The Mud Bowl

THE MUD BOWL by Kenneth White

Kenneth White 1108 Wellesley Avenue Modesto, CA 95350-5044 (209) 567-0600 [email protected]

1 FADE IN: EXT. LOS ANGELES - STREET CORNER - PRE-DAWN Softly but distinctly, someone SINGS. Fighting it are the SOUNDS of a city coming to life. The song is abruptly CUT OFF. RECORDING ENGINEER (O.S.) (over the PA) Last take. Put your heart into it, Haggerty. A little GRUMBLING, then the song resumes. A pile of "LA Times" is thrown inside a paper rack. The glass front slams shut to reveal the front page. It's November 23rd, 1973 - Thanksgiving Day. MICHAEL HAGGERTY staggers out the recording studio door. He's a little drunk. He SINGS to himself. It's the same VOICE we heard earlier. He picks up the song where it ended off-screen. He tosses a master audiotape box into the air. The white box floats through the air. As it falls toward Michael's waiting hands, a beefy HAND grabs the box. Michael stops singing and turns to confront . . . DON LAIDLAW, his best friend. Don wears a Stanford letterman's jacket and baseball hat. Michael smiles as he turns the bill up on Don's hat, then yanks the tape away and . . . A scarred HAND reaches from behind and grips Michael's wrist. LOAN SHARK (O.S.) Leaving town, big time? The LOAN SHARK is flanked by a huge Neanderthal WISEGUY, who covers Don. Don's body tenses. LOAN SHARK And a little unfinished business? Michael glances at Don, then does a slow burn on the Shark's hand. LOAN SHARK Should know better. The Shark lets go and steps back.

2 LOAN SHARK We're not playing kid's games, shit– Michael drops the tape, distracting the Shark for a moment. Then kicks the guy square in the nuts. LOAN SHARK –head! The Shark drops to his knees. Before the Wiseguy can act, Don thrusts a right elbow into his solar plexus. The Wiseguy staggers in pain. Don lands a hard left on the Wiseguy's jaw. falls on his butt next to the dazed Shark.

The Wiseguy

MICHAEL Had enough, girls? The Shark leaps to his feet and charges Michael, slashing with a knife. The tip of the knife slices Michael's left cheek. Michael falls back and SLAMS into the iron gates of a pawn shop doorway. He touches the wound and sees blood. Don whacks the back of the Shark's neck. to the ground.

The man crumples

The Wiseguy gets up. Don doesn't see him. He charges. Michael runs toward the Wiseguy to head him off. Out of nowhere, a CAR races toward the group of men. Don swivels to face the onrushing Wiseguy. the collision.

He braces for

Just then, the Wiseguy belly flops. He cuts an onrushing Michael at the knees and sends him flying through the air. Michael slams into Don, knocking him backward and into the street. The car's headlights wash across Don. He covers his head. The car's head lamp rips into the side of Don's head. The light explodes in a thunderous POP, echoed by a sickening THUD. Don ricochets off the car.

The car ROARS away.

Don falls backward and cracks the back of his head on the curb. He lies unconscious. A pool of blood runs from his head to the audiotape box, still lying where Michael dropped it. There is the sound of RUNNING as two SHADOWS flicker across Don's body and against the building walls. A beat, then a third SHADOW, stops. A bloody hand picks up the audiotape. And we hear the sound of more RUNNING.

3 EXT. SAN FRANCISCO SKYLINE - TREASURE ISLAND POV - PRE-DAWN Cars stream over the Bay Bridge. City" glows.

Fog enshrouded, "The

EXT. COIT TOWER - PRE-DAWN Coit Tower is awash in blue and green light. squats at its feet.

Levi's Plaza

A newspaper TRUCK drops a bundle of newspapers on the sidewalk. The front page is dated, "November 21st, 1989." The headline reads: "Living in the Past: A Thanksgiving Tradition." The SOUND of SHUTTLING videotape slices through the muffled morning. The WHITE NOISE of the city becomes the WHITE NOISE of the edit suite. KEVIN (O.S.) That's it! INT. EDIT SUITE - PRE-DAWN Styrofoam coffee cups, empty pizza boxes, and antacids indicate it's been an all-nighter. A video monitor displays an old, rose-tinted 8mm film transfer of "The Mud Bowl" football field, supered over a photo of an iron Arch. Across the Arch are the words: "Water-Wealth-Contentment-Health." The film is followed by a series of black and white and color images of Modesto, California. Flashing lights reflect off the tired, but excited, face of KEVIN WRIGHT. On another monitor, a 25-year-old Don Laidlaw, wearing a Stanford baseball hat, sticks his face in front of the lens. He pulls a pair of rose-colored "Granny Glasses" away from the lens, puts them on, and runs toward the field. A 25-year-old Michael Haggerty jumps into frame, mugs for the camera, runs after Don, and tackles him. Michael pins his friend's arms, then peels back the bill of his hat. KEVIN Miss those guys. On other monitors, a bunch of YOUNG MEN play flag football in the mud. We see them age through the years. On a preview monitor, a 25-year-old Kevin snaps photographs of Michael holding an "air mike" and singing, while leaning on another PLAYER, with long blonde hair and wearing a surfer shirt, who plays "air guitar."

4

On another screen, Don catches a pass and falls to the ground in SLOW MOTION. On still another monitor, all these same YOUNG MEN pose for a group portrait. BUDDY I miss sleeping with my wife. KEVIN Hang in there, Buddy. (feigned sincerity) I owe you one. BUDDY If you didn't bring so much corporate work into this place, I'da faded your act to black ages ago! Kevin takes a sip of coffee. He sets the mug down beside an INVITATION to the annual Mud Bowl. His name is written on the front in child-like handwriting. Lying next to it is a very expensive, portable DICTATION MACHINE. KEVIN Have another cup. We're almost there. Several reels WHIR simultaneously as they cue to the next edit. INT. MICHAEL HAGGERTY'S HOUSE - BEDROOM - DAWN OF THE SAME DAY Below the window, a hand-made bookcase overflows. A framed Teaching Credential leans against a leather-bound copy of Henry David Thoreau's "Walden." It's open to a quote which reads: "The mass of men lead lives of quiet desperation." On the night stand, next to a funky old alarm clock, sits a picture of Michael Haggerty, his 16-year old son, DAVID, and his Father, GEORGE. The clock CLICKS to 6:00AM.

An obnoxious CLANGING begins.

ANNIE (O.S.) Oh . . . my God! What am I still doing here? A female hand SLAMS down on the clock.

The CLANGING stops.

Michael hides his head beneath the pillow. MICHAEL Ask that every day. ANNIE Michael, I gotta get home.

5

Michael tosses away the pillow, sits up, and rubs the cobwebs from his puffy, blood-shot eyes. MICHAEL Who's stopping you? Michael, Annie, and UTAH, a mixed breed dog, all lay entwined on the bed. Utah leaps off as they start to move. ANNIE You are. (shoves him) Get off me. Michael GRUNTS and rolls off Annie. and begins dressing. ANNIE JD's gonna kill me.

She jumps out of bed

I just know it.

MICHAEL Calm down. He's probably just now hauling his redneck butt off his fork lift. If you bust those sweet little buns, . . . (SLAPS hers) . . . you'll get home before he does. David KNOCKS and walks in. His hazel eyes register mild surprise. He and Annie have been through this ritual before. DAVID Hey, Annie. ANNIE Hi, David. Dad.

DAVID Ironing board's still up.

MICHAEL (more dazed than embarrassed) Uh, thanks. David glances back at the half-dressed Annie, smiles, and leaves with Utah, quietly closing the door behind him. INT. EDIT SUITE - MORNING Kevin packs the last of several videotapes into file boxes and a duffel bag, as Buddy prints the completed edit list.

6 BUDDY Isn't your wife gettin' a little tired of bein' a video widow 'bout this time every year? A wall clock above the console reads:

"6:08AM."

KEVIN Oh, man! As Kevin dials his cell phone, an ENGINEER shuffles in. He looks around as he heads for the coffee pot. He grabs a limp rubber chicken from inside one of the file boxes. He holds it up to Buddy, waiting for an explanation. BUDDY Kid's stuff. Kevin's body language suddenly changes. Dear?

KEVIN You awake?

INT. KEVIN AND MOLLY'S APARTMENT - KITCHEN - SAME TIME MOLLY WRIGHT stands at the sink, gazing out the window. She looks razor sharp, dressed in a handsome business suit. She drains the last of her coffee from a mug with a "Mud Bowl" emblem printed below the Modesto Arch. MOLLY You said you'd be home before I left for work. You're not and I am. KEVIN (V.O., ON THE PHONE) I know and I apologize, but– INTERCUT TELEPHONE CONVERSATION MOLLY Don't explain. We just won't see each other before Thanksgiving. Again. KEVIN Took a little longer than I figured. MOLLY Always does. I don't understand why you do this to yourself every year. Is it really worth it? KEVIN People expect it. It's part of the tradition.

7 MOLLY Part of the illusion, you mean. Some day you'll grow up and see this "game" and your "home" town for what they really are. KEVIN It's your home, too. It was.

MOLLY A very long time ago.

KEVIN (half-hearted) Why don't you come this year? The Bowlers haven't seen you in years. MOLLY That's the way I'd like to keep it. You go play with your little high school friends. I'll see you when I get back. She turns and accidentally knocks the mug off the counter. It SHATTERS against the tile floor. KEVIN What was that? Molly looks at the pieces. The mug is broken in half, splitting the Mud Bowl emblem and Modesto Arch in two. MOLLY Nothing that can't be replaced. (moves the pieces around with her foot) I have to go. See you Monday. KEVIN Fine. Drive carefully. (beat) Love you, too. Sure.

Kevin disconnects. He turns toward Buddy and the Engineer. Grabbing his crotch locker-room style says it all. EXT. INTERSTATE 5 NORTHBOUND - MORNING OF THE SAME DAY A stylish, black roadster races down a flat stretch of freeway. The driver tailgates anything foolish enough to be in the fast lane. SCOTT (O.S.) Get a horse, asshole! The roadster whips around the slower car.

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INT. SCOTT LAIDLAW'S CAR - CONTINUOUS The speedometer reads 95mph and climbing. stereo system ROCKS.

The high-end

SCOTT LAIDLAW checks his razor-sharp image in the rear-view mirror. He talks on his cell phone. SCOTT Make it happen, Avery. We need this gig. (listens, impatient) Give him whatever he wants. (listens) He can use anyone we represent. We've got demo reels for all of them. They're in the cabinet behind my desk. (listens) Yes, the ones on the left side. There's some old cassettes on the right. Leave those alone. He SLAMS the phone down on the console. A Mud Bowl INVITATION identical to Kevin's flutters next to the phone. SCOTT (to himself) Do it right, you got to do it yourself. Scott reaches over and starts fondling his wife MARY's left arm, just inside her elbow. His touch arouses the sleeping beauty. Her drowsy lids open to reveal languid hazel eyes. As her tongue slowly and sensually licks her parted lips, she realizes where she is. She sits upright, abruptly pulling her arm away from Scott's caress. What?

MARY Are we there?

SCOTT No. I just don't like making this trip alone. MARY You're so considerate. SCOTT That's why you married me. MARY If it wasn't for your brother, you would be making this trip alone.

9 SCOTT If it wasn't for my brother, I'd be at the office taking care of business instead of playing kid's games. The cell phone RINGS again.

Scott reaches, then pauses.

SCOTT Besides, Michael would be so disappointed if I came without you. Scott sneaks another glance of himself in the rear view mirror. He decides not to mess with perfection. INT. MICHAEL'S HOUSE - LIVING ROOM - SAME MORNING The tiny room is furnished with Goodwill rejects. Shelves cover one entire wall. They overflow with albums and tapes. Massive speakers loom large on either side of the fireplace. Music BLARES. Birthday cards line the mantle. Michael stands at the ironing board, SINGING to the music. David sits near the fireplace, POUNDING on a foot stool. They're both very good. Michael spritzes water from a plastic spray bottle on his shirt and irons only the sleeves and collar. DAVID You playing this year? MICHAEL Yeah. I made the mistake of promising Kevin a couple of new tunes for this year's video. DAVID I mean the game. MICHAEL Don't know. DAVID Say that every year. MICHAEL Why do you ask every year? DAVID (hesitant) Well, it's gonna be spades. MICHAEL Why's that? DAVID 'Cause Don told me Scott's coming.

10

News to me. about it?

MICHAEL How come I didn't hear

DAVID Wanted to surprise you, I guess. MICHAEL (flares) Some goddamned surprise! DAVID (surprised at his sudden anger) Chill. MICHAEL (also surprised) Excuse me? DAVID Just thought you guys were old friends, that's all. Michael pulls the shirt on. He grabs an old sweater off a chair and yanks it over his still mostly wrinkled shirt. MICHAEL That was a long time ago. Before you were born. It's blood under the bridge. He picks at a loose thread. unravels. Let's roll.

He tugs on it until the fabric

MICHAEL We're late.

David turns off the stereo. Next to the amplifier sits a white master audiotape box smeared with reddish-brown stains. "1973" is crudely scrawled on a recording studio label. Below the date are written the words: "Demo Reel/Haggerty Sessions." It's the same box from the open. A Mud Bowl INVITATION identical to Kevin's and Scott's lies next to the tape. INT. KEVIN AND MOLLY'S APARTMENT - KITCHEN - SAME MORNING Kevin carries a leather football and athletic bag. He's in an upbeat mood, until he spies the broken coffee mug. He picks up the pieces and tries to put them together again. They're too badly broken. He gives up.

11 EXT. KEVIN AND MOLLY'S DRIVEWAY - CONTINUOUS Kevin throws the bag into the back of his spotless Sports Utility Vehicle, next to a broadcast video camera rig. He tosses the football inside and SLAMS the hatch, revealing a personalized license plate that reads: "MUDBOWL." INT. JUNIOR HIGH SCHOOL - HALLWAY - LATE MORNING A janitor's cart rolls down the hallway of a run-down junior high school in the airport district of Modesto. A stained and faded Stanford baseball hat hangs on a dust pan. The rolling garbage can glides by several classrooms. It stops in front of Michael's. Through the windowed door, we see Michael and his STUDENTS. Judging from their clothes and attitude, these kids are poor and mostly bored. But, he's got their interest. MICHAEL (O.S.) People like Hitler manipulated reality. He started with young people, like you. That's why it's important that you look closely at what people tell you. We MOVE through the windowed door into the classroom. MICHAEL When we're born, the world says, "Here I am. What you see is what you get." Then, our parents . . . He gestures to himself and smiles conspiratorially. MICHAEL . . . and teachers, . . . He makes quote marks with his fingers. MICHAEL . . . "hypnotize" us into "seeing" the world the "right" way. EXT. HIGHWAY 99 EASTBOUND - HIGH NOON Kevin's SUV rumbles by. MICHAEL (V.O.) They label it. Give it names. And voices. So we can never see or hear it the same way again. We spend the rest of our life trying to break the spell.

12 INT. KEVIN'S SUV - HIGH NOON Kevin half-listens to a CD. He absent-mindedly SINGS along, poorly. The song is in sharp contrast to what Scott was listening to, in both era and style. MICHAEL (V.O.) The message? Be careful in your choice of hypnotists. Kevin speaks into the dictation machine. KEVIN Mud Bowl story notes. Good quote. "Lend yourself to others. But, give yourself to yourself." The open blade of Highway 99 slices through the heart of the San Joaquin Valley. A highway sign reads: "Modesto, Next 7 Exits." INT. JUNIOR HIGH SCHOOL - CLASSROOM - EARLY AFTERNOON The school bell RINGS. Nobody moves.

Michael waits for it to stop.

MICHAEL Read chapter eleven tonight and– (class MOANS) –and you'll see how it was possible for one man to change the lives of so many people. Remember, half day tomorrow. Now get outta here. The students hit the door and stream out. a STUDENT.

Michael calls to

MICHAEL Yo, Lionel. You want to be stuck working in a cannery the rest of your life? LIONEL No way! MICHAEL "Way!" Unless you get caught up. Come see me Monday morning. We'll look at your book report. Maybe I'll teach you a couple new harmonies, okay? Tight!

LIONEL Thanks, Mr. Haggerty.

Michael stacks some papers. Suddenly, a football SMASHES into the desk, scattering everything. Without looking up,

13 Michael grabs a red ink pen and fires it in the direction the ball came from. Kevin tries to dodge it, but the red tip impales the block letter above the left breast of his Modesto High School letterman's jacket. He stumbles back out the doorway. HALLWAY Michael leans down to remove the pen. MICHAEL You know I don't like surprises, amigo. Michael helps Kevin up. Michael tucks the football under his left arm and rubs the mark on Kevin's jacket. KEVIN Nice to see you, too. You could've put my eye out, jerkoff. MICHAEL Right on time, as usual. KEVIN Avoiding the issue, as usual. Kevin dusts himself off as they walk down the hallway together. He continues to fuss over the red ink stain. KEVIN Glad you can still hit a moving target. Just save it for the game. MICHAEL What game? KEVIN Always the joker. Kevin playfully feints a jab to Michael's jaw. Something flicks through Michael's eyes before he flashes a crooked smile. MICHAEL Always. EXT. JUNIOR HIGH SCHOOL - PARKING LOT - CONTINUOUS Michael and Kevin exit the doors and head down the steps toward the parking lot. Kevin grabs for the ball. Michael spins it on his index finger just out of reach. KEVIN You pull this hold-out crap every goddamn year.

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MICHAEL Did you know Scott's coming up? KEVIN (pumps his fist in genuine excitement) All right! The tradition continues. MICHAEL Screw the tradition. If Laidlaw shows, I go. Michael stops at his old, beat-to-shit car. He throws his briefcase in the passenger side. He turns and fires the football at Kevin. Kevin catches the point right in the sternum. He holds on, but it knocks the wind out of him. Kevin's face registers pain and surprise. KEVIN You're still pissed. Just because he wouldn't help with your music. MICHAEL Why should I be pissed? I didn't miss anything. Got a great life here. Teaching history at an underfunded Junior High to uninterested kids. Making huge amounts of money. Living large in a town that anyone with real talent would have left long ago. KEVIN This town's all right. Besides, you hated LA. It's not where you wanted to be. They begin playing "burn out," throwing the ball harder each time. It gets more and more intense. MICHAEL How do you know what I want? KEVIN I think I know a little about you. MICHAEL Think is the watchword here, pal. You'd be surprised how little you really know. About me. This town. Or anyone else here. KEVIN Look, I don't know what happened between you guys, and right now I don't care. Maybe some day you'll tell me the rest of the story.

15

MICHAEL Some day. And then you'll tell your version of it. KEVIN Jesus, how bad could it have been? Besides, it was a long time ago. MICHAEL Yeah, sixteen years long. Let it go.

KEVIN Don't let him get to you.

MICHAEL Never have, never will. KEVIN Dinosaurs like you still have a chance to make it. Long as they keep recycling the Sixties. MICHAEL Seems one hip producer likes this particular old dinosaur. KEVIN Say what? MICHAEL Some new kid wants to hear my songs. KEVIN Come on, give it up. Later.

MICHAEL Don't want to jinx it.

KEVIN Okay. I'm counting on you. Hey, you're gonna love this year's video. MICHAEL Make me a hero again? KEVIN No, kept it real this time. Made you look like the dick you really are. All I've got left is your songs. MICHAEL Which songs?

16 KEVIN (snaps his fingers) Earth to Michael. Your songs. For the video. (suddenly worried) You've written the lyrics, right? MICHAEL Definatory. KEVIN Better have. Tonight's got to be the night. Need to lay them back to video before the banquet. So watch the beers. MICHAEL Yeah, right. KEVIN If you get your act together, we'll get done in time to play poker at Bear's. MICHAEL Christ, do you ever stop orchestrating people's lives? (reacts to Kevin's reaction) Right. And we'll kick some serious booty come Turkey Day. Sure.

KEVIN Like old times.

Michael fires the football back at Kevin. Just then, Scott pulls up in his car. The ball whistles past Kevin and SLAMS into the passenger window, startling a sleeping Mary. MICHAEL Just like old times. Scott leaps out of the car, eyes on fire. Michael.

He charges

Scott's almost on top of Michael when a wide body steps between them. Don gives his younger brother a big hug that doubles as a holding action. DON Welcome home, Scotty. Don releases Scott, who continues to glare at Michael from behind his brother's back.

17 Don turns his back on Scott and faces Michael. No words are said. Michael simply smiles and peels back the bill of Don's hat. Michael looks past the two brothers to the car and Mary. A black leather bra covers the front of the car, encircling the customized license plate that reads: "MUZKLAW." MICHAEL (to Scott) Nice front end. (looks toward Mary) She must have a healthy set of carburetors. Everyone looks at Mary, then back. Michael would be dead meat.

If looks could kill,

SCOTT Asshole. Michael shifts his head toward the front of the car. all realize he's referring to the car's front end.

They

MICHAEL (to Scott) Humor's in need of repair, dude. (rubs the scar on his jaw, then to Kevin) Let's jam. KEVIN Think I'll stay a while. Go ahead.

MICHAEL Swim with the sharks.

KEVIN Going over to the folks house in a bit. Come by. MICHAEL Gotta get David and stop by the old man's. KEVIN They'd love to see you. MICHAEL Look for me when you see me coming. Michael points a cocked finger at Kevin, then swivels to Scott and fires.

18 INT. GEORGE HAGGERTY'S HOUSE - LIVING ROOM - AFTERNOON Michael and David decorate an old aluminum Christmas tree. GEORGE HAGGERTY watches. Old home movies of Christmases past play on the TV. All three men try real hard to capture something that’s not there anymore. MICHAEL Just like when I was growing up. Your Grandpa was so meticulous with his lights, he and your Grandma always got in fights over it. They had to be just right. GEORGE No sense doing anything if you do it half-assed. MICHAEL (looks at the TV) Man, we had some good times then. loved those holidays.

I

GEORGE Couldn’t wait for them to be over. Michael puts a star on top of the tree. MICHAEL Got a call the other day. (no response) From a producer in San Francisco. (still none) He’s putting together a docu-drama on the Bay Area music scene. He’s looking for some new songs that sound old. Somebody told him about me. His dad sits up, but says nothing. MICHAEL He wants to hear some songs. Monday.

By

DAVID Kick it, Dad. MICHAEL I’m gonna take him my old demo reel. Soon as I get a protection copy made. GEORGE (MUTES the TV) What about your son? He’s gotten used to having you around.

19 DAVID I can handle it. MICHAEL Sure he can. DAVID He's gotta go for it, Gramps. GEORGE I guess. MICHAEL It’s my last shot, Dad. If I don't take it, I'll never know– GEORGE What if? What if? You know, Michael, regret is a powerful thing. It can paralyze you if you let it. What if I’d been in better shape? What if I hadn’t partied the night before? What if that guy hadn’t fallen on my knee? What if I hadn’t played hurt? I’ve lived with a plague of doubts my whole life. And look where it’s got me. Don't want that to happen to you. INT. KEVIN'S PARENTS' HOUSE - LATER THAT AFTERNOON It's a mad house. Kevin's NIECES and NEPHEWS SCREAM through the dining room and into the family room. Kevin, Michael, and David walk in the front door without knocking. Kevin drops his bags. He surveys the scene. His two younger SISTERS, LINDY and SARAH, gossip at the dining room table. Kevin motions for them not to say anything. He quickly kisses and hugs each. Michael gets an especially affectionate embrace from each sister. SARAH Seems the only time we see you is when he comes home. MICHAEL Always something going on. LINDY Truth be known, we'd be happy to trade him in and keep you. MICHAEL Careful, you'll hurt his feelings.

20 SARAH Big brothers don't have feelings. Just expectations. LINDY This good looking young man can't be David. David shyly smiles. SARAH I remember when we used to change your diapers. Now David's looking for a place to hide. LINDY He'd pee all over us. Now he can't wait to get out of there. SARAH Looks like you've grown out of it. LINDY Your Father sure hasn't. KITCHEN Kevin's MOTHER, JUNE, prepares Thanksgiving dinner. The kitchen is warm and inviting. Kevin sneaks up on her and pokes her sides. She jumps, then spins to hammer her attacker with a wooden spoon. She sees it's Kevin and gives him a big hug and kiss. JUNE How's my favorite number one son? She sees Michael. JUNE (before Kevin can answer) And my other son? She gives Michael a big squeeze.

Then sees David.

JUNE David, how are you? MICHAEL Getting older, bigger, and more like his old man every day. JUNE He's old enough to speak for himself, Michael.

21

DAVID Like my Dad said. Older and bigger, anyways. JUNE And your Father? MICHAEL Same old, same old. JUNE Somebody's got a birthday coming up, don't they? Father and son point at the other. DAVID/MICHAEL He does. JUNE How old? MICHAEL Over forty. DAVID Sixteen. JUNE My goodness. Don't you wish you could just put time in a bottle? MICHAEL Yes. DAVID No. JUNE You both look great. never come around?

How come you

Michael shrugs, like he used to when he was ten and she asked him the same question. JUNE You and David going to stop by Thanksgiving? We've got plenty. MICHAEL If I'm still standing, I'm here. JUNE Good. I love having all my kids around on the holidays.

22 Kevin CLEARS his throat. Sorry, dear.

JUNE How are you? KEVIN

Fried. June gives Michael a look that says, "He does this every year, doesn't he?" Michael smiles. JUNE You forget Molly again? KEVIN She had a bunch to do. JUNE Why do you always cover for her? KEVIN That's what you're supposed to do. JUNE Tell her we miss her. He shrugs as if to say, "It's out of my hands." Michael opens the paper bag he brought in with him. He pulls out a bundle of aluminum foil wrapped with a ribbon. He hands it to June. JUNE What would Christmas be without your sugared walnuts? DAVID Safer. MICHAEL Didn't drink a thing. And doublechecked to make sure there were no shells in it this time. JUNE Our teeth thank you, Michael. KEVIN Where's padre? JUNE Making me a football widow. every year. She points to the family room. they leave.

Like

She hugs her boys again and

23 FAMILY ROOM The comfortably worn family room brims with more KIDS and glows from the heat of a raging fire. Kevin's FATHER, JACK, and Kevin's two younger brothers, JUNIOR and STAN, watch an NFL game. They sip drinks and eat junk food. JUNIOR Hey, it's the wanna be. MICHAEL Better than what Detroit's showing today. JUNIOR And his shadow. Junior leaps to his feet. He and Michael have a playful slap fight, just like they've had every year since they were little. STAN (to Kevin, Michael, and David) Hey. KEVIN/MICHAEL/DAVID Hey, back. JACK Just get in? KEVIN Hey, Daddy-o. Father and son shake hands. Yeah.

They do not embrace.

KEVIN Little while ago.

MICHAEL (flops on the couch) And immediately took control of everything. JACK Nothing's changed, huh Michael? MICHAEL Not a thing. David slumps down next to his Father. KEVIN You get the click tracks I sent?

24 STAN Got 'em. Laid down the rhythm tracks last night. (shoots Michael a look) Just missing lyrics, vocals, and piano. JUNIOR That all? STAN Farther along than usual. KEVIN We'll be in tonight. Uh, right.

Right?

MICHAEL Locked and loaded. KEVIN

Seven okay? STAN Fine. Everyone theatrically turns to Michael. MICHAEL I'll be there. JUNIOR Believe it when you see it. INT. SCOTT LAIDLAW'S PARENTS' HOUSE - LATE AFTERNOON Picture a showcase home from Architectural Digest and you can begin to imagine the Laidlaw house. Everything is perfect and perfectly cold. It's more showroom than home. Scott and Mary come through the front door. SCOTT It's the biggest deal we've ever done. MARY When will you know? SCOTT By Monday. MARY Can't you ever take some time off? SCOTT This deal goes down, maybe I will.

25 MARY Right. SCOTT When it happens, and it will, Mary, you'll be glad you chose me over that loser. Scott drops his bags. His mother, AGNES, scurries in from the living room, followed by her Hispanic maid, DOLORES. Agnes gives Mary a warm hug, then turns to face her son. She blows him a kiss. Scott walks out as the maid gathers his stuff. INT. COMMUNITY CENTER - LATE AFTERNOON David and Michael drop off a box of canned goods for the annual Can Tree Food Drive. INT. GARAGE - EARLY EVENING David jams with some BUDDIES.

They’re really cooking.

We hear a sweet TENOR VOICE. It’s Michael. Sitting in. David smiles and looks around for affirmation. He gets it. The song ends. They all APPLAUD Michael, who bows to each player in turn. Michael takes a slug of tequila. The BASS PLAYER hands David a bottle of Jim Beam. takes a pull. He and his Father exchange looks.

David

Before Michael can say anything, David BANGS his drumsticks together and counts down the next tune. EXT. BEAR'S HOUSE - NIGHT PAUL (BEAR) PEDERSON's house is located outside town near the stretch of Paradise Road where Milner beat Falfa in "American Graffiti." If what you drive is what you are, the Mud Bowlers are an interesting cross-section of mobile Americana. Bumper stickers and personalized plates define their owners. Music BLARES through the house walls. Below the THUMPING bass line, male voices HOWL, children SCREAM, and women SOOTHE. INT. BEAR'S HOUSE - LIVING ROOM - CONTINUOUS The living room brims with KIDS and WOMEN. Annie sits at the eye of the storm, looking a little uncomfortable and definitely out of place. She's got a

26 small shiner under her left eye. heavy makeup.

It's poorly hidden under

HOPE RITTER gets up from her chair and sits beside Annie. HOPE Get you another? No, thanks. tonight.

ANNIE JD wants me to drive

HOPE That's liberated of him. ANNIE (touches her eye) Yeah, awfully liberated. Hope forces a smile and walks off toward the kitchen. INT. BEAR'S HOUSE - KITCHEN - CONTINUOUS Hope walks through the kitchen. It's filled with enough alcohol to stock a liquor store and enough California nouvelle junk food cuisine to satisfy any addict. Hope continues out into a hallway and past the "Wall of Shame." A captioned, chronological history unfolds as she moves past pictures, shrines, and mementos. There are framed T-shirts, group photos from years past, individual shots of the Mud Bowlers, and, lastly, a picture of Don with Michael and Scott's heads pinned under either arm, and Kevin perched on Don's shoulders. INT. BEAR'S HOUSE - DINING ROOM - CONTINUOUS A Steel wash tub overflows with beer and ice. A HAND clears the ice and pulls two cans from the tub. We follow the feet of this Mud Bowler out of the kitchen and into the dining room where he settles into a chair at the end of one table. He wears airman's flight shoes over nylon parachute pants. Incoming.

EDWARD "FAST EDDIE" GARRISON (O.S.) Now, deal me a winner.

We SEE white shoes under white milkman's pants stained with red wine juice. JEREMIAH "WHITE RAT" STEWART (O.S.) Here, Fast Eddie. Try some of this ghetto white lightning we cooked up at the winery. Maybe it'll change your luck.

27 Followed by torn Levi's and black, high-top Converse tennis shoes, covered with dirt and grass stains. CRAIG "NATTY" SAMPSON (O.S.) Nobody's ever prepared to lose their Father, Whitey. Hope Mom can handle it. (suddenly pissed) Left the business in a mess. Spending all my time with lawyers and accountants. Leeches. Then loose linen trousers over light-colored Italian shoes. TYLER "TD" JONES (O.S.) Maybe Vasquez can help you out, Natty. (beat) Once you get it straightened out, I've got some solid growth opportunities you should check out. Followed by hiking boots protruding from a baggy pair of coveralls. TONY "MALLARD" CUNHA (O.S.) Ducks on the pond, TD. Ducks on the pond. And rodeo-cut jeans covering the heels of broken-down cowboy boots. JAMES DOWNEY "JD" BARTLETT (O.S.) (WHISPERS) I think she's gettin' dicked by Haggerty, Mallard. MALLARD (O.S.) Don't get paranoid, JD. JD (O.S.) Kin smell it on her. MALLARD (O.S.) (to the players) Put up or shut up. We see well-worn, but clean, Levi's over thick-soled telephone lineman's boots. THOMAS "BONES" MAHON (O.S.) We're gettin' by. Be nice to win a few big pots. Got to pay off those credit cards before Christmas. Then, red and black bowling shoes matching faded red sweat pants.

28 CHRIS "BABY BEAR" PEDERSON (O.S.) Bear almost dislocated my elbow, Bones. BONES (O.S.) That's the problem with being the little brother, Baby Bear. BABY BEAR (O.S.) I'll break his neck yet. BONES (O.S.) Maybe when he's 64. Followed by thin-wale corduroy pants over Top Siders. JACK "HEMINGWAY" BUCKLEY (O.S.) You guys kill me. I love this stuff. It'd make a great story. BABY BEAR (O.S.) Hemingway, all you do is take down names. Ya know, a real writer writes. We MOVE between the two poker tables. From the Youngbloods' table over to the Dinosaurs' side. Under the adjoining table, we see expensive khaki slacks over worn saddle shoes. SPENCER "DESERT RAT" RITTER (O.S.) Loved that 64 'Stang. Chicks dug it even more. Next to dark blue dress slacks creased sharp as a knife above brightly polished loafers. MILES "WHEELS" BRIDGES (O.S.) Don't make them like that anymore, Rat Man. (to the players) Let's play. It's a speed game. Followed by broken down combat boots over worn fatigues. MERLIN "DINGO" BENGSTON (O.S.) (makes SNIFFING noise) That stuff'll burn a hole in your brain, Wheels. WHEELS (O.S.) Better to burn out than just fade away, Dingo my man. A Mud Bowler wearing, wingtips and polyester slacks, raises his left butt cheek. We hear a nasty beer FART.

29 DINGO (O.S.) You in, Gasbomb? PETER "GASBOMB" GREENBAUM (O.S.) Get off my butt. WHEELS That's the last place I want to be. GASBOMB (O.S.) (COINS clink) I'm in. Next to expensive leather cowboy boots below denim slacks. JESUS "LOBO" VASQUEZ (O.S.) Goddamn jar of pennies. You save them all year for this one game? GASBOMB (O.S.) Lope your mule, Beaner mouthpiece. LOBO (O.S.) Whoa, racist remarks from a Jew boy. I'll see you in court. GASBOMB (O.S.) Bite me, Lobo. Then, black, high-top weight-lifting shoes sticking out of frayed, "high water" Big Ben black work pants. PAUL "BEAR" PEDERSON (O.S.) Shit or get off the pot, Captain Trips. At the end of the second table are Birkenstocks and drawstring baggy pants. SHERMAN "CAPTAIN TRIPS" WEEKS (O.S.) Mellow out, Bear. Save all that anger for the game. We MOVE off the sandals to reveal Captain Trips, who sits next to Michael. CAPTAIN TRIPS (to Michael) You're just blowin' our minds, right? No way we can play without a QB. The dining room looks a lot like a locker room. Two round card tables sit side-by-side. Signs hang from the ceiling above each. One is marked: "Dinosaurs." The other: "Youngbloods." And never the twain shall meet.

30 Around these tables sit the same Mud Bowlers featured in the Hall of Shame rogue's gallery. Only they're older. A drunken Michael sits at the head of the Dinosaurs' table. He has the biggest pile of winnings. MICHAEL For once I'm gonna spend Thanksgiving with David and my old man. Besides, you guys are a bad influence on the kid. Michael guzzles his beer and backs it with tequila. JD glares across at Michael from the Youngbloods' table. JD (through a wad of chewing tobacco) Tot'l bullshit. You say that evr'y damned year, Haggerty. Yer jes scared us Youngbloods'ul kick yer sorry ol' asses, jes like we always do. Michael flips JD off, then looks at his cards. He takes a last hit of beer, chucks it, and opens a fresh one. A portable phone RINGS.

Gasbomb answers.

GASBOMB Bear's Den. We're out of hibernation and we're horny. (listens) Yeah, he's here. Hey, asshole. Everyone automatically looks at Michael. GASBOMB It's for you. Michael grabs the phone. MICHAEL (into the phone) Make it fast. Got money on the table. (cringes, looks at his watch, then hangs up) Deal me out. Michael grabs some napkins from the table and yanks an expensive fountain pen out of Hemingway's pocket. He stumbles out of the room pelted by a hail of CURSES.

31 INT. STAN'S RECORDING STUDIO - CONTINUOUS Kevin holds the phone to his ear. acoustic guitar.

Stan NOODLES on an

KEVIN Hello? (turns to Stan) Piece of monkey shit hung up on me. Hello?

INT. BEAR'S HOUSE - DINING ROOM - CONTINUOUS As Michael rushes out of the room, MARK "BILLIE THE KID" JAMES, surfer dude and jester, bursts through the front door. BILLIE Which one of you mainlanders is gonna buy me a beer? MUD BOWLERS (flashing variations of the Hawaiian hand wave) Hey, Billie boy, howzit? Hang loose, Bruddah. Yo, babe! Shaka, bro! BEAR Hide the women and children. JD And your butts. Billie catches a beer tossed at his head. BILLIE Where's our Unitas, our Montana, our Starr? They all point down the hallway. Annie follows.

Billie heads that way.

BATHROOM Michael sits on the toilet seat. He quietly SINGS some lyrics to himself. Satisfied, he writes them down on the napkin. There's a KNOCK on the bathroom door. MICHAEL Hold your lizard. Be out in a sec. Another KNOCK.

32 MICHAEL Okay, okay. Michael stands and hurriedly stuffs the napkin in his shirt. He yanks the door open to reveal . . . HALLWAY Kevin arms crossed, standing in the doorway. behind him. Annie behind him.

Billie stands

KEVIN Stan's studio's a heartbeat away and you can't pull yourself away from a lousy card game. MICHAEL Lighten up. BILLIE Yeah, lighten up. It's not like you're his old man. KEVIN You're wasted. MICHAEL Never made a difference before. Annie steps around Kevin and Billie and slides by Michael. They make eye contact. Michael sees the bruise. Annie looks away. She lightly pushes Michael out the door and closes it behind her. KEVIN Was counting on you. MICHAEL That was your first mistake. KEVIN Let's go. Kevin shoves Michael ahead of him.

Michael stops.

MICHAEL Real friends don't expect so much. They cut each other some slack. Kevin's about to push him again and thinks better of it. Michael walks away. DINING ROOM Michael enters, followed by Kevin and Billie. A moment later, Annie walks in. She turns her freshly powdered face

33 toward Michael and smiles. Michael smiles back. up just in time to see this. And loses it.

JD looks

JD You goddamned goat-roper. JD charges and throws a right-handed round house at Michael's head. Michael reacts, reeling back toward the wall. slow.

He's too

JD's fist just clips Michael's scarred jaw. Michael's head whips around as the rest of JD's glancing blow crashes through the wall. Michael slides down the wall. The Mud Bowlers jump up and get between JD and Michael. Annie turns to face JD. She's crying. The makeup over her left cheekbone has smeared. Her shiner shines. CAROLYN PEDERSON, Bear's wife, puts her arm around Annie's shoulder CAROLYN (to them all) You should know better. Carolyn and Annie walk back to the living room. The other WOMEN wipe away Annie's tears and try to cheer her up. A couple of Youngbloods help JD free his hand from the wall. Michael stands.

When the crowd clears, he sees . . .

Scott sitting in Gasbomb's chair at the Dinosaurs' table. Don and Mary stand behind him. SCOTT Got women fighting your fights. time. MICHAEL (stands) They can take care of themselves. MARY (looks at the spreading bruise) You all right? SCOTT Excuse me for being so impolite. Michael. You remember Mary. MICHAEL Been a few years.

This

34 SCOTT Sorry you two didn't have a chance to say hello this afternoon. You obviously found my car more interesting. MICHAEL No, I just think lingerie looks better on some women than on some cars. MARY It has been a long time. sixteen years.

About

SCOTT About. Kevin enters the room. Seizing the moment to defuse the situation, Mary walks up to Kevin. MARY You must be Kevin? KEVIN You must be Mary. (pointed) Scott's wife. MARY I've heard a lot about you over the years. KEVIN All bad, I'm sure. MARY To the contrary. KEVIN Glad you could make it to our little reunion. MARY It was long past due. SCOTT Long past due. KEVIN (to Michael) Let's roll. MICHAEL In a minute. The rest of the Mud Bowlers filter back in, say their hellos to the new arrivals, and take their seats.

35

Scott doesn't move from Gasbomb's chair. Mary returns to stand next to Don. Michael sits across from Scott. GASBOMB (attempts assertiveness) Hey, Youngblood. I think you're at the wrong table. (bravely CHUCKLES) SCOTT They still call you Gasbomb? GASBOMB Sometimes. Scott drags the deck of cards toward him. SCOTT Well, then. You should stay away from combustible material. He whips out a wooden match and strikes it with his fingernail. SCOTT We wouldn't want you splattered all over the walls. (to Michael) Still play guts? MICHAEL Deal 'em if you got 'em. INT. BEAR'S HOUSE - DINING ROOM - MUCH LATER The tub of beer is mostly water. A few pieces of ice float among the even fewer beers that bob aimlessly. A HAND pulls the last two beers from the tub. The only light in the room spills from the two floor lamps above each table. Kevin walks the beers over to the Dinosaurs' table. Scott has a huge pile of money in front of him. Billie, Captain Trips, and Gasbomb each have a few dollars. Michael, even less. What's left of the party has migrated into this room. Everyone watches the game. Kevin sits next to Michael, hands him a beer, and looks across at Scott. As Michael opens his beer, Scott lays down two deuces. A collective GROAN gasps from the onlookers. Michael remains unmoved. He slides his cards, face down, into the discard pile.

36 SCOTT That should cover a weekend's worth of tennis lessons for my wife. GASBOMB I'm out. Captain Trips gets up to leave as Scott rakes in his pot. Me too, man.

CAPTAIN TRIPS I gotta split.

SCOTT If practicing law was this easy, I'd— MICHAEL Still be a parasitic prick. SCOTT That cuts me so deep. Especially coming from a two-time loser like you. Michael starts to get up, but Billie and Kevin grab his arms, forcing him to sit down. BILLIE Last hand. Okay.

SCOTT Let's see, that's–

GASBOMB Eighty-six bucks each to stay in. Scott lights another match and again holds it between him and Gasbomb, hoping Gasbomb will finally get the message. MARY We should go. Don has to get up early. So does Michael. SCOTT (to Michael) See what you've been missing? Still looking at Michael, Scott slowly moves the match closer to Gasbomb. He turns his head. SCOTT Boom! The force of the word blows out the match. MICHAEL Let's end this.

37 SCOTT Don't believe you've got enough to cover your bet, old friend. MICHAEL I'll play light. SCOTT The way you've always done, Haggerty? You know, you can get hurt playing with other people's money. MICHAEL (rubs his scar) Look, if you haven't got the balls to play the game, just get out. SCOTT You know me better than that. MICHAEL Yeah, I do. Kevin takes out his wallet and removes four crisp twenties, a five, and a one. He sets the bills down on the table in front of Michael. Scott deals. KEVIN (to Michael) Finish what you've started. MICHAEL (looks at Scott, but speaks to Kevin) I'll pay you back later. SCOTT Where have I heard that before? MICHAEL What's that supposed to mean? KEVIN Come on, guys. Ease up a little. SCOTT Not a chance. Especially if you knew what I know about your "good and true" friend here. MICHAEL One more word and you're history. Mary comes up next to Scott.

38 MARY It is definitely time to go, Scott. Now! Scott puts his arm around her waist. SCOTT You're right, sweet cheeks. No need getting greedy. I have everything I need. (picks up his cards) Don't I, Michael? Mary angrily pulls herself away from Scott. Michael explodes over the table as Scott stands to defend himself. It's too late. The thrust of Michael's full body block sends Scott and his money flying. Scott slams against a cabinet. Kevin and Billie pull Michael back as Scott recovers and shoots back toward them. Just as his right hand is about to make contact with Michael's jaw, a huge hand grabs his fist, stopping Scott where he stands. Don wraps his arms around his younger brother, holding him eye-to-eye with Michael. You owe me.

SCOTT Now it's payback time. MICHAEL

Count on it! SCOTT Like Don did?! Michael lunges again, but Kevin grabs him and jerks him away toward the front door. KEVIN Come on. You got to get real tomorrow. People are depending on you. MICHAEL Yeah, everybody's carnival ride. Michael shakes off his friend's hands as the two head for the door. Those still left in the room are a little stunned and amazed. Billie turns the cards over. Scott had a pair of eights. Michael a pair of Aces.

39 EXT. BEAR'S FRONT YARD - MOMENTS LATER Michael slams the front door open and careens down the porch steps. Kevin shadows him as he heads for his car. KEVIN What the hell is going on between you two? MICHAEL Mind game. He's pulling the same old shit all over again. Michael leans against his car to get his balance. KEVIN Wish I knew what you were talking about. MICHAEL Look, it's between Scott and Don and me. It's our business. And none of yours. Michael climbs in and starts the car. reverse.

He slams it into

KEVIN Where you going?! MICHAEL Home! KEVIN You'll never make it! Michael races off, briefly loses control and swerves, just missing a parked car. Billie walks up behind Kevin. BILLIE Bet you money he misses his turn. KEVIN Miss it, he'll never even see it. EXT. CITY STREETS - LATE NIGHT Michael attempts a right turn from the left, inside lane. He nearly hits another car traveling parallel to him in the right lane. Michael's car swings back into the left lane, causing him to miss his turn.

40 INT. GEORGE HAGGERTY'S HOUSE - LIVING ROOM - LATE NIGHT The flickering blue light of a TV reflects off a shelf full of dusty trophies and memorabilia. A framed newspaper clipping hangs crooked above the shelf. It's a photograph of a young Michael posing in a football uniform, arm cocked, ready to throw a pass. The caption reads: "AllValley Quarterback Rejects Stanford Scholarship to Pursue Music." George stares blankly and heavy-lidded at a wrestling match. He holds a can of cheap beer. GEORGE (crumples the can) Get 'em you mother! Kick the shit outta him! Without looking, he swings the can to his left. GEORGE Buy me one while you're up. Michael slouches on the couch near his Dad. cold one. Why not. be.

He cradles a

MICHAEL No place to go and nobody to

Michael puts down his beer and heads for the kitchen. GEORGE How 'bout a shot of Stoli. can handle it?

Think you

MICHAEL No brainer. KITCHEN Michael pulls a couple of beers from the refrigerator. He opens the freezer door and grabs a bottle of Stolichnaya Vodka. He reaches deeper and pulls out a frozen Turkey TV dinner. GEORGE (O.S.) That's pathetic. Finish it, goddammit. That figures. No guts. Michael bows his head for a moment and shoves the tin dinner to the back of the freezer. LIVING ROOM The wrestling match ends. George hits play on the remote. The screen goes BLACK. Some old home movies begin. It's

41 game films of Michael playing Pop Warner and high school football. Michael returns with the beer and shot glass of vodka. He stares at the screen, then shoves the drinks between his Father's face and the TV. Without looking up, George grabs the shot and shoots it. Michael pops his Dad's beer, sets it on the coffee table, and sits. Michael rummages through the garbage-strewn coffee table. He dredges up more clippings and scrapbooks. Some feature him, others his Father. MICHAEL Mary's in town. GEORGE You two gettin' together? MICHAEL She's still married to Scott, for Chrissakes! GEORGE Never stopped you before. Michael cuts his Father a dark look. GEORGE Sure seems like Laidlaw always got what you wanted. MICHAEL Screw that crap. Don't want anything he's got. GEORGE Don't have to worry about that now, do we? Guess we blew that chance a long time ago, didn't we? MICHAEL Not this again. GEORGE If you'd stuck with football– MICHAEL –I'd be living large. I'm not?

How do you know

George finally turns to his son. We see their twin reflection in the glass surface of the table.

42 GEORGE You wouldn't be here if you were. MICHAEL It doesn't get any better than this, does it, Dad? All the culture I can stomach. (gestures to TV) Good food. (holds up the beer) Great company. (toasts his Father) Michael drains his beer. He yanks an old "Sports Illustrated" out of the pile, dumping most of the magazines and memorabilia on the floor, along with George's beer. MICHAEL A chance to reminisce with the greats of the game. GEORGE Was talkin' 'bout this town. MICHAEL Sure, I just love re-living the past with has-beens. GEORGE Knock it off, Michael. Michael senses his Father's humiliation, but takes it to the limit anyway. MICHAEL Look, you helped me out a long time ago. I appreciate that. Stop using it. I've done my time making it up to you. I'm tired of trying to live up to everybody's expectations. I'm tired of being everybody's good time. (the storm passes as quickly as it came) Aw, screw it! It doesn't matter anyway. Nobody really gives a damn. Michael grabs one of the "Sports Illustrated" magazines lying on the floor and mops up the spilled beer. MICHAEL Want another? GEORGE No, time to retire. George CREAKS agonizingly to his feet. He hobbles over to the TV and SNAPS it off. The room glows suddenly dim.

43

Hey, Dad.

MICHAEL I'm really sorry.

I–

GEORGE Yeah, forget it. (hopeful, but unsure) See ya at the game? MICHAEL Not sure. GEORGE You say that every goddamned year. MICHAEL This year is different. Right.

GEORGE Just like every year.

George limps away and disappears down the dark hallway. A look of shame covers Michael's face as he turns over the magazine he just used to clean up the beer. He suddenly recognizes it. It's a vintage "Sports Illustrated." His Father's picture is on the cover. Michael turns the soggy pages, stopping at the article about his Dad's own notable football career. EXT. MICHAEL'S HOUSE - DRIVEWAY - PRE-DAWN Michael CRASHES his car into two garbage cans, then SCREECHES to a stop, inches away from his garage door. INT. MICHAEL'S CAR - CONTINUOUS Michael's head snaps forward, then back against the headrest. Momentarily startled, his tired eyes nod shut. He passes out, mouth wide open, and begins SNORING. INT. KEVIN'S PARENTS' HOUSE - EARLY MORNING Kevin, June, and Jack drink coffee. JACK We didn't hear you come in last night. Your Mother was gettin' a little worried. KEVIN Sorry. He wanted to see the guys and play some cards. I tried to get him to do his songs.

44 JACK He as reliable as ever? KEVIN Let's say he's predictable. JACK Guess that means they didn't get done. KEVIN You got it. JACK He still gonna do the songs? KEVIN Says so. JUNE What’s come over that boy? so different.

He seems

KEVIN Hates his life and what he’s done with it. JACK Who doesn’t? June shoots Jack a look.

He shrugs.

KEVIN He's stuck in some day. Believes as soon as he gets that break, everything will be okay. JACK Sure. I know about some day. Just wait till the kids grow up, or you get that raise, or you retire. Happiness is always over that next hill. Fact is, today is some day. JUNE What’s he waiting for? There’s no better time to be happy than right now. JACK Life waits for no one, Kevin. KEVIN Doesn’t see it. All he knows is that he’s getting older. And he’s alone. JUNE He’s got David.

45

KEVIN Takes that for granted. He's still looking for someone to love. Wants to be married. Be a happy family man. JACK He give up on music? KEVIN Thought so. Till he said something yesterday. About getting another shot. Guess he’s got something cooking. JUNE I hope for his sake, and David’s, that it works out. KEVIN It has to. INT. MICHAEL'S HOUSE - BEDROOM - SAME TIME Michael still SNORES, mouth open, in the same position we left him in the car. The alarm clock ERUPTS. Michael's hand SLAMS down on the clock. He sits up in bed and rubs his face with both hands. The empty tequila bottle pinned under his arm RATTLES to the floor. He gazes around the room, trying to get his bearings. He's still fully-clothed. He's momentarily lost, then his eyes cross as the room begins to spin. He bails over the side of the bed and barfs. INT. MICHAEL'S HOUSE - LIVING ROOM - A LITTLE LATER Michael looks real rough around the edges. David leans against the wall, hoping it will hold him up and keep his world from spinning out of control. MICHAEL You’re drunk. David smiles. DAVID People who live in stone houses . . . (grimaces) MICHAEL Look, I don’t want to tell you how to live your life–

46

DAVID Then . . . (gulps) . . . don’t. Before Michael can say anything more, David turns green. He puts his hand over his mouth and races for the bathroom. BATHROOM He didn’t make it. There’s vomit all over the floor. Michael wants to be angry, but he can’t be. MICHAEL Don’t do this, bud. DAVID You do. MICHAEL You don’t want to be me. DAVID Says who? MICHAEL Don’t do as I do, David. DAVID What difference does it makes? never around.

You're

MICHAEL Try to be. DAVID When was the last time we ate dinner together, Dad? Or just talked? MICHAEL All I’m saying is don’t do something you’ll regret. Deal? Michael holds out his hand. him off the floor.

David takes it.

Michael lifts

LIVING ROOM - A LITTLE LATER Michael and David gingerly gather their stuff for school. They're both hurtin' units. They hear a KNOCK. It's really LOUD. They turn as Kevin enters. KEVIN What happened to you last night? Michael holds up his hand, asking for silence.

47

MICHAEL Got lost in the past. KEVIN (to David, but looking at Michael) David, make sure he finds his way this time, okay? Sure.

DAVID That mean I get the car?

MICHAEL Appears your uncle Kevin is calling the shots. As usual. I'll be out front at noon. Don't forget your Grampa. KEVIN Tell me the songs are done. Michael retrieves the crumpled napkin from his jacket pocket. Kevin just shakes his head. INT. LAIDLAW HOUSE - LATE MORNING Agnes reviews the Thanksgiving menu with her maid. SCOTT (O.S.) What?! Scott's fist SLAMS the kitchen table. Salt and pepper shakers scatter, a bud vase capsizes, apples and oranges spill out of a fruit basket. Agnes stops her conversation and casts a disdainful look at her out-of-control son, who talks on his cell phone. INT. AVERY BERLINER'S OFFICE - CONTINUOUS AVERY BERLINER talks on the phone. AVERY What can I say? He likes this Haggerty demo. INTERCUT TELEPHONE CONVERSATION SCOTT Where'd you find it? AVERY In with the other ones. Behind your desk. On the right side, like you said. Where'd you get it anyway? (MORE)

48 AVERY (CONT'D) It's, like, sixteen years old. (mostly to himself) Talk about stone age rock 'n roll. SCOTT Dammit, Avery. I told you the left side. That artist's not available. Tell him he'll have to use somebody else. AVERY Hey, partner, "Mr. Flavor-of-theMonth" wants those cuts for two cues in his flick. He's made it pretty clear. If we don't deliver, we'll be looking for office space in Oxnard. SCOTT Lie to him. Say anything. we don't have the rights.

Tell him

AVERY No can do. He's already checked it out. He knows we have an exclusive. He wants the master before the weekend's over. SCOTT We're screwed. AVERY Whaddya mean we, kimo sabe. Mary glides into the kitchen. MARY Where's Don? SCOTT Not my turn to watch him. MARY You were supposed to pick him up at school. SCOTT (to Avery) Hold on. (looks at watch) I forgot. Look, I'm in the middle of something here. (suddenly all sweetness) Could you cover for me, babe?

49 Without waiting for an answer, Scott throws his car keys at Mary. She lets them RATTLE to the floor. She throws him a cold look, picks up the keys, and leaves. Scott smiles and jumps back into his phone conversation. PURRING WHITE CAT leaps up on the table. SCOTT I'll take care of it, Avery. always do.

A

Like I

Off-screen, the cat suddenly HISSES, then SCREECHES. EXT. JUNIOR HIGH SCHOOL - FRONT ENTRANCE - NOON Mary SCREECHES to a halt at the foot of the front entrance stairs. KIDS pour out the school door and down the stairs past a smiling Don. He waves. Most wave back. Mary slides over to the passenger side to get Don's attention. Just then, Michael exits the school door. reaches over and peels back the bill of Don's hat.

He

Michael puts his arm around Don and they descend the stairs together, surrounded by kids. As the wave of children parts, Don and Michael spot Mary inside the car. Mary's smile turns embarrassed. As does Michael's. Don, looking from one to the other, flashes a self-satisfied grin of approval. MARY See you still sleep in your clothes. MICHAEL One less egg to fry. MARY Wouldn't want to complicate your life too much. MICHAEL It's a philosophy I live by these days. MARY I'm envious. (taking a chance) I'd like to hear more about it. give you a lift? MICHAEL (looks at his watch, then Don) Guess I've got nothing to lose.

Can I

50 Mary slides back to the driver's side as Don climbs in the back and Michael the front. They pull away from the curb. EXT./INT. STREET - MICHAEL'S CAR - CONTINUOUS David pulls up just in time to see them leave. in the front seat. They don't follow.

George sits

INT. SHOPPING MALL - CLOTHES STORE - LATER David and George help two raggedy-looking BOYS shop for Christmas presents. Other, well-dressed ADULTS help other threadbare CHILDREN buy clothes. GEORGE Your Father does care, David. DAVID Hard to tell. GEORGE Just trying to play with hand he was dealt. DAVID Some say he did it to himself. GEORGE Think I know who "some" are and they're wrong. They don't know the whole story. George gestures for David to sit. shop.

The two boys continue to

GEORGE Your Dad was a damned good football player. Good enough to get a full ride to Stanford. He was also a helluva singer and songwriter. He chose music. DAVID And went to LA. GEORGE He gets down there and runs into some money trouble. Comes back for a while. Wouldn't come to me for help. Went to Don. DAVID Don came through.

51 GEORGE He did. Don went back with Michael. To protect his investment, he said. They finished the demo tape– DAVID That when Don got hurt? GEORGE It was. Michael came home. Then Don. They were never the same again. (beat) Then you came along. Turned your Dad's life around. DAVID Did you know my Mother? Not really.

GEORGE Scott did.

Just then, the two boys rush up to show David and George their new stuff. INT. SHOPPING MALL - CONTINUOUS David and George exit the store and walk through the mall. DAVID Was that it for his music? GEORGE Pretty much. DAVID He needs to try again. to stop now.

He's too good

GEORGE No, son, he needs to get on with his life. He's too old to change it now. DAVID Grampa, dreams are all we've got. know that.

You

GEORGE But, regrets are what we live with. That's what I know. DAVID Wish I could do something. Anything, so he could get what he's always wanted.

52 INT. RESTAURANT - BANQUET ROOM - EARLY AFTERNOON Kevin supervises decoration of the banquet room. The party favors are equal parts Mud Bowl nostalgia, high school reunion, and silver anniversary. A very expensive bottle of California Wine sits on a side table. Leaning against it is a card that reads: "The Last Mud Bowler." Kevin balances dangerously on the top step of a rickety ladder. He stretches up to hang a streamer. He loses his balance and plunges head-first toward the floor. KEVIN'S VIEW Michael and Mary stare at him. on their heads.

Strangely, they're standing

Don holds Kevin around the waist as he dangles upside down. MICHAEL Getting ready for the game's getting more dangerous than playing. Don rights Kevin, who straightens his clothes. KEVIN Don, sometimes I don't know what we'd do without you. Michael, Don, and Mary exchange glances. Kevin's eye.

It doesn't escape

Don puts his arm around Kevin. He pulls Michael to him. He hugs both men. The scene is reminiscent of the photo hanging on the Wall of Shame in Bear's house. DON Old friends. MARY That's sweet, Don. Don releases Michael and Kevin, who begin rough-housing. They stop and Michael makes a sweeping gesture. MICHAEL So, what do you think of all this? MARY (looks around, then at Kevin) I can't believe you put this all together every year.

53 MICHAEL With a little help from his friends. KEVIN Hope our behavior didn't offend you last night. MARY Not at all. Only happens once a year, after all. (beat) Is there a phone here? Don pulls an old Mud Bowl photo out of a box and hangs it on the wall. MICHAEL Around that corner. Next to the cigarette machine. Don lifts another picture out of the box. DON Good times. MICHAEL Old times. DON I remember. Mary nods and walks toward the phone. KEVIN You can put them all up if you want. DON Photographs and memories. KEVIN That's what it's all about, Don. (to Michael) Let's get a drink. Kevin heads for the bar. Michael looks confused, glances over at Don, who smiles, then follows Kevin. INT. STAN'S STUDIO - EARLY AFTERNOON Inside the soundproof studio, Stan sets up a voice mike. Billie sits in the corner STRUMMING his electric guitar. Through the glass of the studio, David talks on the phone in the control room. DAVID You sure it's okay? A surprise? Nails. You know I'd do anything.

54 INT. LAIDLAW KITCHEN - CONTINUOUS Agnes crosses, cradling her cat. She holds its tail close to her. Scott casts a predatory glance at them both as he holds his cell phone to his ear. SCOTT (greasy sincere) That's right. We both would. (beat) It'll be something he'll never forget. INTERCUT TELEPHONE CONVERSATION DAVID They're really checking out his tunes? They're not zooming you? SCOTT (oily) Trust me. It's going to change your Dad's life. DAVID Wired! (listens, then looks around) No, it's here. The demo master audiotape from the open, another tape labeled "Protection Master," and several cassette copies sit on a shelf in the control room. DAVID My Dad wanted Stan to make some copies. I think he's got something else going. SCOTT Really. Aces, huh. again.

DAVID All of a sudden, he's hot

SCOTT Interesting. Now, don't forget. This is a surprise. Don't tell anyone. Not even Kevin. DAVID Sure, if that's how you want it. SCOTT It is. When will Kevin and your Dad get there?

55 DAVID Pretty soon. SCOTT I'll be right over. INT. RESTAURANT - BAR - LATE AFTERNOON Kevin enters and sits at the bar. Michael is barely seated before Kevin jabs him in the ribs. Although both talk during this conversation, neither one really listens. KEVIN What the hell you think you're doing? MICHAEL Ordering a drink. (motions to the BARTENDER) KEVIN Leading with your dick again. MICHAEL I'll take a Bloody Mary. KEVIN Is it just the season, or do you mess up this bad all year long? MICHAEL Make it a double. KEVIN You hate your life so much you'd destroy all this just to get your rocks off? MICHAEL You mean this carefully contrived little party of yours? KEVIN It means a whole lot more than that. MICHAEL May help get you through the night. Does nothing for me. KEVIN You're just looking for another score. MICHAEL Wrong number, compadre. It's just been a long time since I saw her. That's all.

56 KEVIN No secret game plans? MICHAEL Trust me. INT. RESTAURANT - HALLWAY - SAME TIME Mary talks on the pay phone. MARY (apologetic) It was Don's idea. Really. to help Kevin.

He wanted

INT. LAIDLAW KITCHEN - CONTINUOUS Scott talks on his cell phone. SCOTT Twisted your arm, did he? INTERCUT TELEPHONE CONVERSATION MARY I still can't say no to him. really loves seeing me.

He

SCOTT Michael? MARY (misinterpreting) Never. Uh, no, I meant Don. SCOTT I meant where's Michael? MARY (lying badly) Kevin said he might stop by here after school. SCOTT (catches the lie) You can stay as long as Don's enjoying himself. Just leave living in the past to Kevin, all right? MARY Don't worry. I'll keep the memories at arm's length.

57 INT. RESTAURANT - BAR - SAME TIME KEVIN Look, I don't want to tell you how to live your life– MICHAEL (smiles, remembering his own words) You're going to anyway. Michael looks away, down the bar. Sitting at the far end is JOHN CRICHTON, a local loser. Crichton is wasted away. KEVIN Especially when your crap threatens something we've built over a lot of years. MICHAEL Bite me! Kevin physically reacts, thinking he's pushed Michael too far. MICHAEL Don't look now, but that sure looks like John Crichton down there. KEVIN (cranes around Michael to see) Whoa, is he toasted. Heard he was having problems. MICHAEL Yeah, money and women. Lost his business and his wife left him. I can relate. KEVIN Didn't realize he'd taken it so hard. Haven't seen him since the last time he played. Maybe we should see how he's doing. Just for grins. MICHAEL Leave salvation to the goddamned missionaries will you. Michael takes one last sidelong look at Crichton. In the glass divider of the waitress station, he sees his own reflection. MARY (O.S.) Hey, soldier, buy a girl a drink?

58 In the mirror behind the bar, Mary stands between Kevin and Michael. MICHAEL You got the money, honey, I got the time. INT. STAN'S STUDIO - LATE AFTERNOON Above the front door, the red doorbell light flashes. INT. STAN'S STUDIO - CONTROL ROOM - CONTINUOUS Stan looks up at the light.

Billie motions he'll get it.

EXT. STAN'S STUDIO - CONTINUOUS Scott gazes warily at a sleeping Utah. Billie pushes the door open. His face says he's shocked to see Scott standing there. BILLIE Back for round two? SCOTT Hardly. Wouldn't want to get my hands dirty. David here? He has something for me. BILLIE (wary) He's inside. EXT. RESTAURANT - PARKING LOT - LATER Michael, Mary, Kevin, and Don troop to their cars. Michael and Mary are a little unsteady. Everyone squints against the light. MARY Thanks for the drinks. It was nice of you to let Don help out. KEVIN Wouldn't have been the same without him. DON Be careful, Michael. MICHAEL (looks at Mary, but answers Don) I will be. See you later, okay?

59 KEVIN Let's get going. We've got things to meet and people to do. Kevin ushers Michael away as Mary helps Don into her car. EXT. STAN'S STUDIO - A LITTLE LATER David closes the studio door as Scott rushes down the path toward the driveway. Utah bolts across the yard and through a mud puddle. Scott hears the RUMBLE and turns. Just in time to receive the full wrath of Utah's affection. Scott staggers back and falls flat on his butt, squarely in the mud. Utah climbs on Scott's chest and licks some mud off his cheek. A muddy paw print is now stamped across the already stained audiotape box. INT. LAIDLAW KITCHEN - SAME TIME Agnes flips through a magazine. answers.

The phone RINGS and she

AGNES Laidlaw residence. Agnes speaking. (listens) No, Scott's not here, dear. He had to run some errands. (listens) No, no message. EXT. RESTAURANT - PARKING LOT - SCOTT'S CAR - CONTINUOUS Mary talks on her cell phone. MARY Maybe he left something on our voice mail. Mary looks out the car window. Michael and Kevin stand next to Kevin's SUV. She looks over at Don. MARY When you see Scott, Agnes, tell him Don and I are on our way home. Mary disconnects and dials.

She listens.

AVERY (V.O., ON VOICE MAIL) Scott, you gotta call me, man. The director's really turning up the heat. He wants those Haggerty songs and he doesn't want to hear no. Do something. Anything. Offer the guy more money. (beat) (MORE)

60 AVERY (CONT'D) Maybe you can get someone to, like, "borrow" the master. Maybe there's someone you can con. Tell them he's gonna hit the big time. You gotta do something. Whatever it takes. Mary SLAMS her cell phone down, throws the car in gear, and SCREECHES off. Don's head whiplashes back. Michael and Kevin watch her roar off. INT. KEVIN'S SUV - SLIGHTLY LATER A white convertible Mustang with a couple of YOUNG BLONDE THINGS pulls up next to Kevin and Michael. MICHAEL Jail bait at twelve o'clock. Michael leans out and begins flirting. embarrassment.

Kevin shrinks in

MICHAEL (SHOUTS) Say, sweet things. Care to party? The girls GIGGLE, then speed off. KEVIN Blondes in white cars. MICHAEL I'd love one. KEVIN No, you wouldn't. It's not real. It's like giving up something you've got for something you think you want to get. MICHAEL You're an asshole. KEVIN All my friends are assholes, too. EXT. MUD BOWL FIELD - DAY - SLIGHTLY LATER Kevin and Michael walk the field of battle. Michael sucks on a six-pack. Kevin shoots some pre-game video footage. MICHAEL (TO CAMERA) Everybody knows. On this day, they'll be here. In this park. Playing football.

61 He stops walking and talking. into the camera.

He makes a "jerk-off" motion

MICHAEL Why in hell do we do this every year? KEVIN Just trying to beat the isolation. MICHAEL You're really doing it for yourself. KEVIN Of course I am. Who the hell else would I be doing it for? I need it. Besides, it feels good. They stop near a picnic table. MICHAEL You've created this fantasy world you want to live in. That's why you think you can come back. KEVIN It's the people, not the place. MICHAEL They don't exist. KEVIN They do for me. They head for the stairs that lead to the street. MICHAEL Why is it you've always got to be in the thick of everything? KEVIN That's my job. Get people together. And keep them there. MICHAEL No matter how much you try, we're all not going to get along. It's like you're the hub of a wheel, we're the spokes. We're connected to you, but not to the others. I'm here and Scott's over there, along with all the rest. That's the way it's always going to be. KEVIN Got to keep trying. They ascend the stairs.

62

MICHAEL If things work out, I may not be part of your fantasy game next year. Hope they do. enough.

KEVIN You've wanted it long MICHAEL

I suppose. They reach the SUV. KEVIN Am I hearing second thoughts? MICHAEL There's David. And the old man. KEVIN What are you afraid of? success?

Failure, or

MICHAEL Maybe a little of both. INT. BEAR'S HOUSE - GAME ROOM - DUSK The floor below a dart board is littered with dartpunctured playing cards. Suddenly, a dart with the Queen of Hearts impaled on it, pierces the bull's-eye. An UPROAR follows and a fine mist of beer. The Dinosaurs are scattered around a basement game room. The Desert Rat stands at the throwing line. DESERT RAT "Hump the Queen" time. Gasbomb steps up, takes a card from the top of the deck, sticks his dart through it, walks to the line, and throws half-heartedly. It misses wide and to the left. Just missing a lamp, it hits the wall and bounces off. LOBO Rag arm! Glad you're not throwing manana. The air would be filled with ducks. Bear tosses an empty beer can at the plastic garbage can in the corner. It sprays Don as it flies by. Don stands. Everyone reacts. Michael removes Don's hat, wipes it off, puts it back on, and turns the bill up.

63 MICHAEL No harm, no foul. Right, big guy? They both sit. Gasbomb pulls a stack of neatly-drawn 3X5 index cards from his pant's pocket. GASBOMB Are we going to go over these plays, or what? WHEELS No, we're all going long. BEAR Like we do every year. 'Cause nobody follows their patterns anyways. Captain Trips holds up his finger like he's testing the wind. CAPTAIN TRIPS A change is coming. DESERT RAT It's about time. KEVIN He's not talking about the game. BILLIE Never is. CAPTAIN TRIPS There's a new spirituality brewing. A new civility. A simplicity. People are looking inward. They're downshifting. They're taking care of each other. DINGO Somebody just shoot me. CAPTAIN TRIPS Slave to the moment? Over. Selfishness. Done. Instant gratification? Dead. BEAR Kill us all. Bear throws a dart from where he sits. It misses wide and sticks in the lamp shade. There are many other points of light shining through the shade.

64 CAPTAIN TRIPS Don't say I didn't warn you. Captain Trips lights up a roach and takes a toke. He offers it around. The looks he gets says they don't do that shit no more. He finishes it quickly. DESERT RAT Forget the plays. All we got to do is keep JD off Haggerty's ass. Think you can handle that, Dingo? Dingo sits quietly on the edge of an old wooden chair. There are other, more comfortable chairs, but this is the one he likes. DINGO I'll take care of it. GASBOMB You can't do it alone. DINGO Do it alone every day. Someone CHUCKLES.

Dingo's stare cuts them short.

DESERT RAT We're all alone out there, boys. we're going out there again.

And

WHEELS The high lonesome. CAPTAIN TRIPS That old dog solitude. BEAR Dog shit. DINGO Bull shit. SEVERAL Rat shit, bat shit, dirty old . . . They stop the dirty drinking song mid-refrain. Lobo throws his dart. It punctures the upper left corner of the Queen of Hearts. Stuck to his dart is the King of Clubs. EVERYBODY (ad-libbed CHEERS) Hump, hump, hump!

65 BEAR Who gets sloppy seconds? GASBOMB We gotta get ready, guys. war.

This is

DINGO 'Nam was war. CAPTAIN TRIPS That was hell. DINGO How would you know? CAPTAIN TRIPS Hey, man, I fought on the home front. That didn't make me love this country any less. It took guts to do what we did. A collective look from the rest says, "Here we go again." DINGO Piss on us when we came home. CAPTAIN TRIPS Never did that. KEVIN Pop into the 21st Century, boys. Sixties are history.

The

The Desert Rat flashes the "Power to the People" salute. DESERT RAT Right arm! BILLIE Farm out! Wheels flashes the "Peace" sign. WHEELS Peace, love, and methedrine. GASBOMB Come on, let's get serious. BEAR Gettin' serious hasn't won us a game in ten years. GASBOMB That's because we don't follow the plays.

66

LOBO No, it's because they're younger and faster. BILLIE We're smarter. BEAR And meaner. WHEELS (gestures to Captain Trips) Of course, we could let "Captain Trips" here argue them to death. CAPTAIN TRIPS You're a true master of light. WHEELS You give great sex. CAPTAIN TRIPS Narc. WHEELS Nazi. BEAR You wanna know what real hell is? Makin' a life in this shitty little town. He looks to Michael for support.

He gets none.

KEVIN Town's got nothing to do with it. BEAR How would you know? here for years.

You haven't lived

KEVIN Sorry you don't like your life, Bear. This town's not doing it. BEAR What is, professor? KEVIN Tell me. You're the only one looking out those eyes. If you don't change it, who will?

67 DINGO Look who's talkin'. kids and debts.

You ain't got

KEVIN Got a wife. They all SNICKER. KEVIN That I love more than you shitheads will ever know. DESERT RAT Doesn't show. She knows.

KEVIN That's all that matters.

WHEELS She's not here. KEVIN That's me, not her. BEAR Whatever. KEVIN Believe it or don't. you.

It's all up to

BILLIE Beware of what you wish for. might get it.

You just

Wheels steps to the line. BEAR What's this bullshit about a last man's club? BILLIE Saw it in some old movie. All these World War I flying aces. Sort of a final tribute to their fallen comrades. CAPTAIN TRIPS Bummer. I mean we're only, like, fortysomething. DESERT RAT (mimics Captain Trips) Downer.

68 GASBOMB I think it's terrific. KEVIN Me, too. Could be a whole new tradition. Michael shoots Kevin a "There you go again" look. WHEELS What's the big deal? Just buy a bottle of Thunderbird and store it for a few years. DESERT RAT Keep it cheap. Otherwise Gasbomb'll sell it and buy more rental units. Forget me. the cork.

BEAR I'll never make it to pop WHEELS

Wimp. DESERT RAT No lie. Between the stress, the wives, and the vices, only a Catholic priest could make it to the bell. BILLIE He'd die of AIDS first. The Jack of Hearts flies wide of the Queen. Captain Trips steps up to throw. CAPTAIN TRIPS I mean, if everybody would just visualize success, we should have no problem winning. Captain Trips looks slowly from his dart to the board, closes his eyes, then lofts it. It lands on the bottom edge of the board. BEAR I can see that new age crap really works for you. CAPTAIN TRIPS Fascist! BEAR Yak!

69 Gasbomb puts his beer down on a side table. The Desert Rat reaches over and flicks some ashes from his cigarette in the can. GASBOMB Okay, forget the plays. the rules?

What about

A dart whizzes by Gasbomb's face. He jumps back and looks over toward the dart board. A dart carrying the Ace of Spades misses the Queen, but not by much. Gasbomb nervously looks toward Wheels. WHEELS There ain't no rules at the Mud Bowl. BEAR The only way we're gonna win is to intimidate the shit outta them punks. (shakes the "Cheap Shot" chicken at Gasbomb) Comprendo? Gasbomb grabs his beer and takes a small sip. When he puts it down, everyone sees wet cigarette ashes around his lips. Everyone busts out LAUGHING. Gasbomb hasn't a clue. Michael walks to the line. Dart in one hand, beer in the other. He stabs the card on the top of the stack. He drains the beer and discards it. He sights in on the bull's eye. Someone makes a CHOKING noise. Michael turns. The CHOKING stops. He sights in again. Intense. Determined. Playing to win. He fires the dart. LOBO We're forgetting something. DESERT RAT More like someone. DINGO Yeah, who's gonna take care of– Michael's dart quivers, the entire point buried in the board. DON My brother. The dart sliced right through the sword of the King of Clubs and the heart of the Queen of Hearts. KEVIN That's our ticket to ride.

70 The card on Michael's dart is the Joker. INT. LAIDLAW HOUSE - DUSK Through the living room window, we see Scott pull up in his Mother's Cadillac. His car sits in the driveway. INT. CADILLAC - CONTINUOUS Scott grabs the stained and muddy demo tape master, the protection master, the cassettes, and a Federal Express envelope. He gets out of the car. EXT. LAIDLAW HOUSE - CONTINUOUS Scott crosses to his car. He pops open the trunk from inside, pulls out a blanket, drops all the tapes and the envelope in the trunk. He closes the trunk. Scott tosses the blanket in the back seat of his car before he heads up the path to the house. He tries to brush some of the mud off his clothes. The living room curtains close. INT. LAIDLAW HOUSE - FOYER - CONTINUOUS Scott enters, tracking mud on the spotless white tile floor. He drops the car keys on the hall tree. enters. Don stands off to one side. AGNES Remove those filthy garments this minute. I don't want you tracking your dirt into my house. SCOTT Look, I'm in a real rush here, Mother. AGNES At least wash your hands. INT. LAIDLAW HOUSE - GUEST ROOM - SHOWER - CONTINUOUS Mary hears coins JINGLING. She turns off the shower, wraps herself in a towel, and walks out into the room. INT. - LAIDLAW HOUSE - GUEST ROOM - CONTINUOUS Scott empties his pockets. He looks up and sees Mary, her breathtaking beauty back-lit and softened by the steamy mist. His reaction is strangely and coldly ambivalent. SCOTT Where are the car keys? Got to take care of some business after I shower. He removes his black book from a pocket and lays it down.

71

MARY Doing your own dirty laundry now? SCOTT No, Mother will. (suddenly senses the true meaning of her words) Some dog practically mauled me to death, okay? MARY Wouldn't have been David's by any chance? Scott looks up, but doesn't lose a beat. SCOTT Was just some dirty dog. MARY Why did you do it, Scott? you just ask him?

Why didn't

SCOTT Do what? Ask who? Look, I'm in a hurry right now. Don't have time to play guessing games. MARY Then don't play me for a fool. I know where you've been. And what you've done. You've stolen Michael's songs. Scott lunges toward Mary and gets right in her face. SCOTT Stolen! Stolen! Those songs were mine from the start. I own the rights. Now I'm going to exercise my option to use them. Legally! I don't need anybody's permission. MARY Then why haven't you used them before? "Legally?" If the songs were so good, why didn't you release them? SCOTT You know why. There's blood on those tracks. My brother's. I wasn't about to let Haggerty get away with it. Mary He made a mistake.

72

SCOTT It was unforgivable. HALLWAY Outside the bedroom door, Don listens to the argument. MARY (O.S.) It's ancient history. SCOTT (O.S.) Ancient history! Look at him. He'll never be the same. Ever. Haggerty took him along for the ride and nearly got him killed. He ruined his life. And mine. BACK TO GUEST ROOM MARY (revelation) It was you, Scott. It was you all along. You're the reason– SCOTT Dead wrong. He was his own reason. He didn't have the guts. He's been taking it out on everybody ever since. Or, had you forgotten? MARY But, now you need him. And you're going to do just what he did. Hurt someone. Use them to get what you want. (deadly pause) Will any of you ever stop using others as pawns in your little games? You boys are old enough to know better. SCOTT This "game" is bigger than Michael or me. Even Don or David. I don't need revenge anymore. I need those songs. Or, it's over. Mary is dumbfounded, speechless. Seeing this, Scott takes the opportunity to head for the shower. MARY You unfeeling, manipulating son-of-abitch. SCOTT Don't let my Mother hear you say that.

73 Scott closes the bathroom door and turns on the shower. Mary throws her towel at the door. She dresses quickly. She opens Scott's black book and finds a piece of paper with the phone number and address for Stan's studio. She walks to the phone next to the bed and dials Stan's number. The line is BUSY. She grabs the car keys and heads out the door, note in hand. INT. STAN'S STUDIO - CONTROL ROOM - NIGHT The studio telephone is off the hook. The switch for the door bell light is turned off. The red recording light flashes. On the studio speakers, Michael's sweet VOICE counterpoints a melodic ballad. The song SOUNDS incredible, until . . .

Shit.

MICHAEL (O.S.) (over the speakers) Piss. Goddammit!

Michael blows the lyrics. STUDIO Kevin, Stan, and Billie sit at the mixing console in the control room. David sits on a stool outside the control room in front of the glass window of the studio. Michael sits at a piano inside the studio on the other side of the glass. He wears headphones and faces the microphone. KEVIN Cue it back to heads. STAN He's a little out of sync. KEVIN Ghosts will do that. Kevin hits the talk back on the console. KEVIN (over the PA) Come on, Michael, ten times is a charm. Eighteen is ridiculous. Let's get this one right so we can get out of here. (to Stan) Sorry, bro. Back to the top, okay?

74 Michael takes a huge swig from a two-thirds empty fifth of tequila. Stan cues up the tapes. MICHAEL (FILTERED) (over the speakers) Go piss up a tree. I'll nail it this take. First, I gotta pee. Michael gets to his feet and exits the studio. at David and staggers down the hall.

He smiles

STAN Not if he keeps pulling off that "Tekillya," he won't. BILLIE A mind's a terrible thing to waste. (sincere) You know, every time I hear him, drunk or sober, he blows me away. Why in hell didn't he make it? KEVIN He says bad timing and no breaks. I don't ask anymore. All I know is, he and Don went down to Los Angeles to cut the demo. Scott set it up and planned to shop the songs. STAN Had some pretty solid connections, didn't he? KEVIN Yeah, for a new kid on the block. BILLIE Thanks to his old man. KEVIN Even so, he was pretty sharp. punk.

For a

David stands and stretches. He turns around and smiles at the guys in the control room. KEVIN Next thing I know, Michael's back. BILLIE Then Don came home. Different. KEVIN David's born. Michael gets his credential and shelves his music. Except for drunken garage band gigs.

75 STAN And your Mud Bowl shows. KEVIN Hey, beats reality. BILLIE Bettern' growing up. STAN Peter Pan's got nothin' on you guys. KEVIN Nothing wrong with living in the past for a few days. STAN Long as you don't get stuck there. KEVIN Speaking of which. Michael slides back into the studio and sits down. KEVIN (O.S.) (over the PA) Last take. Put your heart into it, Haggerty. Michael flinches, as if someone had just slapped him across the face. His haunted eyes tell us he's suddenly somewhere else. He's experiencing a gut-wrenching sense of Deja Vu. The smell of the studio. The sounds. The songs. The feeling goes as suddenly as it came. The moment was frightening, but now it's gone and he's strangely energized. He plays the song introduction on the piano. EXT. STAN'S STUDIO - FRONT DOOR - SAME TIME Mary sees the flashing red light and hears the MUSIC. She RINGS the door bell. She waits for a response, but gets none. She KNOCKS on the door and waits. She hesitates a moment, then tries the door knob. It's unlocked. She pushes it open. INT. LAIDLAW HOUSE - FOYER - LATER Scott races down the stairs. SCOTT Mary! (to himself) Where the hell'd she go? Mary!

As he reaches the bottom, Agnes walks in and gives him the once-over.

76

AGNES Well, don't you feel much better now that you are all clean? Yes, Mother.

SCOTT Where's Mary?

Don walks in. AGNES Oh, she flew out of here like the queen on prom night. (smugly, before he can ask) And she didn't say where she was going. Scott rushes over to the living room window. THROUGH THE WINDOW He sees his car is gone. FOYER Scott grabs the keys from the hall tree. SCOTT Need to borrow your car again. DON Can I ride shotgun? SCOTT Sure. DON Road dogs! INT. STAN'S STUDIO - LATER Mary enters through the door that opens onto a hallway that runs alongside the control room. Michael is the only one who sees her come in. That look of Deja Vu washes over his face again, followed by the same look of determination and inspiration. Michael begins to SING each phrase with more feeling. Mary slowly walks past the control room toward the studio and the open area where David sits. The stronger Michael SINGS, the stronger the emotion in Mary's eyes. Michael's performance is brilliant, moving, and heartfelt, if a little ragged.

77 When Michael hits the climax, Mary stops behind David. David shifts in his seat, mirroring Michael's reflection in the studio glass. Michael finishes, the music fades, and he bows his head in exhaustion. Kevin, Stan, and Billie exhale simultaneously. The tape runs off the reel. There is a very long pause. KEVIN Stop tape. Michael stares at Mary and David. her hands on David's shoulders.

Mary tentatively places

Proud of his Father, David turns for acknowledgment. His pride turns to embarrassment and confusion when he sees it's Mary, not Kevin. Mary looks at Michael, then David. She suddenly catches herself and removes her hands from David's shoulders. Kevin shoots a look at Michael. Michael smiles. Kevin's expression appeals to Michael, asking to be let in on the secret. Michael gazes back and innocently shrugs, as if to say, "You figure it out." Michael glances back at Mary and David. Michael walks out to join exchange a private look. It's obvious to everyone, embarrassed and angry and

them. Mary meets him. They The emotional sparks are flying. especially David, who's doesn't know why.

MICHAEL Didn't expect to see you again so soon. MARY Disappointed? MICHAEL Just the opposite. Can we talk?

MARY Alone.

David watches them leave. STUDIO HALLWAY - CONTINUOUS Mary and Michael stand face-to-face at the dark end of the hallway. The naked desire of a moment before is now his raw anger. MICHAEL Where is it?

78

MARY He has it. MICHAEL He just never gives up. MARY Never forgets. Or forgives. MICHAEL He's not going to win this time. destroy it first. (beat) Wait in the car.

I'll

CONTROL ROOM - CONTINUOUS David, Kevin, Stan, and Billie turn as Michael SLAMS open the control room door. MICHAEL Thought I knew you guys. were my friends.

Thought you

KEVIN Fast forward. MICHAEL (to David) Why didn't you tell me Scott took my tapes? Kevin is shocked.

Stan and Billie guilty co-conspirators.

DAVID He asked me not to. MICHAEL Would you shoot yourself if he asked you to? BILLIE Cut the kid some slack. MICHAEL Back off. This is between me and my son. (beat) How am I supposed to get those songs to San Francisco when Scott's got them? DAVID Just wanted to help.

79 MICHAEL Would all of you just stop trying to help. Don't want it. Don't need it. KEVIN I'd say you could use all you can get. MICHAEL Like I said before. Shows how much you know. BILLIE Don't get on David's case. STAN Seems Scott's the one who's makin' all the moves. MICHAEL Why didn't you guys do anything? BILLIE Figured you knew. STAN Said David had something for you. MICHAEL You believed him. BILLIE No reason not to. MICHAEL It's Scott, guys. You should know better. KEVIN You say. MICHAEL (smiles) You know, you're right. I do need your help. (beat) Sure. You all want to help so much, there is something you can do. Don't tell Scott Mary was here. Let's surprise him. (sneers) Give him something he'll never forget. (extends hand to David) Deal? David looks down at Michael's extended hand, then back up at his Father. He brushes past him and walks away.

80

Michael stares back at the hard faces of his friends. flips them all off and leaves.

He

INT. SCOTT'S CAR - CONTINUOUS Mary starts the car as Michael climbs into the passenger's seat and SLAMS the door. MARY Any particular place you want to go? MICHAEL Back in time. INT. SCOTT'S MOM'S CADILLAC - NIGHT Scott drives. player.

Don listens on headphones to his portable CD

SCOTT In another world, aren't you? Don doesn't hear him. Scott removes the headphones. Don looks over and smiles. Scott returns it with his own warm smile. SCOTT Maybe back in LA. All of us together. That was a good time. (beat) Until Michael screwed it up. Guess I should've paid more attention to Mary. Maybe she and Michael wouldn't have . . . (beat) . . . and you wouldn't have– Don removes a dog-eared, well-worn PHOTOGRAPH from his wallet. It's an old photo of the Mud Bowlers taken sixteen years earlier. He touches Michael's face. DON My friend. SCOTT Friends don't gamble away each other's money. DON Best friend. SCOTT Best friends don't get each other hurt.

81 DON Love these guys. Don looks over at his brother. Scott reaches over and peels the bill back on Don's hat. Don's reaction tells us this is probably the only time Scott's ever done that. SCOTT Funny, isn't it, big brother? Figured you'd always be the one to take care of me. Not the other way around. Scott replaces the headphones and Don goes back to his own world. SCOTT Guess things just never turn out the way they're supposed do. INT. STAN'S STUDIO - LATER An angry Scott looks past Kevin and Billie toward David. Don stands behind his brother. SCOTT Asked you not to tell him.

Or anyone.

BILLIE He's not going to lie to his Father. KEVIN Us, neither. BILLIE Like some people. SCOTT (sniffs the air and looks around) Was Mary here? KEVIN Haven't seen her. Scott tries to step around them to get closer to David. Billie blocks his way. BILLIE None of us have. SCOTT Where's Haggerty? KEVIN Home. Wanted to get a good night's sleep before the big game.

82 SCOTT Bullshit. BILLIE Yeah, it is. SCOTT You see them, either one, tell them I'm looking for them. KEVIN We'll be sure to do that. SCOTT I'll be at JD's. KEVIN Misery loves company. BILLIE But, she never pays the bills. INT. JD'S HOUSE - GARAGE - LATER The Youngbloods play "Liar's Dice" in the half-finished, converted garage. Weights, car parts, empty beer cans, and dirty laundry are scattered everywhere. Everyone SLAMS their dice cup down on the old picnic table. Baby Bear is first up. He peeks underneath. He pulls a die out with a one showing. He drags it to the center of the table. WHITE RAT Aces wild. BABY BEAR And that gives me . . . (counts) Five sixes. BONES Bluff. BABY BEAR Only one way to find out. Bones looks at his hand.

He pulls another ace out. BONES

Seven twos. The White Rat tips up his cup and checks his dice. WHITE RAT Eight fours.

83

JD and Scott sit at the end of the table, half-ass watching and waiting their turn. Don sits on a bar stool behind his brother. JD Haggerty took sumptin' 'a mine. now he's gonna pay.

'N

Fast Eddie takes his turn. FAST EDDIE Ten twos. TD No way. Fast Eddie shrugs and smiles. It's TD's turn. He looks worried. He scans the table to see how many wild aces are out. Only two. He looks at his dice. He exhales. TD Twelve sixes. NATTY Somebody's blowin' smoke. FAST EDDIE You're wrong, you drink it all. Natty eyes his beer and tumbler of bourbon. Scott looks around the table, then leans closer to JD. SCOTT Tomorrow, Haggerty goes down. count.

For the

JD Jes' tell me what to do. SCOTT Stay out of my way. Natty touches the top of his dice cup, then peeks underneath. He pulls another wild ace out. He looks around. NATTY Fourteen fives. WHITE RAT Gettin' ugly now. JD checks his hand.

He drags yet another ace out.

84

JD (without looking at the others) Seventeen threes. They all turn to Scott. Cool, confident, and used to winning. He's not about to be beaten. He looks. SCOTT Twenty sixes. Everyone HOOTS. TD Hemingway, you're meat. Hemingway looks at the table.

He counts the wild cards.

HEMINGWAY You're as full of shit as a Christmas goose, Laidlaw. Scott calmly looks back at Hemingway. SCOTT Try me. WHITE RAT Come on, call him a liar. HEMINGWAY Hold on, I'm thinking. TD Scared money never wins. SCOTT No guts, no glory. JD Call his ass up, lightweight. Hemingway peeks instead. BABY BEAR You blinked. Hemingway checks his cup.

He clears his throat.

HEMINGWAY Twenty-one twos. Mallard immediately pushes his dice cup over. MALLARD Let's see 'em.

85

Everyone turns their cups over.

Hemingway lifts his cup.

WHITE RAT Not even close. Fast Eddie counts. FAST EDDIE Ten twos and four aces make fourteen. Hemingway reaches for Scott's cup. him.

Scott's glare stops

HEMINGWAY What'd you have. Scott rolls his cup over. BABY BEAR Not one stinking six. HEMINGWAY Man, you're too damned good at this game. SCOTT Practice, practice, practice. INT. SCOTT'S CAR - NIGHT Mary and Michael watch the city landscape slide by. MARY Just wanted you to know, that's all. MICHAEL Why? MARY Making up for some things, I guess. MICHAEL Whose side you on, anyway? Nobody's. to do.

MARY Seemed like the right thing

MICHAEL Like sixteen years ago. MARY That's not fair. MICHAEL Why'd you leave?

86

MARY Why didn't you come after me? MICHAEL Had someone else to worry about. MARY When are we going to tell him? MICHAEL Scott has a way of finding these things out. MARY Not Scott. Our son. (beat) It's time David knew. him.

We owe it to

MICHAEL He knows. He was in the same room tonight, wasn't he? Michael touches Mary on the inside of her elbow. her arm away.

She pulls

MICHAEL Felt like old times, didn't it? MARY Funny how you can forget all the bad times. MICHAEL You felt it, too. I know you did. MARY I'm not made of ice. MICHAEL Could've fooled me. MARY I still care. MICHAEL Enough to leave him? MARY I don't know. Michael touches her arm again.

She doesn't resist.

Michael stares at Mary's profile. Beyond her, a BEAUTIFUL BLONDE in a classic white Thunderbird cruises by.

87 EXT. PARK - LATE NIGHT Scott's car sits in the parking lot facing an irrigation canal. Michael and Mary sit on a blanket beneath a tree. He unzips his jacket. She lies back. He unbuttons her blouse. Anguish, confusion, and guilt race across his face. He's hit rock bottom and he knows it. This wasn't the way their reunion was supposed to play out. She's just another victim, another score. Someone else to use, just like they all said. Suddenly, he pulls away. and looks into his eyes.

Mary props herself up on an elbow

MICHAEL This isn't how I imagined it. MARY Me, either. MICHAEL You were ready to make love for love's sake. I wasn't. MARY It's okay. He touches her face. She leans her head against his shoulder. He wraps the blanket around her. A few drops of rain plop on their glistening faces. hear a loud THUNDER CLAP. The skies open up.

We

In the downpour, they comically try to button their clothes and get out of the rain before they get totally soaked. They race to the car. Mary jumps into the driver's seat and releases the trunk latch. Michael runs around to the back, lugging his soaked jacket and the sodden blanket. Michael lifts the lid to toss the jacket and blanket inside. The trunk opens to reveal his master tape, the protection master, cassettes, and Federal Express envelope. MICHAEL Score. EXT. MICHAEL'S HOUSE - LATER Mary stops in front of Michael's house.

88 INT. SCOTT'S CAR - CONTINUOUS Michael and Mary kiss. MICHAEL See you at the game? MARY Sure thing. MICHAEL Could you pop the trunk? Left something of mine in there. She pops the trunk. Michael gets out and opens the trunk. He grabs the tapes, wraps them in his jacket, and SLAMS the trunk shut. INT. MICHAEL'S HOUSE - LIVING ROOM - LATER Michael stares at the master tape lying in the open box. MICHAEL (V.O.) Is it really worth it. A fire burns in the fireplace. Michael closes the box and stacks all the tapes. He carries them over to the hearth. INT. LAIDLAW HOUSE - GUEST ROOM - LATER Scott holds the blanket.

It drips on the floor.

MARY I don't know where they are. SCOTT They were in the trunk. MARY I didn't get in the trunk. (revelation) Michael did. INT. HOMELESS SHELTER - THANKSGIVING MORNING - SUNRISE Michael, David, and George serve Thanksgiving dinner to the HOMELESS. EXT. HOMELESS SHELTER - LATER Michael, David, and George stand beside Michael's car. MICHAEL (to his father) Got you an early Christmas present.

89 Michael motions for David to get something from the car. David reaches inside and pulls out a PACKAGE. He gives it to his Grandfather. Go ahead.

MICHAEL Open it.

George does. It’s a mint condition "Sports Illustrated." The same issue that featured George on the cover. The same issue that Michael trashed. Kevin pulls up just in time to hear . . . MICHAEL No more rearview mirrors.

Deal?

Michael extends his hand. Father and son shake. tosses David his car keys.

Michael

MICHAEL Take it easy. GEORGE Don't do anything stupid, son. INT. COFFEE SHOP - EARLY MORNING Every year, a handful of the Dinosaurs meet at this old coffee shop for their pre-game eye-opener and carbo load. Lobo and Wheels sit in a booth. Across from them, Billie lounges next to the Desert Rat. Captain Trips and Kevin sit across from them. They're all dressed for the game. Michael joins them. play clothes.

He's shed his street clothes for his

LOBO You hear about Dingo's Mom? to emergency last night.

Took her

CAPTAIN TRIPS Man, our parents are dropping like flies. KEVIN We're at that age. Not kids anymore. DESERT RAT Time to grow up. BILLIE And put away those young boy ways.

90 WHEELS After all, we're all sober professionals. DESERT RAT The pillars of our community. KEVIN Scary thought. WHEELS We are our parents. LOBO They were supposed to live forever. BILLIE Only in the movies. The WAITRESS puts the check on the table. The Desert Rat and Wheels fight over it. Kevin half-heartedly reaches for his wallet, as does Captain Trips. KEVIN What do I owe? CAPTAIN TRIPS How 'bout me? Everyone's reaction indicates that this, too, is part of the tradition. The Desert Rat wins. WHEELS They set us up. LOBO Who? Our parents.

WHEELS Teachers.

All of them.

Billie makes SIREN SOUNDS and winds his arm like he's cranking an old air raid siren. BILLIE Sound the reality alarm. WHEELS Up yours. I mean, they told us everything was possible. DESERT RAT We could do anything.

91 WHEELS If something went south, we just looked somewhere else for the reason, 'cause it couldn't be our fault. KEVIN Right. Michael's music wasn't bad. They just didn't recognize his talent. He looks to Michael for thanks, but gets none. WHEELS None of us really failed. some bad bounces.

We just got

LOBO Our marriages didn't fall apart. ex's just didn't understand us.

Our

CAPTAIN TRIPS We didn't choose to stay in this town, man. We had no choice. JESUS God, back in high school, the possibilities seemed limitless. DESERT RAT One day I'm worried about copping a feel. Turn around and I'm worried about paying taxes. One day I'm facing an open road. Suddenly, it's over my shoulder. BILLIE There's no looking back. MILES We're so spoiled. We want it all. When we can't have it, we do stupid things. KEVIN Our expectations set us up. MICHAEL Just over forty victims of fate. INT. KEVIN'S SUV - MORNING - SLIGHTLY LATER Kevin drives to the game. Billie rides shotgun. Michael sits in back. Through the rain splattered windshield, they see the open road before them. KEVIN You guys think they got it dialed? we have to grow up?

Do

92

BILLIE Don't know about you, but I plan to rage a little longer. Got to keep the freak flag flying. KEVIN Easy for you. You're happy with yourself. A lot of us aren't. I see a lot of people locked in lives they don't like. BILLIE How's Molly? Kevin is caught off-guard by the sudden shift to his own life. It's obvious he doesn't like being the one under the microscope. KEVIN Not good. BILLIE Not letting you get your way? KEVIN Jealous of the wrong things. MICHAEL Like us. Beyond Kevin's profile, Billie can see the city landscape flying past outside the window. KEVIN And my family. This town. I wish she'd lighten up. I'd like to spend more time here. Things seem easier and clearer. People let me be me. BILLIE You're not thinking about moving back are you? KEVIN Possible. That's dumb. for it.

BILLIE Besides, Molly won't go

KEVIN Doesn't matter. We're history anyway. BILLIE Hold the phone.

93 KEVIN It isn't working. We're living together, but leading separate lives. She should be here. It's not that much to ask. She's not. BILLIE Sometimes we choose things by letting them happen. KEVIN That's what it feels like. Something went wrong and we just let it drift. Somehow we got de-railed and we're not doing anything about it. BILLIE Too bad. You guys made a good team. You got too much history to give it up so easily. It's funny. to be here. be there.

KEVIN When I'm with her, I want When I'm here, I want to

BILLIE The Christmas Gypsy. KEVIN The what? BILLIE Christmas Gypsy. Wants summer when it's winter, winter when it's summer. KEVIN That's me. Always on the road. Looking for a home, but never finding it. (beat) This world is filled with homes. I don't feel like I have one. MICHAEL Get in line. They all stare at the windshield as the wipers SLAP away the heavy raindrops. EXT. MUD BOWL FIELD - EARLY MORNING Raindrops pelt a puddle of water. Michael's reflection appears in the puddle, followed by Kevin then Don and Scott. Each looks in the other's eyes.

94 A body belly-flops into the puddle, shattering the still life. Billie barrel-rolls to his feet, HOOTING like a hyena. The rain lets up.

The field still floats in mud and water.

PRE-GAME MONTAGE (VARIOUS SHOTS) On the sidelines and the field of play, the Youngbloods and Dinosaurs go through all sorts of pre-game rituals. Kevin videotapes the events. At a distance behind him, Michael tucks something inside Kevin's athletic bag. PLAYERS arrive alone and in small groups, with FAMILY and FRIENDS. Each wears the same "uniform" they've worn every year. Now tattered and torn and too many sizes too small. SIDELINES The local NEWS MEDIA arrives. Two ENG CREWs. A NEWSPAPER REPORTER and his PHOTOGRAPHER. Kevin immediately makes contact. The reporters set up and begin interviewing PLAYERS and OBSERVERS. Billie walks around, recording interviews on Kevin's portable dictation machine. One of the REPORTERS is an attractive FEMALE. The guys wrestle to be the first in line to talk with her. FEMALE REPORTER (O.S.) You came all the way from Salt Lake City? HEMINGWAY (TO CAMERA) Mormons rule! FEMALE REPORTER (O.S.) That's a long way to come for a football game. HEMINGWAY I do enjoy coming. (someone SNIGGERS off-camera) DESERT RAT (leans into frame) He's overcome. HEMINGWAY I hope to continue coming. DESERT RAT That's a real short-coming.

95 FIELD Lobo and Mallard are interviewed, back-to-back. McLuhan Roulette.

It's

LOBO (TO NEWSPAPER REPORTER) I'm one of the Dinosaurs. Modesto High Class of a long time ago. MALLARD (TO NEWSPAPER REPORTER) I'm one of the Youngbloods. Downey High. (WHISPERS to Reporter) They'll always be older than us. NEWSPAPER REPORTER (O.S.) After this, what? LOBO (TO NEWSPAPER REPORTER) Pig out on Turkey. Banquet tonight. MALLARD (TO NEWSPAPER REPORTER) Nurse the wounds. Get ready for next year. SIDELINES Ice chests are filled and brown bags removed, as most of the players suck on a collection of alcoholic beverages, puff on cigarettes, visit with FRIENDS and FAMILY, or just hang out and catch up. One or two trudge back from depositing their pre-game nervousness in the park bathroom. MALE REPORTER (O.S.) You guys enjoy getting all muddy and wet? TD (TO CAMERA) Only happens once a year. Got all year to get dry. BABY BEAR (TO CAMERA) And drink. Baby Bear toasts the camera. Flags are passed out and cinched over bellies five times the size of the school kids who normally wear them. BEAR (TO CAMERA) We've been doing this since high school. Two groups of friends from different schools. Some younger brothers.

96 FEMALE REPORTER (O.S.) You do this for a beer? BEAR (TO CAMERA) Mescal. Bear tips the bottle up and finishes it, sucking down the worm. BEAR (TO CAMERA) Kids, don't try this at home. FIELD We see players trying to hold their weary and worn bodies together with athletic tape and an assortment of ankle, knee, and wrist braces. MALE REPORTER (O.S.) Ever have any injuries? Lots.

WHEELS (TO CAMERA) Nothing serious. MALE REPORTER (O.S.)

So far. WHEELS (TO CAMERA) So far. A group of Dinosaurs stretches, while Gasbomb tries unsuccessfully to go over the plays again. The Dinosaurs are more interested in trying to stay warm and clear the cobwebs. DESERT RAT (TO NEWSPAPER REPORTER) Been pretty much the same group of twenty for all twenty-five years. NEWSPAPER REPORTER (O.S.) Anybody ever miss any? WHEELS (TO NEWSPAPER REPORTER) A few. NEWSPAPER REPORTER (O.S.) Hangovers? Wives. Wars.

DESERT RAT (TO NEWSPAPER REPORTER) Families. WHEELS (TO NEWSPAPER REPORTER) Funerals.

97 SIDELINES PARENTS, BROTHERS, SISTERS, CHILDREN, WIVES, and LOVERS arrive and set up lawn chairs and blankets in the same location they do every year. Everywhere, DOGS and KIDS scurry underfoot. Perhaps it's a sign of the times, rather than a comment on the Bowlers, but there are few wives and even fewer girlfriends. DINGO (TO CAMERA) I'd just like to say hello to my Mother. She's in the hospital. Good luck, Mom. FIELD A few players half-heartedly run patterns, catch passes, and kick punts. Billie interviews JD. JD Strategy? First play. (BURPS)

Bomb to me.

BILLIE You're a helluva man. JD Been accused 'a that afore. BILLIE Any shot at a trophy? JD All three. You ol' guys are goin' down. Fer good. SIDELINES Bear hangs the "Cheap Shot" rubber chicken to a tree with a home-made noose. On the ground below are individual trophies for MVP, "Best O," and "Best D," as well as the commemorative plaque listing past game results. WHITE RAT (TO CAMERA) The key to victory? Discipline, coordination, and maiming the opposing quarterback. Scott, sitting far from the madding crowd and alone, methodically screws a set of long cleats into his football spikes. NORA WEEKS (TO CAMERA) It's just one of those every Thanksgiving things we do.

98

FEMALE REPORTER (O.S.) What'll you do after the game? NORA WEEKS (TO CAMERA) Take him home. Clean him up. He'll be sore for days. FIELD Captain Trips and JD walk off the boundaries, marking end zones and first downs with orange cones. They argue as they go. The squabbling sounds like a schoolyard light years away. JD Which cones are firsts? CAPTAIN TRIPS (points to the cones) Or three completes. JD One runnin' play a series? Scott and Wheels join them. No way.

WHEELS Somebody'll get hammered. SCOTT

So. CAPTAIN TRIPS What about live ball? JD Ev'rythin'. WHEELS Kickoffs and punts only. JD Girls. SCOTT How many on a team? JD Six. CAPTAIN TRIPS Make it seven. SCOTT Can't get it up graybeard?

99 JD How many el'gible? WHEELS Everybody. No argument.

They're all surprised. SCOTT What about the rush? JD No count. WHEELS Two count. CAPTAIN TRIPS One alligator, two alligator?

On the sidelines, Annie flirts with Michael. JD sees this. He throws a hip into TD as he flies by on a practice route. SCOTT Watch the head slaps. first.

Automatic

WHEELS How long we gonna play? CAPTAIN TRIPS 50-minute halves. JD Git shorter ev'ry year. WHEELS (mimics him) Git older ev'ry year. SIDELINES Annie leaves. Mary walks by Michael without saying a word. Her glare says it all. Michael is a little confused, considering what happened the night before. In her wake, a SCARF flutters out of her coat pocket. Mary walks over to Don, who stands beside the trophies. Michael retrieves the scarf, ties it around his neck, and tucks it inside his jersey. The gauntlet has been thrown and Michael has taken it up. NEWSPAPER REPORTER (O.S.) Aren't you a little old for this?

100

HEMINGWAY (TO NEWSPAPER REPORTER) Hope to do it another twenty-five. NEWSPAPER REPORTER (O.S.) You're getting to be middle-aged. You're going to have to face that. FAST EDDIE (TO NEWSPAPER REPORTER) Maybe next year. HEMINGWAY (TO NEWSPAPER REPORTER) Maybe never. END ZONE Down at one end of the field, another game has already begun. Between the CHILDREN of these "boys," as they prepare for the day when they will take up the torch from their fathers. FEMALE REPORTER (O.S.) Guess you could be called "The Boys of Winter." TD (TO CAMERA) We've all been buds since kindergarten. FEMALE REPORTER (O.S.) Best of friends. TD (TO CAMERA) The kind that know they'll attend each other's funerals. FIELD Officiously, Gasbomb calls everyone over for the coin toss. Michael (flanked by Billie and Bear) and Scott (flanked by JD and Bones) stand eyeball-to-eyeball, doing their best to make the other blink first. Scott is momentarily distracted by the familiar looking (and smelling) scarf peeking out from under Michael's jersey. SCOTT Lick your lips, girls. time.

It's show

Gasbomb flips a coin. MICHAEL Tails. It's heads.

Scott points at Michael.

101

SCOTT Haggerty, if you didn't have bad luck, you'd have no luck at all. Gasbomb signals the Youngbloods will receive. brushes by him. JD shoves him on his ass.

Scott

FIELD - FIRST HALF MONTAGE (VARIOUS SHOTS) The Dinosaurs kick off. The game starts slowly and badly for the old farts. They can't seem to move the ball; partly because Michael's not quite on track yet. The Youngbloods, helmed by Scott, march up and down the field at will, scoring two quick touchdowns. A teacher's test clock indicates the first half is nearly over. Michael hits Dingo for a short score, bringing the overthe-hill gang to within one touchdown. The clock DINGS, signaling the end of the half. SIDELINES - HALFTIME MONTAGE (VARIOUS SHOTS) The players head for drinks and cigarettes, chairs, and SIGNIFICANT OTHERS. The reporters, Kevin, and Billie descend again. BEAR (TO CAMERA) I am way too old for this. MALE REPORTER (O.S.) Some of you guys are playing a little crazy out there. BEAR (TO CAMERA) Showin' some bare wires. David and George Haggerty walk down the stairs to the sidelines. Michael walks over to greet them. He scans the sidelines, looking for Mary. She still stands next to Don. They make eye contact. She looks away. More FRIENDS and FAMILY arrive, including Stan, Junior, and Kevin's Dad, Jack. These are the all-night, late risers. The players visit. And continue to drink. walk off pulled muscles.

Some try to

Scott avoids Mary and Don. He looks in her direction and sees Michael staring at her. Captain Trips resets the game clock.

102 FIELD - SECOND HALF MONTAGE (VARIOUS SHOTS) Scott leads the Youngbloods out onto the field. tries to rally the Dinosaurs.

Gasbomb

The Youngbloods kick off to the Dinosaurs. The Desert Rat hands off to Dingo who hands off to Bear on a double reverse. Unfortunately, Bear loses the handle and fumbles. Dingo pounces on it. The Dinosaurs retain possession. On the first play from scrimmage, Michael drops back and hits Wheels for a short gain. JD rushes. Ignoring the ball (and the completion), he zeroes in on Michael and delivers a forearm shiver to his head. Michael crumples to the ground. MICHAEL Hey, shithead! I didn't do anything that bad! On the next play, Michael rolls right and connects with Kevin for a long sideline gain and a first down. JD tackles Michael long after he's let go of the ball. He pulls Michael's flag and throws it in his face. Michael starts after him. Seeing Mary across the field, he decides against it. On the next play, Michael rolls right again. He's just about to release the ball when he hears FOOTSTEPS. He pulls the ball down just before he gets blind-sided. hits the ground face-first, skating along in the mud, ridden by whoever hit him. He finally stops.

He

MICHAEL (spits out dirt and grass) Jesus, JD! Take it easy. It's not like I screwed your wife! Michael rolls over, expecting to see JD. see Scott glaring down at him. Scott leans down as if to help Michael. his face into Michael's.

He's surprised to Instead, he shoves

SCOTT That tape's mine. I'll get it. way or the other. MICHAEL Wouldn't bet my wife on it.

One

103 SCOTT I own the rights. MICHAEL Rights to a blank tape don't mean nothing. Before Scott can respond, players from each team drag them back to their respective huddles. SIDELINES We shift from the players to the observers. background, play continues.

In the

ANNIE BARTLETT (TO CAMERA) Not enough injuries. I want to see blood and guts. MALE REPORTER (O.S.) Some of these guys are looking bad. LOBO (TO CAMERA) Flu's going around. DESERT RAT (TO CAMERA) Irish Flu. (they both make SNIFFING NOISES) And Peruvian Flu. Yeah.

A small gaggle of player's wives and girlfriends visit. Away from most of the crowd, Mary and Don visit with some of the players' families. NANCY CUNHA (stares at Mary) She's not real friendly. LINDA MAHON Ice Maiden fits. HOPE RITTER You see the way she was looking at Michael? Yes.

NANCY CUNHA So did Scott.

Michael comes off the field to catch his wind. Mary leaves Don to intercept Michael. She stops in front of him. MARY Happy? You beat him. get your tapes back.

You used me to

104 Michael backs up, a little surprised by this sudden emotional reversal. Mary grabs a FOOTBALL off the ground. MARY It's just a game between you two. Well, play with this. (shoves the ball in his stomach) I'm done. She's gone before Michael can say anything. Scott (and almost everyone else) has witnessed this exchange. Michael towels off his face and heads back to the huddle. Scott cuts him off this time. SCOTT Don't go near her again. MICHAEL It's not over yet. Scott's fists clench as Michael brushes past him to rejoin his team for the next set of downs. FIELD On the next play, Michael is forced out of the pocket. He rolls left before hitting Bear in the chest with a bullet. The ball EXPLODES against Bear's sternum like a cannon shot. He holds onto the ball and rumbles down the sidelines. Three Youngbloods, including Scott, try to tackle him. They can't. Bear carries them all out of bounds. Everyone on the sidelines dodges for cover as this human cannonball barrels toward them. They finally fall. Right in front of David and George. SIDELINES The players get up and head back onto the field. smirking Scott trails behind.

A

As they clear, we see David's horrified and confused face. George looks helplessly at his Grandson. Mary looks at David then Michael. David looks at Michael then Mary. He spins away from everyone's eyes and walks away to a nearby tree. George follows. FIELD Michael has seen all this from the huddle. He slowly turns from watching David to look straight at Scott, who smiles.

105 Dingo snaps the ball. The Youngbloods blitz everyone. Michael side-steps the rush and rolls left. A BODY suddenly flies into frame and tackles him. Michael opens his eyes to find Scott on top of him again. MICHAEL What'd you do to my kid? SCOTT A little whittling on his family tree. MICHAEL Guess that makes me a real motherfucker, doesn't it? Michael pushes Scott off, gets up, and heads back to the huddle. Scott pounces. Bear blocks his way. BEAR Round three's over. SIDELINES Mary walks toward David, who stands with head bowed, his back to the game. George stands beside him. She continues around in front of David and gazes at him through the tree. David tries to turn away. Mary stops him. something. He looks away.

She says

Mary glares past David at Scott and Michael on the playing field. She says something else to David. Mary, David, and George leave together. From a distance, Kevin videotapes the exchange. FIELD The teams huddle again. JD (to the other huddle) Fourth 'n goal. SCOTT Last chance. MICHAEL (to his huddle) Crash and burn time, boys. I want all the meat on the right side. I'm sweeping that way. I want their legs chopped at the line. (glares) Got it? (no answer) On two. Break!

106

Michael takes the snap and races right. Like dominoes, the Youngbloods fall as Michael sweeps. The last player falls, revealing Scott – the only man between Michael and the goal line. Michael and Scott bear down for the collision. Just before impact, Scott smiles and dives at Michael's knees. As he drops out of frame, he reveals Kevin shooting the action – up close and personal. We see the next series of shots as Kevin sees it through the VIEWFINDER. Michael is suddenly airborne. He SCREAMS head-first, across the goal line and . . . SMASHES into Kevin's chest. SIDELINES The camera flies skyward. Scott bowls through ice chests, lawn chairs, and spectators. Michael ricochets off Kevin and lands at Don's feet. rolls away, head-over-heels.

Kevin

A GASP goes up from the crowd as they all stand to see better. Michael gets to his feet and rushes over to Kevin, who lies on his stomach. Michael kneels and offers him a hand. There's no response. Suddenly frightened, he turns Kevin over. His head bleeds. Michael catches his breath. He sees that one of the trophies has impaled Kevin's chest, like a jouster's lance. It protrudes from his left breast, right above the heart. MICHAEL Not again. DON What, Michael? MICHAEL I didn't mean to. Scott leans in. He looks at Kevin, then Michael. stare at each other over Kevin's body. Somebody.

SCOTT Call an ambulance!

They

107 Beyond Kevin lies his athletic bag. The contents are scattered. A stack of tapes, including the demo master, the protection master, and the cassettes, peeks out of the bag. Rubber-banded to the top of the stack is a new master audiotape and a cassette. As we look closer, the label tells us these are the finished takes from the session at Stan's studio. A HAND tosses the tapes back in the bag and zips it up. INT. RESTAURANT - BANQUET ROOM - EVENING The Mud Bowl commemorative plaque is propped on a small table. Taped to the face is the final score. The Dinosaurs won "Six Touchdowns to Five." A Polaroid GROUP PORTRAIT of the players leans against the plaque. Beside it is the bottle of California Wine. The banquet winds down, although it never really got going. Taped MUSIC from the last twenty-five years plays in the background. The WHITE NOISE of intense conversation dominates. A PHOTOGRAPHER from the local newspaper snaps photos. Souvenir T-shirts dot the room. INT. RESTAURANT - BAR - SAME TIME In a dark corner, Carolyn Pederson sits with a few of the Dinosaurs. CAROLYN He's changed. He doesn't tell me anything anymore. I don't know what I'm going to do. The Dinosaurs look helplessly at each other, then down, not wanting to break the ice. CAPTAIN TRIPS What a drag. I don't know what to tell you, Carolyn. Like, I see Bear once a year. He's usually too drunk to be serious. She nods in despair. DESERT RAT We'd all like to help. If only we knew what to do. Talk to him. We were.

CAROLYN You're his best friends.

BILLIE A long time ago.

108 DESERT RAT We see each other once a year. There's no way we can know what's going on in each other's lives. BILLIE I didn't even know in high school. was simpler then.

It

CAROLYN He seems so alone. DESERT RAT At least he's got you and the kids. Her look says that's small comfort. BILLIE It's hard to stay in touch. To stay close. We've really got nothing to share. CAPTAIN TRIPS 'Cept this game. BILLIE And a trunk full of memories. DESERT RAT It's easier to just say next year. Sure.

CAROLYN Maybe next year.

CAPTAIN TRIPS What can one man do? CAROLYN (she looks at them all) Change the world. Make it work again. BANQUET ROOM Mary and Scott sit alone together. She gazes in one direction, he in the other. She suddenly gets up and goes, leaving him confused, then angry. He touches the trophy he won for "Best Defense." Mary brushes by Bear, who empties his arrives. He toasts a group of fellow trying desperately to capture the old The reason they started doing this in

Scotch as another Dinosaurs. They're magic, the old fun. the first place.

BEAR You know, ten years from now, we'll all be sitting here.

109

LOBO Telling the same jokes. WHEELS (gestures in Mary's direction) There'll be even fewer women. BEAR You see the lick I put on JD? him like a bad habit.

Dropped

LOBO Got you the "Cheap Shot" chicken. Bear shakes the rubber chicken in the direction of a few sore Youngbloods, sitting across the wide gulf of banquet tables. JD hurls a chunk of ice at Bear. As Bear dodges it, he bumps against the table, capsizing a series of drinks like dominoes. They fall, until they stop abruptly at a glass grasped by a tight FIST. A tortured, and very drunk, Michael stares down at the trophy he won for "Best Offense." He looks up. At the head table of the U-shaped seating arrangement, the MVP trophy and a videotape sit on the table in front of an empty chair. David and Don sit on either side. A SHADOW falls across the trophy, videotape, and empty chair. A grim Billie picks up the videotape. BILLIE (to everyone and no one) Can't let a little reality interfere with the fantasy, now can we? He walks to the VCR, inserts the tape, and hits play. house lights dim as the OPENING MUSIC begins.

The

The first image fades up from black. "We are what we pretend to be, so we must be careful what we pretend to be."

-- Kurt Vonnegut, Jr. VIDEOTAPE - MONTAGE

The opening is an upbeat, slightly humorous look at the past twenty-five years.

110 BANQUET ROOM The electronic images bathe the room in blue light. stirs. They are slaves to the moment.

No one

VIDEOTAPE The tape is a profile of Don Laidlaw, the everyman who got lost along the way. It is a portrait of lost innocence; of coming full circle back to the child in all of us; of this "Circle Game" that is life. Most of the images of Don were shot before the accident. BANQUET ROOM Kevin's reality flickers across the faces of Scott and Michael. It is a moment of revelation and enlightenment. A reminder of what they had; of what they were; of what they've become. VIDEOTAPE At one end of the playing field, Don stands next to Michael, his arm draped carelessly around his friend. REPORTER (O.S., ON TAPE) Why aren't you sitting home watching football? MICHAEL (ON TAPE) We do this every year. DON (ON TAPE) There's no place I'd rather be on a Thanksgiving morning. MICHAEL (ON TAPE) Besides, I love these guys. (greeted by GROANS O.S.) Michael reaches over and turns up the bill on Don's baseball hat. Kevin suddenly busts in over their shoulders. He jabs his finger at the off-screen reporter. Don't forget.

KEVIN (ON TAPE) I want that tape.

REPORTER (O.S., ON TAPE) What's after this? MICHAEL (ON TAPE) Get cleaned up. Do bird. The annual banquet. KEVIN (ON TAPE) Premiere my documentary.

111

MICHAEL (ON TAPE) Home movie. DON (ON TAPE) Then LA. (elbows Michael) You're looking at the next rock 'n roll superstar. Look for this guy on the cover of "Rolling Stone." The three "boys" race off to join the rest of the players. VIDEOTAPE - CLOSING MONTAGE (VARIOUS SHOTS) It's an emotional reprise of the life and times of these "Boys of Winter." NARRATOR (V.O., ON TAPE) There have been ups and downs. Good times and bad. Just like any group of friends. There have been marriages and children, divorces and death. any community.

Like

There have been frustrations and disappointments. Like life. And, some times, real life has shaken the fantasy. But, for a few days, they were all together again. And these old friends were boys once more. Just playing a game . . . in the mud. BANQUET ROOM The MUSIC slowly fades. The screen fades to black. It's dead SILENT. A few VOICES clear. A few chairs SCRAPE. The many emotions playing on their faces says it all. Scott lifts his head.

His eyes glisten.

From across the room, Mary stares at him, surprised and heartened by this uncharacteristic display of emotion. Their eyes meet. He looks away. She follows his gaze. Michael's gone.

But, his chair isn't empty.

All the audiotapes sit where he did. Behind the chair stands Don, the bill of his baseball hat turned up. He smiles. Scott returns the smile.

112 EXT. MODESTO STREET - NIGHT Michael reels across town in the thick fog. He's trying desperately to polish off a bottle of tequila. Michael steadies himself against a building. The SHADOW of a speeding car runs across him. He flinches and instinctively covers his head. He looks up to see where it has disappeared to. Way down at the end of the street, SOMETHING moves. Michael squints to see better. MICHAEL Don? The APPARITION disappears. rubs his eyes.

Michael shakes his head and

He lurches past a pawn shop's recessed doorway. SOMETHING else move. He leans closer.

He sees

Comatose in the doorway, covered with the day's newspaper, lies John Crichton. Michael unsteadily leans down and gently drapes his jacket over the old friend. He toasts him. MICHAEL Truth has few friends. suicides.

Those are

Michael staggers back, pulls himself up straight, looks at the bottle, and SMASHES it against the building. Crichton rolls over and burrows in deeper. EXT. BRIDGE OVER RIVER - LATER Michael stops at the center of the bridge. around him.

The fog swirls

He stares at the water. He seems torn, like he can't make up his mind about something. Suddenly, SOMETHING whizzes past his ear and SPLASHES in the water below. The object floats away. like a FOOTBALL.

It couldn't be, but it sure looked

Michael shivers and shoves off again. EXT. CITY HOSPITAL - EMERGENCY ROOM ENTRANCE - NIGHT Michael is silhouetted by the fog-muted red and white lights of the hospital emergency room entrance.

113 INT. EMERGENCY ROOM - WAITING AREA - CONTINUOUS Michael jousts with the automatic door. He dances through to the other side. He shields his eyes against the suddenly bright overhead lights. A veteran NIGHT NURSE comes into focus. MICHAEL (tries to sound sober) Could you tell me what room Kevin Wright is in? (has trouble pronouncing "Wright") NIGHT NURSE Visiting hours are over. (suddenly sympathetic) If you're still around in the morning, you'll find him in Room 403B. They smile a conspiratorial smile. INT. KEVIN'S HOSPITAL ROOM - CONTINUOUS The BEEPS of the vital signs monitor echo Kevin's HEARTBEAT. Michael stands at the door. Kevin looks cadaverous in his drug-induced sleep. Michael slumps into a chair near the foot of Kevin's bed, his back to the door. MICHAEL Well, amigo, sure looks like I dixied this one but good. First Don. Now you. He lays his arms and head on the bed. and leans back in his chair.

He gets the spins

Uncrossing his eyes, he spies Kevin's dictation machine on the bedside table. It sits next to a brand new Mud Bowl COFFEE MUG. Michael grabs the machine and slumps back in his chair. He rewinds, then hits play. We hear the sounds of the game. BILLIE (ON TAPE) It's all come down to this. This one play will decide it all. But, first, some advice from a wife.

114 ANNIE BARTLETT (ON TAPE) Act your age. BILLIE (ON TAPE) We are. We hear CRIES of shock and surprise. ANNIE BARTLETT (ON TAPE) Oh, my God! The sounds of RUNNING and . . . BILLIE (ON TAPE) He's hurt. Then, dead air and . . . KEVIN (ON TAPE) (labored) Mud Bowl '89. On a collision course with change. Especially Michael. He is what he is. He needs to live with that. No one else can live his life for him. He's got to stop living it for others. Michael squeezes his eyes shut. KEVIN (ON TAPE) No more hiding behind memories. No more blaming others. No more regrets. No more waiting for some day, because today's all we've got. MICHAEL That's what you've been saying all along. But, I can't handle it. I just can't . . . Michael nods off, then snaps back to consciousness. MICHAEL Be better if I just retired the old number. His head rocks back and he starts to SNORE. A HAND touches Michael's head in a sign of absolution. It's Don. Mary leans against the door jamb, tears streaming down her face. She crosses and lightly tucks a note into Michael's pocket. MARY It's up to you. Always has been.

115

Mary kisses his temple, then turns toward the bed. Kevin lies there, eyes open. He's heard everything. smiles as Mary and Don leave.

He

INT. KEVIN'S HOSPITAL ROOM - EARLY NEXT MORNING - BEFORE DAWN Kevin sleeps, arms outstretched, a crucifix in repose. Michael sleeps at his feet. A FLOOR NURSE passes the doorway. She bursts into the room, surprised to find Michael there. FLOOR NURSE (angry Irish) Excuse me, mister, but who gave you permission to be in here at this hour? Michael awakens. kick in.

It takes a moment for the smart-ass to

MICHAEL Cristo Redentor. FLOOR NURSE I don't care if it was Christ the Redeemer. You'll have to leave right now. The nurse begins to hustle him out. Kevin holds up his index finger, asking for a minute. She shakes her head and leaves. KEVIN Don't retire your number just yet, sport. Don and I aren't done with you. Michael looks confused, yet oppositional. He's not ready to cop to anything quite so soon, or so easily. KEVIN We let you off the hook a long time ago. Maybe it's about time you did the same. (beat) Accepting what you are may be harder to swallow than tequila, but it sure tastes better. MICHAEL It's not that simple. KEVIN It never is.

116

MICHAEL Besides, nobody really gives a damn. Why should I? KEVIN Your Father does. Hell, he's the worst. Your kid's just as bad. (beat) Then there's Mary. MICHAEL Was she here? KEVIN Last night. MICHAEL Where is she? KEVIN Gone. MICHAEL Like I said, who cares. KEVIN She may have something to say about that. Michael looks to where Kevin points. He touches his pocket and feels the note. He pulls it out. He hesitates. KEVIN Catch you later. MICHAEL Later. INT. HALLWAY OUTSIDE KEVIN'S ROOM - EARLY MORNING Michael exits the room. Down the hall, in the emergency room waiting area, he sees Kevin's family and Molly. He puts away the note. WAITING ROOM - CONTINUOUS Everyone sees Michael. He walks up to them.

They stand, concern in their eyes. MICHAEL

He's fine. MOLLY Really?

117 MICHAEL Well enough to bust my chops. MOLLY Thank God for second chances. June embraces Michael. embrace.

The teargates flood open.

They all

JACK Will you guys ever grow up? JUNE Too late now. Michael takes Molly's hand. MICHAEL I know you hate this town, but it'd be nice to see you more often. Miss you guys. MOLLY I don't see a problem. town.

It is my home

MICHAEL Always will be. Molly kisses his cheek. MOLLY Take care. MICHAEL You, too. INT. HOSPITAL LOBBY - CONTINUOUS Michael exits the elevator. He stops. He takes Mary's note from his pocket. He reads as he walks. MARY (V.O.) Dear Michael, I had a long talk with David. He's a wonderful young man. He's a survivor, like you. I will miss him. (beat) There are some things I need to take care of. On my own. They say you can only be good for others when you're good for yourself. I understand that now. (beat) As for you. Be true to yourself and you'll be just fine. (MORE)

118 MARY (CONT'D) I'd like to think we'll meet again. Until then, sing like no one's listening. Always, Mary. As Michael reaches the end of the note, he also reaches the front doors. The doors open to reveal a brand new day. EXT. HOSPITAL ENTRANCE - DAWN They're all there. Bowlers, wives, kids, family, friends, and significant others. They surround Scott and Don, David and George. A spectral Michael approaches them. They're shocked at how bad he looks. They turn to each other, concerned about Michael, then suddenly worried what his appearance says about Kevin's condition. Don's the first to reach him.

They embrace.

MICHAEL (WHISPERS) Thanks for the ride. Make it a little less bumpy next time. Michael playfully peels back the bill on Don's hat. MICHAEL (to everyone) It's okay. Kevin's still an asshole. BILLIE All his friends are, too. Scott steps up. SCOTT You forgot something. The group tenses, sensing a resumption of hostilities. Scott pulls the original master audiotape box out of his coat pocket. He tosses it to Michael, unsmiling and almost angrily. Michael catches it. SCOTT You left this behind. Can't use it. It's not worth anything to me anymore. A barely repentant smile stretches across his face. SCOTT This I can use. He pulls the cassette of the new tracks out of a different pocket.

119

SCOTT Problem is, I'm not sure if I like the old you, or the new. MICHAEL Keep the new. SCOTT Yeah, I think I like the new better. MICHAEL Me, too. It's over.

SCOTT Let's not do this anymore.

MICHAEL There's always next year. SCOTT Sure, next year. MICHAEL Sorry about Mary. SCOTT Me, too. MICHAEL She'll be back. SCOTT Hope you're right. The group flows around Michael and into the hospital. David waits, rooted where he stands. George Haggerty stays behind, as well. Michael walks up and leans on his son. MICHAEL No more looking over our shoulders. Deal? Michael extends his hand to his Father. him. Father and son embrace.

His Father grabs

All three leave together. MARY (V.O.) Sing like nobody's listening. EXT. MICHAEL'S HOME - MONDAY MORNING The Monday following Thanksgiving begins in a fog.

120 INT. MICHAEL'S HOME - LIVING ROOM - MONDAY MORNING MUSIC brightens the manic Monday. Michael SINGS and David DRUMS, accompanying a SONG on the stereo. All the tapes are back on the book shelf where we first saw them, including the new master. Michael stands at the ironing board. shirt.

He irons his entire

EXT. JUNIOR HIGH SCHOOL - MONDAY MORNING Michael walks toward his classroom. gets in step with him.

Lionel runs up and

LIONEL Mornin', Mr. Haggerty. MICHAEL Morning, Lionel. LIONEL I'm ready. MICHAEL Me, too. (beat) You know, if we're going to make it, we've got to take care of each other. As Lionel smiles and runs off, Kevin appears behind Michael. KEVIN It ain't over till it's over! As Michael turns, Kevin (his bum left wing taped to his side) whips the football at Michael, who drops everything to grab it. In the parking lot behind Kevin, Michael sees Molly in Kevin's SUV. She shakes her head in wonder. Michael rears back and fires the football as hard as he's ever thrown it. Kevin does an El Cordobes. The sleeve of his coat teases the nose of the ball as it flies by. Just then, Scott's car SCREECHES into frame behind Kevin. Scott ducks as the ball zips cleanly through both the passenger and driver windows. He jumps out of the car. As the ball rockets toward us, an ARM suddenly reaches into frame, snagging the football. Don tucks the ball away and smiles. David steps in beside him. Scott joins them. Michael and Kevin face them.

121 SCOTT You Dinosaurs just never learn. MICHAEL Double or nothing on next year's game. KEVIN We'll see who's taking the sucker's walk next Thanksgiving, butt wipe. DAVID You guys really are old enough to know better. DON (spoken the way he spoke before the accident) Famous last words. EXT. JUNIOR HIGH SCHOOL - CONTINUOUS Shadows crisscross the playground, forming a crossroads. Michael remains at the center of the junction. Kevin and Scott walk away in opposite directions. Don and David join Michael at the crossroads. FADE OUT: THE END