMAR
Hey, I got something from a young
guy, Eddie Rabbitt: "Kentucky
Rain" You’ve got to do it. It’s
just that good.

We PAN to the dining room chandelier as the lights turn

on, signaling the transition to night.
 124.

INT. GRACELAND DINING ROOM - LATER

PAN off the chandelier to find STAFF clearing away the

last of the plates at the meal’s end. It’s a warm
atmosphere and spirits are high. Elvis’ end of the table
is abuzz with talk of the new album:

JERRY
You know E, I love the new song,
man it’s--

ELVIS
(interrupting)
It’s unlike anything I’ve ever
sung before.

PRISCILLA
The first time Elvis played it for
me, I cried.

CHARLIE
I don’t know about the title: “In
The Ghetto”...

DEE
“In The Ghetto?” That’s going to
put a lot of people off.

CHARLIE
Well it’s a great song but, you
know, it might...

JERRY
Have you settled on a name for the
album?

ELVIS
From Elvis... in Memphis. Going
back to my roots recording here in
my home town. And then we take it
to the world with our new wings.

Priscilla summons the maid who brings a tray of jewelry

boxes with a tag reading: “From Elvis.” She hands them
out around the table.

PRISCILLA
And in honor of that, Elvis and I
have organized a little surprise.
It’s nothing crazy.

ELVIS
To celebrate this new chapter, the
new album, and the tour.

(CONTINUED)
 125.
CONTINUED:

Vernon, now a few drinks past his limit, attempts an

aside to Dee.

VERNON
And if the tour doesn’t go off as
planned, those costs, the
musicians, that airplane, that’s
gonna be on my head, yeah.

A tense silence, as if Colonel’s presence is suddenly

felt.

HULETT
Mr Presley, with all due respect,
man, there’s no way this tour
won’t bring in mucho dinero.

VERNON
Well son, I’m sorry, but it’s my
job to worry about these finances
because I am business manager.

PRISCILLA
Vernon, we’re all taking care of
business now.

Hulett opens one of the boxes, holding up a lightning

bolt necklace, emblazoned with “TCB”.

ELVIS
That’s right. We’re gonna TCB
around the world... but that don’t
mean nothin’ without a little
tender loving care at home.

One of the women at the table opens her box to find a

matching “TLC” necklace inside.

PRISCILLA
You can’t have one without the
other.

ELVIS
To TCB and TLC.

Glasses are raised as the guests respond, some trying on

their new necklaces with a laugh. Vernon looks on
incredulously.

VERNON
(to Dee)
And how much did these cost?

Priscilla looks to Elvis, catching a flicker of self-

doubt.
 126.

EXT. GRACELAND - DAY

An RCA MOBILE RECORDING VAN is parked in the driveway. We

FOLLOW cables running from the van to inside the house.

INT. GRACELAND - JUNGLE ROOM - DAY

Elvis, backup singers, and band are recording. Priscilla

descends the stairs and watches.

ELVIS
(sings)
Well, the world turns
And a hungry little boy with a
runny nose
Plays in the street as the cold
wind blows
In the ghetto
And his hunger burns
So he starts to roam the streets
at night
And he learns how to steal, and he
learns how to fight
In the ghetto

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

The SCREEN FILLS with archival images of riots in

Chicago, Newark...

ELVIS (V.O.)
(vocal)
Then one night in desperation
A young man breaks away
He buys a gun, steals a car
Tries to run, but he don't get far
And his mama cries
As a crowd gathers 'round an angry
young man
Face down on the street with a gun
in his hand
In the ghetto

INT. GRACELAND - JUNGLE ROOM - DAY (1969)

Charlie answers the phone and mouths to Jerry, ‘It’s the

Colonel.’ Priscilla shakes her head at Charlie. Elvis
imbues the last lines with authentic emotion.

ELVIS (V.O.)
(vocal)
And as her young man dies
(MORE)
(CONTINUED)
 127.
CONTINUED:
ELVIS (V.O.) (CONT'D)
On a cold and gray Chicago mornin'
Another little baby child is born
In the ghetto
And his mama cries

INT. ALADDIN CASINO (VEGAS) - GAMBLING FLOOR - DAY

The CROUPIER deals a card and Colonel taps the table,

requesting another.

COLONEL
Hit me.

But to his surprise, the Croupier does not deal him

another card. Colonel taps the table again.

COLONEL
Hit me.

CROUPIER
(nervously)
Mr. Parker, Mr. Kohn would like to
see you.

COLONEL
Colonel Parker. Hit me.

The Croupier just stares back while the FLOOR MANAGER

beside him shakes his head. Colonel drags himself from
the table, taking a basket of fried chicken with him.

INT. CASINO - MEYER KOHN’S OFFICE

MEYER KOHN and his INTIMIDATING ASSOCIATE stare the

Colonel down from across a desk.

MEYER KOHN
You’ve run up quite a tab,
Colonel, and now we hear your boy
is working with new people. You’ve
lost your meal ticket.

Kohn rises for emphasis.

MEYER KOHN
You better settle up, Colonel,
before we have to make things...

With an ominous knuckle-crack, Kohn’s Associate finishes

his sentence.

INTIMIDATING ASSOCIATE
...Uncomfortable.
 128.

INT. GRACELAND - ELVIS' BEDROOM - NIGHT

Elvis brushes his teeth while Priscilla brushes her hair,

getting ready for bed.

ELVIS
I have to see him in Vegas. He’s
hurt his back...

PRISCILLA
Satnin’, you know what he’s like.
The moment you get near him, he’ll
have you under 10 feet of snow
before you know what’s happened.

Elvis looks to her, knows where she’s going.

ELVIS
Baby my mind’s made up. Business
is business, but I owe it to him
to tell him to his face.

PRISCILLA
Just be careful he doesn’t clip
your wings.

Elvis slides into the bed, cuddling her.

ELVIS
He won’t. I’m gonna go see him in
Vegas, look him in he eyes and
tell him it’s over.

PRISCILLA
I actually feel sorry for him.

ELVIS
Me too.

We can tell by the way Elvis gently nods that his

feelings for the Colonel still run deep. Priscilla clicks
off the TV remote and we go to black.

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

Colonel’s eyes bulge, a dismissive smile as he intones...

OLD COLONEL
Sorry for me? She feels sorry for
me?

Colonel, IV in tow, walks into the model of the European

village we saw in the Christmas special.

A YOUNG WOMAN’s laughter echoes from a shopfront.

(CONTINUED)
 129.
CONTINUED:

YOUNG WOMAN (V.O.)

Andreas, I feel so sorry for
you...

This strange memory clearly pains the Colonel.

OLD COLONEL
Sorry for me? For leaving me, Mr.
Presley? Well, we both had bills
to pay, but...

He lifts a finger TOWARDS the CAMERA.

OLD COLONEL
I had the perfect solution.

INT./EXT. LIMO/LAS VEGAS STRIP - DAY (1969)

Elvis and Memphis Mafia are driven past garish marquees:

"The Stardust," "Caesars Palace," "The Flamingo."

INT. HOSPITAL - HALLWAY - DAY

The West cousins secure the hallway as Elvis approaches

Colonel’s room. Diskin guides Elvis through the door.

DISKIN
Hey EP, he doesn't want you making
a fuss.

INT. HOSPITAL - ROOM - CONTINUOUS ACTION

Blinds drawn. A disturbing wheezing. Nurse Tish tends to

Colonel, in a hospital bed. A weak, husky voice...

NURSE TISH
Colonel, Elvis is here.

COLONEL
My boy...

Colonel feebly waves in Elvis' direction.

ELVIS
Admiral... How are you?

Elvis moves to him, concern hidden behind tinted glasses.

COLONEL
I should have gone down to see you
but as you can see I'm a... little
laid up, you know.

(CONTINUED)
 130.
CONTINUED:

He moves to get out of bed, Diskin rushes to support him.

NURSE TISH
You’ve just had a heart attack;
you're not to get out of bed.

ELVIS
A heart attack? You said your
back.

But Colonel is already out of bed, Nurse Tish stabilizing

him with his walker.

COLONEL
Stop making such a fuss. Diskin,
get the lights. My heart just
stopped is all... I fell and put
my back out. It was just all the
excitement over your Christmas
special; but I shouldn't have
worried any.

He stops and looks Elvis directly in the eye.

COLONEL
You came through as you always do.
I may have very small ideas, but
no one can sell a show to an
audience like you can. I admit it,
I was wrong.

It's almost as if there's an invisible tear in Colonel's

eye. Elvis strengthens his resolve.

ELVIS
Colonel, I want to tell you in
person. As far as business is
concerned, I think we need to go
our separate ways.

But Colonel is all enthusiasm.

COLONEL
Well, you may be right. It may be
time for me to retire.

Elvis chuckles.

ELVIS
Come on Colonel, quit snowing me.
You ain’t retiring.

The Colonel seems hurt.

(CONTINUED)
 131.
CONTINUED: (2)

COLONEL
I will miss the circus. I can’t
keep up with this young fella
Hulett is putting on your new
show, an international tour in
stadiums and the Olympia in Paris
and the Sydney Opera House and
what’s that one Diskin? “Boukin?”

DISKIN
The Budokan in Tokyo.

COLONEL
The Budokan in Tokyo... But
creating a show worthy of an
international tour is very, very
expensive. All those costs eat
into the artist’s profits and I
worry that the financial risk
would put a strain on your father.
I’ve been thinking, as your former
technical advisor and as an old
friend...

The Colonel looks to Elvis, looking for reassurance.

COLONEL
What if your show didn’t cost a
single cent? Then it would be all
profit! Every dollar you make
would be a dollar profit! And I
think your daddy would like the
sound of that very much.

Colonel touches a button and the drapes rush back to

REVEAL: the International Hotel, vaulting skywards!

INT. INTERNATIONAL HOTEL - SHOWROOM - LATER

A late-‘60s red-and-white extravaganza. Colonel at one

end of the auditorium. Nurse Tish by his wheelchair.
Elvis examines the cavernous stage.

ELVIS
It's a mighty big stage. Remember
when we saw itty bitty Barbara
Streisand? It ate her alive.

COLONEL
She worked out the bugs for us.

Colonel dismisses Nurse Tish and walks toward Elvis as he

examines the Versailles-like ceiling.

(CONTINUED)
 132.
CONTINUED:

ELVIS
You can get lost in a place like
this.

Colonel has now arrived at the front of the stage.

COLONEL
When you started performing, you
always said something was wrong.
Your hair, your costume. But you
was just afraid. Afraid of being
Elvis, and if you weren't, you
wouldn't be a great artist.

Elvis considers. He knows there's a truth here.

COLONEL
Now yours and Mr Hulett’s
international tour can’t be
nothing less than great. Nothing
less than Elvis Presley.

ELVIS
(tentative)
I've been experimenting with a
new, big sound.

Colonel waves his cane towards the stage.

COLONEL
You can fill this stage with every
musical idea inside...
(feigns tapping
Elvis' head)
... that head.

ELVIS
It would cost.

Colonel leans into Elvis. There's an intimacy in their

closeness in this vast space:

COLONEL
Yes! That’s the beauty of it.
This here International Hotel
needs a mighty big draw card to
bring in the boobs... So they will
cover the costs of putting
together that show of yours. You
play here for six weeks and then,
off you go! Touring around the
world! With no financial risk to
Elvis Presley Enterprises. None.

(CONTINUED)
 133.
CONTINUED: (2)

With this, the Colonel TAPS his cane, adopting that

strange, internal stare, drawing Elvis in for what feels
as though it could be a moment of hypnotism.

Elvis breaks the moment with a laugh.

ELVIS
God damn... The snowman strikes
again.

COLONEL
We are going to make it snow!
There will be so much snow, we'll
be able to ski down the Vegas
Strip.

ELVIS
So much snow, we'll be able to ski
off the top of the International!

COLONEL
So much snow, there’ll no longer
be a desert! And you’ll take this
show and ski around the entire
world! All the way straight to the
Rock of Eternity!

They laugh. Then, Elvis’ mind racing with creativity:

ELVIS
(sings)
Bright light city gonna set my
soul, gonna set my soul on fire.

ELVIS
We're gonna need the Sweet
Inspirations!

FOLLOW Elvis’ gaze and the famed soul sisters appear.

COLONEL
Done!

ELVIS
And the great Imperials.

COLONEL
Of course!

ELVIS
... and a 30-piece orchestra!

COLONEL
Strings, brass, a hundred pieces!
(to himself)
(MORE) (CONTINUED)
 134.
CONTINUED: (3)
COLONEL (CONT'D)
And buttons, pins, calendars,
posters, photographs, scarves,
hound dogs. Giant stuffed hound
dogs. The biggest stuffed hound
dog on the planet earth.

Full brass section, rhythm, percussion, and male choir

appear alongside the Sweet Inspirations. Colonel, gone.

We are in a full-blown rehearsal. Elvis on a stool at the

center is trim, tanned, and terrific, mic in hand.

ELVIS
You know, the first thing I ever
recorded, the very first thing,
was “That’s All Right Lil Mama”
but it was back in 1927, I think
it was. Let’s see. I was quite
young, but we only had two or
three instruments at the time. We
had a guitar, a bass, and another
guitar. And well, now...

He whistles.

ELVIS
We’re gonna make something new
here... Listen, I want to try
something. Glenn, why don’t you
take the intro? 2, 3, 4...

Piano starts.

ELVIS
Alright, bring that bass up Jerry.

Bass joins.

EXT. INTERNATIONAL HOTEL - DAY

Colonel, Diskin at his side, watches as a crane places a

GIANT, GLITTERING “ELVIS!” MARQUEE.

He turns to gangster GOOCHERA and businessman MEYER KOHN.

COLONEL
If you don’t sell any tickets,
don’t blame me none; even the
gophers in the desert will know
about this show!
 135.

INT. INTERNATIONAL HOTEL - SHOWROOM - DAY

ELVIS
Now Inspirations, on the answer.
(sings)
That’s all right!

SWEET INSPIRATIONS
(sing)
That’s all right!

ELVIS
(sings)
That’s all right!

SWEET INSPIRATIONS
(sing)
That’s all right!

ELVIS
Boys?

IMPERIALS
(sing)
That’s all right!

ELVIS
With me.

ALL
(sing)
Any way you do!

He turns to the Memphis Mafia.

ELVIS
What are you looking at back
there?

He takes a sip of water, then throws the rest at the

Mafia. He turns around and sees Charlie Hodge bugging
James Burton.

ELVIS
Hey Charlie, get back, he ain’t
gonna teach you the guitar in five
minutes.

Guitar joins.

ELVIS
Play it James! Horns? Ba-da-da, ba-
da-dow!

Horns join.
 136.

INT./EXT. INTERNATIONAL HOTEL - DAY

As rehearsal builds, INTERSPERSE SNAPSHOTS of Colonel’s

marketing madness: hats, bunting, billboards. Radio ads
simply repeating, “Elvis! Elvis! Elvis!”

Colonel oversees the installation of an endless army of

GIANT, STUFFED HOUND DOGS!

COLONEL
They need to be bigger!

INT. INTERNATIONAL HOTEL - LATER

Diskin presents Colonel with a bigger hound dog.

COLONEL
Still not big enough. Go bigger!

INT. INTERNATIONAL HOTEL - SHOWROOM - DAY

ELVIS
Up the octave!

They up the octave. Trumpets wail... As music builds,

Elvis throws in karate moves, experimenting with his
unique style of movement.

INT. INTERNATIONAL HOTEL - FOYER - DAY

Just when we think the hound dogs can’t get any bigger...
Colonel stands in front of: “WORLD’S BIGGEST HOUND DOG!”

INT. INTERNATIONAL HOTEL - SHOWROOM - DAY

Rehearsal reaches new, dizzying peaks.

ELVIS
Bones, give me something strong on
the one.

Trombones join. Elvis walks over to RONNIE TUTT.

ELVIS
Alright, take it home, brother. Do
it to me. Come on.

Drums go wild. Elvis wiggles in rhythm, as Ron Tutt's

thunderous drum solo from outer space begins...
 137.

EXT. INTERNATIONAL HOTEL - NIGHT

THE “ELVIS!” MARQUEE. Rich and famous alight from limos.

MERCHANDISE SELLERS hawk to CROWDS.

INT. INTERNATIONAL HOTEL - SHOWROOM - BACKSTAGE - NIGHT

The drum solo, LOUDER and LOUDER. MASSIVE BRASS CHORDS.

Elvis and his entourage walk around the back of the

stage, he tunes his guitar. Elvis takes a moment,
summoning all his strength.

INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT

To deafening applause, the ornate showroom explodes into

a million flashbulbs as Elvis takes the stage and
launches into a super-fast up-tempo vocal:

ELVIS
(sings)
Well, that's all right, mama,
That's alright for you,
That's alright, mama, any way you
do...

In one booth, Colonel sits with stoic Goochera and Meyer

Kohn. In another, Priscilla, next to a proud Vernon and
Dee.

INT. JUKE JOINT - NIGHT (1947)

The juke joint’s on fire to Arthur Crudup, leaving no

doubt as to the influence on Elvis on stage.

BIG BOY CRUDUP

(sings)
Well, my mama, she done told me,
Papa told me, too,
‘This life you're living, son, now
women be the death of you,’ now
that's alright.

YOUNG ELVIS’ EYE peers in through the peephole.

INT. SUN RECORDS - STUDIO - NIGHT (1954)

19-year-old Elvis rocks out with Scotty and Bill.

ELVIS
(sings)
But that's all right,
(MORE) (CONTINUED)
 138.
CONTINUED:
ELVIS (CONT'D)
That's all right now, mama, any
way you do...

INT. JUKE JOINT - DAY (1947)

BIG BOY CRUDUP

(sings)
Now, if you don’t want me, why not
tell me so?
You won’t be bothered with me
round your house no more.

Young Elvis mouths the words.

INT. SUN RECORDS - STUDIO - NIGHT (1954)

CLOSE ON 19-year-old Elvis, singing the words.

ELVIS
(sings)
But that's all right, that's all
right...
That's all right now, mama, any
way you do...

INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT (1969)

ELVIS
(sings)
Dee dee dee dee, Dee dee dee dee,
Dee dee dee dee dee dee dee dee
Dee dee doo, well, that's alright,
that's alright...

INT. JUKE JOINT/SUN STUDIOS/SHOWROOM - SPLIT SCREEN

The three performers across time now appear in a ‘70s-

style split screen. All now merge into the BIG FINISH!

BIG BOY CRUDUP/19-YEAR-OLD

ELVIS/34-YEAR-OLD ELVIS
(sing)
That's all right now, mama, any
way you do!
That's all right now, mama, any
way you do!

INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT

The audience erupts. Even Kohn and Goochera cannot

contain their excitement as we SETTLE ON the Colonel.
(CONTINUED)
 139.
CONTINUED:

OLD COLONEL (V.O.)

He put everything he knew about
music into that show.

Elvis banters with the audience between numbers.

COLONEL
Ain’t nobody gonna do a better
show than that! If I was you, I’d
book him for the next hundred
years!

KOHN
Well, no better time than the
present.

GOOCHERA
We’d like to make him part of the
family, Colonel.

There is something chilling beneath Goochera’s bonhomie.

COLONEL
Well, I think Mr. Presley could be
persuaded to make the
International his home...

Suddenly, Elvis calls for a spotlight on Colonel.

Colonel waves to the audience, and with the spotlight
still on him, he says out of the side of his mouth:

COLONEL
Providing of course, he was paid
pretty well.

KOHN
What did you have in mind?

Colonel takes out his pen with a flourish as Elvis moves

into "Suspicious Minds."

ELVIS
(sings)
We're caught in a trap
I can't walk out
Because I love you too much, baby
Why can't you see
What you're doing to me
When you don't believe a word I
say?

COLONEL
Well, for an attraction as
tremendous as Mr Presley...

(CONTINUED)
 140.
CONTINUED: (2)

As we INTERCUT with Elvis’ intensifying physical routine,

Colonel scrawls directly onto the tablecloth: "ELVIS
PRESLEY, $500,000 PER ENGAGEMENT FOR FIVE YEARS...

OLD COLONEL (V.O.)

I couldn’t let him leave. I had to
keep him home, keep him safe.

ELVIS
(sings)
We can't go on together
With suspicious minds
And we can't build our dreams
On suspicious minds...

...1969 - 1970 - 1971 - 1972 - 1973 = $5,000,000 PLUS

$100,000 SIGNING BONUS.”

COLONEL
That’s what my boy would expect.

Colonel presents the pen to Kohn who considers, signs the

tablecloth, and hands the pen back.

COLONEL
Now what are you going to pay me?

KOHN
If there’s one thing I’ve learned,
it’s never bet against the
Colonel. Your sideshow is the
jackpot.

Kohn can’t help admire the Colonel’s unfailing chutzpah

as he scribbles on a COCKTAIL NAPKIN, shows it to
Goochera, who nods, and then slides it over to Colonel...

It reads, "THE UNDERSIGNED, COLONEL TOM PARKER, IS A

'SPECIAL GUEST' OF THE INTERNATIONAL HOTEL. HE HAS
UNLIMITED CREDIT AT ALL TABLES."

Colonel signs the napkin and snatches it up, before

easing himself out of the booth.

COLONEL
Oh, and of course I’ll reserve the
right to sell calendars, pictures
and such on the side.

Kohn rolls his eyes, and nods.

Colonel crocodiles through the audience, eyes locked on

Elvis' incredible performance. Entering the wings, he
sees Jerry between vaulting curtains, staring at the
apparition of Elvis. Colonel places a hand on Jerry's
shoulder and he turns around.
(CONTINUED)
 141.
CONTINUED: (3)

JERRY
Elvis really wants to announce
tonight.

The Colonel peers at Jerry and raises a finger.

COLONEL
An announcement?

JERRY
The tour, at the press conference.
He’s gonna set E.P. up with his
own plane.

COLONEL
Or perhaps a rocket ship?

Jerry half-laughs at Colonel’s strange joke. Without

taking his eyes off Elvis, Colonel leans in:

COLONEL
Just one thing. Keep in mind...
security. Security.

JERRY
Hulett knows what he’s doing.

Colonel fades back to join Diskin at the legs of the

proscenium, the red floor lights flickering on them both.

ELVIS
(sings)
We're caught in a trap
I can't walk out
Because I love you too much, baby

Colonel halts abruptly, cane before his eyes, staring

inward. Suddenly, intense:

COLONEL
Diskin, have we discussed with Mr.
Hulett? Pertaining to the death
threats?

DISKIN
(unsure)
Death threats?

Colonel unconsciously taps his cane, deep in thought.

COLONEL
(mouthing the words)
Death threats...
 142.

FLASH FORWARD INT. INTERNATIONAL HOTEL - ELVIS’ ROOM -

NIGHT

A door cracks ajar to reveal a Showroom menu on the floor

outside. The photo of Elvis’ face is scratched out.
Scrawled across it: “I am going to kill you.”

END FLASH FORWARD.

INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT

Back in the present, Elvis has the audience spellbound,

as he repeats the final verse over and over...

ELVIS
(sings)
We're caught in a trap
I can't walk out
Because I love you too much, baby

A tap from the Colonel’s cane sends us into a stylized,

operatic bubble of Suspicious Minds.

FLASH FORWARD INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT

Elvis, in a different jumpsuit, is performing ‘Never Been

to Spain.’ FOUR MEN charge the stage, sending Elvis to
one knee, reaching for a holster in his boot. The Memphis
Mafia rush to stop him, dragging him from the stage.

The crowd applauds, thinking it is part of the show,

until Elvis returns.

ELVIS
I’m sorry ladies and gentleman.
I’m sorry I didn’t break his
goddam neck! If he wants to shake
my hand I’m fine, if he wants to
get tough I’ll whoop his ass...

Elvis charges into ‘Polk Salad Annie.’

END FLASH FORWARD.

INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT

The audience cheers Elvis, as Suspicious Minds reaches

its thundering climax. As the stage lights drop to black,
the reaction is rapturous.

OLD COLONEL (V.O.)

That night he went from a man, to
a god...
(CONTINUED)
 143.
CONTINUED:

From his vantage point by the stage, Colonel looks over

to Priscilla, sat with Vernon and his new wife, Dee.

OLD COLONEL (V.O.)

She had never seen him perform
live, and in her face I saw a
familiar expression. The same fear
I had seen in the face of his
mother. The realization that he no
longer belonged to her...

Dee turns to Pricilla, almost yelling amidst the fervor.

DEE
You must see this all the time!

But a clearly astonished Priscilla is slow to respond, a

thought dawning on her.

PRISCILLA
Never...

DEE
Never what?

PRISCILLA
I've never seen him perform a live
show before.

DEE
You're the lucky one, you get to
take him home!

INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT

OLD COLONEL (V.O.)

Yes, he was once again Elvis,
making love to a live audience.

More cheers.

ELVIS
(sings)
Wise men say, only fools rush
in...
But I can't help falling in love
with you...
Shall I stay?
Would it be a sin...
If I can't help falling in love
with you?

(CONTINUED)
 144.
CONTINUED:

The Colonel has moved back into the auditorium. Leaning

down from the stage to kiss a woman in the audience,
Elvis looks up and connects with Colonel. They share a
smile; once again great together.

Elvis unexpectedly walks down into the audience, as if

offering himself as sacrifice. Colonel directs security
to throw an instant ring around Elvis.

OLD COLONEL (V.O.)

That’s what was great about Elvis.
He’d get an idea and take it to
the rock of eternity...

Placing his hands on Elvis’ waist, the Colonel guides

Elvis through the melée and an orgy of kisses.

Colonel shares a look with Priscilla.

OLD COLONEL (V.O.)

In this, his greatest moment, she
could see the nature of his love.
A love that we mere mortals could
only glimpse from the shadows.

Gifting Elvis back to his audience, Colonel saunters back

through the showroom in a victory lap.

ELVIS
(sings)
For I can't help falling in love
with you...

The enormous golden curtain falls. The crowd rises in

unrestrained adoration, while Jerry guides Priscilla,
Vernon, and Dee backstage.

JERRY
He did it! Next stop: the world!

Priscilla manages an insecure smile.

INT. INTERNATIONAL HOTEL - BACKSTAGE - NIGHT

Behind the curtain, the Memphis Mafia gather around and

swathe Elvis in towels, moving him towards Jerry,
Priscilla, Vernon, and Dee. The Colonel looks on from the
shadows on the other side of the stage. Priscilla
unabashedly throws her arms around Elvis.

PRISCILLA
I don't know who that was out
there, but I sure am glad I'm
married to him.

(CONTINUED)
 145.
CONTINUED:

Elvis looks up and can see his father, proud and beaming.
Vernon’s warm and steady hands clasp his.

VERNON
Son, Mama was looking down on you,
clapping and celebrating with all
of us.

DEE
Oh, you were wonderful! Do you
mind signing these for my boys?

But Elvis is staring towards the Colonel, isolated,

alone. Priscilla, sensitive to this:

PRISCILLA
Mr Presley... I see that’s your
new manager over there.

With this, she and Jerry guide Vernon and Dee away.

PRISCILLA
We’ll see you at the party.

But Elvis has already begun to cross the stage.

COLONEL
Tremendous triumph, greatest show
on earth! My dear boy, this
brainchild came from you and me.
But you above it all made it work
with your talent and dedication.
We did it, my boy. We did it.

ELVIS
We did it. I can’t wait to show
the world what you and I can do.

Colonel's eyes drift towards the napkin gripped in his

hand. Like Judas clutching 30 pieces of silver...

COLONEL
Yes, the world will see your show.
I guarantee it. Whatever I have to
do I will carry it out... Whatever
it takes.

OLD COLONEL (V.O.)

... As long as they bought a
ticket to Vegas.

INT. INTERNATIONAL HOTEL - PRESS CONFERENCE - LATER

The post-show press conference. Elvis glows with pride in

an all-black ensemble as he is introduced to the room:
(CONTINUED)
 146.
CONTINUED:

ANNOUNCER (O.S.)
Ladies and gentlemen, Mr. Elvis
Presley.

The room applauds.

ELVIS
Thank you. Thank you very much.
Gentlemen, how are ya? Would you
like me to sit down? First of all,
I plead innocent of all charges!

Laughter from the reporters. Elvis sits down.

REPORTER
We love you Elvis!

ELVIS
Thank you dear, I love you too.
Thank you.

REPORTER
Mr Presley, why do you think
you've outlasted every other
entertainer from the fifties and
for that matter the sixties as
well?

ELVIS
I take vitamin E. Uh no, no I was
only kidding. I don’t know. I just
embarrassed myself, man. Uh I
don't know dear. I just enjoy the
business. I like what I'm doing

REPORTER
Are you satisfied with the image
you've established?

ELVIS
Well, the image is one thing and
the human being is another, you
know, so...

REPORTER
How close does it come? How close
does the image come to the man?

ELVIS
It's very hard to live up to an
image, you know, I'll put it that
way.

REPORTER
How does your wife feel about you
being a sex symbol again?
(CONTINUED)
 147.
CONTINUED: (2)

ELVIS
I don't know... you would have to
ask her.

REPORTER
Elvis, what finally made you come
out of seclusion and decide to
make personal appearances again?

ELVIS
I just missed it. I missed the
closeness of an audience, of a
live audience. So just as soon as
I got out of the movie contracts,
I started to do live performances
again.

REPORTER
Will you be continuing to do more
live work in the future?

ELVIS
I think so. There's so many places
I haven't been yet. I'd like to go
to Europe, I'd like to go to Japan
and all those places. I've never
been out of the country except in
the service, you know.

LORD SUTCH
One million pounds sterling to
make two appearances at the
Wembley Empire Stadium in England!

ELVIS
(gesturing to
Colonel)
You'll have to ask him about that.

COLONEL
Just put down the deposit.

REPORTER
How do you feel about being called
the ‘King of Rock and Roll’?

ELVIS
No, I’m not the King.

Elvis scans the room.

ELVIS
Fats! Hey man; come up here, would
you?

As Fats Domino makes his way up...

(CONTINUED)
 148.
CONTINUED: (3)

ELVIS
Mr. Fats Domino, ladies and
gentleman. This is the real king
of rock n roll!

As Fats reaches Elvis, Elvis puts an arm around him.

ELVIS
He was a real big influence on me.

FLASHES light up a beaming Fats and Elvis.

INT. INTERNATIONAL HOTEL - COLONEL’S SUITE - MORNING

Hotel staff unload boxes of merchandise onto the table,

as Colonel points to the brick-a-brack displayed
throughout his vast new offices. He turns to Jerry:

COLONEL
I snowed them, I snowed these
hotel people! Not just for the
office but the entire floor for
Jamboree Attractions. We’re
setting up shop.

JERRY
(incredulous)
But I thought we were going on
tour in two weeks...

Colonel’s face suddenly darkens, as a rage unlike any

other comes upon him. He spits with terrifying vitriol:

COLONEL
Oh, the tour... have you thought
about security? Have you thought
about security? Security, Jerry!
SECURITY, SECURITY. There is
nothing more important than
security! Am I the only one who
ever thinks about Elvis’ security!
‘GODVERDOMME’

Furious, Colonel hurls his cane.

INT. INTERNATIONAL HOTEL - ELVIS’ ROOM - NIGHT

It’s late. Still buzzed from that night’s show, Elvis

swallows a handful of pills. He cradles the phone against
his ear, speaking softly as he did with Dixie, years ago.

(CONTINUED)
 149.
CONTINUED:

PRISCILLA (O.S.)
Little Lisa's so funny. She’s
figured out how to put the records
on herself and she has a great
ear. The first one she picked was
Sweet Caroline. She was trying to
sing along with it, but she didn’t
know any of the words. It was so
cute. You should have been there,
Satnin'. When are you coming home?

ELVIS
I don’t know, ‘Scilla. There’s a
lot going on. We just added a
couple extra shows a week, plus
more press calls. It’s a lot. I
gotta stay focused.

INT. GRACELAND - CONTINUOUS

Priscilla on the other side, crestfallen.

PRISCILLA
I know, baby. Just promise me
things’ll be different when we’re
on the tour.

INT. INTERNATIONAL HOTEL - ELVIS' ROOM - CONTINUOUS

The silence hangs in the air.

ELVIS
(to Priscilla)
I-- I gotta go. Will you give my
baby girl a big hug for me? Okay,
bye bye.

He hangs up the phone. A woman beside Elvis, DIANE (late

20s), stirs at the noise. She starts to get up.

ELVIS
Hey, stay with me.

Diane sits on the side of the bed.

DIANE
I have to go.

ELVIS
No you don’t.

DIANE
I really have to go.

(CONTINUED)
 150.
CONTINUED:

ELVIS
Don't leave me alone. Buntyn needs
a little extra lovin’ tonight.

Diane laughs. But then she sees that he's serious.

DIANE
What?

Elvis sits up. There's a thump upstairs.

ELVIS
What was that?

Fearful paranoia overtakes Elvis’ face. Diane starts to

pull on her clothes.

ELVIS
(to himself)
I don’t want no sonofabitch
walking around saying he killed
Elvis Presley...

DIANE
What did you say?

ELVIS
Nothing, baby...

Elvis checks behind the door and finds nothing there. He

regains his fragile composure.

ELVIS
C’mon baby, take your pants off.

DIANE
I have to go to work.

ELVIS
No you don’t, come sit down. Come
watch some television with me.

Diane starts to leave. Elvis’ words begin to slur as the

pills take effect.

ELVIS
You know, there’s a kind of bird I
read about somewhere, that don’t
have any legs... so it can’t land
on nothin’.

Diane doesn't know what to do.

(CONTINUED)
 151.
CONTINUED: (2)

ELVIS
It lives its whole life on the
wing, and when it gets tired, it
just spreads its wings and goes to
sleep on the wind, and if it ever
does land, even but one time,
that’s when it dies. I just gotta
keep flying round and round.
(sings)
I’ll fly away, oh glory
I’ll fly away
When I die...

Elvis looks to Diane.

ELVIS
Hey, you want to fly away with me?

DIANE
I need to go.

ELVIS
Please stay.

But Diane grabs her shoes and exits. Elvis looks around
the room, scared. There's a KNOCK on his door.

ELVIS
I knew you'd come back.

No answer. He takes his gun, walks over to the door,

peers through the hole. An empty hall. He opens the door.
There's a showroom menu on the ground.

The photo of his face has been scratched out. Scrawled

across it: “I am going to kill you.”

EXT. INTERNATIONAL HOTEL - DAWN

OFF the vaulting International Hotel marquee shimmering

in the golden light. Workmen lower the “ELVIS!” sign.

OLD COLONEL (V.O.)

He gave his all to the show, but
the threats on his life had left
him paranoid and exhausted.

INT. HOSPITAL (VEGAS) - DAY

Billy covers the windows with tin foil as we TRACK ACROSS

a Polaroid of Lisa Marie, holding a finger painting that
says "I miss you daddy!" taped to the mirror.

(CONTINUED)
 152.
CONTINUED:

COLONEL (O.S.)
What is happening to law and
order! These radical hippies are
threatening and killing popular
entertainers...

The Colonel slaps down newspaper articles about the

Manson Family slaying of Sharon Tate.

COLONEL
Hulett’s security is not what it
needs to be and he knows it. An
international tour is out of the
question!

Elvis lies in the bed. Priscilla, Vernon, and Charlie

around him.

ELVIS
What are you talking about
Colonel? I ain’t gonna let any
sonofabitch push me off the stage.

He takes a handful of pills from Dr. Nick.

COLONEL
Precisely, you’re not one of
Hulett’s long-hair Zeppelins,
you’re Elvis Presley! And you are
beloved. I told him: ‘I need to
look Priscilla in the eye and
promise her that little Lisa’s
daddy will be safe.’

ELVIS
We gotta take this show to the
world. I can’t disappoint the
fans.

COLONEL
Well, if you want to book more
dates, we can do an American tour?
15-cities-in-15-days.

PRISCILLA
How's that going to be any safer?

COLONEL
Because here, I can handle every
aspect of security.

A darkly orchestral version of “Burning Love” slowly

builds...

(CONTINUED)
 153.
CONTINUED: (2)

COLONEL
I'll get guarantees from every
mayor...

EXT. TARMAC - DAY

Elvis' jet taxis to a halt. “Burning Love” builds...

COLONEL (V.O.)
We’ll double the police
presence...

EXT. STREETS - DAY

A presidential-scale motorcade. Dozens of police cars,

sirens blaring. “Burning Love” continues.

EXT. VENUE - STAGE - NIGHT

COLONEL (V.O.)
You’ll have more security than the
President!

TWO ROWS OF COPS flank the stage. Elvis on stage

performing "Burning Love," jittery as hell.

ELVIS
(sings)
Lord almighty, I feel my
temperature rising.
Higher, higher, it’s burning
through to my soul.
Girl, girl, girl, you’re gonna set
me on fire...

A girl rushes the stage. The West cousins take her out.
Elvis shoots them a thumbs-up.

ELVIS
(sings)
My brain is flaming,
I don’t know which way to go...

INT. VENUE - BACKSTAGE - NIGHT

COLONEL (V.O.)
We can have Sonny, Red and Charlie
hustle you to the motorcade...

Elvis being swooped into a car as “Burning Love” powers.

 154.

INT. ELVIS' LIMO (AMIDST THE MOTORCADE) - NIGHT

ANNOUNCER (V.O.)
Elvis has left the building!

Elvis, squeezed between Memphis Mafia, gulps down pills.

He lies back, as Dr. Nick injects him.

EXT. TARMAC - NIGHT

CLOSE ON the Memphis Mafia as they usher Elvis from his

limousine and up the stairs of his waiting jet.

COLONEL (V.O.)
And when you’re on the plane,
safe, in the air, you'll rest...

INT. HOSPITAL (VEGAS) - DAY

Elvis slowly nods; so far, he is good with the plan.

ELVIS
And then we go international.

COLONEL
Yes, yes, the Tokyo Opera House!
But before that we’ll put on a
good show.
(to Charlie)
And do what, Charlie?

CHARLIE
Have a lot of fun.

COLONEL
Taking care of business.

VERNON
Taking care of business.

Nurse Tish places a wet cloth over Elvis’ eyes.

INT./EXT. TARMAC/MOTORCADE/VENUE/BACKSTAGE

We ENTER MULTI-SPLIT SCREEN as the cycle repeats in

Detroit, San Antonio, Jacksonville...

INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT

SUPERIMPOSED IMAGES: The International sign: "WELCOME

BACK FOR YOUR SECOND YEAR”...

(CONTINUED)
 155.
CONTINUED:

Elvis performs karate against phantom attackers. The

number becomes more intense. We see Elvis performing,
practicing karate, bedding groupies.

ELVIS
(sings)
Just a hunk, a hunk of burning
love!

“THIRD YEAR”... Drugging, performing, groupies, drugging,

karate. It's clear he's not in the same reality.

We see Elvis change from jumpsuit to jumpsuit after each

refrain, moving forward through concert after concert in
one seamless performance.

The SPLIT SCREEN becomes a wall of TV monitors that

multiply until BANG! BANG! BANG!

INT. GRACELAND - BEDROOM/HALLWAY - CONTINUOUS

CLOSE ON jewelry being placed into a small valise. The

sound wakes Elvis, still in bed, groggy, discombobulated.
Priscilla, agitated, is packing.

ELVIS
What the hell are you doing?

She closes the valise and, without looking up:

PRISCILLA
I’m leaving.

ELVS
What time is it?

PRISCILLA
I wanted to wait for you to wake
up so we could talk about it, but
you’re never awake and you don’t
like to talk, so I’m leaving.

ELVIS
What do you mean leaving?

Elvis pulls himself out of bed.

PRISCILLA
I’m leaving this marriage, and I’m
taking Lisa with me.

Suddenly alarmed and defensive, Elvis follows her towards

the en suite bath.

(CONTINUED)
 156.
CONTINUED:

ELVIS
What is this about? Is this
about...
(looks for the right
word)
What happens on the road? You know
that means nothing to me.

He follows as Priscilla grabs her makeup off the vanity.

PRISCILLA
You think I care about the girls
you sneak in through the side
door?

She stops, looks down at the myriad bottles of

medication. She starts throwing them at Elvis.

PRISCILLA
It’s this... and this, and this,
and this. And those has-been
leeches sucking you dry. You’re
strung out!

ELVIS
Strung out? It’s my medicine. I’m
in the best shape of my life!

PRISCILLA
The best shape of your life? The
only time you're alive is when
you're on stage and in between,
you're a ghost. We can’t keep
waiting around for you like one of
your boys.

She heads into the hall, as Elvis chases after her.

ELVIS
I’ve given you everything you
could want!

INT. GRACELAND - HALLWAY/STAIRCASE - CONTINUOUS

As Priscilla descends the stairs, she turns on Elvis.

PRISCILLA
What I want is a husband. I am
your wife. I am your wife. Lisa is
your daughter, and she needs a
father. You know, I don’t remember
the last time that we laughed
together. When was the last time
we sat down and had dinner
together the three of us?
(MORE) (CONTINUED)
 157.
CONTINUED:
PRISCILLA (CONT'D)
You don’t even make love to me
anymore. I’ve given you my life. I
have nothing left to give you.

This cuts deep, silencing Elvis.

ELVIS
Is there another man?

Priscilla says nothing. But her silence says everything.

ELVIS
I’ve lost you.

She stops, shakes her head.

PRISCILLA
We lost you a long time ago.

ELVIS
‘Scilla, do you still love me?

When she doesn’t answer, Elvis crumples on the stairs.

ELVIS
When you're forty and I'm fifty,
we'll be back together. You'll
see.

After a moment, both their defenses are down. She throws

her arms around him. They cling to each other, crying.

PRISCILLA
I have to go. If I stay now, I'll
never leave.

And with this, she's gone.

INT. INTERNATIONAL HOTEL - COLONEL’S SUITE - DAY

Jerry confronts the infuriatingly blank Tom Diskin.

JERRY
This is killing him! Vegas, the
repetition. He needs to be on a
professionally-run international
tour. He needs time to rest
between shows, not rely on some
doctor to get him on stage every
night. You know what Elvis is like
when he has a challenge. He gets
fit, focused, gets off the pills.
Why won’t Colonel let him go
overseas?

(CONTINUED)
 158.
CONTINUED:

DISKIN
Security, Jerry, you--

JERRY
(angrily cutting him
off)
That’s bullshit! The Colonels’ a
businessman, I get it, but what I
don’t get is why he’s killing his
greatest asset without a reason.
So, what’s the reason?

Diskin retreats behind his trademark bland expression.

DISKIN
I’m a little busy right now.

Reining in anger, Jerry leans forward, trying to connect.

JERRY
C’mon, Tom, we all owe E.P. for
taking us on this ride with him.
And I’ve seen you, standing in the
wings when he’s channeling that
gift. You think no one’s watching,
but it’s the only time I ever see
you smile; you love him as much as
the rest of us.

Diskin, for a moment, can’t look at Jerry.

JERRY
Tell me the reason.

DISKIN
(choosing words
carefully)
Colonel always has reasons. I’m
not always aware of them, but even
if I was, I wouldn’t be at liberty
to divulge personal information
about Mr. Parker.

A long moment. Jerry looks at him with cold, hard hatred.

JERRY
Y’all are killing Elvis Presley.

He rises to leave...

INT. INTERNATIONAL HOTEL - JERRY’S ROOM - NIGHT

It’s obviously the end of a long night. Jerry, coat off,

looking exhausted, enters his room.

(CONTINUED)
 159.
CONTINUED:

He turns on the light and stops. On the bed, a single

envelope. He picks it up. It’s addressed to “Colonel Tom
Parker, Elvis Presley Fan Club, Memphis.” It’s been
stamped “Fan Mail,” and has already been opened.

Jerry takes out the letter and, as he begins to read, we

hear the sound of a young man speaking in lightly
accented English:

THEO JR. (V.O.)

Dearest Uncle Andreas, I hope this
letter finds you well. I did not
have an exact address, but after
reading the letter you sent to my
father, I felt that I must ask you
some questions. You write of
mistakes, ‘that someone may have
made without meaning to do so.’
Are these ‘mistakes’ the reason
you left Holland all those years
ago?

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

As we continue to hear the letter, Colonel walks into the

life-sized model of BREDA, as if reliving the past.

THEO JR. (V.O.)

People whisper that it was because
of the woman who was murdered the
night you disappeared. I do not
believe it, but please, why do you
not return home to clear our
family name...?

OLD COLONEL
(directly to us)
Is it fair that the mistake that
someone might have made without
meaning to do so, should damn them
for the rest of their lives? Yes,
I was born in Holland. People say
‘well why didn’t you say so?’ Well
I say they didn’t ask. I work, I
wake up at five A.M. every day for
one man only. I am taking care of
business.

INT. INTERNATIONAL - SERVICE CORRIDOR - NIGHT (1974)

An exhausted and slightly discombobulated Elvis, guided

by the Memphis Mafia, makes his way down the backstage
corridor of the International Hotel.

(CONTINUED)
 160.
CONTINUED:

Jerry has drawn in behind. As they move forward he

urgently intones under his breath.

JERRY
He lied! There was never gonna be
an international tour because he
can’t leave the country. He
doesn’t have a passport, no
citizenship, no identity...

Elvis stops, unsteady, trying to comprehend.

JERRY (CONT’D)
He doesn’t exist...

ELVIS
What the hell are you talking
about, Jerry?

JERRY
There never was a Colonel Tom
Parker.

Before Jerry can get out the last line, Elvis collapses
to the ground. The mafia rush to his aid. Sonny and Red
hold staff at bay.

COLONEL (O.S.)
The only thing that matters is
that that man...

As Colonel charges in, Nurse Tish suppresses panic and

Dr. Nick holds Elvis’ head above a bucket of ice water.

COLONEL (CONT’D)
... gets on that stage tonight!

This is the exact IMAGE FROM THE OPENING.

NURSE TISH
If he was my son...

She glances to Vernon hiding meekly by the window.

NURSE TISH
I’d put him in the hospital.

Colonel's eyes bore into Elvis' father.

COLONEL
Of course, it’s a Presley
Enterprises decision, Vernon...

All eyes on him. After an eternity, he mumbles...

(CONTINUED)
 161.
CONTINUED: (2)

VERNON
What can you do for him, Dr. Nick?

Dr. Nick pops open his BAG OF TRICKS. WE GLIMPSE: MEDS,

PILLS, SYRINGES. As Dr. Nick prepares an injection...

INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT

AN AMERICAN EAGLE CAPE SPREADS ITS RHINESTONE WINGS!

ELVIS
Glory! Glory!!! Halleluuuujah!!!

The eagle turns to REVEAL: Superhero Elvis reaching for

the final divine notes, spreading his wings up to God...

ELVIS
(sings)
His truuuuth is maaaarching
ooooonnnnn!!!!!!!!

The ballad crescendoes, band lashing at their

instruments, two gospel choirs, one white, one Black.

ELVIS
(sings)
His truuuuth is maaaarching
ooooonnnnn!!!!!!!!

The last cymbal crashes, Elvis is showered with applause.

ELVIS
Thank you! Thank you very much!

Elvis waits for the applause to settle. The music always

transforms him. He may be slightly pale but he holds
himself strong, proud...

ELVIS
I’d like to turn the house lights
up, ladies and gentlemen. Now
you’ve seen me, I’d like to take a
look at you. You’re beautiful...

The lights go up. Charlie Hodge at his usual position on

stage, battle-weary from Elvis' erratic behavior. Jerry,
Billy, and the West cousins in the wings.

ELVIS
Thank you, leave them up for a
minute, man. Oh, boy, we got some
high-rollers in here tonight...
Mr. International Hotel himself!

(CONTINUED)
 162.
CONTINUED:

As the crowd applauds, the SPOTLIGHT searches, finding

Meyer Kohn. Colonel sits beside him.

ELVIS
And right next to him... my so-
called manager, Colonel Tom
Parker.

Colonel, puffing on his cigar as Elvis continues with

drug-addled, unnerving humor:

ELVIS (O.S.)
But I hear rumors... that Colonel
is an alien... from outer space.

The crowd laughs.

ELVIS
Someone call the FBI and tell them
he's abducted me, locked me in
this golden cage, to keep me here,
forever-- with you, ladies and
gentlemen, and all these funky
angels on the ceiling...

The crowd applauds.

ELVIS
(sings)
So I’m caught in a trap, I can’t
get out...
‘Cause Colonel's got some big
debts, baby...

Colonel excuses himself from the booth and heads towards

the wings.

ELVIS
But this is the last show I’m ever
playin' here...

Audience, a collective sigh of disappointment...

ELVIS
I’m gonna get in my jet plane, the
Lisa Marie, named after my
beautiful daughter, and fly
away... Fly, fly away...

Colonel arrives in the wings, next to the stage manager.

COLONEL
Stop the show, stop the show.
(to Diskin)
We’ve got to do something!
(to the Mafia)
(MORE) (CONTINUED)
 163.
CONTINUED: (2)
COLONEL (CONT'D)
Get over to Sonny and Red. Bring
the curtain down!

A strange mix of nervous laughter and confused applause.

ELVIS
Fuck the International! Fuck Las
Vegas! Ain’t no one gonna stop me,
man!

Colonel approaches Jerry.

COLONEL
What the devil is going on, Mr.
Schilling?

JERRY
I think that’s what he wants to
know.

Elvis spies Colonel in the wings and mocks him angrily,

microphone still in hand:

ELVIS
Oh, security, security!! 800
shows!! You don't have a goddamn
passport, you son of a bitch...

Elvis finds strength to say the words that have eluded

him since he first met Colonel. A gut-wrenching scream:

ELVIS
You're fired!!

The audience continues to laugh and applaud.

ELVIS
Fired!!

The audience laughs louder. Elvis, in a demonic rage:

ELVIS
FIRED!!!

The golden curtain crashes down. All on stage in shock,

as Elvis and Colonel stare at each other. As the applause
dies, the silence seems to last an eternity.

The panicked Memphis Mafia goes into their post- show

routine. Towels appearing, they move towards Elvis. But
he stays them with his hand. Everyone freezes.

Then, as if sanity, clarity, and dignity have re-entered

his soul, Elvis says one final time:

(CONTINUED)
 164.
CONTINUED: (3)

ELVIS
You’re fired.

He turns, walks across stage, past Jerry, into shadow.

Colonel’s eyes are cold as we have ever seen.

OLD COLONEL (V.O.)

The Geek... The Geek...

Colonel slowly walks back over to Diskin. He shoots

Vernon a grave look.

COLONEL
Diskin, pull out all the contracts
and agreements since 1955..

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

Old Colonel watches Nightmare Alley. The movie shows an

alcoholic carnival performer sunk so disgracefully low
that he will do anything for a drink.

OLD COLONEL (V.O.)

... when he ran, as he always did,
it was my job to take a bottle and
bring him back.

PULL OUT to see the movie playing on endless televisions.

OLD COLONEL (V.O.)

The Geek lived in Hell, but every
night, before the cheering crowd,
he was resurrected. Perfect.
Forgiven. Some called it cruelty,
but I called it kindness. The
Geek needed to perform... And to
perform, he needed his bottle.

INT. INTERNATIONAL HOTEL - COLONEL’S OFFICE - NIGHT

We find ourselves in Colonel’s Vegas office. He stands at

his desk in front of the same Snowman’s League banner.

COLONEL
(into telephone)
This is Colonel Tom Parker. I wish
it to be known that Dr. Nick’s
services are no longer required.
Thank you.

He hangs up and turns to Diskin, at a typewriter.

(CONTINUED)
 165.
CONTINUED:

COLONEL
Well Tom, if the boy wants to set
out on his own, that’s alright by
me, but Presley Enterprises must
cough up what it owes... Are you
ready?

DISKIN
(solemnly)
Ready.

Colonel begins to dictate...

COLONEL
Gasoline for my first trip to the
‘Hayride’: one dollar...
Unrecouped promotional costs
pertaining to souvenir calendars:
one hundred dollars; collectible
trading cards: one hundred
dollars; flyers, posters,
programs: one hundred dollars;
balloons: fifty dollars.
Untabulated royalties, prior
advances, shared rights and
commissions on all television
specials...

EXT. AIRSTRIP - TARMAC - DAY

TOP SHOT: The Lisa Marie drifts INTO FRAME...

COLONEL (V.O.)
...inclusive of 50% back end
participation in MGM multi-picture
contracts in perpetuity...

INT. INTERNATIONAL HOTEL - ELVIS’ ROOM - DAY

A clean, morning sunlight slashes across the Nevada

desert and into Elvis’ suite. Drop cloths over furniture,
gold records removed from the wall. We follow luggage on
a gold bellman’s trolley being pushed by Cousin Billy. He
gives a final look over their home of the past few years.

BILLY
E.P. says we need to hurry up.

CHARLIE
I know. You got the coats, that’s
all tour, and everything on this
side is going to Graceland.

(CONTINUED)
 166.
CONTINUED:

As Billy exits, the door opens to reveal the ashen face

of Vernon. He enters past Charlie without acknowledgment,
and sets down a letter onto the piano.

VERNON
Where’s Elvis?

CHARLIE
Oh, Vernon... He’s downstairs.

VERNON
Tell him I need to talk to him.

Vernon pours himself a drink and stares out blankly over

the desert vista.

INT. INTERNATIONAL HOTEL - PARKING GARAGE - DAY

An endless stream of luggage is ferried into limousines

in the parking garage. FOLLOW the luggage to find...

INT. ELVIS’ LIMO - CONTINUOUS ACTION

Elvis in the back of his limo, a little jittery from

withdrawal. But if anything, this energizes him, making
him even more determined to leave, no matter what.

ELVIS
What’s the hold-up?

Charlie enters the garage, leans into Elvis’ window.

CHARLIE
Sorry, E.P. Your daddy won’t come
down, says he needs to talk...

Elvis exits the car and heads back toward the hotel

JERRY
You alright?

Elvis waves him back. OFF Elvis’ concerned expression...

INT. INTERNATIONAL HOTEL - ELVIS’ ROOM - DAY

Elvis enters the suite and Vernon gestures toward the

letter on the piano. ANGLE ON A “PRESLEY ENTERPRISES”
BALANCE SHEET WITH A BIG TOTAL CIRCLED IN RED:
“$9,800,099.”

ELVIS
Daddy... What is this?

(CONTINUED)
 167.
CONTINUED:

Vernon stands there looking like a dead man.

VERNON
Son, we owe Colonel. We’re
broke...

ELVIS
I been playing this mausoleum for
a hundred years! How could we be
broke?

Vernon is shaking his head, eyes filled with tears.

VERNON
You spend so much. The cars, the
clothes, the girls, the new
airplane, everything.

ELVIS
Daddy, you’re my business manager,
you’re supposed to be taking care
of business!

VERNON
I don’t know what to tell you,
son. We’re broke, just plain
broke...

His eyes raise to meet Elvis.

VERNON
We gotta take Colonel back.

ELVIS
I’m not taking him back.

VERNON
We’ll lose Graceland.

ELVIS
He has taken fifty percent of
everything I make. And now he
wants to take the house that we
bought for Mama? The old bastard
can sue if he wants, but I’m
flying away, with or without you,
Daddy...

Elvis storms out of the suite...

INT. INTERNATIONAL HOTEL - ELEVATOR - DAY

The elevator descends. Elvis -- a powder keg of emotions.

He takes deep breaths, reining himself in.

(CONTINUED)
 168.
CONTINUED:

ELVIS
I’m gonna fly away, fly, fly
away... just you watch me...

BING! The elevator halts. The doors open to reveal...

INT. INTERNATIONAL - PARKING GARAGE - DAY

Colonel waiting in the empty concierge area. Beyond the

glass, Elvis can see the waiting cars.

A beat. Is this a set-up? He steps out of the elevator.

ELVIS
You blood-sucking old vampire; you
bled me dry, but still you want
more.

COLONEL
I’m not an uncaring man, Mr.
Presley.

ELVIS
Don’t you ‘Mr. Presley’ me, you
toad.

COLONEL
If you are so determined to get
out of our contract...

ELVIS
Goddamn right I want out!

COLONEL
Then I will personally loan you
the money you owe to Jamboree
Attractions.

ELVIS
Yeah, and you’ll still have your
claws in me. Still have me workin’
here like a slave in a salt mine,
you phony, no-good piece of trash.
Who are you, Colonel from outta
space?

COLONEL
Colonel from outta space, and
Captain Marvel Jr. Has a nice ring
to it, don’t you think?

ELVIS
I oughta shoot you in your fat,
goddamn face...

(CONTINUED)
 169.
CONTINUED:

COLONEL
Remember, you were so ready to fly
‘faster than the speed of light
straight to the Rock Of Eternity.’

ELVIS
(intense)
Who are you?

COLONEL
I, am you. And you, are me.

ELVIS
Cut the horseshit...

COLONEL
Everyone else you’re associated
with lives from you. Even
Vernon...

Elvis, shocked. The realization dawning.

COLONEL
That’s right, even your own daddy
looks after himself, before he
looks after you. Yes, I lived from
you, too. But the difference is
that you also lived from me. Since
that first night on that big,
beautiful wheel, lookin up into
the moon and the stars, we
understood that we are the same,
you and I: we are two odd, lonely
children, reaching for Eternity.
And to my way of thinking, we
traveled beyond our wildest
dreams. Perhaps you should find
another manager to replace me.
But what cannot be replaced is the
20 years together, more than 20
years. Someone may promote you
better, but no one will ever
understand you better. And if you
do choose to leave, I for one will
be very lonely. Very lonely

Colonel makes his way over to the elevator. Elvis,

battling his emotions within. Beyond the glass, the cars
waiting to leave.

COLONEL
But, I think you may be lonely,
too. You know, my boy, the truth
about the Rock of Eternity, is
that it is forever just beyond our
reach.
(CONTINUED)
 170.
CONTINUED: (2)

Elvis looks back to Colonel as the elevator doors close.

We hear the melancholy opening notes of “Are You Lonesome
Tonight”:

ELVIS (V.O.)
(vocal)
Are you lonesome tonight?
Do you miss me tonight?
Are you sorry we drifted apart?

EXT. INTERNATIONAL HOTEL - SUNSET

VERY WIDE: As “Are You Lonesome Tonight” builds, the

elevator travels up the huge, brutal facade of the hotel.

ELVIS (V.O.)
(vocal)
Does your memory stray,
To a brighter summer day?
When I kissed you and called you
sweetheart?

INT. INTERNATIONAL HOTEL - ELVIS’ ROOM - SUNSET

As Elvis enters, “Are You Lonesome Tonight” plays.

ELVIS (V.O.)
(vocal)
Honey, you lied when you said you
loved me,
And I had no cause to doubt you

Elvis stands, staring out the hotel window as the sun

sets over Vegas... The loneliest man in the world.

ELVIS (V.O.)
(vocal)
But I'd rather go on hearing your
lies,
Than go on, living without you

INT. INTERNATIONAL HOTEL - COLONEL’S SUITE - SUNSET

Colonel sits in his suite, staring at the telephone.

ELVIS (V.O.)
(vocal)
Is your heart filled with pain?
Shall I come back again?
 171.

INT. INTERNATIONAL HOTEL - ELVIS’ ROOM - SUNSET

Elvis sits behind the piano, he plays a few notes and

sings, barely audibly, to himself.

ELVIS
(sings)
Tell me, dear, are you lonesome
tonight...

Vernon approaches timidly, just looking at Elvis. A long

moment. Elvis doesn’t turn to him, but speaks with
heartbroken disgust:

ELVIS
Daddy, tell that sonofabitch I
want things to go back to the way
they were.

As Vernon heads to the door, Elvis gathers up two remote

controls, closing the curtains and clicking on the TVs.

ELVIS
And, Daddy...

Elvis flops down into the sunken lounge.

ELVIS
Tell the Colonel to send up Dr
Nick.

ELVIS (V.O.)
(vocal)
Tell me, dear, are you lonesome
tonight...

EXT. TARMAC - YEARS LATER

Vernon stands outside Elvis’ limo, watching as

Priscilla’s car pulls up. The Lisa Marie jet nearby,
engines roaring.

Taking Lisa Marie in his arms, Vernon heads towards

Priscilla. Lisa runs to her mommy and after a moment,
Priscilla hands her to a nanny.

Vernon looks to Priscilla as she passes.

INT. LIMO - CONTINUOUS ACTION

A knock. Elvis glances up as Priscilla gets in.

(CONTINUED)
 172.
CONTINUED:

After a long, taut silence, Elvis, discombobulated, does

what he always does in moments like this. Without looking
up to Priscilla, he sings under his breath.

ELVIS
(sings)
If I should stay I would only be
in your way
And so I'll go, but I know I'll
think of you each step of the way
And I will...

He stops, unable to complete the line from this now very

famous song.

PRISCILLA
That’s beautiful.

ELVIS
(weakly)
Dolly Parton wanted me to record
it.

PRISCILLA
And?

ELVIS
(unengaged)
Publishing and what not. It’s not
gonna happen.

She reaches across and touches him gently.

PRISCILLA
How are you doing?

Elvis doesn’t respond.

PRISCILLA
Honey, there’s this place you can
go in San Diego where you can
rest.

Elvis looks up, connecting with her for the first time.

PRISCILLA
Heal. After the show, you can fly
there directly, and be in the
clinic before anyone knows. It’s
all been arranged.

ELVIS
‘Cilla I’m gonna be forty soon.
Forty. Forty years old. And people
are not gonna remember me.
(MORE)
(CONTINUED)
 173.
CONTINUED: (2)
ELVIS (CONT'D)
I've never done anything lasting,
never made a classic film that I
can be proud of.

PRISCILLA
What about ‘A Star is Born’?

ELVIS
Well, you know, Barbara and the
Colonel...

They laugh together.

PRISCILLA
Please go... For Lisa. Promise me?
If you dream it, you’ll do it.

But Elvis cuts her off:

ELVIS
I’m all out of dreams.

She’s done her best. A knock at the door.

EXT. TARMAC - CONTINUOUS ACTION

Elvis gets out of the car, Priscilla gets out on the

opposite side. They’re about to part, but instinctively
stop for a moment, looking to each other across the roof.

Elvis’ voice is lost to the roar of the engines as he

mouths the final lyric to the song he could not sing: “I
will always love you.”

They part, and Elvis heads for the plane as the song
“Separate Ways” begins.

INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)

HIGH CRANE DOWN as Old Colonel wanders into an infinite

row of slot machines...

OLD COLONEL
The day he died...

Colonel settles into a chair at a favorite machine.

OLD COLONEL
First thing I did was pick up that
phone to the record company, and
tell ‘em they’d better print more
records.
(MORE)

(CONTINUED)
 174.
CONTINUED:
OLD COLONEL (CONT'D)
And at the funeral when everyone
was crying, I said to his father
Vernon, ‘let's get to work.’ Do
you know why? I had to keep him
traveling endlessly toward the
Rock of Eternity-- because that’s
what he would have wanted. The
only relationship to which he was
forever true, was to you, his
audience.

INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT (1977)

Elvis performs his final concert.

OLD COLONEL (V.O.)

The very last time I saw him sing,
he could seldom stand...

He’s shockingly overweight, heaving for breath, slurring.

ELVIS
This song is uh, I just recorded
it... I don’t know h-h-h-ahhh. Is
it out?

CHARLIE
About two weeks.

ELVIS
Two weeks it’ll be out? ‘Unchained
Melody’... from an album called
Unchained Melody...
(jokes)
Makes a lot of sense...

He sits at the piano, mops his brow. Even though he

hasn't started yet, he yells out to the audience:

ELVIS
How do you like it so far?

Cheers and laughs. Then Elvis' fingers hit the ivories...

OLD COLONEL (V.O.)

But without fail, that voice rang
out!

Elvis' vocal begins to soar:

ELVIS
(sings)
Woah, my love, my darling
I’ve hungered for your touch,
A long lonely time...
(CONTINUED)
 175.
CONTINUED:

IN FLASHBACK WE REVISIT: The beauty and greatness of the

tragic American opera of Elvis' life...

ELVIS
(sings)
And time goes by so slowly
And time can do so much
Are you still mine?

OLD COLONEL (V.O.)

I didn't kill him. It was love.
His love for you...

Despite his bloated look and discombobulation, Elvis hits

the high note with impossible vocal beauty and strength.

ELVIS
(sings)
I need your love
I need your love

OLD COLONEL (V.O.)

And yours...

ELVIS
(sings)
God speed your love...

OLD COLONEL (V.O.)

... for him.

ELVIS
(sings)
... to me!

Elvis, profusely sweating, manages to smile back one last

time at the wave of adulation and love coming to him from
the audience as he slowly fades into inky BLACKNESS.

ANNOUNCER (V.O.)
Elvis has left the building!

BEEEEPPPPP. The sound of a FLATLINE.

FADE OUT.

THE END