Very Bad Things
By
Peter Berg
9/2/97
Fade In:
TITLE SEQUENCE...
1 THE DEAD OF NIGHT 1
Pitch black. Dead quiet. Dim faint light appears in the distance,
approaching, growing larger. As the light nears, we recognize car
headlights. Closer and closer until the car is bearing down upon us
with great force...
2 INT. CAR 2
Two men in the front seat, FISHER and MOORE. Fisher drives. All
seems quite normal until we take a closer look, sweat matts hair,
dirt stains on white tuxedo shirts, hands are blistered and bloody.
They seem almost entranced.
MOORE
That ought to be about the end of that.
FISHER
Yup.
SILENCE. PUSH IN ON Fisher...
ANNOUNCER (V.O.)
"The Oakland Raiders have taken a 7 - 6
lead in a, tough, football game and this
crowd is standing..."
FISHER'S VISION - GRAINY - OUT OF THE PAST
3 THREE RIVER STADIUM - DECEMBER 23RD, 1972 3
Playoff game between the Oakland Raiders and the Pittsburgh Steelers.
Scoreboard reads: 22 seconds, 4th down, 10 yards to go, 4th quarter.
ANNOUNCER (V.O.)
"Hang on to your hats, here come the
Steelers out of the Huddle..."
4 INT. CAR - FISHER 4
transfixed...
ANNOUNCER (V.O.)
"It comes down to one big play, 4th down,
ten yards to go. Terry Bradshaw at the
controls..."
ANNOUNCER (V.O.)
"And Bradshaw, back and looking...Again,
Bradshaw running out of the pocket...
Looking for someone to throw to..."
Bradshaw throws.
ANNOUNCER (V.O.)
...Bradshaw fires it down the field and
there's a collision!..."
The ball bounces off the helmet of a Raider player and is caught low
by the Steelers' FRANCO HARRIS.
ANNOUNCER (V.O.)
"...and it's caught out of the air! The
ball is pulled in by Franco Harris!"
6 FISHER - DRIVING 6
ANNOUNCER (V.O.)
Franco Harris running for the end zone,
all but home..."
Oncoming headlights illuminate Fisher's face...
END TITLES.
FADE TO BLACK:
FADE IN ON:
7 INT. LOS ANGELES CITY HALL - MARRIAGE LICENSE DEPT. - DAY 7
SLOWLY TRACKING down a long line of couples. Some with kids, some
old, some young, all waiting to pay their $55 and pick up their
marriage license.
We HOLD on a young couple, late 20's, KEITH FISHER and his fiancee,
LIZ GARRETY. Fisher has a blondish quality to him, unassuming,
pleasant, attentive, a bit more reactive than he could be. Liz is
quite attractive, but somewhat tense, and not at all happy about
having to stand in this very slow moving line.
LIZ
This is ridiculous.
FISHER
Government cutbacks.
LIZ
Why can't we do it through the mail?
FISHER
(patient)
We missed the deadline.
LIZ
Can't we do it on the phone?
FISHER
I don't think so.
In front of them a middle-aged MEXICAN COUPLE make-out intensely
while their chubby little THREE YEAR OLD stares at Liz.
LIZ
Why is this Kid staring at me?
FISHER
I'm not sure.
Liz pulls a note-pad out of her daypack.
LIZ
(reading from her notes)
Did you send in all of the deposit checks?
FISHER
I think so.
LIZ
(pause)
What do you mean, you think so?
FISHER
I sent a lot of checks, I'm not sure what
all of them are.
LIZ
The wedding cake check?
FISHER
Sent it.
LIZ
Photographer?
FISHER
Sent it.
LIZ
Florist?
FISHER
Yup.
LIZ
Caterer?
FISHER
Yes.
LIZ
Hotel for my parents, the tent, the
band, the Judge...
FISHER
(beat)
I think I forgot the tent.
LIZ
(somewhat alarmed)
You forgot the tent?
FISHER
I think so.
LIZ
Why?
FISHER
Why what?
LIZ
Why did you forget the tent check?
FISHER
I didn't mean to Liz. I'm sorry.
LIZ
You can't play around with these tent
people.
FISHER
I'm not playing around. I forgot.
LIZ
What else have you forgot?
FISHER
How could I know what else I forgot?
LIZ
I'm working my ass off here. I've taken
care of absolutely everything Keith.
FISHER
Because you wanted to. You wanted this
to be your wedding not your parent's.
LIZ
Don't you dare.
FISHER
What?
LIZ
Don't you put this on me. Don't do it,
don't do it, don't do it, don't...
A YOUNG TEENAGE COUPLE behind them stares at Liz, a bit confused.
FISHER
(trying to calm her)
Stop it. I'm sorry.
LIZ
(trying to control herself)
You know how important this is to my mother.
You know that.
FISHER
I'm sorry. I'm sorry I forgot the tent.
I don't think I forgot anything else.
LIZ
(not bitchy)
I bet you didn't forget the bachelor party
checks.
FISHER
Are we going to do this again?
LIZ
I'm just saying I bet those checks all
found the mailboxes.
FISHER
I wouldn't know.
LIZ
It amazes me how organized you and your
little fun bunch can be when it comes time
to mobilize to Vegas.
FISHER
(patient)
They organized this, not me. I have nothing
to do with it.
LIZ
Well it's bad timing.
FISHER
How do you figure?
LIZ
Right before the wedding?
FISHER
It's a bachelor party. You sort of have to
do it before the wedding.
LIZ
I suppose Boyd is the creative force behind
all this.
FISHER
He is.
LIZ
He's a moron.
FISHER
He's my friend. He's not a moron.
LIZ
David Boyd is a big sack of hot gas.
8 EXT. SANTA MONICA 8
TIGHT ON a "Fred Sands" realty sign being pounded into the ground.
Pictured on the sign, as "offered by," is realtor DAVID BOYD, 30-ish,
short hair, smiling with bizarre sincerity.
WIDER to reveal, David Boyd in the flesh, suit jacket off, pounding
away, sinking the sign into the front yard of a cute little house.
His CELL PHONE RINGS. Boyd, gets the phone from his jacket.
BOYD
(into phone)
David Boyd. Tina. Great. Okay.
Here's the deal, we're talking five
guys. Hard Rock. Nice guys Tina. My
friends. Yeah. I'm calling you
directly so you don't have to
go through the agency...
(suddenly, over his shoulder)
HEY! DO NOT ENTER THE HOUSE!
(back into phone)
That's correct. Cash straight to you.
Yes. Twelve hundred? I don't think so.
It's just stripping. Just a show. Hold
on.
(O.C.)
Could you please wait off the
property?
ANGLE ON A YOUNG COUPLE, obviously here to see the house.
MAN
We're just trying to sneak a peak.
BOYD
Just stay off the property until I'm
off the phone.
MAN
Why?
BOYD
Cause that's the way they do it.
Bewildered and somewhat intimidated, they back off.
BOYD (con't)
(back into phone)
So it's five guys, Hardrock Casino.
Nine hundred bucks and you do the
thing with the rubber hoses. Are you
in? Tina, are you in? Good.
Boyd hangs up, puts on his jacket and turns with the same bizarre
insincere smile in his photo. Hand extended...
BOYD (con't)
David Boyd, nice to meet you.
9 FISHER AND LIZ IN LINE 9
LIZ
Why do you feel the need to explore
this side of your personality?
FISHER
What are you talking about?
LIZ
I'm talking about the kind of people you
hang out with...about growing up,
assuming responsibility of yourself.
FISHER
I asked you to marry me. I'm ready for
marriage. That's responsibility. That's
growth.
LIZ
I just think that at some point you're
going to have to re-evaluate some of your
friendships...
FISHER
Who else?
LIZ
Charles Moore for instants.
FISHER
You don't like Moore? Since when?
LIZ
It's not that I don't like him. But the
wedding has really got me thinking and...
I just keep myself opening up. Crowning.
And I want you keeping up with me here.
FISHER
What does Moore have to do with your
growing?
LIZ
I just don't see him in the big picture.
FISHER
I've known him since Cub Scouts.
LIZ
He's weird.
FISHER
He's quiet.
LIZ
He's weird.
10 TIGHT ON - CHARLES MOORE 10
late twenties, a chef in a very upscale, very busy KITCHEN. His name,
"Moore," is embroidered on his white chef's jacket.
Food orders fly all around as Moore works with a mesmerizing focus, a
poetic sense of purpose, fifteen things going on at once; he chops,
sautes, braises, etc..., in a perfect mute silence.
11 FISHER AND LIZ STILL IN LINE 11
FISHER
He just doesn't talk a lot.
LIZ
Why? What's his problem?
FISHER
He's a great chef.
LIZ
He's weird. And I expect more from you.
FISHER
You expect more what?
LIZ
You're going to be hungover for three
days. Like those guys on "Oprah" that
get drunk and have disgusting sex with
prostitutes and then say their vows with
the stench of cheap hotel whore sex all
over them.
FISHER
Time out.
LIZ
It's vile!
People are staring.
FISHER
That's absurd.
LIZ
I've seen it on television.
FISHER
I'm not going to marry you with the
smell of prostitutes on my body.
LIZ
(starts to cry)
I am not common Keith. I am not common.
I am a creature like no other and I will
not be commoned! Is that to much to ask?
(screaming)
Is that to much to ask!?!
FISHER
You will not be common!!!
Finally, at the head of the line, Liz steps up to the clerk.
LIZ
Marriage license please.
12 EXT. GOVERNMENT BUILDING 12
Fisher and Liz emerge, start for the parking lot. Liz stops to look
at Fisher, her eyes well with tears, vulnerable and apologetic.
LIZ
Do you love me?
FISHER
Of course.
LIZ
How much?
FISHER
With all my heart.
LIZ
(vulnerable)
Kiss me...?
FISHER takes her into his arms, pulls her to him, kisses her hard,
for all it's worth.
13 INT. A LARGE MONEY MANAGEMENT FIRM 13
Desk after desk after desk of identical men, seemingly repeating the
same task. We find Fisher at one of the desks, number crunching. At
the desk across from Fisher sits...
MICHEAL BRENN, short, compact, with a severe personality disorder,
masquerading as semi-appropriate behavior.
MICHEAL
That's just insecurity.
FISHER
I don't know. She's really been
stressing out.
MICHEAL
Just insecurity. Nut crunching gut
splinters.
FISHER
What does that mean?
MICHEAL
It means she's insecure.
FISHER
About what?
Micheal's phone rings.
MICHEAL
(picks up)
Mike Brenn. Yes. Yes. 14.3 at 7.5 for 6.
At 29.83 at 9.
(hangs up)
I'm amazed the windows don't blow out of
their fucking sockets with all the
repressed, ass-puckering rage in these
soul-less lizards.
FISHER
(beat)
I just want her to be happy.
MICHEAL
Same alarm clock every morning, same two
pops on the same snooze button...
(PHONE RINGS; picks up)
Micheal Brenn. Yes...Yes...
(looking through stacks of stats)
Hold your horses. Okay. Got it. 6.321 at
17.28 for 6.6 at 9.256 out at 3432.343.
(hangs up)
Same shower, towel, toothbrush, razor,
hair gel. It's a fucking epidemic Fisher
and you better start addressing it.
You're getting married and I'm not going
to candy-coat it. It just gets worse.
It's an eighteen wheel cement mixer that
will crush every bone in your body.
Fisher looks pale.
FISHER
I'm not breathing right.
MICHEAL
You're not breathing right?
FISHER
Lately I'll just start getting lightheaded,
dizzy, and I realize I haven't breathed in
like two minutes.
ADAM BRENN, Micheal's older brother, mid-30's, a bit soft in the
belly, approaches, more or less in charge.
ADAM
(to Micheal)
We're leaving from my house in three hours.
If you want to come, get your numbers in
order by then.
MICHEAL
First of all...
ADAM
(cuts him off)
No first of all. I'm not in a game mood.
MICHEAL
You're interrupting a personal
conversation.
ADAM
(to Fisher)
Sorry Fish.
FISHER
We'll be ready Adam.
ADAM
I know you'll be.
(to Micheal)
Three hours.
Adam goes.
MICHEAL
I don't care for him.
FISHER
He's your brother.
MICHEAL
So?
Fisher's phone RINGS.
FISHER
(picks up)
Keith Fisher.
14 INT. KITCHEN 14
Liz sits at the kitchen table, in a mild panic.
LIZ
(into phone)
We've got problems here.
FISHER
Problems?
INTERCUT Liz and Fisher.
LIZ
Seating problems.
FISHER
Okay.
LIZ
Keith do not trivialize this.
FISHER
I'm not. What's the problem?
LIZ
We're supposed to have gold-trimmed
padded seats, now they're telling me
that there was a mistake and we can't
have padded.
FISHER
What kind of seats can we have?
LIZ
Not padded ones.
FISHER
So what do we do?
LIZ
You go down there.
FISHER
Go down where?
LIZ
Go down to the seat place and straighten
this out.
FISHER
Honey I don't have the time...
LIZ
I need your help.
FISHER
We're leaving in three hours.
LIZ
(starts to cry)
I need your help.
FISHER
I'll call them from the road.
LIZ
Do you love me?
FISHER
More than I ever imagined being able
to love anyone ever.
LIZ
Take care of those chairs.
FISHER
We're leaving from Adam's. Come send
me off.
LIZ
Maybe.
15 EXT. ADAM'S HOUSE - SANTA MONICA 15
BOYD, MOORE, FISHER in the middle, MICHEAL and his older brother,
ADAM, all in suits pose in front of Adam's brand new, state of the
art, Chevy Minivan while Adam's very aggressive wife, LOIS, mired in
domestic resentment, focuses her camera.
LOIS
Notice how clean and well-behaved they
all appear, respectable members of modern
society. Timmy, Adam Jr., take a good
look at this...
Adam's and Lois' kids, Timmy, 8, and Adam Jr., 10, watch with Liz.
(Adam Jr., in leg braces and crutches, suffers from muscular
dystrophy)
LOIS
...We will compare these before photos
with whatever form of degeneration
presented to us in 24 hours, no matter
how low, how vile...
LIZ
...embarrassing, shameful...
LOIS
...regression of Modern Man to his most
primitive, ape-like state...
LIZ
The stone age.
LOIS
The post-Vegas Man.
LIZ
A mutant species.
LOIS
Okay boys, smile!
Lois clicks off photos of the men.
LOIS
All right. As you were.
The guys break. Fisher goes to Liz.
LIZ
Will you please call the chair people?
FISHER
I will.
LIZ
Do you love me?
FISHER
Of course.
LIZ
Just call and let me know that your okay.
FISHER
I love you.
LIZ
Have a nice bachelor party.
Adam kisses Lois and the kids goodbye. Adam Jr. nearly looses his
balance in the excitement, Adam catches him.
Boyd starts to get in the drivers seat.
ADAM
Not on your life.
Boyd slides over shotgun, cranks the MUSIC. Fisher's the last one
in. He slides the big Minivan door shut and they're off.
Adam looks in the rearview mirror, Lois, Liz, Timmy wave goodbye.
Adam Jr. waves one of his crutches.
16 EXT. - FWY - SERIES OF SHOTS - DAY 16
The minivan cruises east: from Santa Monica; through downtown Los
Angeles; and the City of Industry. At the turn off, a freeway sign
reads; "Las Vegas 385 miles."
17 INT. MINIVAN - LATER 17
BOYD
You're a fucking moron.
MICHEAL
It's my fucking opinion.
ADAM
It's really a stupid opinion. You have
developed an annoying habit of talking
for what seems to be no other reason
than to hear yourself speak.
MICHEAL
Because my opinion threatens yours, it's
poorly developed?
ADAM
No, because your opinions are idiotic
and have nothing to do with what any
given conversation is about, which makes
85% of your eagerly injected thought
process highly offensive to me.
MICHEAL
Boyd brought up divorce statistics.
BOYD
The hell I did!
MICHEAL
The hell you didn't!
BOYD
The hell I did!
MICHEAL
You said one in two marriages end in
divorce.
BOYD
I never heard that.
FISHER
You said that Boyd.
BOYD
Well, I didn't mean it.
MICHEAL
You're an asshole Adam.
ADAM
You're an asshole.
MICHEAL
Oh, and why am I an asshole?
ADAM
Multiple reasons.
MICHEAL
Name one.
ADAM
I don't have to...
FISHER
SHUT UP!
DEAD SILENCE. As they ride through the lifeless desert, Fisher dials
his cell phone.
FISHER (cont'd)
(into phone)
Is this Pico Party rents? Can I speak
to whomever is in charge of chairs?
Chairs.
Boyd checks his watch.
BOYD
Four hours and fifteen minutes. I can
make Vegas in 3 and change.
ADAM
I'm not getting a ticket.
FISHER
(on cell phone)
Tony? This is Keith Fisher. You're doing
my wedding and I'm calling about the
chair situation. Yeah, I'll hold.
BOYD
Who's up for making some real money?
ADAM
Don't even start.
BOYD
You want to hear me out?
MICHEAL
Nope.
BOYD
Moore?
MOORE
No I don't.
BOYD
Fish?
FISHER
Not really.
(into phone)
Yes, the Fisher wedding chairs...
BOYD
Prison Communication Systems.
(no response)
An acquaintance friend of mine is
professionally involved with a
communications outfit in Denver that I
just happen to know for a fact is about
to be rewarded a very large, exclusive
contract to rewire every state prison
in Colorado. Yes sir.
Nobody gives a fuck.
FISHER
(into phone)
No, I'm holding for Tony. In chairs.
Keith Fisher. Okay.
BOYD
That would translate to government
guaranteed contract in excess of 35
million dollars.
FISHER
(into phone)
We need padded chairs.
BOYD
Or a stock kick of approximately 125%
on shares which are currently sitting
around $4.38, or, in plain English...
ADAM MICHEAL
SHUT UP! NO!
BOYD
What is wrong with you people? I'm a
helper here.
MOORE
Your investment ideas never work out.
BOYD
That's the whole point. They rarely
work out. But on occasion they do. And
when they do, they do big.
MICHEAL
Your ideas never work out.
BOYD
Oh really? Starbucks?
ADAM
That's one idea.
FISHER
(into phone)
No...we want padded chairs...okay?
BOYD
One idea that if you had fucking listened
to, you would each be worth approximately
15 million dollars.
ADAM
You can't keep bringing up Starbucks.
That was your only real hit in like 75
tries.
BOYD
I set up Fisher with the broker that found
his house. Took care of that one, didn't I?
(beat)
Prison Communications.
MOORE
I don't think so Boyd.
BOYD
Fine. Don't come crying to Boyd. No sir.
He turns away from the guys and stares out the window.
FISHER (O.C.)
Yes, I was holding for Tony in chairs.
I have a chair problem. No, I'm not Tony,
I need to speak to Tony.
18 EXT. DESERT 18
The minivan cruises through Death Valley on route to Vegas.
19 EXT. RED ROCK NAT'L PARK - CANYON - MAGIC HOUR 19
North of Vegas. The minivan is parked high on a cliff overlooking the
city. A couple of Tequila bottles on ice, a case of Heineken. The
boys are arming up.
ADAM
All the bullshit aside Fish, we've been
coming up here for what, eight years?
Boyd, carving a branch with his boy scout knife...
BOYD
More.
ADAM
Over eight years of some of the hardest
raging experiences of my life.
MOORE
Good times.
MICHEAL
Drum banging real times.
FISHER
Real times.
ADAM
They've all been real times. And as
you prepare to enter into a new phase of
life, as you prepare for new roles; father,
husband, teacher, you will, as I have, come
to except the letting go of of old ways.
Soon, the mellowing will begin...
BOYD
But not tonight.
MOORE
Not tonight.
ADAM
Tonight we return once again to the cave.
Tonight we let the monsters out. We fill
ourselves with the spirits of Genghis
Khan, Joe Namath, JFK, Paton, Lombardi,
Hemingway...
MICHEAL
(screaming)
Franco mother-fucking Harris!
MOORE
Keith Richards, Dean Martin...
BOYD
Jack Kerouback, Herman Melville,
Henry Miller and Hunter S. Thompson.
I dedicate this evening to fear and
to major loathing. So from sun set
to sun rise, let me be heard...
Boyd holds the bottle above his head as the guys raise their glasses
in a toast.
ALL
He who acts the beast, rids himself
of the pain of being a man!
The guys smash the bottles together in an explosion of glass and the
golden Tequila.
20 INT. CASINO - Gambling Montage 20
Improvised DIALOGUE.
CARDS fly.
CASH and CHIPS PLAY.
FISHER on cell phone calls about the chairs again.
TEQUILA POURS. Shot after shot after shot after shot.
MICHEAL throws back a shot, falls off his stool.
21 CASINO PHONE BOOTH 21
Fisher sneaks a call to Liz.
LIZ (V.O.)
Hello.
FISHER
Hi.
22 INT. DEN - LIZ'S AND FISHER'S APARTMENT 22
Liz is making place cards, "I Love Lucy" is on the TV.
LIZ
Hi.
(teasing)
Are you calling from jail?
FISHER (V.O.)
Not yet.
LIZ
Well, the night is young. Did you
straighten out the chair situation?
FISHER (V.O.)
I'm working on it, I've made three calls.
(beat)
I can't stop thinking about how much I
love you.
LIZ
That's sweet.
FISHER (V.O.)
Well I do.
LIZ
Well you should.
FISHER (V.O.)
What are you doing?
LIZ
Just a bit of organizing.
FISHER (V.O.)
Nesting?
LIZ
Yeah. Nesting.
FISHER (V.O.)
I'm mad at you.
LIZ
Go have fun. Not too much.
FISHER (V.O.)
I'll see you tomorrow...
23 CASINO 23
Fisher hangs up, a "Crazy about the girl" smile on his face.
24 INT. FISHER'S SPLIT-LEVEL HOTEL SUITE - NIGHT 24
The MUSIC is LOUD. The boys are super drunk in the swank bachelor
party suite.
MOORE stagger-dances on a table.
BOYD AND MICHEAL stand at the wet-bar.
BOYD
I don't hate women.
MICHEAL
You hate women.
BOYD
False.
MICHEAL
True.
BOYD
Not true.
MICHEAL
You have a King fantasy.
BOYD
I am a lover. In Africa, you can stay
king as long as you can service your
women every night.
MICHEAL
And what happens when you can't?
BOYD
(swigs whiskey; looks up)
New king.
25 EXT. BALCONY 25
Adam and Fisher.
ADAM
No. No. No. It's what my father said
to me. He said it and he meant it...
He said to me...He said, Adam, he
said...He told me and I heard him...
he said...
(struggles to remember)
Hell he said so many Goddamn things I
can't remember everything he said for
Christsake.
FISHER
Right! That's exactly what I'm saying.
My father said, first of all, I'm your
father not your friend. I'm your father.
ADAM
Are you solid with that?
FISHER
No. I think it's fucked.
ADAM
Then fuck what your father said, cause
I'm gonna tell you right now...You'll
know what it's all about, why you got
married and why you love her when you
wake up at three in the morning, and the
streetlight's coming through the window
and it's just catching a corner of her
face, like a sleeping angel. And her hair
smells sweet and she's your's. She's all your's.
Do you see where I'm going here?
26 MICHEAL AND BOYD AT THE BAR 26
Speed hitting cocaine.
BOYD
If I'm the king of Israel, I say to
myself, King, I say to myself, King...
Take a good look around. What do I see?
MICHEAL
Israel doesn't have a King.
BOYD
Then what do they have?
MICHEAL
They have a president. A Benjamin Yahoo
something.
BOYD
I say to myself, look at the map. Look
what's all around you. People who wish
bad bad things for you and your people.
For thousands of years the Jews are
fighting everybody. It used to be they'd
throw rocks, then the iron revolution
and they would attack with spears. Then
the gunpowder revolution. Now they're
shooting fire power back and forth, all
day bullets flying, babies getting shot.
MICHEAL
What's your point?
BOYD
Now if I'm the King of Israel and all
these sand niggers are armed to the gills
and you know it's just a matter of time
...right? Am I right?
MICHEAL
The Israelis can protect themselves. They
got the Mossad thing happening. Mossad's
for real, man. They scalp babies.
BOYD
There's my point exactly.
MICHEAL
What? What's your point?
BOYD
Take Mexico.
MICHEAL
What?
BOYD
Lock up the chickens, dig up the holy
dirt, pack up the wailing crying wall
thing they bang their heads on all day
long, stick it all on a big fucking tug
boat. The whole country picks up and
takes Mexico.
ANGLE ON
MOORE crazed with the rhythm of the "Chemical Brothers," jumps up and
down on the table.
27 ON BALCONY 27
Fisher and Adam power shooting Tequila.
FISHER
The bucks gonna stop right here.
(pounds his chest)
If my son doesn't know the six New
England states, if he has trouble with
geography, I won't stick it in his face.
I'll help the little guy. I'll put him
in the car and take him out there. I'll
take him to Maine for a big Lobster dinner,
go skiing in Vermont, hot dogs at Yankee
Stadium...I won't stare him down.
ADAM
Don't ever stare him down.
FISHER
I won't do it.
ADAM
Don't eyeball your kids.
28 MOORE 28
on the coffee table, dances the beasty dance.
29 THE BAR 29
BOYD
The Mexicans would love it. They're
dying for a little order down there.
They need direction.
MICHEAL
They need leadership.
BOYD
That's what I'm saying. Let the
Israelis straighten it up. They got
plenty of room down there, number one.
Plus, and this is just a plus, they
kind of look alike - the Jews and the
Mexicans. So I think on a whole your
average Joe Mexican is gonna have less
of a problem getting his head around
the whole assimilation thing. Am I right?
The DOOR BELL RINGS.
30 BALCONY 30
ADAM
I tell mine that they're little men.
I tell them they're strong. They make
me feel joy. I let 'em know. So they
really know that I need them just as
much. You know. Just as much man. And
you know, you're their godfather...
FISHER
I know and I'm honored...
ADAM
If anything ever happens to me...
FISHER
I know...
ADAM
Y'see? That's the real point here.
That's what I'm driving for, when the
big storm comes and knocks down all
the forests and the rocks fall down
and the leave's are bare. What's left?
The little trees, the little fellas
that the storm didn't see. The tiny
little...
Moore is on the balcony.
MOORE
The stripper's here.
ADAM
(bombed)
Excellent.
He and Fisher stagger aside.
31 HOTEL SUITE 31
Boyd introduces TINA, a devastatingly sexy Asian girl, to all the
boys.
BOYD
Gentlemen, this is Tina.
The guys, wasted, attempt to greet Tina.
TINA
Who's the lucky groom?
The guys point at Fisher, roaring. Tina presses her lips to Fisher's
ear.
TINA (cont'd)
Hi Fisher.
Boyd dims the lights, cranks up the MUSIC as the guys stumble for
position on and around the couch. Tina starts to move, very sexy.
Micheal tokes a joint.
MICHEAL
God, I love women.
32 TINA'S DANCE MONTAGE 32
SERIES OF SHOTS:
TINA dances, slowly peeling off her clothes.
The guys are into it. Micheal seems especially turned-on.
Tina moves in on Fisher, starts a very nasty lap dance...somehow
incorporating a rubber hose.
The guys hoop and holler...
Micheal is mesmerized...
Tina grinds on Fisher's lap, touching her nipples...
Micheal's going crazy...He tries to touch her, she slaps his hand
away...
Fisher can't take it anymore...
Tina relents...moves on...
Micheal reaches for her leg like a dog in heat.
She passes over him, teasing, tormenting him, and settles onto Adam's
lap.
The guys roar in approval...Micheal glowers...
Adam turns bright red as Tina arouses and rides him...
Micheal starts to burn...
The guys egg Tina on, she gets off on Adam's shyness, rubs her
breasts in his face...
The guys are howling...
Tina sucks one of Adam's fingers into her mouth...
Micheal looks like he's going to explode...
Adam's overwhelmed, he politely bails out...
BOYD
(whispers to Fish)
She's all your's Fish. Anything you want.
Happy bachelor party.
FISHER
I can't.
MICHEAL
(jumps up)
I'll take a ride.
FISHER
Go for it.
MICHEAL
(to Tina)
Come on.
TINA
(to Boyd)
You said just dancing.
BOYD
(re: money)
I'll take good care of you.
TINA
(dead flat; re: Micheal)
With him.
(beat)
Lucky me.
Micheal moves in on Tina. Hesitantly, she leads him into the master
bedroom.
MOORE
She's fucking hot!
ADAM
I need a drink.
BOYD
Tequila...
Boyd reaches for the bottle as the beat goes on.
33 HOTEL SUITE - MONTAGE 33
Distorted, a bit crooked. MUSIC and DIALOGUE constantly changing
levels. We're not sure who's saying what. We're not sure of physical
geography. The one thing we are sure of is that MICHEAL is fucking
the hell out of Tina in the bathroom.
SERIES OF SHOTS:
34 MASTER BATHROOM: 34
Micheal works Tina from behind.
35 SUITE: 35
MOORE bouncing off the furniture.
FISHER and ADAM, wildly high.
BOYD sprays beer on Adam, who returns fire. Drunk they start
wrestling, throwing each other around the room, knocking over
furniture.
36 BATHROOM: 36
Micheal, tightly, ties Tina's hands behind her back with her rubber
hose.
TINA
Oh come on.
MICHEAL
I want to play.
TINA
It's gonna cost extra.
MICHEAL
I will pay.
37 SUITE: 37
Fisher spraying beer all over Adam and Boyd as they knock a table
over and end up tangled and brawling on the floor.
38 BATHROOM: 38
Micheal screwing the hell out of Tina.
TINA
Easy baby, easy.
SLOW MOTION INTERCUT:
39 SUITE: 39
Moore wildly leaps from the couch to the chair, to another chair,
back to the couch...
40 BATHROOM: 40
Micheal plows like a monster into Tina, hands tied behind her back...
CLOSE ON her stiletto heels, digging into the marble floor...
One of her heels breaks...she starts to slip...
41 SUITE: 41
Moore jumps, misses the chair, falling down on the glass coffee
table, GLASS EXPLODES...
42 BATHROOM: 42
Tina falls, Micheal reaches too late, she can't break her fall with
her hands tied behind her...she's going down...
43 SUITE: 43
Moore falls through the shattered glass, to the floor...
44 BATHROOM: 44
Tina hits her head hard on the porcelain toilet...
45 SUITE: 45
Fisher, Adam, and Boyd stop brawling, stare down at Moore covered in
glass.
MOORE
(beat)
Cool.
Moore is fine, not even a scratch. The guys break into ROARING
LAUGHTER, completely HYSTERICAL; shaking, roaring, releasing. TIGHT
SHOTS of each HOWLING until...
One by one...they sober up...looking O.C.
TIGHT ON FISHER as his smile slowly fades to confusion, he stares
O.C. at...
MICHEAL
Standing in the door, face ghost white, blood dripping from his
fingers...
MICHEAL
I really fucked up.
46 INT. BATHROOM 46
The guys rush in. Stop dead in their tracks.
TINA
On the floor, legs twisted underneath her, lies in a growing puddle
of dark blood. SILENCE as the guys stare, trying to comprehend.
MOORE
Jesus.
ADAM
Don't touch her. Call 911.
MICHEAL
(in shock)
I was just playing...we were playing
just playing around.
ADAM
(examines Tina)
She's dead.
FISHER
No...No.
MOORE
How do you know she's dead.
ADAM
She's got no fucking pulse.
BOYD
You don't know what you're doing.
Boyd pushes Adam out of the way. Starts feeling her pulse.
BOYD
(not getting anything)
Where do you look? What side of the neck?
MOORE
Left side.
ADAM
Either side you idiot. I'm calling 911.
FISHER
(semi-gone)
What happened? Oh my God...
MICHEAL
We were playing...she slipped...she hit
her head.
ADAM
(incredulous)
Playing?
47 SUITE 47
Adam moves into the living room, heads for the phone. Boyd intercepts
him. They wrestle for the phone.
BOYD
Wait!
ADAM
What?
BOYD
What are you doing?
ADAM
(hysterical)
What are you talking about?
BOYD
What do you think you are doing?
ADAM
I'm calling the ambulance.
BOYD
Just wait a second. Wait one second.
Okay. What are you doing?
ADAM
Calling the ambulance.
BOYD
Why?
(beat)
Why? She's dead. Why are you calling
an ambulance?
A reasonable point. BEAT.
ADAM
We have to call the ambulance.
BOYD
Why?
Fisher entering, freaked...
FISHER
Oh, Jesus...call the police.
BOYD
No.
FISHER
She's dead. Call somebody!
BOYD
Shut up.
FISHER
Call 911.
BOYD
Shut up.
MICHEAL
She slipped.
ADAM MICHEAL
(attacking Micheal) (defensive)
What did you do? You never heard of
accidents?! Get off me!
Adam slaps Micheal. Moore tries to break it up.
BOYD
Everybody shut up. LISTEN TO ME!
SILENCE.
BOYD
Listen to me. Please. Everybody just
calm down a bit here. Okay...
First...are we sure she's dead?
ADAM
Her head's bashed in and her heart
isn't beating.
MOORE
She's dead.
MICHEAL
It was an accident!
BOYD
Are you sure this was an accident?
ADAM
You're a lying deviant. What did you do?!
MICHEAL
The floor was wet. She slipped!
ADAM
Why was the floor wet?
MICHEAL
I don't know why the floor was wet!
ADAM
Why?!
Fisher wanders back to the bathroom door where Moore is; they stare
down at Tina as the conversation rages in the b.g.
BOYD
Stop it! Listen to me. Let's just take
a second here and take hold of the
situation, OK? Let's just review our
options here.
ADAM
We have a dead woman bleeding all over
the bathroom. What options? Call the
police.
BOYD
Call the police. Okay, that's one option.
ADAM
That is not an "option." There is no
multiple choice here.
BOYD
Yes sir, there sure is an option here.
There are always options.
ON Fisher and Moore.
MOORE
I've never seen a dead person.
As Moore moves in, transfixed, to take a closer look...
FISHER
(engraged)
Fuck! Fuck you fucking guys!
BOYD
Well we can definitely call the police.
That's an easy call. If we call the
police...What happens?
(silence)
They find a dead prostitute in the
bathroom...They ask us...What happened?
We say, ah...our friend, Micheal...
(to Adam)
Your brother...got a little out of
control...they were making love...and
he got a little excited...and he, ah,
sort of beat her head into the side of a
toilet, while he choked her to death
with a rubber hose...
ADAM
Stop it!
BOYD
There's more.
ADAM
Just stop.
BOYD
Just giving the facts.
ADAM
I'm calling the police.
BOYD
What were we doing officer? Why didn't
we help her? Well...we're all a bit
high, you know, bachelor party, that
kind of thing. Fisher here is getting
married in three days...Beautiful wife
...he didn't have anything at all to
do with it...It was all Micheal here...
just Micheal...
ADAM BOYD
You don't play games with I've known him for
Homicide police. There are while maybe twenty
No options here. There is years kind of a close
Not the luxury of worrying friend but hey what the
About how the fallout will heck officer, take him
Settle. Away, go on it's for
His own good.
FISHER
(outraged)
What are you talking about? Adam's
right. We don't have a choice here
Boyd...I mean what are you talking
about? What options???
BOYD
(calm)
Bury her out in the desert.
ADAM
(sarcastic)
Sure, why not.
MOORE
He's right.
BOYD
We can take her out to Red Rock. Find
some quiet place...and put her in the
ground.
ADAM
You don't just casually walk out of a
Vegas Casino with a dead woman.
BOYD
We can do this. We can get her out of
here.
ADAM
Have you completely lost your mind?
So you get her out of here. So you
get her out into the desert somehow,
without anybody seeing, so what, you
don't think at some point somebody
might notice that she's gone?
BOYD
Nobody knows she's here. I called her
personally. Nobody knows.
FISHER
Oh for Christsake Boyd. Somebody must
know she's here.
BOYD
Nobody knows.
PAUSE, as the guys digest this point.
ADAM
Her blood is all over the bathroom.
I'd say that's a bit of a DNA problem.
BOYD
It's a marble floor, we can clean it up.
FISHER
Oh God. This is insane.
BOYD
What's insane is the fact that Micheal
here put a fucking girl's head through
a toilet. That's insane.
MOORE
They'll get us on accesory to murder.
ADAM
Bullshit it's not accesory. I didn't do
shit. You call the cops, you explain it
was an accident...
BOYD
Her fucking head was caved in.
ADAM
So I didn't fucking do it!
BOYD
She's got bondage burns on her wrists.
There's blow all over the room, Moore
looks like he went at it with a mountain
lion. This room looks like the Manson
Family stayed here a month. Micheal goes
down, we all go down.
MOORE
I'm not going to ruin my life over a
dead whore.
ADAM
That's a horrible ugly comment. "Dead
whore?" She's a person!
FISHER
(falling away)
I'm getting married...
MICHEAL
I'm sorry...I'm sorry...I'm sorry...
ADAM
I've got a wife and two boys.
Fisher shuffles to a corner, collapses, head in hands. SILENCE.
BOYD
(unflappably calm)
Lets take a vote. A simple vote. Two
choices; we clean up the mess. Right
now. Bury it in the desert, go home,
and never look back. Or, we can call
the police...Open those doors, roll
the dice and hope that it's only
Micheal who falls. Let's take a vote.
Desert...or police?
BOYD looks around. BEAT. Raises his hand.
BOYD
Desert.
He looks at MOORE
MOORE
(beat)
Fucking desert.
MICHEAL
(to Fisher)
Fish, I'm really sorry. I just...I
owe you man.
(puts up his hand)
Desert.
All eyes on FISHER, no response.
BOYD
Nobody knows she's here.
FISHER
Good God...Good God...
All eyes on ADAM. He takes a while...Finally,
ADAM
How do we get her out of here?
A reasonable question. Boyd thinks. BEAT.
BOYD
Wrap her up in blankets. Bring the
car around to the back of the hotel,
throw her off the balcony, put her in
the car...Done.
ADAM
(beat)
You don't think someone will have a
problem with a body being thrown off
a balcony?
BOYD
We check out the area and wait for a
time when it's clear.
ADAM
What about the blood?
BOYD
Someone goes to Walmart, gets some
buckets, brushes, mops, Spic and Span,
the works.
ADAM
Have you ever done this before?
BOYD
The reality is, you take away the horror
of this situation, take away the tragedy
of the death, take away the moral and
ethical implications of all the crap you
have had conditioned, beaten, into your
head since grade one. What are we left
with? What? A 115 lb. problem. 115 lbs.
that must be moved from point A to point
B. Now, a straight line in the shortest
distance but we are denied the luxury of
a visible straight line. But that line
exists and I see it.I see that line. Trust me.
Adam. Trust me...I can take care of this.
KNOCK KNOCK
The five men stop breathing. Somebody's at the door.
KNOCK KNOCK
Stunned silence. The guys stare at each other in horror.
RALPH (O.S.)
Hello? Is anyone in there?
Boyd races to the door, eyes the pephole.
BOYD'S POV, through the peephole, outside in the hall, a man. RALPH,
early 30's, fairly unassuming.
BOYD
(calls out)
What is it?
RALPH (O.S.)
Ah, yeah, hi. Is Tina there?
Adam throws his head in his hands.
BOYD
(through door)
What?
RALPH (O.S.)
I'm with Tina. Is she there?
Boyd indicates to the guys to be cool.
BOYD
She's not here.
RALPH (O.S.)
Where is she?
BOYD
She's here. She's just...Hold on a
second.
Boyd turns as the guys freak. Crazed bits of panicked coversation -
GIBBERISH.
KNOCK KNOCK.
RALPH (O.S.)
Could you open the door please.
Boyd moves back to the door, slowly, opens it. Ralph steps in. Takes
a good look around.
RALPH'S POV of the fairly destroyed hotel room and five severly
traumatized men.
RALPH
Okay. Hi.
SILENCE.
RALPH
So who's the lucky guy?
PAUSE.
BOYD
Who?
RALPH
The groom?
FISHER
Me.
RALPH
Cool...
(beat)
You all dudes from L.A.?
BOYD
Yup.
RALPH
Doing the bachelor party thing?
BOYD
That's right.
RALPH
Sin City. Devil's Playground. The
Black Bitch. All day every day.
(beat)
Where's Tina?
BOYD
She's in the bathroom...she's still
working.
RALPH
She's still working?
BOYD
That's right.
RALPH
Sweet deal.
SILENCE. Ralph checks the rest of the guys. Some strange eye contact.
Extremely uncomfortable.
RALPH
Is everything okay?
BOYD
Great. Fine. Perfect.
More SILENCE.
RALPH
(indicating bathroom)
I'm gonna just tell her I'm waiting.
He starts for the bathroom.
BOYD
She's in there!
RALPH
I'm just gonna let her know I'm here.
And Ralph is on his way to the bathroom. And the guys are freaking as
Ralph moves through the bedroom up towards the bathroom. Hand on door
- opening door - stepping in - and Ralph sees Tina. RALPH, in shock,
staring, back-peddles...
RALPH
My God!
As Ralph starts to turn --
FISHER (O.C.)
No! NOOOO!!!
ON BOYD - his Boy Scout knife raised above his head - driving it into
Ralph's neck!
MAJOR ARTERIAL SPRAY as Ralph's jugular is severed. Ralph struggles.
Boyd wrestles him back toward the bathroom.
BOYD
Help me! Don't let him bleed on
the carpet!
And MOORE is there. Helping Boyd wrestle the SCREAMING thrashing
Ralph into the bathroom. Ralph fights like a gilled Marlin. They
shove him into the bathroom. Boyd slams the door shut. Holds it tight
as Ralph tries to force it back open.
BOYD
He'll bleed out! He'll bleed dry.
Help me hold the door.
And help they do. Micheal, Moore and Adam all hold the door shut as
Ralph continues to fight for his life. Slowly the force of his
POUNDING ceases. We hear Ralph slowing down...The thrashing
slows...softer...The MOANS quiet...softer...Just a slight
GURGLE...Ralph is going...going...Ralph is gone.
AT THE DOOR
Eight hands slowly peel off the bathroom door. Devastating SILENCE as
the guys attempt to process this, the latest of developments...with
Fisher staring, blotto.
48 INT. THE BATHROOM 48
The door slowly opens. Boyd first - then the rest of the guy's heads
slowly appear in the doorway.
MOORE
Oh God.
And Moore is out the door, racing for a garbage can to releive
himself.
THE GUYS' POV
An absolute blood bath; The walls are covered with Ralph's Arterial
spray. Tina lies, still dead on her side. Ralph has somehow "assumed
the position" dead, head in the bathtub. A bizarre and gruesome
sight. Boyd surveys the carnage, takes charge.
BOYD
(with military precision)
All right people. New plan. Not even a
new plan so much as a modification
of the old plan.
FISHER
(beyond shock)
I'm calling the police.
BOYD
So help me God you touch that phone
and I bury you with them.
(beat)
Surrender is no longer an option. I
repeat - It is not an option. Is there
anyone who does not understand that?
Fisher's response is to join Moore, as he searches for a garbage can
to puke in. Micheal just stares.
BOYD
A little gut check time fellas. A time
for some serious self-exploration.
How do I function? For real? No more
bullshit. Can I keep my cool when they
bounce my bananas? When they won't play
my fucking song? etc, etc. Do you get
me? Do you get me?
MICHEAL
Not really, no.
BOYD
Not a problem. Understand not my words,
but follow my orders. Follow my orders.
49 INT. WALMART - NIGHT 49
The boys move down the aisles of the massive 24 hour everything
store, Boyd pushes a cart, grabbing; cleaning supplies, tarp, tape,
giant pruning shears, etc...
BOYD (V.O.)
We will organize, we will mobilize, we
will maximize and prioritize.
Moore grabs a plastic garbage can off a shelf and pukes in it for all
he's worth.
50 INT. HARD ROCK CASINO 50
The boys attmept to look natural as they stroll through the casino
with their spplies. Late night gamblers pay them little notice.
51 INT. HOTEL SUITE 51
Boyd turns up the MUSIC.
BOYD
Let's do it people.
MUSIC OVER SERIES OF SHOTS:
Moore and Fisher scrub blood from the carpet. Fisher keeps forgetting
to breathe.
Micheal and Boyd put Tina and Ralph in the bath tub.
Adam sits in shock on the floor.
Fisher and Moore try to fix a broken chair.
Boyd starts to dismember Ralph with the pruning shears, like cutting
the joints of a roasted chicken.
Adam stares at the wall.
Micheal wraps one of Ralph's feet in plastic, puts it in a suitcase.
Boyd saws. Micheal wraps. Fisher and Moore clean.
Adam slowly straightens up a lamp, begins to help.
UNTIL - the last of the body parts, Tina's head, is wrapped in
plastic, packed in a suitcase.
The bathroom has been remarkably cleaned up. Just a bit of blood left
in the tub. Boyd looks pleased.
BOYD
All right. Looking good people.
52 EXT. RED ROCK CANYON ROAD 52
The minivan bumps along a deserted road at a snail's pace.
53 INT. MINIVAN 53
Adam drives, cringing with every bump and bang. Everyone is tense.
Boyd eyes the clock. It's 4 a.m.
BOYD
Sun rises at 5:52.
ADAM
I'm not wrecking the transmission!
54 EXT. DESERT 54
SERIES OF SHOTS:
The guys off-loading the suitcases.
Fisher and Boyd digging holes.
They start putting the suitcases in the holes.
ADAM
Wait. Wait a minute.
BOYD
What?
ADAM
We can't do this.
BOYD
We've already done this.
ADAM
No, I mean the suitcases. We can't bury
them in suticases.
MICHEAL
Why?
ADAM
It's sacrilegious.
BOYD
How do you figure?
ADAM
According to Jewish law, the blood and
limbs are considered to be part of the
human being. They must be buried
together or their souls won't rest in
peace.
BOYD
So that's what we're doing.
ADAM
No we're not. The bodies are all mixed
up. We can't do this to them.
BOYD
She's Asian. They don't have Jews in Asia.
ADAM
That is absolutely not true.
BOYD
(beat)
Well what the fuck are we supposed to do?
ADAM
(as if reasonable)
Open the suitcases, unpack the body parts
and reunite the limbs.
FISHER
No way.
ADAM
It has to be done.
BOYD
We have to get going.
ADAM
I am not flexible on this.
PAUSE.
BOYD
Alright. Let's do it.
The guys start breaking down the body parts, ripping open cases...
BOYD
I got her arm.
MOORE
Here's his head.
As the guys put limbs with bodies...
CUT TO:
Dirt being thrown on top of the reunited bodies until they are all
completely buried.
55 EXT. GRAVE SITE 55
As the last of the dirt is packed down by Boyd. The guys stare down
at the grave site.
BOYD
Now I am the last to say that we have
done here is a good thing. It's not.
It's not a good thing. But it was,
given the circumstances, the smart
play. We did what had to be done.
And...well...I'm proud of us. I'm
proud of each and every one of us.
We performed. Under the most complex
and nerve shattering of situations,
we stood fast and we delivered. I
feel proud.
SILENCE.
ADAM
We are all going straight to hell.
Either hell or prison, whichever comes
first.
BOYD
Wrong. That is flat out wrong. Hell is
for cowards, for hypocrites who fear
to live by the strenght of their own
convictions. This is war. Given the
circumstances, and given the fact that
we are alive and they are not, we have
chosen life over death. Two wrongs don't
make a right. So our conviction and
execution would only mean more death
here, not less.
MOORE
Boyd...I don't know man...It just seems
to me that ever since you took Tony
Robbins self-help thing...you're all
fucked-up in the head.
FISHER
I got to agree with that.
BOYD
That is a load of shit. Personal power
has nothing to do with any of this. Tony
Robbins has helped me to unlock energy and
see my options more clearly, yes, but to
give him credit for this, for all of
this...Well that's just more than the man
deserves.
FISHER
I think we should say some words over the
grave.
BOYD
What kind of words?
FISHER
I'm talking about prayer.
BOYD
Go ahead.
Fisher steps to the grave, looks down.
FISHER
Dear God...I don't know how to pray.
MICHEAL
Just go ahead and say what's on your
mind.
BOYD
Speak from the heart my brother.
Adam turns in disgust.
ADAM
This is pathetic.
MICHEAL
You're pathetic.
ADAM
(turning on Micheal)
What did you say?
MICHEAL
(pointing)
You're not a team player.
ADAM
Don't point at me.
MICHEAL
You never were a team player. That's
why you never had any friends.
ADAM
I have plenty of friends.
MICHEAL
The hell you do.
ADAM
The hell I don't.
MICHEAL
You have acquaintances - business
friends and superficial golf buddies.
You have always been a fringe player.
You have some serious male on male
intimacy problems.
ADAM
What are you fucking talking about?
Micheal looks at Boyd.
FISHER
Micheal, now is probably not the best
time for this.
BOYD
No, this is the perfect time. This is
real time. Adam. Your brother and I,
as well as several others present,
have always suspected that you...
(points to Adam)
...are a fully repressed, living in
major denial, locked down, fly-boy
butt-fucker.
DEAD SILENCE. Adam stares stupefied at Boyd, then Micheal. Finally,
Fisher says his prayer.
FISHER
Dear God, please forgive us for what
we have done here tonight. We have
lost our way. Speaking for myself,
let me say...
DISSOLVE TO:
56 INT. MINIVAN - DRIVING 56
Fisher's prayer over the guys driving home. Each lost in his own
thoughts.
FISHER (V.O.) (cont'd)
...I am deeply in love with the woman
I am about to marry and I look very
much forward to raising a family and
being a positive member of society. We
promise, if you forgive us, we will
never forget this tragedy and will try
with all our powers to use it as a
daily reminder that we are here on
earth to do good not evil. Let us
go from this day forward with new
purpose and spirit. You have given us
a second chance and let us take that
second chance and use it as fuel to
feed our fires of productivity so that
the spirits of the two we now bury live
on forever in the good deeds and
positive achievements we from this moment
on shall make our life's work...
Continue as the minivan disappears down the freeway, heading back to
Los Angeles. A freeway sign reads, "Los Angeles, 358 miles."
FISHER (V.O.)
Thank you lord, and again, we ask for
your forgiveness and guidance... Amen.
57 EXT. CAR WASH - DAY 57
Adam watches his mini-van move through the wash and rinse cycle,
staring, paranoid at the Mexican Towel Boy cleaning the interior.
MICHEAL tries to open a child proof bottle of Excedrin.
BOYD plays "Mrs. Pac-man" in the corner.
58 MEN'S ROOM 58
Moore dry heaves for all he's worth.
59 PAY PHONE 59
Fisher finishes dialing, waits...Finally...
LIZ (V.O.)
Hello.
FISHER
Hey. It's me.
LIZ (V.O.)
Where are you?
FISHER
We're on our way home. I just...we're
running a little late.
LIZ (V.O.)
How late?
FISHER
No. Just like an hour or so.
LIZ (V.O.)
What about the chairs?
FISHER
Okay.
LIZ (V.O.)
What okay?
FISHER
What!
LIZ (V.O)
The chairs.
FISHER
I left a message. I think it's going
to be okay.
LIZ (V.O.)
You sound funny. Did you do cocaine?
FISHER
No. No. I'll see you in about four hours.
As he hangs up the phone...
LIZ (V.O.)
(distant; unheard)
Do you love me?
CLICK. Fisher, in a daze, turns and walks into right into Adam who
has been standing there listening. Adam doesn't look so good.
ADAM
I want you to hear me out.
FISHER
What.
ADAM
You and I have done nothing. You
especially. We are innocent.
FISHER
I don't think so.
ADAM
We are. We go to the police. We tell
them the truth. Now. Before they find
out. Now. We save ourselves.
The HISPANIC CAR WASH WORKER beeps the horn, Adam jumps. The van is
ready.
BOYD
Let's go!
Adam stares daggers into Fisher.
ADAM
We save ourselves. It's our only chance.
Adam heads back to the car, leaving Fisher alone.
FADE TO BLACK.
60 EXT. ADAM'S HOUSE - DAY 60
The shiny clean minivan cruises to a stop in front of the house. Adam
Jr., "Little Adam," and Timmy play in the fenced yard along with a
couple of other kids.
61 INT. MINIVAN 61
Adam stops the car. The guys sit in silence as the kids assault the
truck, climbing all over it. Little Adam waves his crutches wildly.
ADAM JR.
(screaming)
Daddy's home! Daddy's home!
Boyd addresses the fellas.
BOYD
The past is the past. Today is the
beginning of the rest of our lives.
MOORE
Today is the best day of the rest of
our lives.
FISHER
(disgusted)
The first day.
MOORE
What?
As Lois, with camera, and Liz, come out the front door.
FISHER
(disgusted & depressed)
It goes; "Today is the first day of
the rest of our lives."
BOYD
However it goes, the point is, nobody
says anything to anyone ever. Right?
...Right?
MICHEAL
Right.
MOORE
That's right.
As the little kids put their lips up to the windows, making funny
faces,
BOYD
You're Goddam right. Adam?
Adam is silent, watching the beautiful chaos that is his family.
ADAM
(reluctant)
Right.
62 EXT. SUBURBAN 62
As the guys get out and are mauled by the hyper kids and Lois and
Liz.
LOIS
(with camera)
Group shot. Here we go boys! Yes sir,
compare and contrast time!
She starts herding the boys into a group pose.
LOIS
Feeling a little HUNGOVER are we?
Do you kids take note?
(taking pictures)
See how pathetic Daddy and his jackass
friends look?!
Fisher makes eye contact with Liz.
LIZ
What's the word on the chairs?
FISHER
I'm working on it.
LIZ
Then you'd better work on it in the
car. We gotta go see the Judge.
63 INT. JUDGE'S OFFICE 63
ON JUDGE LAUREL TOWER.
JUDGE TOWER
We don't say "love, honor and obey"
anymore. And we don't say "till death
do us part." Today we say, "respect,
honor and cherish, as long as you
both do love." How does that sound?
LIZ
I kind of like "till death do us part."
I mean, this is forever. In sickness
and in health, through good times and
bad. Honey, what do you think?
Liz looks at Fisher who is a nuclear wreck, barely coherent.
FISHER
Yea...It's great...seems like...I don't
know you've got all the important stuff
in there.
JUDGE TOWER
All right then. It's refreshing to see
two young people not afraid of real
commitment. Will you have friends or
family saying words - singing or
anything?
FISHER
(beat)
Are we supposed to?
JUDGE TOWER
It's not a question of supposed to,
it's an entirely personal decision...
Some do some don't.
LIZ
We don't think so. I mean, we just want
the singing when I come out.
JUDGE TOWER
Okay great. What will that be?
LIZ
We're just going to have the leader of
the band sing alone with his guitar.
Acoustic.
JUDGE TOWER
What song?
LIZ
"You Send Me."
JUDGE TOWER
Oh I know that. How does it go...
LIZ
You know,
(talks it)
Darling you...you send me...Darling you
...You mend me.
(to Fisher)
Honey, sing it for Judge Tower.
In lieu of an anxiety attack, Fisher...
FISHER
(sings)
"Darli...ing you, ewe ewe ewe, send me,
Darli...ing you, ewe ewe ewe, mend me.
LIZ
"At first I thought it was infatuation
...But oh it's lasted so long..."
FISHER & LIZ
"Now I find myself wanting to marry
you, marry you and take you home..."
Judge Tower joins in and the three squeak out the chorus and it's
pretty pathetic.
MUSIC OVER:
64 INT. TUXEDO RENTAL STORE 64
The guys are being fitted for their wedding tuxes.
Lois takes pictures of the five groomsmen.
Liz closely watches as the TAILOR makes adjustments to Fisher's tux.
Adam looks sick.
65 EXT. SANTA MONICA PIER - SUNSET 65
Fisher and his dad walk along the pier eating hot dogs. A father and
son moment.
MR. FISHER
I wanted to just take this final
opportunity to visit with you. You
know, just to be with you, father and
son, before you run off and do your
own husband, daddy thing.
(starts to choke-up)
I'm just so Goddamn proud of you...God
knows I didn't always play it right
with you...
FISHER
You did all right dad.
MR. FISHER
I could have done it better. I'm a
fucking ball-buster I am.
FISHER
You never walked away dad. You could
have walked away.
MR. FISHER
I'm just so scared of that song. That
fucking, "My son just arrived the other
day...he says thanks for the ball, come
on let's play. I got lots of bills come
again next day. He's grown up just like
me...My boy is just like me." Gordon
fucking Lightfoot, Cat Stevens, whoever,
that song just fucking kills me.
FISHER
Harry Chaplin. "Cats in the Cradle."
MR. FISHER
Just kills me...
FISHER
I love you dad.
MR. FISHER
I love you so much it hurts. Me and your
mother marvel at what you have become.
You're going to have a wonderful journey
with this girl. I feel it deep inside. A
wonderful, magical journey.
(cries again)
And I'm, like I said, just so proud of
how you turned out.
(hugs Fisher)
You go out and knock 'em dead Keith.
Knock'em dead!
Off Fisher we...
CUT TO:
66 INT. ADAM'S OFFICE 66
TIGHT ON A Vegas Newspaper Metro Section slammed down on a desk - A
small article on Tina, the now missing prostitute.
FISHER
Where did you get that?
MICHEAL
At the newsstand on 3rd.
ADAM
(falling apart)
Fucking Boyd. That fucking idiot.
They're on to us.
MICHEAL
They're not on to us. I'm gonna call
Boyd.
Micheal picks up the phone.
67 EXT. SOMEBODY'S YARD 67
TIGHT ON BOYD talking into cell phone.
BOYD
Oh that's just nothing. That's just
a missing persons thing, that's all.
INTERCUT PHONE CALL
MICHEAL
You said nobody would miss her.
BOYD
No. I said nobody knew she was
coming to the hotel.
ADAM
(grabs phone)
Boyd you idiot, the shit's coming down!
BOYD
What does that mean?
ADAM
You got us into this mess.
BOYD
Oh I did? I think it was your little rat fuck
brother who decided to play Hamburger
Helper with the hooker's head.
ADAM
(freaks)
Would you, shush?! These phones aren't secure!
BOYD
Lighten up Adam. Show some character.
ADAM
Don't talk to me about character.
BOYD
Watch the tone fella.
Fisher realizes he's not breathing.
ADAM
Fuck you Boyd!
BOYD
Any time fat boy!
Boyd hangs up the phone, looks at his picture on the realty sign he
just pounded into someone's yard. Behind the bizarre sincere smile we
now see the eyes of a maniac. Boyd picks up the sledge hammer and
swings wildly, destroying his sign, splintering it into kindling.
68 INT. BAKERY 68
Fisher and Liz taste different samples of cake and compare different
cake designs with a BAKER.
69 INT. FLORIST 69
Surrounded by hundreds of different floral arrangements, Liz shows a
zombied Fisher the flowers she's picked for the wedding.
70 INT. LIZ AND FISHER'S NEW HOME 70
A beautiful country style beach house in Santa Monica. Liz, Fisher
and the realtor, MAGGIE, walk into the charming kitchen. Fisher seems
stressed by the price tag.
LIZ
I love it. I just love, love, love,
love it.
MAGGIE
Are you guys gonna fill this place
with kids? You sure got room for them.
LIZ
We're in no hurry. I think we'll take
some time to enjoy each other, enjoy
our freedom before we surrender
ourselves to kids.
MAGGIE
Take your time. I wish I had.
LIZ
(hugs Fisher)
We will.
MAGGIE
So where to on the honeymoon?
FISHER
This is our honeymoon.
LIZ
After the wedding, which we're paying
for ourselves, and this house...
MAGGIE
Smart. Smart. Smart. Think big picture,
take your time. I wish I had.
LIZ
That's our plan.
MAGGIE
Well, I just need your signature on
these contracts and a deposit check so
I can get the ball rolling.
Liz looks at Fisher. She really wants the house. He takes out his
checkbook. Liz throws her arms around Fisher, kisses him.
FISHER
How much?
MAGGIE
Five percent should be fine for now,
which is, let's see, twenty thousand
dollars. Of course I'll be splitting
my commission with your friend.
(beat)
He is a very sweet man.
Liz stares at Fisher. His hand shakes as he writes the check.
71 EXT. GAS STATION MINI-MART 71
Adam, Lois and the kids pull into the mini-mart, up to the gas pump.
72 INT. ADAM'S MINI-VAN 72
Adam, ghost white, fumbles for a credit card as the kids go nuts in
the back seat.
KIDS
(singing)
"Do your balls hang low, do they wobble
to and fro, can you tie 'em in a knot,
can you tie 'em in a bow?"
ADAM
(snapping)
Knock it off!
LOIS
Don't snap at them!
ADAM
They're driving me nuts!
LOIS
They're singing.
A black sedan, looking like an unmarked police car, pulls up nose-to
nose with them at the pump. TWO MEN in dark suits in the front look
like cops. Adam can't help but notice.
ADAM
(getting out)
It's a disgusting song.
73 EXT. CAR 73
Adam slides his card through at the pump and starts filling his tank
as one of the "suits" gets out of the black sedan and does the same.
Adam and the "suit" make eye-contact.
SUIT
How ya doing?
ADAM
(nervous mumble)
What?
SUIT
What's that?
ADAM
What did you say?
SUIT
I said how's it going?
ADAM
I didn't hear you.
SUIT
Well that's what I said.
Adam nods, eyeing his gas pump, willing it to pump faster. His heart
starts to pound, he looks away, sees...
An LAPD police car pull into the station, stops in front of the mini-
mart. TWO COPS inside.
ON Adam, eye-balling the cop car. He slowly turns to steal a glance
at the "suit."
SUIT
How do you like that mini-van?
Adam's tank is almost filled. He wants nothing more than to get out
of there...
Lois rolls down the window.
LOIS
Honey, go in there and get some
Starbursts.
ADAM
What?
LOIS
They're screaming for Starbursts.
ADAM
Later.
LOIS
They're screaming like monsters and
it's giving me a headache. Go get some
fucking Starbursts.
Adam looks from the suit to the cop car...
ADAM
Fine.
TRACK with Adam as he walks from the pumping across the parking lot,
past the cop car, his HEART POUNDING...
74 INT. MINI-MART 74
Adam quickly searches the candy section for Starburst. He looks out
the window...
ADAM'S POV
The "suit" has finished with the gas but he's not leaving...He's
taking a close look at Adam's van. He seems to be checking the
license plate...
ADAM
Oh my God.
Adam is blocking the aisle. He doesn't notice a YOUNG UNIFORMED COP
trying to get past.
COP (O.S.)
Excuse me.
Adam turns, panics, stumbles back, into the candy display and topples
to the ground. ADAM lies flat on his back in a monster mess of candy.
COP
You okay?
Adam scrambles to his feet, trying frantically to fix the major mess
- only making it worse. The IRANIAN STORE CLERK approaches, pissed.
CLERK
Just leave it!
ADAM
(determined)
It's okay.
CLERK
Leave it!
Startled by his tone, Adam staggers back, into a Gatorade display,
slips and topples to the ground.
CLERK
GET OUT!
ADAM
(on his back)
I'm sorry.
They young cop gives Adam a hand up. Adam stares at the cop.
ADAM
(tears in his eyes)
I'm sorry.
CLERK
GET OUT!
Adam scurries out of the Mini-Mart, the Cop watches in confusion.
75 EXT. MINI-MART 75
As Adam races back to his car, the "Suit" moves in on him.
SUIT
The wife's begging me for one. How's
the mileage.
Adam jumps in the van, quickly starts it up.
LOIS
Where's the candy?
ADAM
There is no candy!
LOIS
What do you mean? It's it's a Goddamn
Mini-Mart?!
KIDS
Dad?!
Adam, in a cold sweat, hauls out of the Gas Station, pulls into
traffic, nearly gets hit, slams on the brakes, Lois rockets FACE-
FORWARD into the dashboard.
76 FISHER & LIZ'S REHEARSAL DINNER - COCKTAIL RECEPTION 76
SERIES OF SHOTS:
Fisher and Liz greet their guests.
Moore smokes alone at the bar.
Boyd and Micheal charm a group of OLD LADIES.
Adam arrives with his family, Adam Jr., Timmy and...
Lois sporting a nose cast and two very black eyes.
Boyd and Adam check each other out; hostile and suspicious.
Adam takes Fisher aside.
ADAM
Have you thought about what I said?
FISHER
Jesus Adam, can we not get into this
now please?
ADAM
I got a migraine like a little monkey
kicking in the side of my skull, Mike
Tyson with a fucking sledge hammer
trying to crack...
FISHER
(cuts him off)
I got you.
ADAM
(dazed)
Where's the bathroom?
77 INT. REHEARSAL DINNER - NIGHT 77
A large dining room in a Westside restaurant has been taken over by
the wedding party. Seventy-five guests, dressed up, are into the
desserts. The toasts are about halfway over.
MR. FISHER stands in the middle of the room with the large blown-up
pictures of Keith at different stages of his life.
MR. FISHER
(holding picture of Keith, age 4, on a mule)
And this is Keith at age four and his best
friend "Bunker the Mule." Evidently, when
they were in camp, Keith and Boyd got into
some serious arguments over exactly who
was Keith's best friend - Boyd or the mule.
Mr. Fisher holds up a photo of a young Fisher and young Boyd, both
scrappy and bloodied from a fist fight.
Boyd sits with Moore at a table.
BOYD
Fisher had a less than normal relationship
with that Donkey.
FISHER
(seated next to Liz)
You always were a jealous man.
Mr. Fisher holds up a picture of Keith, Boyd, Moore and Micheal all
in a Peewee Football uniforms.
MR.FISHER
After camp came football, and for those
of you not following the sports pages
back in 1977, you might not remember
the Peewee Powerhouse Oklahoma, who,
under the brilliant leadership of your's
truly, rolled to an auspicious league
record of 0-12 scoring exactly zero
touchdowns.
TIGHT ON Adam, looking extremely uncomfortable, surrounded by his
family.
MICHEAL
The problem was coaching. Poor leadership.
As the room LAUGHS, Adam becomes visibly upset. Not keeping it
together.
BOYD
The problem was our quarterback had
trouble remembering his right from left...
FISHER
No, the problem, as I recall, was the
lack of blocking...
As the guys debate, in front of the room, who's fault Oklahoma's 0-12
season really was.
TIGHT ON Adam. He's had enough, excuses himself from the table.
TIGHT ON Fisher, seeing Adam, he quietly excuses himself.
78 EXT. BEACH RESTAURANT - NIGHT 78
Adam stands by his car trying to compose himself. Fisher approaches.
FISHER
You all right?
ADAM
I can't fucking breathe. I'm sorry.
Boyd, followed by Micheal exits the restaurant.
BOYD
(approaching)
OK. Definitely not cool! Definitely
inappropriate behavior here.
FISHER
Shut up Boyd.
BOYD
Negative. This is not what we have worked
out in terms of presented behavior.
FISHER
He's having a problem here.
MICHEAL
What's the problem Adam?
Moore joins the group.
MOORE
What's the problem?
Al eyes on Adam, who's eyes are starting to tear up.
BOYD
What is your problem?
ADAM
I can't do this.
PAUSE.
MOORE
Can't do what?
ADAM
We're gonna get caught. I know we're gonna
get caught. They were eyeballing my car.
BOYD
What?
ADAM
At the seven-eleven.
BOYD
Who? What are you talking about?
ADAM
They're on me. They're smoking me out!
BOYD
(shouts)
Nobody's smoking anybody out.
FISHER MOORE
Shut up. Quiet.
Liz is at the door of the restaurant.
LIZ
Keith? Is everything okay, honey?
Fisher bolts over to Liz.
FISHER
Yeah baby. Everything's great.
LIZ
Well, can you come back inside?
FISHER
(not moving)
Yeah. Sure.
LIZ
Now?
FISHER
Yeah. Look honey, I'll be right in. I
just...we're just taking care of some
Groomsmen last minute business.
Mr. Fisher approaches.
MR. FISHER
Everything okay?
FISHER
Yeah, Dad. It's great.
MR. FISHER
Well, I'm in the middle of my Goddamn
toast here.
FISHER
OK, OK. You guys just go back in. Dad,
keep going with the toast, we'll be right
in. Go on.
Fisher ushers his father and Liz back inside, then turns, to quickly
head back to the parking lot where things are escalating.
PARKING LOT
BOYD
(on Adam)
You got some mighty fucking fine bad
timing Adam. We got a rehearsal situation
here.
ADAM
I don't give a damn.
MICHEAL
About anybody but yourself. You never
have.
ADAM
And you're a little fucking reject.
MICHEAL
Eat my ass!
Micheal kicks Adam's minivan
ADAM
Hey!
Micheal kicks it again, harder. Adam shoves him.
ADAM
If you ever touch my minivan again, I'll
make you sorry. Real sorry.
MICHEAL
You're a loser.
ADAM MICHEAL
You're the loser! A big You're the loser! You think
Black hole sucking up your shit's so fucking
Everything you touch! Righteous! FUCK YOU! You were
YOU MURDERED THAT GIRL! There with us, boy! Right
MURDERER! MURDERER! There! SIDE BY FUCKING SIDE!!!
FISHER
Shut up!
BOYD
Shut your fucking mouths!!!
Boyd and fisher separate the brothers.
ADAM
(freaking)
I didn't do anything! I'll turn your
pathetic ass in!
BOYD
Adam! Calm down.
ADAM
I won't calm down. I can't do this. We
can't do this. It won't work. It will
not work.
BOYD
It has worked.
ADAM
I'm talking about DNA samples, fiber
optics, search parties, they got infrared
scanners, FBI scientists. They figure this
shit out. They always figure it out.
BOYD
They won't figure it out.
ADAM
I got children. I've got a life.
MICHEAL
You got a retarded kid and a fat pig wife.
ADAM
You fucking bastard!
Adam attacks Micheal, slashing, biting, mauling, the brother's go
down hard, slugging it out on the ground.
EXT. RESTAURANT
Liz is back at the restaurant door.
LIZ
Keith?!
Fisher bolts over to Liz.
FISHER
Everything's OK. Just some more
preparations.
LIZ
Are they fighting?
FISHER
No baby. We'll all be right in.
Fisher pushes her inside and charges back to the...
PARKING LOT
Fisher helps break the fight. Adam and Micheal try to contain their
rage.
BOYD
This is going to stop right now.
Right now!
MICHEAL
(seething)
You will not screw this up.
ADAM
Don't you threaten me you little rat fuck.
MICHEAL
Don't you fucking threaten me - I'll
fucking kill you.
ADAM
Go home!
MICHEAL
You go home!
Boyd pulls Micheal to his car.
BOYD
Why don't you just cool out. Go home and
go to sleep.
Boyd opens Micheal's car door, puts him in.
BOYD
Just go home, chill the fuck out. Okay?
Micheal starts his car. Boyd shuts the car door.
BOYD
Just go home.
MICHEAL, eyeballs Adam. Adam eyeballs him right back. Micheal hits
the gas and screeches away.
BOYD
All right. Let's all go back in. Adam?
You're cool right?
ADAM
No. I'm not Boyd. I am not cool at all.
Reluctantly, they start back in.
A hundred or so feet away, Micheal's car comes to an abrupt stop.
They all turn. Micheal turns his car around, idles for a moment.
INT. MICHEAL'S CAR
Micheal in a trance, staring at the guys watching him.
MICHEAL
Mr. Fucking Minivan...
He hits the gas.
EXT. PARKING LOT
Wheels spin, rubber burns. The guys watch as Micheal speeds full
throttle, like a battering ram, right at Adam's beloved minivan.
ADAM
NOOOO!!!!
Adam jumps between the minivan and Micheal's car.
INT. MICHEAL'S CAR
Micheal's expression turns to horror. He slams on the brakes, but
it's too late.
EXT. PARKING LOT
Micheal's car crushes Adam like a sandwich meat between his car and
the minivan. Metal, flesh, severed limbs, Adam explodes like a gnat.
CUT TO:
THE HORRIFIED EXPRESSIONS OF BOYD, MOORE AND FISHER
79 INT. UCLA EMERGENCY - WAITING ROOM 79
Chaos. The room is filled with people from the Rehearsal Dinner.
Black-eyed, nose broken, LOIS sobs, surrounded by her kids and Liz.
Boyd and Fisher talk to the POLICE.
BOYD
It was just a crazy freak accident. He
thought the car was in reverse... He
didn't realize.
The COP takes notes.
MICHEAL sits in a corner by himself. Ghost white. Trembling.
COP
Was there some sort of an argument?
FISHER
No. Nothing like that.
COP
We heard there was some arguing going
on. Some loud talk.
BOYD
No. No. We were just all outside just
talking.
COP
What were you talking about?
BOYD
The wedding. We were talking bout how
it was going to be one of the last times
for us to all be together with Fisher
not being married...
COP
A lot of people seem to think there was
some hostility out there.
BOYD
(getting righteous)
Well I can't really comment on what "a
lot of people" thought. I can only tell
you that we had a horrible accident here
and we're all feeling extremely
traumatized and your questions are a bit
poorly timed. We're in full on grieving
mode right now thank you very much Officer
...Randone.
FISHER
Easy Boyd.
BOYD
No easy Boyd! I got a best friend in there
in pieces. How about a little sensitivity?
Boyd storms off, goes and sits with Micheal. Fisher stays with the
cop.
COP
That's all I wanted to know.
A DOCTOR appears in the doorway.
DOCTOR
His situation is critical. He's asking to
speak to his wife.
SHOTS of the guys eyeing each other nervously as Lois slowly gets up
and follows the Doctor into a treatment room.
The guys move to the door, where they can see Lois, leaning over the
hospital bed, talking to Adam.
POV GUYS
Adam hooked up to dozens of wires, etc...
Lois leans over to kiss him. Adam appears to be whispering something
to her.
ON THE GUYS
Watching Adam speak to Lois...Nervous.
POV GUYS
Lois has her ear to Adam's mouth. He is clearly speaking to her. Lois
is sobbing when...ALARMS GO OFF IN ADAM'S ROOM.
A MEDICAL TEAM rushes into the room. Adam is a v-tach - Heart's not
beating. The team injects medicine, defribulates. Lois watches in
horror as her husband dies in front of her...Finally a DOCTOR calls
time of death.
Lois collapses on the floor.
WAITING ROOM
The guys have witnessed Adam's death. Micheal turns in horror. Boyd,
Fisher and Moore stare. Liz rushes to Fisher, throws her arms around
him, overcome with grief.
80 INT. DENNY'S - LATE NIGHT 80
Fisher, Boyd, Moore and Micheal eat eggs.
BOYD
The need to know is clear. What did
Adam tell Lois? That's the name of the
game. What did Adam tell Lois? What
does Lois know?
MICHEAL
Ball park sausages.
BOYD
You want some breakfast meat. Micheal.
Is that what you want?
MICHEAL
(clearly starting to crack)
Franco Harris has a flare for the dramatic.
The former Pittsburgh Steeler running back,
beat known for "The Immaculate Reception,"
his improbable sixty yard Ricochet
Reception. I say Ricochet Reception has
made a bold move on corporate America.
(inappropriately loud)
Harris has lead a group of investors in
the purchase of the Park Sausage Company.
By taking on the challenge of resurrecting
Park's, Harris is engaged in the equivalent
of a sudden death overtime.
BOYD
Easy Micheal.
MICHEAL
(on a roll)
He must take an open-field run to
profitability through excessive debt large
competitors and dwindling market share.
Before the clock runs out.
CUSTOMERS are starting to pay notice.
MOORE
Shut up Micheal.
MICHEAL
(screams)
I KILLED MY BROTHER!
All eyes on Micheal. Boyd is immediately up trying to get Micheal out
of the booth. Casually, sweetly...
BOYD
Okay. Time to fly.
Fisher helps Boyd lift Micheal, who is becoming more and more
frenzied.
MICHEAL
I ran down my brother in cold blood.
Shame on me! Shame! Shame! Shame!
WAITRESSES, COOKS and LATE NIGHT DINNERS stare, confused as the
HOWLING Micheal is carried to the door.
MICHEAL
(struggling)
Time to pay the man. "For if we confess
our sins he is faithful and just, to
forgive us our sins, and to cleanse us
from all unrighteousness."
Fisher and Boyd struggle with Micheal.
FISHER
(tipping Waitress)
Thank you.
She watches them haul Micheal outside.
POV WAITRESS
Micheal thrashes wildly in the parking lot.
81 EXT. PARKING LOT 81
MICHEAL
"Kill one man and you are a murderer!
Kill millions and you are a conqueror -
Kill all and you are a God!"
Micheal breaks free, starts running away. Boyd, Moore and Fisher give
chase. Moore dives on Micheal's back. Fisher helps Moore hold Micheal
down while Boyd gets the car.
MICHEAL
(calming down)
"The memory of the just is blessed but
the name of the wicked shall rot."
Boyd is there with the car. They load Micheal into the back seat,
climb in and disappear into the night.
82 INT. CAR - DRIVING 82
Boyd drives, Fisher rides shotgun, Moore's in the back trying to
contain Micheal.
BOYD
You will get yourself together here
mister. Are you hearing me?
Micheal, now catatonic, stares out the window.
FISHER
He's cracked up.
BOYD
He is not cracking up.
FISHER
Boyd...What have we done?
BOYD
What did you ask me?
FISHER
What?
BOYD
What is the question you asked me?
FISHER
I said, what have we done?
BOYD
Yes, you did. Now that is the question!
That is exactly the question we should
be asking ourselves. You tell me Fisher.
What have we done?
FISHER
I don't know! I just want to get married.
BOYD
Say it again.
FISHER
What?
BOYD
What you just said. Say it again.
FISHER
I just want to get married.
BOYD
Exactly! Exactly my point.
MOORE
What's your fucking point?
BOYD
I'm not talking to you?
FISHER
What's your point?
BOYD
You want to know what you are doing here?!
You are love pumping. You are protecting
all that is sacred and beautiful and in
sync with poetry and sunsets and little
newborn babies. You are walking the walk.
This is it Fisher, the real stuff. You
love this woman. Love is second to
nothing. I love you. I love Moore. I love
Micheal. This car is full of love, and
nothing - absolutely nothing - supersedes
love, man. Nothing. We will do what it
takes. Whatever it takes.
Boyd takes Fisher's head in his hands and kisses him deeply on the
mouth.
BOYD
Love does not lose.
TIGHT ON Fisher, speechless.
FADE OUT.
FADE IN ON:
83 ADAM'S FUNERAL - GRAVE SITE 83
A Jewish ceremony. A hundred or so guests. A RABBI conducts the
service. Lois sits in shock flanked by her boys.
Micheal, Fisher, Boyd and Moore stand in positions of honor up front.
They're all eyeing each other.
Micheal starts emitting deep, uncontrollable, highly inappropriate
MOANS.
BOYD
Easy Micheal.
Micheal can't control himself as his body starts to seize and
tremble. Moore and Boys attempt to stabilize Micheal who breaks away,
charges over to Lois and buries his head in her lap sobbing deeply.
Everyone is stunned but the Rabbi Continues.
84 INT. KITCHEN - NIGHT 84
Liz and Fisher.
LIZ
(hysterical)
Cancel?! Cancel?! Are you out of your
fucking mind?!
FISHER
Nobody's saying cancel. I'm talking
about modifying.
LIZ
No way.
FISHER
Can we just talk this out?
LIZ
Talk what out? We are locked and loaded
here. We are non-refundable. I've got
relatives on the airport right now! I've
got...
The phone RINGS. Fisher freezes.
LIZ
Answer it!
Fisher picks up the phone.
FISHER
Hello?
85 INT. LOIS' HOUSE 85
Lois on the phone, near hysteria.
LOIS
Keith. It's Lois. I just found a note
up in Adam's study. It's some kind of
crazy confession about killing a
stripper and cutting up bodies and...
86 INT. CANTERS COFFEE SHOP 86
TIGHT ON FISHER
FISHER
(explaining)
...burying them outside of Vegas, about
Boyd being the ring leader...She wants
to know what the hell is going on and
I'm starting to freak out here.
Boyd, Moore and Micheal, looking particularly traumatized, are seated
at a booth with Fisher.
MICHEAL
We're goosed.
BOYD
We're not goosed.
MOORE
What's goosed?
BOYD
What is her disposition?
FISHER
Regarding what?
BOYD
Does she sound pissed, scared, hostile?
Did she mention the police?
FISHER
No, but she's definitely pissed and
hostile. And she's clearly starting to
think that's something's not right.
Micheal starts sobbing uncontrollably.
MICHEAL
We're goosed! Goosed by God!
BOYD
Micheal get a grip.
(to Fisher)
What did you tell her?
FISHER
I told her that I have no idea what Adam
was talking about in that letter.
MOORE
Did she believe you?
FISHER
I have no idea.
MOORE
You can tell when people believe you.
It's obvious.
FISHER
Well I don't have that skill and if I had
to guess I would say that in no way did
she believe me.
MICHEAL
(screaming)
Goosed!
BOYD
Stop it!
MICHEAL
Goosed!
People are staring.
BOYD
Stop.
MICHEAL
Goosed!
BOYD
(to Moore)
Give me the Valium.
MOORE
He just had two.
BOYD
Give me two more.
Moore counts out two Valium, hands them to Boyd as Micheal continues
to freak.
BOYD
(to Micheal)
Open sesame.
Micheal complies like a puppy.
FISHER
Jesus Boyd you're going to O.D. him.
BOYD
Suck my ass.
87 INT. LOIS' KITCHEN 87
TIGHT ON Lois, busted nose, eyes black.
LOIS
I never liked you Boyd. You're a snaky
little fuck. Always have been.
WIDE ON the guys, seated around a little breakfast table. Micheal's
in a Valium stupor.
BOYD
What are you talking about?
LOIS
Don't sweet lip me.
BOYD
I don't understand where this personal
attack is coming from...
LOIS
You're a liar. I want to know what
happened in Vegas.
BOYD
Nothing happened in Vegas.
LOIS
I don't want to hear it from the liar.
Stick a plug in it Boyd. Fisher? What
happened in Vegas?
FISHER
(beat)
Nothing happened in Vegas.
LOIS
(not buying it)
Moore?
MOORE
(sheepish)
Nothing happened.
Micheal starts back in with the power sobbing. All eyes are on him.
Guilty, uncomfortable silence. Micheal's coming unglued.
LOIS
Micheal? Do you have something to tell
me?
BOYD
Micheal. Tell Lois that nothing...
LOIS
Shut up Boyd! Micheal?
All eyes on Micheal.
MICHEAL
(quiet)
Goosed.
Fisher struggles to breathe. Boyd tenses up.
LOIS
What?
MICHEAL
Lois we were bad, we were very, very
bad.
BOYD
He's upset about Adam. We're all upset.
LOIS
I will call the police right now if I
don't start getting some answers.
BOYD
Lois please.
Lois heads for the phone.
LOIS
Fuck you Boyd.
The guys are freaking as she picks up the phone. Boyd looks at the
kitchen knives. Fisher sees him, intervenes quickly...
FISHER
Okay. Lois...here's the deal.
(beat)
Adam was with a prostitute in Las Vegas.
Lois freezes, puts down the phone. Boyd and Moore look stunned at
Fisher - good lie.
LOIS
What?
FISHER
I'm sorry he was unfaithful to you.
BOYD
And it wasn't the first time...He had a
thing about prostitutes.
Fisher gives Boyd a look. Lois starts to choke up.
LOIS
(crushed)
My Adam?
Lois crumbles before their eyes.
BOYD
We're sorry.
Lois starts sobbing. Micheal joins in. Adam Jr. and Timmy appear in
the door, in their pajamas, awakened by the noise. Seeing their
mother in tears, they start to sob. The room is filled with anguished
tears. Boyd give Lois a glass of water and a Valium.
88 EXT. LOIS' HOUSE 88
Fisher and Moore load Micheal into the car. Boyd leans into the back
window. Adam Jr. and Timmy are in the backseat, still in their
P.J.'s.
BOYD
Mommy just needs a little time out.
Everything's gonna be okay. Okay?
(the boys don't answer)
Okay.
Fisher starts to get in the car, Boyd pulls him aside, very wound up.
BOYD
After you drop the kids off, take
Micheal home. Put a few drinks in him
so he'll sleep.
FISHER
I don't think that's such a good idea.
BOYD
Just do it.
FISHER
What are you going to do?
BOYD
Take care of business.
FISHER
(accusing)
What does that mean?
BOYD
And what does that mean?
(off no response)
Are you insane?!
(whispers)
You think I would hurt Lois?! She's
the mother of those kids! What is
wrong with you?
FISHER
I don't know...
BOYD
You got a nasty side to your thought
process.
TIME CUT TO:
89 INT. FISHER AND LIZ'S HOUSE 89
TIGHT ON Fisher.
FISHER
I'm sorry. Honey...it's just for tonight.
Liz is in her robe, none to pleased. Adam Jr. and Timmy sit in the
b.g. at the kitchen table eating cookies and milk.
FISHER
Lois is a mess and Micheal's really
upset. Everyone's upset.
LIZ
We're not canceling.
FISHER
I know.
LIZ
I won't even discuss it.
FISHER
No one's discussing it. I'm just gonna
run Micheal home. I'll be right back.
LIZ
I need you to pick up the cake tomorrow.
FISHER
Don't we already have someone to do that
for us?
LIZ
Yeah. You.
FISHER
Okay. Okay.
Fisher kisses Liz and goes.
90 INT. BAR 90
Dark, smoky, MUSIC. Micheal, Fisher and Moore sit in a corner booth.
MICHEAL
(finger in his ear)
Do you hear buzzing Fish?
FISHER
Buzzing?
MICHEAL
Yeah. I got some kind of buzzing.
Like a zzzzzzzzzzzzzzzz thing just
chipping away in the back of my skull.
FISHER
I don't hear it.
MICHEAL
Yeah, well, it's a nasty problem.
FISHER
Have another drink.
91 INT. ADAM AND LOIS' HOUSE - NIGHT 91
TRACKING SHOT down hallway into bedroom where Lois sleeps peacefully.
92 INT. BAR - NIGHT 92
Fisher and Micheal. Moore, drinking, just listening.
MICHEAL
Dad used to bring home these sparklers
to me and Adam. Out back we'd light 'em
up. The three of us. We'd hold 'em up
to the sky and watch the explosions of
light. Sparks. And dad would be all...
"Get ready"..."watch for it"..."here it
comes," here comes the "wahoo".
FISHER
The wahoo?
MICHEAL
The sparkler would burn hot, then
hotter, then even hotter...and there
would be one moment of pure burn when
that little fucker would cook just
perfect. Perfect. It would only last
a second, but that second was it. It
was it. That's what dad had us looking
for...You get me?
FISHER
The wahoo moment?
MICHEAL
That's my point! You see Man...burning
at his absolute. To see all the forces
just come tog>
Transfer interrupted!
just in perfect harmony. That's what I'm
driving at. You get me?
FISHER
I think so.
MICHEAL
I've been looking for that flash and I
look and I look and I can't find it.
And what if I already had it? You know.
My moment? What if it's gone? And I
never saw it?
(finishes drink)
You're getting married, man. That's a
fucking beautiful thing. Just a
beautiful thing. I just can't stop
breaking beautiful things.
93 INT. LOIS' HOUSE - NIGHT 93
Lois' bedroom. As Lois sleeps, Boyd softly enters the room. Moving in
on the sleeping Lois, another couple of steps, he looms over her,
reaches his hand to her throat when, suddenly, Lois' eyes snap open.
Boyd is startled. Lois grabs mace from her night stand and sprays
Boyd in the face. He MOANS, stumbles back. Lois leaps on him like a
shark slamming a side of beef.
They go down hard on the floor and start fighting like wild animals.
LOIS
You picked the wrong woman mother-
fucker!
As Lois sinks her teeth into Boyd's balls.
94 BACK AT THE BAR 94
MICHEAL
You see for me it's over. Over baby.
I'm gonna turn myself in. After the
wedding of course. After the wedding.
Out of respect.
MOORE
I don't think that's a good idea.
MICHEAL
I said out of respect. Respect for you
Fisher. For you and your wedding and
your beautiful bride. There will be no
more rain. You see where I am here?
FISHER
I appreciate it. I do, but...Maybe you
ought to just ease up om yourself a bit.
MICHEAL
No. No. No. This is my doing. You see
I'm gonna have my wahoo spark for my own.
For Lois and the kids, for my brother,
for Franco. I'm gonna turn myself in. I
am all that. I'm gonna do it for sweet
Lois.
95 LOIS' BEDROOM 95
Boyd and Lois are choking the living shit out of each other. Boyd
pulls back, swings with a left, Lois ducks, she swings, a right cross
to Boyd's eye. He goes down. She jumps on him. Choking him like a mad
dog. As Boyd struggles for air...
96 THE BAR 96
Fisher checks his watch as Micheal fumbles with his eighth shot of
Yukon Jack.
MICHEAL
If I was to think...If I were to think...
No I mean I have thinked it over...I
have. And without putting a lot of
pressure on you I just...Well I just...
FISHER
What is it?
MICHEAL
(drunk-slow)
Well if you do think about names...
Micheal's a pretty good one...It's done
me all right.
Micheal's eyes bore into Fisher, like he knows something Fisher
doesn't. Fisher's cell phone RINGS.
FISHER
(answers)
Yeah.
97 INT. LOIS' BEDROOM 97
TIGHT ON Boyd, eye swelling, scratch marks, hair a crazy mess.
BOYD
(into the phone)
Okay. Here's the deal and it's a good
one. Lois is cool. It's a pacified
situation.
98 INTERCUT BOYD AND FISHER 98
FISHER
What does that mean?
Micheal stares at Fisher.
BOYD
I'm talking about Lois having relaxed
her anxiety. Only deal is...you still
got Micheal there?
FISHER
Yeah.
BOYD
Good deal. Lois just wants to hear it
from Micheal.
FISHER
Hear what?
BOYD
That it was all an accident. She wants
to hear it from Micheal's mouth.
FISHER
Now?
Micheal drunkenly nods his head as if can hear the conversation.
BOYD
That's right.
FISHER
Isn't it a little late?
BOYD
Hold on a sec.
(turns)
Lois, you sure you wouldn't rather do
this in the morning?
PAN OVER to see Lois, half hanging off the bed, strangled to death.
Boyd won.
BOYD
(back into phone)
She says now's the time.
(quietly)
I got a peace treaty thing happening
over here...let's get this over with.
99 EXT. LOIS' HOUSE 99
Fisher's car pulls up. Boyd is waiting outside. He opens the back
door. Micheal is drunk in the back. Fisher and Moore are up front.
BOYD
Okay Micheal, let's go.
(helps him out)
Upsy daisy big guy.
MICHEAL
(hammered)
How about my Fatburger?
BOYD
Come on tough guy. Listen to me.
(takes Micheal's face in his hands)
You are going to tell Lois that it was
all an accident. Okay cowboy? You got me?
MICHEAL
I love you.
MOORE
He's too drunk.
BOYD
He's fine. Okay Mikey, let's go.
(to Fisher and Moore)
You guys stay here.
Boyd leads Micheal into the house.
100 INT. CAR 100
Fisher and Moore wait in silence...
MOORE
(beat)
I'm thinking about maybe making a move.
FISHER
A move?
MOORE
Greenpeace.
FISHER
Greenpeace?
MOORE
Maybe go up to the North Pole, the Arctic.
Tag polar bears with dart guns. I've
always had a pretty good aim...
A "POP" resounds from within the house. Moore and Fisher lock eyes,
frozen.
Boyd comes jogging out the front door, hops in the back seat. Fisher
and Moore turn, eyes wide.
BOYD
Micheal was having an affair with Lois.
That's what Micheal and Adam were arguing
about in the parking lot. Micheal killed
Adam in a jealous rage. Lois broke it off
with Micheal, he strangled her to death
and then shot himself in the head.
(beat)
Happens all the time.
Boyd touches the painful scratches on his face.
BOYD
That Lois fought like a fucking Comanche.
ON Fisher and Moore in stunned horror...
101 INT. LAW FIRM 101
TIGHT ON BARRY MORRIS, mid-40's, attorney.
BARRY MORRIS
I don't see how this could have been
kept from you. The facts are quite simple;
last month Adam and Lois changed their
will. They requested that you two, as a
married couple, be the Custodians of
Record for their estate including all
properties, cash holdings, security
holdings and...children. You are legal
custodians of the Brenn Trust.
ANGLE ON
Liz and Fisher, flanked by Adam Jr. and Timmy, eyes wide, they sit
across from the attorney, totally bazooka'd. They stare in horror at
Morris.
LIZ
My god.
BARRY MORRIS
There's more.
FISHER
More?
BARRY MORRIS
Adam and Lois were not terribly prudent
in terms of providing for the possibility
of the unforseen.
FISHER
What are you talking about?
BARRY MORRIS
I'm talking about Life insurance. I'm
talking about money.
LIZ
Money?
BARRY MORRIS
Yes money. Adam had a five hundred dollar
Term Life Insurance Policy.
PAUSE.
LIZ
What does that mean?
FISHER
That means we get five hundred thousand
to help raise the kids.
LIZ
(amazed)
No.
FISHER
Yes.
BARRY MORRIS
Actually, no. Adam was switching to a
Whole Life Policy, but re-scheduled his
medical exam...and failed to make his
last payment...so his Term Life lapsed.
So it's value is null and void.
(off Liz's horror)
Now he did have a pension account, worth
another 150 thousand.
LIZ
(relieved)
Well, oh...
BARRY MORRIS
And a house. Valued at 350 thousand.
LIZ
So where's that leave us?
FISHER
150 plus 350...we still get 500 thousand.
BARRY MORRIS
(beat)
No. Not even close. With property values
down, the house is worth 100,000 less
than 450 he paid for it. With three
credit cards, the minivan payments, and
other outstanding debts...Plus the
Income and Estate Taxes assessed on his
IRA...
(punches his calculator)
You'll get, oh...in the neighborhood of,
ah...14,223 dollars.
Adam Jr. suddenly slips off his chair, lands flat on his back, starts
struggling to get up. Fisher tries to help Little Adam up.
LITTLE ADAM
Get away from me!
FISHER
I'm just trying to help...
LITTLE ADAM
I don't want your help!
FISHER
Stop kicking. Stop kicking!
Fisher manages to get Adam Jr. back up in his chair. Liz looks rather
horrified.
BARRY MORRIS
(breaking the tension)
So. When is the wedding.
LIZ
Tomorrow.
(at Fisher)
We are getting married tomorrow.
102 INT. CAR 102
Fisher drives, Liz up front, Adam Jr. and Timmy in the back. Everyone
is shocked in silence. Fisher looks deathly ill, like he's about to
vomit. He pulls the car over and gets out.
103 EXT. FISHER'S CAR 103
Fisher leans on the trunk, puking. Liz gets out to help him, he
starts crying. Liz is gentle and loving.
LIZ
It's okay...It's okay baby. Cry for
Mama. Cry for Mama.
FISHER
No it's not okay. It's not.
The kids watch from the rear view window but can't hear.
LIZ
Cry for Boom Boom. It's okay.
FISHER
(sobbing)
Liz we've got to cancel, we have to
put it off.
LIZ
(ice)
Don't even.
FISHER
Do you love me?
LIZ
What?
FISHER
Do you love me?
LIZ
What kind of stupid question is that?
FISHER
(breaking down)
Oh God. We. Liz. We. We. Killed a
woman. We...
LIZ
What are you talking about?
FISHER
(completely hysterical)
Oh Liz. We. God. We, in Vegas. Micheal
crushed her skull. She was dead. There
was nothing else to do. It was an
accident.
LIZ
Who's dead?
FISHER
The prostitute.
LIZ
You fucked a prostitute?
FISHER
No Micheal did. It was an accident.
LIZ
You killed a prostitute.
FISHER
Micheal, by accident.
LIZ
Call the police.
FISHER
It's too late.
LIZ
My God. You've got to call the police,
tell them it was an accident. Where is
she?
FISHER
She's in the desert. She's out in the
desert.
LIZ
You left a dead prostitute out in the
desert? Alone?
FISHER
She's not alone...She's...Boyd...Oh
God...He's gone nuts...He killed Lois
and Micheal...it's all...
LIZ
Stop! You stop right here. I don't want
to know anymore. I told you not to do
this Bachelor Party thing. You were
warned.
FISHER
But...
LIZ
No buts. I told you your friends were
Jackasses.
FISHER
But...
LIZ
No buts. I've waited twenty-seven years,
twenty-seven years I have focused and
prepared to walk down that aisle. I will
not be derailed! I will not be embarrassed!
I will not be denied! I am walking down
that aisle tomorrow come hell or high
fucking water!
Liz marches back to the car, gets in and slams the door. Fisher just
stares in shock.
104 EXT./INT. CHURCH - FISHER AND LIZ'S WEDDING 104
It's pouring rain outside.
Shots of guests dashing from their cars to the church.
Fisher's parents with Adam Jr. and Timmy, looking overwhelmed.
Upstairs: Liz and her Bridesmaids help Liz get dressed. Everyone
looks depressed.
105 INT. CHURCH BASEMENT 105
Fisher and Moore in tuxedos. Boyd enters, shuts the door. Fisher
looks ill.
BOYD
Okay, we're about two minutes out. Moore,
better take your position.
Moore looks at Fisher.
BOYD
Chop chop.
Moore goes. A long tense BEAT between Fisher and Boyd.
BOYD
This is a situation that defies
judgement. We have acted and showed
courage that is not of a kind known by
most.
FISHER
I'm getting really tired of your
bullshit.
BOYD
My what?
FISHER
You've got a warped thought process.
Your brain doesn't function properly.
BOYD
You care to add a little specification
to that slanderous accusation?
FISHER
(snaps)
I'm talking about some bad, bad, very
bad things. Bad things! Those are bad
fucking things!
BOYD
Okay fine.
FISHER
Fine? Fine what?
BOYD
Whatever you say Kojak.
FISHER
I'm serious.
BOYD
I'm serious. I'm the serious one here.
I'm the one making the play. I'm the
Indian Runner. And I want my money.
106 INT. CHURCH 106
The organ is playing. The guests are seated. Liz and her father are
waiting in the front hall.
LIZ
I told Boyd two fucking minutes!
107 INT. CHURCH BASEMENT - CONT'D 107
FISHER
What money?
BOYD
Blood money. Insurance dollars that
you have thus fucking far decided not
to tell me about at all. In no way
have you mentioned that money. And I
find that to be very very offensive.
FISHER
You're sick.
BOYD
(veins pulsing)
And if you think you can fuck me,
don't. Cause I'm fucking insulated
Fisher. Protected. Backed up on
floppy. Do you get me? I want my
fucking money!
FISHER
Not a prayer.
BOYD
I'm a lifesaver. A lighthouse. Up
all night in the rain, in stormy
gale force wind, tornado and
fucking earthquakes. I stay lit
for you. I stay lit. I don't go
dark. I never go dark!
FISHER
You need help.
Fisher turns away. BOYD combusts. He leaps on Fisher with a wild cry.
BOYD
I want that money!
Boyd and Fisher fight like animals; choking, pounding, mauling, a
fight to the death. Fisher is losing, Boyd is choking the life out of
him, killing him. Fisher is going down, eyes rolling back, he's
dying, until...
CRASH. Boyd's head is caved in from behind. REVEAL Liz wielding a
big, heavy crucifix. Boyd slumps to the ground. Fisher gasps for air.
Boyd stirs. Liz beats him repeatedly with the crucifix until he's
dead as a door knob. Fisher is stunned. Liz tosses the cross.
Miraculously, only one perfect droplet of blood has gotten on her
wedding dress. She flicks it off with her finger.
LIZ
(composing herself)
Here comes the bride.
Liz gathers up her train and marches out. Fisher looks at Boyd, a
bloody dead mess.
108 THE WEDDING 108
Fisher joins Moore at the alter. JUDGE TOWER smiles warmly at Fisher.
MOORE
Where's Boyd?
FISHER
(whispers)
Downstairs in the closet.
Before Moore can ask, the ORGAN begins playing the WEDDING MARCH. Liz
starts down the aisle, escorted by her father, She smiles radiantly.
Liz's father kisses her and gives her to Fisher. They stand before
the Judge who starts talking. TIGHT ON Fisher. His head pounding. He
hears none of what the Judge says until...
JUDGE TOWER
May we have the rings please?
FISHER
What?
JUDGE TOWER
The rings?
Fisher looks at Moore.
109 INT. CHURCH BASEMENT 109
Moore opens the closet. Boyd falls out.
110 INT. CHURCH 110
Everyone waits patiently. Fisher is sweating. He looks at Liz who
stares straight ahead.
111 INT. CHURCH BASEMENT 111
Moore rolls Boyd over, checks every pocket, trying not to get blood
on himself.
112 INT. CHURCH 112
Moore returns.
MOORE
Got 'em.
He hands the rings to the Judge, at which time, he, she, Fisher and
Liz all see blood on his white shirt cuff. The Judge looks at Moore.
He pulls his jacket sleeve down.
JUDGE TOWER
(continues)
These rings represent the commitment
Fisher and Liz make to each other on
the day. Fisher do you take Liz to be
your beloved wife, to respect, honor
and cherish till death do you part?
FISHER
I do.
Liz slides the ring on Fisher's finger.
JUDGE TOWER
Liz do you take Fisher to be your
beloved husband, to respect, honor
and cherish him till death do you
part?
LIZ
I do.
Fisher slides the ring on Liz's finger.
JUDGE TOWER
I now pronounce you husband and wife.
Fisher kisses Liz. They turn to face their guests who applaud. Liz
cries tears of joy.
113 WEDDING RECEPTION - TENT NEXT TO CHURCH 113
Liz drinks champagne and talks with her guests.
114 EXT. CHURCH - REAR 114
Fisher and Moore load Boyd's body in the trunk of Fisher's car.
MOORE
He came to me early today, was
talking about money, insurance
money. Said he was gonna get what
was his.
FISHER
My God...
MOORE
He said he was the Brain Trust.
Said he was smarter than all of us.
He started reading "Atlas Shrugged,"
staring at himself in the mirror.
FISHER
Did he try to kiss you?
MOORE
All week long.
Fisher slams the trunk closed.
115 WEDDING RECEPTION - MUCH LATER 115
Only a few guests remain. Fisher's parents watch the boys. The
caterers are cleaning up. Fisher and Liz sit alone.
FISHER
He kept saying he was protected.
LIZ
What does that mean?
FISHER
Like if something happened to him,
he could still get us.
LIZ
Like how?
FISHER
I don't know. He could have told
someone. He could have, like in the
event of his death, somehow let someone
know where those bodies are buried.
LIZ
The only proof is those bodies.
FISHER
So what do we do?
LIZ
Move the bodies.
FISHER
Move the bodies?
OLD MAN (O.C.)
Excuse us?
Fisher and Liz look up at a sweet OLD COUPLE, who talk at the same
time, oblivious to each other.
OLD MAN OLD WOMAN
We just wanted to say We're your Uncle Henry's
Congratulations and wish parents. Opal and Earl.
You great happiness. Tell them from both of us.
Mazeltov. I just did. Mazeltov. Wish them luck.
I said Mazeltov. You The secret to a good
Never listen to me. Marriage is to listen.
LIZ
(cheerleader smile)
Thank you. Thank you. We will. Bye bye.
The Old Couple shuffles away. Fisher watches them go, he suddenly
breaks down, crying...
FISHER
I...Liz...all I ever wanted, was for
you to be happy. I just wanted to
give you the wedding, the life you
always dreamed of...
(sobs)
...I just love you so much...So much...
LIZ
(beat; unmoved)
You and Moore move the bodies and
bury Boyd with them. In fact, put
Moore in the ground too.
FISHER
What?
LIZ
If you don't tie up all the loose
ends it'll never be over.
FISHER
(horrified)
No...
LIZ
You put him down or don't bother
coming back.
FISHER
But...
LIZ
Do you love me? DO YOU LOVE ME?!
OFF Fisher...
116 EXT. HIGHWAY - NIGHT 116
Fisher's car blasts past a road sign reading, "Las Vegas, 358 miles."
117 INT. FISHER'S CAR 117
Fisher drives, Moore's in the passenger seat. They're still in their
tuxedos. Extreme silence. Fisher, almost in a trance.
MOORE
You alright?
FISHER
Yeah. I'm thinking about Micheal's
Franco Harris fixation. You know how
Micheal was always harping "Immaculate
Reception?" I've seen that play. A lot
of times...and I have to say this...
Franco was lucky. Flat out, right
place, right time. That's it. He was
where the ball bounced. You get me?
MOORE
I guess.
FISHER
I'm saying it's luck. All luck. You
work your entire life, all the
training, focus, all the dedication,
all irrelevant. Where does the ball
bounce? My father spent his whole life
trying to start a company, practiced
every day, worked like a dog, finally
got enough money. He's paid the dues,
he's ready, does all the market
research, picks his shot - "Pup Corn."
MOORE
Pup corn?
FISHER
That's right, "Pup Corn." Doggie treats.
Little snacks for dogs. He's figured it
out. There is a hole in the market and
he's going to fill it. Spends all our
money, works himself into not two but
three heart attacks getting this shit
up. After fifteen months, the big day
arrives, the first box of "Pup Corn"
pops off the belt. He comes running
home with that box, pulls us out of
school. We all pile into the living
room, must be fifty of us, and in comes
"Shelmer," our 8 year old mutt. "Here
Shelmer," my dad cries. He's got that
little fucking pup corn in his hand,
"Here girl." This dog will eat anything,
she eats rocks, anything. She walk's up
to my dad's hand, looks down at the
little pellet, licks it once, turns
around, walks out of the room. Shelmer
rejected the "Pup Corn." Fifteen months
of my dad's life, right there. Not one
dog ate Pup Corn. Not one. Three months
later, "Pup Corn" shuts down. Chapter
Eleven. My father never got over it.
Never.
SILENCE hangs again.
118 EXT. DESERT - LATER 118
Fisher and Moore search for the graves of Tina and Ralph with
flashlights and shovels.
FISHER
I think it was over here.
They move into a new area and start poking around. Nothing.
MOORE
It was over by those rocks.
Again they search, prodding into earth with their shovels. Nothing.
Fisher stops digging, tired, he pauses, shines his light around
until...
FISHER
There.
MOORE
Where?
Fisher moves to a new spot.
FISHER
There. This rock is where I stood
when I said the prayer.
He starts digging in front of the rock. The earth is soft.
FISHER
Bingo.
Moore and Fisher quickly start to dig, until, finally, Moore's shovel
makes contact.
MOORE
Got it.
And they dig some more.
DISSOLVE:
119 MOORE 119
in the hole, passing the suitcases up to Fisher.
DISSOLVE:
120 FISHER 120
loads the cases into the car.
121 EXT. NEW BURIAL SITE 121
The suitcases are unloaded. Fisher and Moore dig a new grave. Moore's
back is to Fisher as he digs.
MOORE
I've been thinking about what you
said that day. The prayer. About
using this whole mess to bring out
the good in me...
Fisher is directly above Moore, holding the shovel, looking down at
the back of Moore's head.
FISHER
Yeah?
MOORE
I think there's a lot of truth in
that. I'm gonna pursue some options.
I want to join that Big Brother thing.
FISHER
(slowly raises the shovel over his head)
That's a good one.
MOORE
I want a black one. A little black
brother. That's a big problem it seems
to me. Lack of racial integration.
That's a big one. You think?
Moore looks up to...
FISHER, tears running down his face, the shovel high above his head,
ready to bring it down hard onto Moore's skull.
MOORE, confused and then realization...CUT between Fisher above,
poised to strike, Moore below, still and vulnerable. Their eyes
locked for several beats. Finally...
MOORE
What do you think?
Slowly, Fisher lowers his shovel.
FISHER
I think you'd make an excellent Big
Brother.
MOORE
(back to work)
That's what I'm thinking.
DISSOLVE:
122 THE GRAVE - LATER 122
The cases are in the hole with Boyd's body. As Fisher and Moore
re-fill the grave with dirt we...
SLOWLY DISSOLVE TO:
123 INT. FISHER'S CAR - HIGHWAY - NIGHT 123
Fisher drives, Moore rides shotgun, both men are dirty, sweaty and
tired.
MOORE
Well that ought to be about the end
of that.
FISHER
Yup.
TIGHT ON Fisher, staring deep into the road, a faint smile creeps on
to his face...
DISSOLVE TO:
124 THE IMMACULATE RECEPTION 124
The distorted but definitely recognizable image of Franco Harris
running for his life.
ANNOUNCER (V.O.)
And it's Franco Harris running for...
Franco makes it into the Raider end zone.
ANNOUNCER (V.O.)
A TOUCHDOWN FOR PITTSBURGH! UNBELIEVABLE!
CUT BACK TO:
125 FISHER 125
lost in his reverie, wakes up in a hair pin turn. The speedometer
reads 80. They run out of road. The car skids on the shoulder, Fisher
cranks the wheel, jumps the divider, into oncoming headlights. Fisher
and Moore lit up bright...
126 HIGHWAY 126
Fisher's car SMASHES head-on into another car. IN SLOW MOTION Fisher
and Moore are launched through the windshield in an IMPLOSION of
glass and steel, flesh and blood.
CUT TO BLACK.
We hear the sounds of SCRUBBING.
SLOW FADE UP:
127 INT. FISHER HOUSE - BATHROOM - DAY 127
TIGHT ON Liz, on her hands and knees, scrubbing around the toilet of
what is clearly a filthy kids bathroom; soiled jockey shorts, Tonka
trucks, mess everywhere.
O.S. we hear voices outside. Liz gets up off her knees, brushes a
piece of hair from her sweaty face and peers out the bathroom window.
TIGHT ON FISHER
128 EXT. BACK YARD 128
FISHER
Okay let's try it again.
Adam Jr. and Timmy, in ill-fitted Cub Scout uniforms, recite the
"Scout Laws."
TIMMY ADAM JR
A scout is thrifty, saves A scout is brave. A scout
A scout is thrifty, saves A scout is brave. A scout
For the future. A scout is can face danger, even if
Clean, he keeps his body... he's afraid...
FISHER
Let's see the salutes!
Timmy snaps out a fine salute. Adam balances on one crutch to salute
but looses balance and falls flat on his face. He starts SCREAMING.
REVEAL Fisher, in a wheelchair, both legs amputated above the knee.
He leans over, trying to help Adam Jr. up and his wheel chair tips
over. Fisher falls on top of Adam Jr. who SCREAMS even louder,
flailing arms and legs like a turtle on its back.
REVEAL Moore, in an electric wheel chair he operated with a
mouthpiece. As he is paralyzed from the neck down, he's no help at
all. Timmy suddenly snaps.
TIMMY
(to Adam Jr.)
Shut up! Shut the fuck up!
FISHER
It's okay, it's okay.
129 THE BATHROOM WINDOW 129
Liz watches the pathetic chaos that is her life with the dull
lifeless eyes of a concentration camp prisoner.
FISHER (O.S.)
Timmy SHUT UP! Help your brother!
ADAM! Let him help you!
TIGHT ON Liz as her mouth slowly opens in an anguished SILENT SCREAM.
130 OUT THE WINDOW - DOWN IN THE BACK YARD 130
Adam Jr. gets back on his feet, with the begrudging help of Timmy. As
Fisher struggles to hoist himself up, back in his wheelchair...
FISHER
Remember a scout is helpful! A scout
doesn't scream in the face of adversity.
Suddenly, O.S. from the bathroom, Liz WAILS. Fisher looks up at the
window...LONG BEAT...
FISHER (cont'd)
(to the boys)
Okay, let's skip to the Scout's Oath...
ADAM JR. & TIMMY
On my honor, I will do my best...
The boys recite the "Scout's Oath" as Liz's deep, heaving, wailing
SOBS grow in intensity O.C.
ADAM JR. & TIMMY
...to do my duty to God and my country...
To obey the Scout Law, to help other
people at all times...
SLOWLY PULL OFF Fisher, Moore and the kids...
ADAM JR. & TIMMY
To keep myself physically strong,
mentally awake, and morally straight.
CRANE UP, past Liz at the window, out of the yard, over the house,
WIDER to reveal the surrounding track-like homes, housing track-like
families, with track-like nightmares as Liz's plaintiff wails echo
the communal despair of the human village.
CUT TO BLACK.
THE END