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 together, just right, you know,
			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