"DISH DOGS" By Ashley Scott Meyers and Nathan Ives Original Screenplay, pre-pre-preproduction 1 November 1996 NOTE: Please excuse the formatting problems. FADE IN: INT. RESTAURANT - KITCHEN - NIGHT STAINLESS STEEL walls and counters. Dishes CLANGING. STEAM and SMOKE rising. COOKS in a fury. WAITERS and WAITRESSES yelling, frantically picking up their orders. IN THE DISH AREA The commotion continues as more WAITERS and WAITRESSES unload an endless supply of dirty dishes. But on the other side of the dish counter there is order; MORGAN WRIGHT stands in the "pit," racking the dishes with speed and precision, talking to the NEW GUY. MORGAN Dish washing is like life, once you get behind you can never catch up. Morgan sprays down a rack of dishes and launches it into the HOBART (dishwasher). Morgan is 23 years old, tall, thin, and wears the look of a Kennedy. MORGAN (continuing) You've got to spray the dishes down. This thing'll sanatize'em but it won't really wash'em. You can't sacrifice quality for speed. And as the Hobart spits out the clean dishes, JASON FLETCHER unloads them. Jason's a solid six feet, mature looking for 22. JASON (to the new guy) Be careful, if you hang out with him long enough you'll learn to like him. MORGAN Quiet please. Jason whisks a load of dishes away. MORGAN There's just so many different little things to this job. Morgan grabs a dark green rack. MORGAN (continuing) Like these dark green racks are much better for these boats then the light green ones. The light green ones are better for plates. It's just practice. It's all practice. Morgan shoves the dark green rack of "boats" into the Hobart. WAITRESS Full wine glass. And the WAITRESS flips the wine glass rack over to Morgan and he shoves it into the Hobart. KELLY Is it busy tonight? MORGAN Not really. With three of us, we should be able to toy with this. A WAITER pokes his head out of the office, yells: WAITER Morgan, phone. INT. RESTAURANT - OFFICE Morgan sits at one of the desks talking into the phone. MORGAN You're still going through with it? DAVID (V.O.) Yeah. Can you believe that shit? MORGAN "... and you shall change from a man with a future to a man with a past." DAVID (V.O.) No... now I'm a man with a future... and a past! MORGAN We'll be there Friday morning. INT. RESTAURANT - KITCHEN - DISH AREA Morgan enters. Jason's in the pit racking the dishes. MORGAN David's selling out. JASON That's a problem. They're really going to do it? Morgan nods. JASON We going? MORGAN Yeah, to try and talk him out of it. Another clean rack of dishes exits the Hobart. MORGAN Where's the new guy? JASON I thought he was with you. Jason yells across the kitchen to the MANAGER: JASON Where's your boy? Worried, the manager moves to the dish area. MANAGER What'd you mean? MORGAN Looks like you lost another dish dog. MANAGER What'd you guys do to him? JASON (yells) Has anyone seen the new guy? WAITRESS I saw him walk out the back door. Jason pulls the new guy's abandoned apron out of the linen bag and holds it up. Morgan and Jason laugh. MANAGER Shit! Fucking dish dog! Can you guys stay for a few more days? MORGAN Sorry... we got an execution to go to. FADE TO BLACK And the Dish Dog theme song starts to play. It's an upbeat, fast paced song about freedom and being on the open road. CLOSE ON NORTH CAROLINA LICENSE PLATE: "DSH DOGS" EXT. HIGHWAY - DAWN The license plate is attached to BLACK BEAUTY, a 1958 Ford, F-100, pick-up truck. Black Beauty wears a rough coat of black paint and is missing all four hubcaps. The truck races away from Armorillo Texas, past the "Leaving Armorillo" sign. INT. TRUCK Jason drives, while Morgan sits in the passenger seat reading a beat up old map. JASON You hungry? MORGAN Nope. Morgan highlights Armorillo Texas. Dozens of cities in the Southwest have already been highlighted. JASON You got to go to the bathroom? MORGAN No. We got to make it to Oklahoma City if we're going to make it by Friday. Jason looks away. MORGAN You going to see Molly? JASON Probably not. EXT. HIGHWAY - DAY as the truck passes the "Welcome to Oklahoma" sign. EXT. HIGHWAY - OKLAHOMA - DAY The truck begins to lurch. INT. TRUCK Jason steers off to the side of the highway. MORGAN What's the problem? JASON We're not out of gas... it's got to be the fuel pump. EXT. TRUCK Jason gets out, immediately moving to the side of the road to take a leak. Morgan opens the hood and stares at the engine. Jason joins Morgan and goes to work. He pulls off a hose from the engine and covers it with his thumb. JASON Try and crank it. Morgan gets into the truck and turns the engine over. JASON That's good. It's the fuel pump. MORGAN Can we fix it? JASON Dude... toy. Jason goes to the back of the truck, opens up an extensive tool kit and pulls out another fuel pump. EXT. TRUCK - DAY as it drives through Oklahoma City. EXT. HIGHWAY - DAY as the Truck drives past the "Entering Arkansas" sign. EXT. LITTLE ROCK, ARKANSAS - GAS STATION - DUSK Morgan pumps the gas as Jason arrives at the truck carrying a handful of snacks. MORGAN What'd you get? JASON Nothin'. Jason gets back into the truck. MORGAN What'd you spend ten bucks on snacks? JASON No, about Eight-fifty. Morgan gets back into the passenger seat and the truck lumbers away. EXT. TRUCK - NIGHT as the truck drives over the Mississippi River, into Memphis, Tennessee. EXT. TRUCK - DAWN as the truck continues East. EXT. TRUCK - DAY as the truck passes the "Welcome to North Carolina- First in Flight" sign. EXT. HIGHWAY - NORTH CAROLINA - DAY A sign reads: "Greensboro 13" The truck drives by. EXT. TRUCK - DAY as the truck enters Greensboro. INT. TRUCK The temperature gauge nears 240 degrees. Morgan and Jason notice. MORGAN It's getting a little hot, isn't it? JASON Don't worry a thing about it. EXT. GREENSBORO - BATTLEGROUND ROAD - DAY The truck maneuvers through the bumper to bumper traffic. EXT. GREENSBORO - BATTLEGROUND ROAD The truck turns off, into an upper-middle class neighborhood. EXT. MIDDLE-CLASS NEIGHBORHOOD The truck rolls to a stop. Light steam rises out of the engine and green anti-freeze boils onto the street and runs into the gutter. INT. TRUCK Jason pats the dashboard, says: JASON This is a lot of truck for four- fifty. MORGAN Touche'. EXT. TRUCK as Morgan and Jason get out of the truck and walk toward the WRIGHT'S HOUSE; it's white bred, middle-class America. INT. WRIGHT HOUSE - DAY The vacuum roars. MRS. NORMA WRIGHT pushes it back and forth and as she turns she sees Morgan and Jason standing in the doorway holding a few bags. Mrs. Wright turns the vacuum off. MORGAN We came back for David's wedding. MRS. WRIGHT You should have called. Your father will be so happy you're home. MORGAN We're going back on the road in a few days. Morgan walks past Mrs. Wright, up the stairs. Jason follows, says: JASON It's good to see you again Mrs. Wright. Mrs. Wright nods and watches as they climb the stairs. MORGAN (O.S.) We'll be back later. We're going to see the professor. EXT. PROFESSOR FROST'S HOUSE - DAY The truck rests on the street in front of PROFESSOR FROST's house. Frost's house stands out from the other middle- class homes, it's more... artsy. There's a few pieces of "modern art" littering the front lawn. MORGAN (O.S.) Dishwashing is to me a soapy salvation, rejuvenation for my soul, recuperation from my upbringing, rejection of the bourgeoisie, reclamation of my will, and refuge from a teleological hurricane. INT. PROFESSOR FROST'S HOUSE - PATIO - DAY Morgan sits in a wicker chair. MORGAN (continuing) With each dish I wash it's one less tie I have to wear. With each pot I scrub it's one less mortgage payment I have to make-- PROFESSOR FROST sits across from Morgan, smoking a pipe and drinking orange juice from a glass bottle. He's nearing 65, bearded, and wears sandals and shorts. MORGAN (continuing) --with each glass I rack it's one less trip to Disneyland I have to take with my ingrate children, and each time I crank up Black Beauty, it's one less car payment I have to make. Professor Frost claps and laughs. FROST How much longer do you think you can keep doing it? JASON I think we could stay out there at least another couple of years. MORGAN About 37 states. Maybe will hit Europe after that. We've covered almost the entire south, all the way out to the west coast. Morgan pulls the map out of his backpack, carefully unfolds it and lays it out on the coffee table in front of Frost. FROST I've got to tell you, when you packed out of here a year ago in that truck, I didn't think you'd make it past Georgia. It sounds like you're really doing what you want. Morgan and Jason smile, gloat. INT. ACURA - DUSK DAVID ALEXANDER drives, blond hair, blue eyes, conservative. SHANE MARTIN, dark, nearing six foot and 220 pounds sits in the passenger seat. SHANE So fellas, what's up? Jason and Morgan are in the backseat. JASON Dish doggin' it. SHANE Yeah. How do you like it? MORGAN It's wet. SHANE Yeah... So fellas, what's the word? MORGAN Marriage. SHANE Our boy's getting married. DAVID Isn't that crazy? It's not scaring me as much as it should. JASON Was it just a nightmare getting everything together? David looks into the rear view mirror to check his hair; it's short, slicked back, all in place. DAVID Not for me. All the decisions were pretty much made by Karen and my mom. JASON Is your family pretty excited? DAVID Weddings are one big excuse for people to get pissed off at each other. My mom and my dad's mom have done nothing but yell at each other for a month. MORGAN What were they fighting about? DAVID My Grandmother is like, " Why wasn't Uncle Richard invited?" And we're just like, "because we haven't seen him in fifteen years." And then Nanny, my mom's mom, wants to invite three of her friends, who we don't even know. And she went to Karen's mom, who's to nice to say "no," so then my other Grandmother wants to invite some of her friends. General laughter. MORGAN How's the job? DAVID I still like it. MORGAN I'm not surprised. DAVID (ignoring him) I just finished my first audit. MORGAN Was it as bad Granger said it would be? DAVID No, it wasn't that bad. It wasn't an unqualified report. JASON (to Shane) How's your job? SHANE I fucking hate it. MORGAN What'd you do? SHANE Fucking fraud administrator... Yeah, I know it sounds great but all I do is wait by my computer for someone to call me up and bitch me out. "I got a fucking sixty- thousand dollar phone bill. What the fuck are you going to do about it?" MORGAN Sixty-thousand dollars? SHANE Sometimes more. People'd steal those chips and duplicate them. There'd be calls to places like India. MORGAN Any chicks? SHANE Yeah, I struck out with this older lady. MORGAN How much older? SHANE Fucking forty-two. MORGAN Shane! What happened? SHANE You know, we went out, seemed to have a good time, and she avoided me from then on. JASON Dude, you should come with us on the road. MORGAN Yeah, we'll strap another chair in the back of the truck. SHANE I might just do that. DAVID Have you guys seen the Professor? MORGAN Yeah, we were just there. SHANE So what's up with him? He just doesn't seem like a happy guy to me. MORGAN What are you talking about? SHANE I mean does he seem like a happy person to you? MORGAN I don't think he cares about being happy. There's something much more important than that. He's content. Content to know that he's lived his life the way he wanted. He didn't let women or society trap him. MORGAN (continuing) He's about the only person I know that's lived their life with any semblance of free will. If that doesn't lead to happiness, it leads to a helluva lot more. Jason points at the street sign, says to David: JASON Take a left up here. David gets in the left lane. JASON (continuing) Let's do a drive through. SHANE You guys been back since graduation? MORGAN/JASON No. EXT. GUILFORD COLLEGE ROAD - NIGHT The Acura turns onto Guilford College Road. EXT. GUILFORD COLLEGE "Oldest Co-ed college in the country, founded by The Society of Friends in 1848," reads the sign at the entrance to campus. The Acura drives past. INT. ACURA David rounds the first turn in the campus road. JASON I guess there's no students? SHANE The Eastern Music Festival just ended. JASON Just think, the people that were Sophomores when we graduated are going to be the seniors. Morgan considers this. MORGAN I don't want to talk about it. David stops the car in front of ENGLISH HALL. They stare at the building for a moment, remembering. It's a nondescript brick dormitory. JASON We really thought we were the shit. MORGAN How many times did we walk down those steps? JASON A bunch. DAVID Let's go see some tittys before we all get depressed. EXT. GUILFORD COLLEGE David revs the engine and they're gone. INT. BABY DOLLS - NIGHT The fanciest strip club in Greensboro; red carpet, brass railings, and monied rednecks. And the girls: beautiful and plentiful; giving lap dances, standing at the bar counting their tips, dancing on one of the three stages, serving drinks. It's dark and the music blares and Jason and David sit by the main stage ogling LINDA LIPPS. The songs ends and the announcer comes over the P.A.: ANNOUNCER Let's have a big hand for Linda! Remember gentlemen, these lovely ladies only work for your tips, so bring out those wallets and show them your appreciation... And now, you've seen her in Penthouse, you've seen her on your T.V., let's have a big hand for... Sindee Coxx. The lights go down and the music goes up, and then the spotlight finds... SINDEE COXX, as she runs through the smoke in a cowboy costume, and jumps onto the stage. BANG! BANG! as Sindee let's off a couple of rounds from her six-shooter. The music blares. The monied rednecks start hootin' and hollerin'. Shane and Morgan sit at a small table by themselves. A WAITRESS approaches them. WAITRESS You guys need anything? Morgan shakes his head, looks around, takes it all in. SHANE I'm good. AT THE STAGE Jason and David watch as Sindee takes off her chaps to reveal only a G-string. David guzzles a beer as he stuffs a dollar bill between Sindee's naked breasts. AT THE TABLE Morgan stares across the room. MORGAN Check that out. Shane looks, it's a BEAUTIFUL STRIPPER giving a lap dance to a heavy middle-aged REDNECK. He attempts to fondle her and she playfully pushes his hands away. MORGAN I wonder how much that cost? SHANE You should ask her. David and Jason join Morgan and Shane. DAVID That's a lot of titty for a dollar. JASON Maybe we should call the girls and see if they want to join us. A WAITRESS stops at the table carrying a tray of shots in test tubes topped with cherries. WAITRESS You want a body shot? JASON Get whatever you want, this one's on us. David wraps his arms around her waist and pulls her close and whispers in her ear. She laughs and whispers something back. The music blares. The waitress puts the test tube between her breasts and brings David's face to her chest and leans forward so he can swallow the drink. David smiles and pulls her closer. She takes the cherry stem in her mouth and slowly feeds him the cherry. David eats the cherry and smiles in triumph. JASON Karen would be pretty pleased. DAVID I'm not married yet! WAITRESS You want one? Jason nods and turns and the waitress straddles him. She puts the test tube between her breast and brings Jason's face to her chest and leans forward so he can swallow the drink. She takes the cherry stem in her mouth and slowly feeds him the cherry. Jason pulls $10 out of his back pocket and gives it to the waitress. WAITRESS Anyone else? SHANE No thanks. Morgan shakes his head. The waitress leaves. DAVID Morgan, I'm surprised you weren't all over the body shot. MORGAN You should have asked her if she dances. David chugs down another beer. Morgan looks back to the lap dance only she's gone. The redneck reclines by himself, enjoying the show. MORGAN You guys about ready to go? DAVID We just got here. David gets up and starts walking toward the bar, only there's a stage in front of him. He jumps onto the stage and walks across, past a girl dancing, and jumps down on the other side, which is at the bar. Morgan and Jason share a look. JASON What is that guy thinking? MORGAN Don't even worry about it, we're out of here. Morgan exits. AT THE BAR A bouncer stares down at David. BOUNCER You need to calm the fuck down. EXT. BABY DOLLS - PARKING LOT - NIGHT As Morgan exits Baby Dolls, he passes the beautiful stripper that he watched give a lap dance. Her name is ANNE. Their eyes meet. As Morgan's almost past her she says: ANNE You got a cigarette? Morgan stops, turns around. MORGAN No... I don't smoke. ANNE Oh... okay. MORGAN I'm thinking about starting though. ANNE Oh yeah, why is that? MORGAN You know, you get to use a lot more of your sick days. You die earlier. And then I'd have a cigarette when beautiful girls asked me for one. Anne smiles and turns away from Morgan. Morgan walks to the Acura and gets in. A moment later Anne jumps in after him. ANNE It's cold out there. MORGAN It's a hundred degrees. ANNE It's cold in here. MORGAN It's a hundred degrees in here, too. ANNE Okay, you win, game over. My name's Anne. She holds out her hand. Morgan shakes it. MORGAN Morgan. And there's an awkward silence. MORGAN Anyways. ANNE Doesn't your friend lock the door? MORGAN I left it unlocked so I had some place to go when I wanted to leave early. ANNE You're funny. MORGAN Anyways... ANNE Stop saying that, it's making me feel like you don't want to talk to me. MORGAN I say it when I don't have anything to say. ANNE Tell me how much you love me... don't answer that. MORGAN Anyways... ANNE Stop saying that! MORGAN Okay... Do you like being a stripper? ANNE I love it. I don't have to worry about what I'm going to wear to work. MORGAN You're funny, too... Any-(stopping himself) Do you make a lot of money? ANNE Not really. It's like waiting tables, everyone likes to talk about how much money they make, but it's like four hundred on a good week, two hundred on a bad week. I'm not going to get rich or nothing. MORGAN Why do you do it? ANNE This is such an easy job, I mean how hard is it to get up on stage and shake your breasts around? MORGAN I'm not really sure. ANNE I only have to work about six hours a night. I need something with flexibility. And it doesn't bother me to show my breasts to some horny old man. Anne pulls up her shirt to expose her breasts. Morgan's eyes go straight for them- and they are lovely. ANNE Breasts are like a magnet to a man's eyes. I mean what's the big deal? She pulls her shirt back down. MORGAN I don't understand it myself, but there's just no... "been there done that," when it comes to breasts. ANNE So what do you do? MORGAN I'm a dishwasher. ANNE Do you like it? MORGAN It's kind of a lifestyle choice. ANNE You have a girlfriend? MORGAN Don't you think a better question is whether or not someone considers me their boyfriend? ANNE Why? MORGAN Well, I mean, that answers your question a lot better. There could be a girl out there who I consider my girlfriend, but she doesn't think I'm her boyfriend, or there could be a girl out there that thinks I'm her boyfriend, but I don't really think of her as my girlfriend. It's a perception thing. ANNE (bewildered) Okay... Does someone consider you their boyfriend? MORGAN Well... no. ANNE You like girls? MORGAN No- I mean Yes, I do. I resent it, but I do. ANNE I had to ask, I mean you're sitting out here by yourself when you could be in there looking at naked women. MORGAN That's alright. Does someone consider you their girlfriend? ANNE Yeah. MORGAN Oh. ANNE The asshole should be here now, picking me up. MORGAN You going to marry him? ANNE No... I don't think so. There's something missing. MORGAN Missing? Like what? ANNE I don't know... We never talk like this. MORGAN What'd you mean? Anne thinks for a moment. ANNE Like... he might ask me if I liked being a stripper but- but it would just end with my saying "yes." MORGAN Why'd you go out with him in the first place? ANNE I was attracted to him. You want to give me a ride home? MORGAN How much? ANNE How... much? And it dawns on Anne what Morgan is implying. ANNE Fuck you. I'm not a whore. I just need a ride home. MORGAN I'm sorry. ANNE I don't fuck for money. MORGAN But I think I'd rather pay. That way there'd be no preconceived notions. ANNE I'm not whore. Anne gets out of the car, leans back in through the window. ANNE What are you doing tomorrow? MORGAN I'm going to a wedding. ANNE And the night after that? MORGAN I'll be back on the road. ANNE Okay, game over, you win. Who's car is this? MORGAN My friend David's. ANNE He the one getting married? MORGAN Yeah. Why? Anne walks back to Baby Dolls' entrance. Morgan watches. Morgan looks at his watch, turns back toward the entrance, watches as Anne pulls a cigarette out of her purse and smokes it. INT. BABY DOLL'S The music pounds and David pushes his face up into the Waitresses naked breasts as he receives another body shot... And wedding music rises up... CLOSE - DAVID dressed in a tuxedo, staring at Karen, his bride, who is staring back at him. DAVID I... do. INT. CHURCH - DAY The PASTOR turns to Morgan. PASTOR May I have the ring? Morgan fishes it out of his pocket, finds the ring, still in the case, and hands the whole thing to the Pastor. PASTOR (whispering) Take it out. Morgan takes the ring out of the case and hands it to the Pastor, who turns to David and hands it to him. David slides the ring onto Karen's finger and they kiss. INT. RECEPTION HALL - NIGHT FREDDY AND THE FANTASTICS play "Baby Oh Baby" on stage. PEOPLE eat and drink, and wait in line at the buffet, and COUPLES dance, including David and Karen and... JASON AND MOLLY MOLLY I thought you guys would be on the road. JASON Morgan's the best man. Molly pulls closer to Jason. The music continues. Molly's tall, preppy, "cute." JASON What have you been up to? MOLLY I'm waiting tables at the Museum Restaraunt, the money's great but I'm looking for more of a career. JASON That sounds good, as long as you're happy. MOLLY Other than that, I exercise a lot, spend time with my family, go out with friends, and veg. JASON Do you have anything in mind for a career? MOLLY I'm applying for this job as the coordinator for a German study abroad program. I think I'll get it. JASON That sounds pretty good. Morgan, Shane, and Professor Frost sit at a table watching the couples dance. Jason and Molly continue to dance. Jason finally says: JASON Is there... any new men in your life. MOLLY I've been going out with Aaron, he's nice but it's nothing serious, I could never marry him. JASON Why not? MOLLY He's just not as motivated as I am. He doesn't have much concern for getting ahead in life. JASON That's alright. Maybe he's just a late bloomer? MOLLY I don't think so. What about you, any new women in your life? JASON It's a little tough to go out with anyone when you only stay in one place for a week or two. (beat) MOLLY So when are you going to settle down and get a real job? JASON Who knows? Someday I guess. MOLLY Did you give up on the big house, the Mercedes, and the millions you were going to have by the time you were thirty? JASON I don't know, I'm just taking it day by day. MOLLY You've got so much potential, it seems like such a waste. JASON I don't know about that. I sort of enjoy seeing the country and being free. MOLLY Don't you want someone to come home to and spend the rest of your life with? JASON I've got Morgan. MOLLY You can't marry Morgan. JASON Settling down means giving up my freedom. I'm not sure I'm ready to do that. "Baby Oh Baby" slowly fades out and the dancing stops and people clap for Freddy and the Fantastics. MOLLY Now is that you talking, or Morgan? CLINK! CLINK! CLINK! Morgan stands on stage tapping his glass. MORGAN I guess it's tradition for the best man to give a speech, so, here goes... I have to admit that I'm a little green with envy. Now... David's got it all. A promising career, a really cool car, and a beautiful wife. I hope I can one day be as happy. And with that, I purpose a toast to David and his beautiful wife, Karen. Morgan holds up his glass to toast. David smiles at Morgan, and discretely gives him the finger as the crowd claps and Freddy and the Fantastics start to play again. INT. RECEPTION HALL - LATER The night is winding down, the cake has been cut, the band is packing up. Jason and Molly sit at a table, alone. JASON That's the same dress. MOLLY What? JASON That's the same dress you wore to the Binford Formal. MOLLY Oh yeah, I guess it is. JASON I've still got that picture of you holding a bundle of roses. Morgan sits on the other side of the room watching Jason and Molly. He looks at his watch and walks into the foyer. INT. FOYER Morgan walks to the phone and dials. A MAN'S voice answers. MAN (V.O.) Baby Dolls. MORGAN You have a girl named Anne that dances there, is she dancing tonight? MAN (V.O.) She's off tonight, but we got Judy Cum. Why don't you come on down? Morgan hangs up the phone and walks back into the reception room. INT. RECEPTION ROOM Morgan walks over to Jason and Molly. MORGAN We out of here? JASON Molly is going to give me a ride, I'll be back in half an hour or so. Morgan nods. MORGAN I'll pick you up tomorrow. Morgan turns and walks away. INT. WRIGHT'S HOUSE - MORGAN'S BEDROOM - DAY Morgan lies in bed staring at the empty bed across the room. INT. WRIGHT'S HOUSE - KITCHEN - DAY Mrs. Wright stands over the stove cooking breakfast. JOHN WRIGHT sits at the table reading the newspaper, drinking coffee. Morgan enters. MR. WRIGHT Hey guy. MRS. WRIGHT How was the wedding? MORGAN It was alright. Morgan sits down at the table. MR. WRIGHT Morgan, did you see this article on the food bank opening in Greensboro? MORGAN No dad. MR. WRIGHT It says here they're hiring. Maybe they need an accountant. It'd be a good way to use your degree and help a lot of people. MORGAN You think they need a dishwasher? Look, dad, if I was going to get a job, I'd just get something that paid a lot of money. Mrs. Wright is putting French toast in front of Morgan. MRS. WRIGHT You can't wash dishes for the rest of your life. EXT. WRIGHT HOUSE - STREET - DAY Morgan hugs his mother... hugs his father... gets into the truck and drives away. EXT. BATTLEGROUND ROAD The truck turns onto Battleground Road. INT. MOLLY'S APARTMENT - LIVING ROOM - DAY HONK! HONK! HONK! Molly's leaning up against Jason on the couch. JASON That's Morgan, I gotta go. EXT. MOLLY'S APARTMENT Jason exits the apartment, kisses Molly, and says: JASON I'll call you from the road. MOLLY Drive safely. Jason gets into the truck and they drive off. INT. TRUCK Jason drives, Morgan's in the passenger seat. MORGAN Maybe we should stop by the Outback? Jason nods his approval and pulls a sharp left... EXT. OUTBACK STEAKHOUSE - DAY The truck is parked in the parking lot. INT. OUTBACK STEAKHOUSE - KITCHEN - DAY KNOCK! KNOCK! KNOCK! BRIAN, the kitchen manager, pushes the back door open to reveal Jason and Morgan. BRIAN Hey, it's the dynamic duo. Jason and Morgan enter. BRIAN You guys are just in time. The dishwashers just walked out. Morgan and Jason look at each other and laugh. JASON That's a problem. BRIAN (continuing) You guys want to stay and dish? MORGAN (to Jason) What do you think? JASON Yeah, sure. MORGAN We'll stay tonight but we got to get on the road. BRIAN We'll take what we can get. You know the drill, get your aprons. INT. OUTBACK STEAKHOUSE - DISH AREA - NIGHT DEAN, the manager (American by birth, Southern by the grace of God) walks by and does a double take when he sees Jason and Morgan. DEAN What are you guys doing back? JASON David got married. DEAN David got married? Who'd he marry? JASON Remember Karen? DEAN Karen! They spent more time fightin' than lovin'. MORGAN What's the difference? DEAN I want to talk to you boys before you leave, you hear? Dean disappears into his office. DISH AREA - LATER Jason's in the pit. As he pulls another load of dishes across the counter, a BEAUTIFUL WAITRESS sets a tray down and starts to unload dirty dishes. JASON (to Morgan) Dude. Morgan sees the beautiful waitress. MORGAN Sweet. The beautiful waitress finishes unloading the dishes and exits out the back door. JASON Do you think she'd sleep with me? MORGAN Probably not. They both laugh. JASON Watch this. Jason goes to the soda fountain, gets two glasses of soda, and exits out the back door after the beautiful waitress. EXT. OUTBACK - BACK - NIGHT The beautiful waitress smokes a cigarette. Jason comes out carrying the two sodas. JASON It sure is hot out here. She blows smoke, nods. JASON Would you like a soda? BEAUTIFUL WAITRESS No. There is an awkward silence. Jason takes a sip of one of the sodas, looks around, and goes back inside. INT. OUTBACK STEAKHOUSE Jason throws the sodas in the garbage can and walks back to the... DISH AREA MORGAN How'd it go? JASON Pretty well. Jason jumps back into the pit and resumes racking dishes. DISH AREA - LATER Jason and Morgan keep up with the onslaught of dirty dishes; Jason's in the pit, while Morgan unloads the clean racks and puts them away. WAITRESS Full wine glass! Not a problem, Jason pulls the rack down, swings it into the Hobart, throws an empty glass rack up, and keeps racking the dishes. WAITER We need clean silverware! MORGAN (pointing) It's right there. The waiter goes for it. DISH AREA - LATER Morgan mops the floor. Jason racks the last few dishes and squeegees off the counter. INT. OUTBACK STEAKHOUSE - OFFICE - NIGHT Dean paces back and forth. DEAN Now boys, I understand your loyalty to each other- and I can appreciate that. We got two spots. Brian's leaving, he's getting his own store, so we need two people. Kitchen manager during the day. Assistant manager at night. Dean turns to Morgan and Jason, who are seated. JASON How soon would we need to start? DEAN Brian's leaving in two weeks. Now Morgan, I know you and I don't want you saying "no" without even thinking about it. MORGAN I have thought about it. I think about it 40 hours a week. No! DEAN I'm offering you a real job, some security. MORGAN Security's overrated. There's security in jail. DEAN Look, it only took Brian five years to get his own store, you could do it in half that time. MORGAN I don't think they'd want the owners washing dishes and leaving after two weeks. DEAN I'm offering you boys a chance to make some real money, start a career. Don't you want a career? MORGAN See, that's where we differ, sure we want a career, but not as much as we want some truth and some meaning. DEAN You know you don't have to go with him? Jason looks up as he realizes this was directed at him. JASON I know, but I'm young, and this is a great adventure, meeting people, seeing new places, and being free to do what I want. DEAN Someone's been feeding you false promises. MORGAN We'll then, maybe we'll be back. DEAN You can't wash dishes forever. MORGAN It's not about washing dishes, it's more of a... lifestyle choice. DEAN I just don't understand you boys. INT. OUTBACK STEAKHOUSE - BAR - NIGHT The Outback Staff is gathered around the bar drinking beer. A WAITER holds up his glass to toast and says: WAITER To the greatest dish dogs that ever lived! Everyone toasts and drinks. WAITER You guys are really going out and doing what you want. MORGAN We are? WAITRESS Where are you guys headed off to now? JASON You know, We're really not sure. Laughter and another Waiter says: WAITER Now I'll toast to that. EXT. OUTBACK STEAKHOUSE - PARKING LOT - DAWN The dish dog theme song starts to rise up as Morgan and Jason exit the Outback Steakhouse and walk across the parking lot and get into Black Beauty and drive away. INT. TRUCK Jason drives, Morgan sits in the passenger seat. JASON So... where are we headed off to? MORGAN Well... let's see. Morgan pulls out the old, battered map of the United States. EXT. HIGHWAY - DAWN The truck roars past the "Leaving Greensboro" sign as the sun rises out of the horizon and dish dog theme song continues to play. INT. TRUCK - DAY Jason drives, Morgan's in the passenger seat. MORGAN What is it about Molly you like so much? JASON Nothin'. MORGAN No, seriously. Jason contemplates, says: JASON Well... Remember when I hurt my back? I was just lying on Blake's futon and she came by and brought me ginger snaps and milk and just hung out. That was really nice. And... the fact that she liked me so much. (and) I was always attracted to the way she looked, tall, short hair, and big chested. MORGAN She was big chested? JASON Yeah, big enough for her to press'em together and let me put my cock between'em. MORGAN So what you're telling me is you got a small cock? JASON Ha-ha, very funny. MORGAN Did you know you liked her so much the first time you talked to her? JASON Not really, cause Curt was kind of interested in her. I was just kind of chatting with her. MORGAN Doesn't it just seem like sometimes you can tell you're attracted to someone after talking to them for only a few minutes? JASON Yeah, I guess. EXT. HIGHWAY - DAY The truck passes. EXT. KOA CAMPGROUND - DUSK Suburbia has gone camping: R.V.s, T.V.s, and jetskis. The truck comes to a stop at one of the few tent sites. Morgan and Jason get out and stretch. Jason moves to the back of the truck and unloads the tent. Morgan moves with him as they unroll the tent. They each grab one of the middle posts and pull, and the tent rises. Jason pounds his stake into the ground and tosses the hammer to Morgan, and Morgan does the same. Jason sets the next stake up and Morgan pounds it in... They've done this before. INT. TENT - NIGHT A flashlight is the only source of light. Morgan blows up his air-mattress, which consumes nearly 3/4 of the floor space. Jason sits on a dime store pool raft. JASON I'll be right back. MORGAN What are you doing? JASON Nothin'. Jason exits the tent. EXT. KOA CAMPGROUND - NIGHT Jason goes to the pay phone and dials. JASON (into phone) Hey you. MOLLY (V.O.) Hey, where are you? JASON Louisville, Kentucky. Molly laughs. Jason leans back against the phone booth, settles in. MOLLY How's it going? JASON Pretty well, we're going to try getting a job tomorrow... INT. TENT - NIGHT Jason's flashlight cuts through the night as he gets into the tent. Jason quietly gets into his sleeping bag. MORGAN How's Molly? JASON How's your mom? CLOSE ON PHOTO OF DAVID AND KAREN in their wedding attire. INT. ANNE'S KITCHEN - NIGHT as Anne cuts the picture out of the newspaper. Anne looks at the photo, picks up the phone book. EXT. KOA CAMPGROUND - DAY Morgan goes through "Bernard Shaw's Plays," stops on page 348 and finds $348. Morgan takes the $48 and moves the $300 to page 300. As Jason gets out of the tent, Morgan shoves the book deep into his bag. MORGAN How much money you got? Jason routes through his pockets, comes up with about twenty-five bucks and some change. JASON Twenty-five. MORGAN That's all you got? JASON I bought gas yesterday. MORGAN Yeah, and I bought a tank of gas, too. JASON How much do you have? MORGAN Forty-eight dollars. JASON I thought you always kept three hundred? MORGAN I'm not spending that. That's for emergencies only. JASON I guess a gift for Molly isn't an emergency? EXT. LILLY'S RESTAURANT - DAY The truck sits in the parking lot. INT. LILLY'S RESTAURANT Morgan and Jason sit at a booth with the manager, DEREK LILLY. MORGAN We may only be here for a few days, but we offer a few guarantees: we'll be here on time, we won't walk out in the middle of the shift, and we'll give at least 24 hours notice. LILLY You sound like hard working young men, but I'm sorry, I just hired two new guys. Morgan holds out his hand to LILLY. MORGAN Thank you for your time. EXT. LILLY'S RESTAURANT - PARKING LOT Jason and Morgan are walking to the truck. JASON Have you ever met anyone that you absolutely can't stand, but there's no real reason why? Morgan laughs. They get into the truck. INT. SHAVE DILLER'S BAR AND GRILL - DAY The MANAGER shakes his head, "no." Jason extends his hand... EXT. E.J.'S BISTRO - BACKDOOR - DAY Jason and Morgan pass the two DISH WASHERS as they enter. One of the dish washers takes his apron off and throws it into the dumpster. DISH WASHER #1 They ain't paying me enough to wash all them dishes. INT. E.J.'S BISTRO E.J., the manager, nods his head as he shakes hands with Morgan and Jason. E.J. pulls out two aprons. INT. E.J.'S BISTRO - DISH AREA - NIGHT Morgan stands in the pit, leaning against the counter. Jason's looking under the glass rack at the waitresses. JASON Not much to look at. MORGAN I'd be inclined to agree with you on that one. They watch as a few WAITRESSES (all unattractive) pick up there orders at the window. JASON I'll be right back. Jason exits. EXT. E.J.'S BISTRO - PHONE BOOTH - NIGHT Jason talks on the phone. MOLLY (V.O.) When are you coming back? Jason stops to think for a moment. JASON Soon... INT. E.J.'S BISTRO - DISH AREA - NIGHT Still no dishes as Morgan and Jason wait around. MORGAN You going to hit on any of these girls? JASON Probably not. MORGAN Why not? You'd probably have a good chance with that one over there. (pointing to Martha) MARTHA (5'2" and 350 pounds) lifts a huge tray of food onto her shoulder. JASON If I was that desperate I'd just call your mom. MORGAN If I was that desperate I'd call Molly. INT. E.J.'S BISTRO - DISH AREA - LATER Morgan and Jason clean up... JASON You stay here and work, I'm going to see if they're hiring down at Hooters. MORGAN I don't think there's a hooters in this town. INT. TENT - NIGHT Morgan and Jason lay awake in the tent. MORGAN That was pretty brutal, it was just so freakin' slow. JASON I'll Say. MORGAN Maybe we should work tomorrow night and get out of here. JASON Yeah... Maybe we should head back to Greensboro? MORGAN What for? To see Molly? JASON No, but we could save some money. MORGAN Let's just keep going west. EXT. E.J.'S BISTRO - DAY Morgan talks on the phone. MORGAN How's married life treating you? DAVID (V.O.) You ever tried one of those "ice" beers? MORGAN No, why? DAVID They're pretty good, and they got twice the alcohol content. By the way, who's Anne? MORGAN Anne? Why? DAVID She called here looking for you. This strikes Morgan. INT. E.J.'S BISTRO - DISH AREA - DAY Jason stands in the pit, waiting for dishes. Morgan enters. JASON What did David have to say? MORGAN It's going pretty well, he's become an alcoholic. JASON That's good. EXT. E.J.'S BISTRO - NIGHT The truck pulls out of the parking lot. EXT. HIGHWAY - NIGHT The truck picks up speed as it heads north. INT. TRUCK - NIGHT The temperature gauge nears 240 degrees. Morgan and Jason notice. MORGAN She's running a little hot, isn't she? JASON I'll check it at the next gas station. EXT. GAS STATION - NIGHT Morgan pumps gas. Jason stuffs his face with a hot dog, puts a bag of food into the truck, pops the hood and gets back out. Morgan finishes, gets into the truck. Jason grabs a bottle of anti-freeze from the back and pours it into the radiator. Finished, Jason slams the hood down and gets back into the truck. The truck roars to life and pulls away. A puddle of anti-freeze lies on the ground. INT. TRUCK - NIGHT Jason downs another hot dog, offers one to Morgan. JASON You want some? Morgan shakes his head and pulls out his coleman water cooler and a sandwich. Jason eats the last hot dog and sets a bag of chips and a soda on the dash board in front of Morgan. Morgan doesn't go for it. EXT. HIGHWAY - NIGHT as the truck continues west. EXT. JEFFERSON CITY, MISSOURI - ROUTE 50 - DAY The truck drives into town. EXT. MOYER'S STEAK AND SEAFOOD - DAY The truck sits in the parking lot. INT. MOYER'S STEAK AND SEAFOOD - DAY Morgan and Jason sit at the bar. The MANAGER prepares the bar. MORGAN We may only be here for a few days, but we offer a few guarantees: we'll be here on time, we won't walk out in the middle of the shift, and we'll give at least 24 hours notice. MANAGER I had to fire the last bunch of dish dogs 'cause they were throwing the dishes into the river instead of washing'em. The Manager heaves a garbage can of empty liquor bottles over the bar. MANAGER (continuing) I'll tell you what, I'll use you as long as I can, but if I can find someone permanently, you'll have to make a decision. JASON Fair enough. INT. MOYER'S STEAK AND SEAFOOD - DISH AREA - DAY Morgan and Jason put on their aprons. Jason motions to a group of WAITRESSES standing at the cash register (all attractive). JASON This looks a little better. MORGAN You going to hit on any of them? JASON Probably. MORGAN How are you going to do? JASON Not very well. They laugh. INT. MOYER'S STEAK AND SEAFOOD - DISH AREA - DAY A moderate flow of dishes come into Morgan, who stands in the pit. Jason unloads the clean dishes. JASON This dishwasher sucks. Morgan looks, Jason holds up one of the plates. It's still dirty. JASON Run'em through again. Jason takes the rack and hands it to Morgan. Morgan pushes it back into the Hobart. JASON Dude. Jason motions to one of the Waitresses as she exits out the back door. JASON You see that? MORGAN Go for it. Jason goes to the soda fountain, draws two sodas and exits out the backdoor. AT THE GRILL One of the COOKS turns to TROY, who's kneeling down at the refrigerator. COOK I think that dish dog just went after your girl. Troy looks at the backdoor, stands up. He's 6'4" and 250 pounds of pure muscle. EXT. MOYER'S STEAK AND SEAFOOD - BACK - DAY as Jason exits. The waitress puffs on a cigarette. JASON Sure is hot out here. WAITRESS I'll say. Could I have a sip of one of your drinks? JASON You can have one. Jason smiles and hands her the drink. JASON (continued) My name's Jason. WAITRESS Bridget. And as they shake hands the door swings open and Troy exits. TROY What the fuck do you think you're doing? BRIDGET Troy- JASON Nothin'. Bridget tries to hold Troy back. BRIDGET Stop it. TROY This is my fucking girl. Troy steps forward and grabs Jason by the collar and slams him up against the building. TROY You new guys come in here and think it's open season. BRIDGET Troy, he's a dish dog. I'm not going to fuck around with a dish dog. Troy releases his grip on Jason, and Jason stumbles back into the restaurant. INT. MOYER'S STEAK AND SEAFOOD - DISH AREA - DAY as Jason returns, shaken. MORGAN How'd it go? JASON Not... really... very well. You know that cook named Troy? MORGAN That big guy? JASON Yeah, I pretty much got toyed with. INT. MOYER'S STEAK AND SEAFOOD - FOYER - NIGHT Jason talks on the phone. JASON It's going alright, not great, but... alright. MOLLY (V.O.) Oh- hold on, I thought I heard someone at the door. Jason waits. MOLLY (V.O.) Okay, I'm back. JASON Who was it? MOLLY (V.O.) No one. So how's Black Beauty? JASON She's been running kind of hot but- A HISS in the background. JASON (continuing) What was that? MOLLY (V.O.) My hair spray. JASON Are you going out? MOLLY (V.O.) Yeah. How's Morgan doing? JASON Fine. Who are you going out with? MOLLY (V.O.) Just some guy. JASON Do I know him? MOLLY (V.O.) I don't think so. JASON Did he go to Guilford? MOLLY (V.O.) Yeah, but I don't think you knew him. JASON What was his name? MOLLY (V.O.) Jon. JASON Jon what? MOLLY (V.O.) Jon Dunkle. JASON I knew him. The DOORBELL rings in the background. MOLLY (V.O.) He's here. I got to go. CLICK, as Molly hangs up on Jason. INT. MOYER'S STEAK AND SEAFOOD - DISH AREA - NIGHT WHACK! Jason kicks a bucket, sending it down the hall, as he puts a stack of dishes away. MORGAN What's the problem? JASON Nothin'. Jason takes the empty dish rack and throws it down. He starts to unload a clean rack but they're dirty. JASON This sucks. Check the soap. Jason slams another rack of washed dishes back through the dish washer. Morgan moves to the automatic soap dispenser. Checks it. MORGAN We're out. JASON Great. Jason walks to the office, enters. INT. MOYER'S STEAK AND SEAFOOD - OFFICE The KITCHEN MANAGER talks on the phone. Jason enters. JASON (very polite) Excuse me, we need more soap for the dishwasher. KITCHEN MANAGER Oh, yeah, we've been out for a couple of days. Just wash'em by hand. He goes back to his phone conversation. Jason pauses a moment in disbelief. INT. MOYER'S STEAK AND SEAFOOD - DISH AREA as Jason returns. Morgan's busy trying to stack the dishes, and the stacks are getting high. JASON They're out of soap. MORGAN You're shittin' me. Jason shakes his head. The Manager approaches. MANAGER What the fuck are you guys doing? Get to work. JASON Get some soap. MANAGER What? What did you say to me? MORGAN There's no more soap. MANAGER So? Wash'em by hand. MORGAN When are you getting more soap? MANAGER Who the fuck cares? I didn't hire you to ask questions. Get to work. Morgan looks at Jason and nods. MORGAN Alright, no problem. MANAGER Good... And remember, you guys said you'd never walk out. MORGAN A foolish consistency is the hobgoblin of little minds. Jason smiles. The Manager gives them a funny look, not comprehending, and walks away. Jason and Morgan look at each other then at the back door... and the Dish Dog theme song starts to rise up and... EXT. MOYER'S STEAK AND SEAFOOD - BACK DOOR - NIGHT The back door swings open. Jason and Morgan exit, ripping off their aprons and throwing them on the ground. INT. TRUCK - NIGHT Jason drives, Morgan's in the passenger seat. They come to a stop at the intersection for interstate 50; 50 east to the right, 50 west to the left. JASON Maybe we should just go back to Greensboro? MORGAN 50 west. Jason guns the engine and slams the truck left. EXT. 50 WEST - NIGHT The truck races away from Jefferson City. INT. TRUCK - NIGHT Jason and Morgan sit in silence. THE TEMPERATURE GAUGE slowly rises, past 240 degrees. EXT. 50 WEST - NIGHT The truck races past a billboard: "JACK IN THE BOX - NEXT EXIT" INT. TRUCK - NIGHT Jason sees the sign. JASON You hungry? MORGAN No. Jason takes the next exit. EXT. JACK IN THE BOX - DRIVE THROUGH - NIGHT The truck pulls up to the window. JACK (V.O.) May I take your order? JASON I'll have a Jumbo Jack with no tomatoes. JACK (V.O.) Anything else? JASON (to Morgan) You want anything? MORGAN No. JASON (into microphone) That's it. Jason pulls the truck forward. INT. TRUCK - NIGHT As Jason drives he bites into his Jumbo Jack and tomatoes squish out into his lap. JASON Fuck! Jason rolls down the window and pitches the Jumbo Jack, wrapper and all, out the window. He picks the pieces of tomatoes off his lap and throws them out the window, too. INT. TRUCK - NIGHT Jason stares straight ahead. MORGAN Don't you think she's running a little hot? Jason presses on the gas. EXT. ROAD - DAWN Corn fields and cow pastures. The truck drives by. INT. TRUCK Jason and Morgan sit in silence and... STEAM starts to pour out from under the hood and... the engine starts KNOCKING and begins losing power. Jason turns the key off. JASON Fuck! EXT. ROAD as Black Beauty slowly rolls to a stop. Jason gets out and slams the hood open. Steam pours out. Morgan joins Jason. JASON Fucking piece of shit! MORGAN What's the problem? JASON The head's cracked. Jason reaches in towards the engine... JASON Fuck! --as he rips his arm out, burned. He spins around, sees a rock, goes for it, picks it up and hurls it at the front of the truck. JASON Fucking piece of shit. Jason moves back to the truck. They stare at the engine. Morgan finally says: MORGAN So how was that Jumbo Jack? Jason looks at Morgan, still pissed, and a smile reluctantly crosses his face and Morgan starts smiling, too. They both start laughing. EXT. ROAD - DAY Jason and Morgan are sitting on the ground in front of the truck. A corn field grows behind them. The road sits in front of the them but no cars drive past. Jason tosses a pebble into the road. Morgan gets up and goes to the truck. INT. TRUCK as Morgan grabs the soda and chips off the dashboard. EXT. ROAD Morgan returns to Jason and sits back down. Morgan opens the bag of chips and eats one. Jason looks at him. MORGAN You want some? JASON Yeah. MORGAN Well, looks like you should have planned ahead. Morgan pops the soda and takes a long swig. JASON I recommend you given me a chip before I kick your ass. Morgan digs around in the bag of chips and offers Jason the smallest chip he can find. They both laugh as Morgan hands him the bag of chips and soda. EXT. ROAD - LATER - DAY Morgan and Jason are still sitting on the ground. Off in the distance, POP-POP, POP-POP, the faint sound of a tractor can be heard approaching. Up ahead an old JOHN DEERE TRACTOR turns the corner and comes into view. Morgan and Jason stand up and watch as the tractor approaches. The tractor stops in front of them, the FARMER says: FARMER That's a nice truck. JASON You wanna buy it? The Farmer squints at the truck. FARMER How much you want for it? JASON I'm just kidding. It's got a cracked head. EXT. ROAD - DAY The tractor pulls the truck down the country road. Morgan and Jason sit in the truck. EXT. HUNTERTOWN, MISSOURI - STREET - DAY Population: 1330 The Corn Chowder Capital of the world. The tractor pulls the truck past the Lutheran Church into... EXT. EARL'S AUTOMOTIVE - PARKING LOT The tractor comes to a stop. EXT. EARL'S AUTOMOTIVE - PARKING LOT - LATER The farmer, Jason, Morgan, and EARL, the mechanic, stare down at the straight six, long-stroke engine. EARL You boys know you're supposed to put water in these things? Earl thinks this is funny, smiles at his little joke. MORGAN (mocking) You are? Earl stops smiling. EARL I can get it, but it's going to take a few days. JASON How much is it going to cost? EARL Three fifty, plus labor. MORGAN Three fifty? EARL Plus labor. JASON I can put it on. Earl shoots the farmer a look. MORGAN Where's the closest restaurant? FARMER Over there. The farmer points up the street. EXT. STREET - HUNTERTOWN - DAY Morgan and Jason are walking along the sidewalk. JASON I hate to say anything like this, but maybe we should sell the truck and take a bus back to Greensboro. MORGAN Black Beauty will not be sold. How much money you got? JASON About twelve bucks... Morgan looks away. JASON (continued) We walked out without getting paid, remember? That's all I got left. How much do you have? MORGAN Almost fifty. JASON What about the three hundred? MORGAN That's for emergencies. JASON Whatever. EXT. HOUSE OF CORN RESTAURANT - DAY Morgan and Jason are walking through the parking lot, past pick-up trucks and tractors, toward the entrance. As they enter, they pass a couple of FARMERS, complete with jean jackets and John Deere hats. INT. HOUSE OF CORN RESTAURANT - DAY WAITRESSES scurry around. FAMILIES eat, talk, and stack their plates at the food bar. Jason and Morgan enter. INT. HOUSE OF CORN RESTAURANT - BOOTH Morgan and Jason sit at a booth talking with RELMA, the manager/head waitress. She's nearing seventy, short and heavy set, wears a hair net. MORGAN -but we'll only be here for a week. Relma lights a cigarette, considers their offer, coughs violently. RELMA Okay... but it gets pretty busy around here. JASON Toy. Relma stares at Jason. EXT. GAS STATION - PHONE - DAY Jason talks on the phone. JASON How'd it go with Jon? MOLLY (V.O.) Not really that good. He's kind of a jerk. JASON What happened? MOLLY (V.O.) We just didn't have much to say to each other. I got Leo. INT. MOLLY'S APARTMENT - BEDROOM Molly lies on the bed with LEO, a stuffed bear, talking into the phone. MOLLY I really like him. JASON (V.O.) I'm glad. MOLLY When are you coming back? EXT. GAS STATION - PHONE Jason pauses, watches as Morgan paces in the background. JASON A week. We got to get the truck fixed. INT. HOUSE OF CORN RESTAURANT - KITCHEN - NIGHT The kitchen is small, not cluttered by all the expensive machinery that has filled the other dish rooms. The dishwasher is a vintage 1971 Hobart. Jason and Morgan stand by the dishwasher waiting for dishes to arrive. MORGAN This place must do a helluva lunch business, cause it sure doesn't do much dinner business. JASON I'll say. Relma appears in the doorway holding a bucket and two scrub brushes. RELMA You got time to lean, you got time to clean! INT. HOUSE OF CORN RESTAURANT - KITCHEN - LATER One of the gorilla racks is pushed away from the wall. Jason stands behind it scrubbing the wall while Morgan kneels on the floor scrubbing the lower portion. They look at each other, say: JASON/MORGAN I blame you for this. INT./EXT. VARIOUS SHOTS OVER THE NEXT FIVE DAYS - DAY/NIGHT Morgan and Jason wash a pile of pots and pans. A cook drops an empty pot in front of them, only there is chili burned to the bottom of it. Morgan and Jason scrub the employee BATHROOM. Inside the WALK IN FREEZER, Morgan and Jason shiver as they clean and mop. In the DINING ROOM Relma holds out some rags for Morgan and Jason. Morgan shakes his head and points at Jason, and Jason shakes his head and points back at Morgan. They stand over a puddle of vomit. OUTSIDE by the dumpster, Jason swings a bag of trash toward the dumpster and the bottom explodes and trash flies all over the parking lot. Morgan stares at Jason. Morgan and Jason pull the grease soaked, food encrusted rubber mats off the floor, out of the dish area. EXT. BEHIND THE RESTAURANT - NIGHT An extension cord runs from the restaurant to the truck. Jason and Morgan stand around the truck, hood up, working on the engine. JASON Could you hold this? Jason hands Morgan the light and the light goes out. Jason shakes it. RELMA (O.S.) You boys can't be using this electricity. Morgan and Jason look toward the back door as Relma throws the cord out and slams the door. JASON Is she some relation of yours? MORGAN You're just mad because she wouldn't sleep with you. Jason laughs and tightens the final bolt on the new head. JASON That should do it. Jason gets into the truck and turns the key. It turns over a few times... and roars to life. Jason gets back out and moves to Morgan's side. JASON Toy. MORGAN That's a lot of truck for $800. They stare at the engine as it purrs along. JASON Maybe we should just go back to Greensboro? MORGAN Fine. EXT. HIGHWAY - DAY Wide open plains and fields. The truck races by. EXT. HIGHWAY - NIGHT as the headlights of the truck zoom past. INT. TRUCK - DAWN Silence. Jason drives. Morgan sits in the passenger seat. EXT. HIGHWAY - MOUNTAINS - DAY as the truck climbs the Appalachian Mountains. EXT. HIGHWAY - GREENSBORO, N.C. - NIGHT as the truck takes an off ramp. EXT. HIGHWAY - DAY Wide open plains and fields. The truck races by. EXT. HIGHWAY - NIGHT as the headlights of the truck zoom past. INT. TRUCK - DAWN Silence. Jason drives. Morgan sits in the passenger seat. EXT. HIGHWAY - MOUNTAINS - DAY as the truck climbs the Appalachian Mountains. EXT. HIGHWAY - GREENSBORO, N.C. - NIGHT as the truck takes an off ramp. EXT. WRIGHT'S HOUSE - DAWN The truck is parked on the street. INT. WRIGHT'S HOUSE - MORGAN'S BEDROOM - DAY A pile of blankets lie on the ground where Jason slept last night. Morgan lies in his bed staring down at it. EXT. FAMILY RESTAURANT - DAY Molly reaches across the table and runs her fingers through Jason's hair. MOLLY I hope our kids get your hair. JASON Kids? MOLLY Not now silly, in a few years. Molly covers her hand with her own. MOLLY (continues, excited) I wonder how I'll tell you I'm pregnant? Maybe I'll call you at work and tell you I have a surprise. Then when you get home, I'll have a nice candlelight dinner prepared, and I'll wait until after desert to tell you. INT. WRIGHT'S HOUSE - KITCHEN - DAY Morgan sits at the table eating a bowl of cereal. MRS. WRIGHT I talked to Mrs. Taylor this morning. Do you remember her daughter Jennifer? MORGAN Yeah, I remember her, I remember she slept with the gym teacher. MRS. WRIGHT Morgan, you're getting old. If you're not careful you're going to end up alone and miserable. If you wait too long the only girls you're going to find are somebody else's rejects or girls with problems. MORGAN Thanks mom. MRS. WRIGHT If you're going to live here you're not going to lounge around the house all day and be a dish dogger at night. You're going to have to get a real job. MORGAN Don't worry... I'm going back on the road. EXT. OUTBACK STEAK HOUSE - DUSK The sun slowly sets. INT. OUTBACK STEAK HOUSE - DISH AREA - NIGHT This is the slowest night Morgan and Jason have worked in a long time. The kitchen is calm. The waitresses stand around talking, rolling silverware. The cooks slowly prepare food, restock their supplies. Morgan and Jason stand in the dish area waiting for some dishes... waiting... waiting. JASON Another exciting night at the Outback. Morgan is silent. JASON What do you think? MORGAN About what? JASON We're back in Greensboro, just like the good old days. MORGAN What good old days are those? JASON Forget it. Jason walks away. INT. OUTBACK STEAK HOUSE - DISH AREA - LATER The kitchen is empty, except... Morgan, who squeegees off the counter, and Jason, who unloads the last load of dishes. Jason stacks the last dish, says: JASON We outta here? MORGAN No. I thought I'd hang out and do some more dishes. EXT. OUTBACK STEAK HOUSE - FRONT DOOR - NIGHT Morgan and Jason exit the building and start walking around toward the back. The manager locks the door behind them. JASON I'm probably going to crash at Molly's tonight. MORGAN Good. And as they get around the corner, to the back parking lot, they see Molly, waiting by her 1989, grey, Toyota Camry. JASON I'll catch you later. Jason goes to Molly and kisses her. Morgan keeps walking, toward the truck and... Anne stands by the truck, smoking and looking at her fingernails. MORGAN You got a cigarette? Anne looks up, sees Morgan, smiles. ANNE Nope. I don't smoke. Anne takes a long drag off her cigarette and throws it down and stomps it out. Jason and Molly drive away in the background. INT. TOYOTA CAMRY - NIGHT as Molly and Jason drive away. MOLLY Who's that with Morgan? Jason looks at Morgan and Anne, straining to see but... JASON I'm... not sure. EXT. OUTBACK STEAK HOUSE - MORGAN/ANNE standing by the truck. ANNE You came back, you do love me. MORGAN What are you doing here? ANNE Nice to see you, too. I need a ride home. Come on, get in. Anne jumps into the truck. Morgan follows. INT. MOLLY'S APARTMENT - BEDROOM - NIGHT In the darkness, Molly and Jason make love. INT. TRUCK - NIGHT Morgan drives. Anne sits in the passenger seat. ANNE I broke up with my boyfriend. MORGAN Me too... So... Anyways- ANNE Don't say that. You must have something to say to me, we haven't seen each other in over two weeks. MORGAN I'm... thinking. ANNE Tell me how much you love me. MORGAN Anyways. ANNE Love can grow from just a few short minutes. MORGAN We haven't even known each other for a few minutes. ANNE Okay, game over, you win. MORGAN Anyways. Anne knocks Morgan on the shoulder. ANNE Come on, I'm kidding. Don't make me do all the work. Tell me about your trip. What happened? Who'd you meet? Where'd you go? Something interesting must have happened. MORGAN I went to the corn chowder capital of the world. ANNE Was it beautiful? MORGAN Yeah, actually it was. ANNE Was the corn chowder exquisite? MORGAN You know, I didn't even have any. Anne gives him a look. MORGAN What? I'm serious, I didn't have any. INT. TRUCK - NIGHT They're driving through a low income neighborhood. ANNE Right here, this is it. They stop in front of a dilapidated house. MORGAN You live here? ANNE That's why I'm moving. Why don't you come and help me move tomorrow. You got the truck. MORGAN I got to- ANNE (interrupting) Oh, come on, you know you want to. MORGAN What time? ANNE Noon. Morgan nods. MORGAN One thing you ought to know about me, I'm compulsively early, so I'll probably be here around 11:30. ANNE (getting out of the truck) I'll be waiting. MORGAN Hey- Anne leans back through the window. MORGAN How did you find me here? ANNE Your friend David. MORGAN How did you find David? But Anne's gone. She disappears into the house. Morgan stares after her. EXT. TENNIS COURT - DAY Jason and Morgan are out for an early morning game. They have all twelve courts to themselves. Morgan pulls a modern racquet out of his bag and hands it to Jason. Jason takes it. JASON You ready to get toyed with? Morgan pulls another racquet out of his bag, a classic, and some would say archaic, YONEX R-7. MORGAN Yeah but, I thought I was playing you. EXT. TENNIS COURT - LATER Morgan hits a drop shot. Jason comes charging in, barely returning the ball over the net... But Morgan's there, and he lobs it over Jason's head and... Jason goes running back to the baseline, throwing up a lob and... Morgan hits another drop shot but Jason doesn't even run for it. JASON Nice shot... dickhead. EXT. TENNIS COURT - LATER Morgan and Jason, sweaty, sit on the bench. JASON Who was that girl waiting for you last night? MORGAN Which girl was that? JASON The one by the truck. MORGAN Oh, her. That was Anne... EXT. FIELD - DAY Morgan and Jason, tennis rackets in hand, walk away from the tennis courts. Jason finally breaks the silence with: JASON I think I'm probably going to take that assistant manager job. MORGAN Probably? JASON No I'm... definitely taking it. I'm starting tonight. I think there's another position open if- MORGAN (interrupting) No thanks. I'm going to keep dishing. JASON Are you going back on the road? Jason stops. Morgan keeps walking. MORGAN Yeah. INT. FROST'S HOUSE - PATIO - DAY Morgan sits in the wicker chair MORGAN He's taking the job. Frost sits across from him drinking orange juice from a glass bottle. FROST How does that make you feel? MORGAN I don't know. Frost smiles. FROST I wish I were young again. MORGAN Why? FROST There's a few things I'd do differently. MORGAN There is? Like what? FROST I'd have taken better care of myself. CLOSE ON WATCH: 11:30 a.m. INT. TRUCK Morgan looks up from his watch, he's parked in front of Anne's house. EXT. ANNE'S HOUSE - DAY Morgan arrives at the front door and KNOCKS. Waiting, he looks around. The daylight shows the reason for the dilapidated look; uncut grass, dirt, exposed wood, chipped paint. Morgan KNOCKS again, louder, and waits... and finally the door opens a crack and Anne's sleepy eyes are staring at Morgan. ANNE What time is it? MORGAN 11:30. INT. ANNE'S HOUSE - DAY Anne leads Morgan through the house, which is a wreck, toward the bedroom. Anne's grabbing things off the ground as they go; a shirt, a dress, a pillow, etc... ANNE We got to be out of here by 1:00. Anne scoops up another dress and kicks a final pair of shoes into the... BEDROOM Anne drops her arm full of stuff into a box. ANNE Put that stuff in this box. Anne points to a pile of laundry. MORGAN It's good to see you're all ready to go. Anne walks into the bathroom removing her night gown. Morgan drops a few things into a box. MORGAN Is there any organization to these boxes? Morgan looks into the bathroom and watches as... ANNE No, we just need to get it over there. Anne stands in front of the mirror, wearing only her panties, putting on her make-up. Morgan pulls his eyes away from her and goes back to filling the boxes. INT. FAMILY RESTAURANT - DAY A TABLE: on one side a salad, on the other a plate, heaped with french fries and a hamburger. Anne delicately pours oil and vinegar onto her salad as she speaks. ANNE It's like bungee jumping, I'm not saying I'm not going to do it, it's not something I see myself doing. MORGAN Yeah, but you say that not because you don't want to, but because you're not sure you're going to meet the right person. And more than that, you say it so you don't feel bad if you never get married. ANNE Oh screw you. Maybe I've already met the right person. MORGAN (continuing) With me, I don't know if I am or not, I just can't say, but if I do, it's going to be a choice. A lifestyle choice that I have to come to terms with. I'm not going to do it because my parents did it. I'm not going to do it because society tells me to. I'm not going to do it because my heart tells me to. I'm going to do it when my head tells me to. Besides, when a man gets married, he goes from a man with a future to man with a past. ANNE Where'd you get that, a fortune cookie? MORGAN Yeah, it's a fortune cookie of sorts. Anne reaches across the table and takes one of Morgan's fries. MORGAN Why didn't you order some if you wanted them? ANNE Too fattening. Anne grabs another fry and eats it. MORGAN You're thin. ANNE That's cause I don't eat fattening foods. MORGAN No, you eat them, you just don't order them. The WAITRESS stops at their table. WAITRESS Is everything alright? ANNE Bring him another order of fries. Morgan smiles. ANNE (continuing) Hey, what are you doing tonight? MORGAN Working. I'm training a new guy, Juan. ANNE What time do you get off? MORGAN Probably about one. ANNE Come pick me up. We'll go watch a movie or something. MORGAN That's a little past my bedtime. ANNE Oh come on, I'll give you a free lap dance. (and) Why do you say "no" when you want to say "yes?" MORGAN I don't know, I think it has something to do with... something to do with my childhood. You know, I was raised in this really conventional family. I mean, I had my mom, and my dad and a brother. And my dad had a job and... I just really don't know. EXT. RESTAURANT - PARKING LOT - DAY Morgan and Anne walk toward the truck. ANNE An entire conversation without saying "anyways" once. INT. OUTBACK STEAK HOUSE - DISH AREA - NIGHT JUAN, "the new guy," is in the pit racking dishes. He's hispanic-american. WAITRESS Full wine rack. Juan doesn't seem to notice the waitress. WAITRESS Full wine rack. And Morgan's returning for a load of dishes. He grabs the wine rack and swings it into the dishwasher. MORGAN When ever these get full just run'em through and put a new rack up. Juan smiles and nods, and goes back to racking dishes. MORGAN Hey, we got to replace the soap every so often. Juan smiles and nods. Morgan turns the Hobart off and unplugs the soap bin and starts to roll it out the back door. INT. OUTBACK STEAK HOUSE - DISH AREA - LATER Morgan and Juan wash the dishes. Jason enters the dish area. He's wearing a tie, freshly shaven, and looks like he just got a hair cut. JASON How's it going? MORGAN Great. Hey Juan, I fuck your mother every way to Sunday. Juan smiles and nods. Jason laughs and walks away. INT. OUTBACK STEAK HOUSE - DISH AREA - LATER It's closing time. Morgan and Juan put the finishing touches on the dish room. EXT. OUTBACK STEAK HOUSE - PARKING LOT - NIGHT Jason lets Morgan out and locks the door behind him. Morgan walks to the truck, moving quite quickly, quite anxious to get to Anne. EXT. WRIGHT'S HOUSE - NIGHT The truck pulls up. Morgan gets out and runs into the house. INT. WRIGHT'S HOUSE - BATHROOM - NIGHT Morgan's in the shower, scrubbing the greasy dishwater off his body. INT. WRIGHT'S HOUSE - HALLWAY as Morgan walks down the stairs. MRS. WRIGHT Morgan, Where are you going? MORGAN Out. EXT. WRIGHT'S HOUSE - NIGHT Morgan exits the house, walking quickly, almost running. He gets into the truck and tears off. EXT. BABY DOLLS - BACK - PARKING LOT - NIGHT Anne and SUSAN take a break, smoke, argue with the REDNECK that Anne was lap dancing for earlier. His name is DEWIT. He's big, a full 250 pounds, always wears a cowboy hat and a string tie that matches his polyester shirt. ANNE Fuck you. I'm not a whore. I'll get you the money. DEWIT You'll get me my money or you'll fuck my brains out, baby. SUSAN Leave her alone. DEWIT Maybe you have my $800 dollars? He rubs his hand along Susan's cheek, down towards her breasts. Susan slaps his hand away. DEWIT (to Anne) You owe me. And behind them, at the corner of the building stands Morgan, watching. He walks forward. Dewit turns and sees Morgan. MORGAN You ready to go? ANNE Yeah. Dewit turns and starts walking away. DEWIT I'll see you later. (as he passes Morgan) Your girlfriend's a real looker. She must be great in bed. INT. TRUCK - STREET - NIGHT Morgan drives. They wait at a stop light. ANNE Just go through it. No one's coming. Morgan looks both ways. The streets are empty at this late hour. MORGAN No. I'll wait. Silence, until finally Morgan can't stand it anymore, he has to ask: MORGAN Who was that guy? ANNE Just some asshole. You get'em in the business. MORGAN You owe him money? ANNE I don't want to talk about it. Anne slides across the bench seat to Morgan. ANNE (continuing) What movie are we going to see? INT. ANNE'S APARTMENT LIVING ROOM - NIGHT The room is dark, illuminated only by the television, which sits on the floor. The room is nearly empty. A few boxes with Anne's belongings and a futon, which Morgan and Anne lounge on. "SAY ANYTHING," plays on the television. John Cusack and Lilli Taylor are making love in a car. MORGAN Why exactly did you choose this movie? And Anne looks up at Morgan and moves close to him and he looks at her and tries to hold back and they kiss. The first kiss is quick. The second kiss is longer, deeper. And the third kiss is even longer and deeper. Anne flips the television off, creating complete darkness. The kissing continues and their hands start to roam around each other's bodies. MORGAN Listen, we can keep going, and we can do anything you want but- but that's not going to make you my girlfriend. It's not going to mean anything. Anne pulls away. ANNE Why? MORGAN I already told you. I don't have girlfriends. ANNE I'm a low maintenance girlfriend. A rose once in a while. MORGAN Look at me, I'm good looking, I've got a decent personality and I've never had a girlfriend? Didn't you ever ask yourself, "what gives?" ANNE Toot your own horn, why don't you? Anne moves away, reaches for a cigarette, lights one. MORGAN I'm going back on the road. I'm not going to settle for a 100K and a white picket fence and a couple of kids and a wife. There's got to be more. ANNE You got to be rich to talk like that. It's a good thing they didn't have dishwashing as a major in college, or you wouldn't have anything to do right now. MORGAN I'd have found something, been a terrorists or joined a gang. Anne sits, smokes. MORGAN When did you know you liked me? Anne puffs on her cigarette, trying to decide whether she should answer the question or not. ANNE When you showed up to help me move. Guys that say shit they don't mean, pisses me off. MORGAN Yeah, I do what I say. It's my greatest asset and greatest liability. ANNE What do you mean? MORGAN I'd like to lie to you. I'd like to have sex with you. ANNE You're sweet and you're... humorous. MORGAN I've got a large wit. ANNE A large wit? MORGAN So, I could have done something wrong that first night I drove you home? ANNE Yeah. Why are we talking about this? MORGAN Sorry. When I get nervous I go into my hyper-analytical phase, which I've been in for the last 22 years... Do I get my free lap dance now? INT. WRIGHT'S HOUSE - BATHROOM - DAY Morgan shaves. The door is open. Mrs. Wright enters. MRS. WRIGHT Where were you last night? MORGAN Out, with a friend MRS. WRIGHT (hopeful) --A girl? MORGAN Yes, a girl. MRS. WRIGHT Do I know her? MORGAN No. MRS. WRIGHT Where did you meet her. MORGAN At a strip club. MRS. WRIGHT (taken back) A strip club? What was she doing at a strip club? MORGAN Mom, she's stripper. MRS. WRIGHT Oh.... Mrs. Wright, stunned, slowly turns and begins to walk away. MORGAN Mom, did you ever wonder if there was more to life than this? MRS. WRIGHT What do you mean? INT. FAMILY RESTAURANT - DAY The clink and clank of glasses and plates. Jason, Morgan, Shane and David eat breakfast. SHANE How are things with you and Molly. JASON It's actually going pretty well. DAVID You going to follow my lead soon? JASON I don't know about all that. I am thinking about getting a new car though. MORGAN You think they'll let you get one with $12 as a down payment? JASON No, but after I kick your ass and take your $300 I think I'll have enough. MORGAN You think you can take me? DAVID (interrupting) While you two clowns decide who can take who, I've got a job to get too. SHANE Yeah, I'd better go too, I'm sure somebody's got a sixty-thousand dollar phone bill they are about to have a fit over. David and Shane get up and exit the restaraunt. Jason and Morgan begin to eat again. Jason finally says: JASON I think I'm in love with her. MORGAN No, you're don't. JASON Seriously, I think I am. MORGAN No, you don't. JASON Yes, I do. MORGAN No, you don't. JASON Yes, I do. MORGAN What did you guys do last night? JASON We saw "SAY ANYTHING." And I think I'm in love with her. This stops Morgan. JASON What'd you do last night? MORGAN Nothin'. JASON Have you seen that girl from the strip club- MORGAN Anne. JASON Yeah, Anne. MORGAN Yeah, we hung out a little last night. JASON How'd it go? MORGAN Alright. JASON Are you going to get laid? MORGAN I don't know. She's nice but- you know, I don't want her as a girlfriend. I'd like to sleep with her but I'm not going to lie to her. JASON Of course not. EXT. FAMILY RESTAURANT - PARKING LOT - DAY Jason and Morgan are walking toward the truck. JASON That's a lot of truck for four- fifty. MORGAN Touche`. They arrive at the truck. JASON I remember pulling up in that guy's driveway and there sat black beauty. She was about three different colors, had a window missing, only had about half of an exhaust system, but I saw potential. MORGAN That's a really touching story. JASON Yeah... he was asking five hundred but I got him down to four-fifty. MORGAN You're a freakin' horse trader. JASON (dawning on him that he's being made fun of) You're a cocksucker... Seriously, this is a damn good truck. She's a part of our family. MORGAN She's the best... You want me to pay you for your half? JASON No. We'll travel together, travel apart, but who ever uses it, just uses it. MORGAN It's probably worth a grand now but we wouldn't take twenty for it. INT. GAS STATION - DAY Standard food mart/convenience store. Anne stands at the counter, buying drinks. ANNE (to the cashier) Let me have a "gold rush" scratch ticket. CASHIER four-fifty. Anne pays the cashier, exits. EXT. GAS STATION - DAY Morgan waits by the truck. Anne approaches. ANNE Here. She hands him one of the drinks. MORGAN No thanks. ANNE Come on. What the fuck am I going to do with two of them? She shoves the soda into his hands and... Morgan pops it open and starts drinking. Anne gets into the truck. INT. TRUCK as Morgan gets in with Anne. MORGAN You bought a lottery ticket? ANNE Yeah. Don't you play the lottery. MORGAN No, I don't believe in the lottery. Anne starts to scratch. Morgan cranks the truck up. ANNE Look, I won two dollars. And Morgan looks and Anne keeps scratching. ANNE Four dollars! MORGAN How much did you pay for the ticket? Anne scratches the last blank on the card and it reads: ANNE Forty dollars! Anne grabs Morgan and starts shaking him. ANNE Come on, let's go spend it. MORGAN What about that guy you owe the money to? ANNE This is a drop in the bucket. Let's go bra shopping. MORGAN Bra shopping? I've never been bra shopping. INT. FOUR SEASONS MALL - DAY A meca of white middle-class America. It's Saturday. It's crowded. Teenagers hang out. Mothers drag their children. Couples hold hands, window shop. Anne and Morgan walk into VICTORIA SECRETS. INT. VICTORIA SECRETS Morgan and Anne enter: panties, bras, and lace garters. Morgan's the only male in the store. He notices. ANNE Come on. Anne grabs Morgan's hand and pulls him over to the bra section. ANNE Which ones do you like? Anne sorts through a few bras. Morgan looks at a MIDDLE- AGED WOMAN next to him. She stares at him. MORGAN They all look... pretty nice. Morgan moves close to Anne. MORGAN This isn't as much fun as I had anticipated. ANNE Why? MORGAN I'm the only guy in here. Anne smiles. INT. VICTORIA SECRETS - FITTING ROOM Morgan stands nervously outside one of the fitting rooms. ANNE (O.S.) Morgan, honey, come in here. MORGAN I don't think I'm allowed in there. Anne pokes her head out, says: ANNE Morgan, get in here. FITTING ROOM as Morgan slips in. The room's small, they're standing about three inches from each other. MORGAN Are you sure this is a good idea? ANNE Of course... Well... Anne juts her breasts out, wearing a red lace bra. ANNE (continuing) What do you think? MORGAN It's great. I'll see you later. Morgan starts to exit. ANNE Wait a minute... What about this one? Anne slips the bra off. Morgan tries not to stare, but the room's too small, there's not much else to stare at. Anne bumps Morgan as she puts another bra on, a black one. ANNE You like this one? MORGAN It's great. I think I got to go build something, or work on my truck. Anne pulls the bra off and puts on another one. MORGAN (continuing) I think I saw a hardware store on the way in. Need to get a chainsaw... or a lawn mower. INT. VICTORIA SECRETS Morgan and Anne slip out of the fitting room, laughing... The middle-aged woman stares at them. INT. FOUR SEASONS MALL - COURTYARD Morgan and Anne sit on a bench, drinking an Icee and eating a pretzel. A brief silence as they watch the people walk past; a couple holding hands. ANNE Did you have a good time? MORGAN Yeah, it was almost too good. Anne kisses Morgan. MORGAN No kissing in public. Anne smiles. MORGAN Maybe we should go panty shopping sometime. Anne laughs and they kiss... MORGAN (V.O.) Where the hell's Juan? INT. OUTBACK STEAK HOUSE - DISH AREA - NIGHT Jason stands in the dish area wearing his tie and pressed pants. JASON What time was he supposed to be here? Morgan's in the pit racking the dirty dishes, falling behind, trying to stack the clean dishes as they come out of the Hobart, too. MORGAN Four-thirty. Jason looks at the clock. It's 5:30. JASON You should have stopped fucking his mom. INT. OUTBACK STEAK HOUSE - DISH AREA - LATER Now Jason's got an apron over his dress clothes. He's stacking the clean dishes as they come out of the dishwasher with skill and precision. Morgan's in the pit. He's not behind anymore. Dean, the manager, walks by, says: DEAN The dynamic duo, back in action. and disappears into his office. Morgan and Jason keep pumping the dishes through and The Dish Dog theme song starts to rise one last time... DISH AREA - LATER It's the busiest time of the busiest night... WAITERS and WAITRESSES flock to the dish area, pouring dirty dishes onto the dish counter but... Morgan's there, filling the racks as fast as the wait staff can supply dirty dishes. He slides the racks through the Hobart and... Jason's on top of it, keeping up with the heavy flow of clean dishes that the Hobart expels. A WAITRESS fills the wine glass rack. WAITRESS Full wine glass. Morgan pulls it down and hands it to Jason and Jason slides it into the Hobart. DISH AREA - LATER The kitchen is still in a flurry but Morgan stands in the pit drinking a soda and Jason leans against the counter eating a chocolate thunder. JASON Toy. DISH AREA - LATER Racks of dishes cover the counter. Morgan keeps racking, waiting for... Jason, who's changing the soap. He slides the dirty barrel of soap water out and slides a new one in. JASON Go! And Morgan slides a rack of dishes into the Hobart. DISH AREA - LATER Jason pulls the rubber mats outside. Morgan mops the floor. Jason returns, removing his apron. He throws it into the laundry bin, sits down on the counter. Morgan finishes up, sits down next to Jason. JASON I'm getting married. MORGAN To who? JASON Your mom. MORGAN Good. JASON I'd like you to be the best man? MORGAN I'm busy that day. JASON You don't even know when it is. MORGAN Trust me, I'm busy. I'll be on the road. Morgan exits. EXT. BABY DOLLS - NIGHT Morgan pulls up in the truck, gets out, and runs inside. INT. BABY DOLLS Morgan scans the room for Anne, it's crowded. No sign of Anne but he sees Susan and goes to her. MORGAN Where's Anne? Dewit emerges from the darkness. DEWIT Yeah, that's what I'd like to know. SUSAN She went home sick. Very sick. Morgan disappears into the crowd. DEWIT Hey-- EXT. ANNE'S APARTMENT - STREET - NIGHT The truck pulls up. Morgan gets out and runs to Anne's apartment. EXT. ANNE'S APARTMENT - ENTRANCE Morgan KNOCKS on Anne's door. No answer. He KNOCKS again. MORGAN Anne! He KNOCKS again. A light goes on in the apartment and the door slowly opens. Anne's staring at Morgan. ANNE Hi. MORGAN Hey. Jason's getting married. Anne opens the door to let Morgan in. INT. ANNE'S APARTMENT - BEDROOM - NIGHT Darkness. Morgan and Anne lie on the bed, under a sheet, kissing, rolling around. MORGAN It's not going to mean anything. Anne covers his lips with a deep kiss and climbs on top of him and she's in control as they make love. INT. ANNE'S APARTMENT - BEDROOM - DAY Morgan and Anne lie in bed. ANNE Want to do it again? Morgan's silent. Anne snuggles up to him and he puts his arm around her. INT. FAMILY RESTAURANT - DAY Anne and Morgan eat breakfast. Morgan's distant. Anne notices. Silence, until: ANNE Maybe your parents would like to come down and see me dance? MORGAN What? ANNE I said, maybe your parents would like to come down and see me dance? MORGAN I doubt it. ANNE What are they going to think about me being a stripper? MORGAN I don't know? ANNE What's wrong? MORGAN I got to go read some Nietzsche or Hemingway. Anne smiles. MORGAN (continuing) Jason's getting married and getting a career. I don't know which is worse, wallowing in the dish pit or getting executed? It's not much of a choice. ANNE Everything'll be alright. MORGAN No, it's not. It's not going to be alright. That seems to be what growing up's about. It's not that things are going to be alright, and everything's going to work out, it's- it's about accepting the fact that things aren't going to be all right. ANNE Do you need a hug? MORGAN A hug? A hug! I need a guillotine. (and) I mean, the mind and the body- it's not like they have to be connected. You're twenty-one years old, I'm older than you and thought a lot more about it. You haven't read any Nietzsche or... Freud or... Shaw. How can you be so sure? Why are woman so damn sure? On the one side I think I love you and I'd like to just buy a house and live with you, but then, over here, it's like what's the point? We'll just get old and die, and- and we'll have a couple of kids that never really cared about us. But then, back over here, what else is there? I mean sure it's not that much but- but at least it's something. And then I resent all these thoughts being clouded by love. I mean why can't I just throw that out and make a rational decision? Cause I know I can't not see you again, but then we'll just have more sex and get more attached, and I mean, I can't have that, but then of course the cloud will wear off. I mean, even if we did get married, at least I got the seven year itch to look forward to. ANNE The seven year itch? Morgan throws down his napkin and storms out. INT. WRIGHT'S HOUSE - MORGAN'S BEDROOM - DAY Morgan lies on his bed. Mrs. Taylor stands over him. MRS. WRIGHT I didn't raise you to go off with a whore! MORGAN But you want me to go out with Jennifer Taylor? MRS. WRIGHT I'm not kidding Morgan. Do you want to have people whispering behind your back for the rest of your life. Do you think they'll ever accept a girl like that? Morgan gets up to leave. MRS. WRIGHT Where are you going. MORGAN To talk to Professor Frost. MRS. WRIGHT That's a good idea, go seek the advice of an alcoholic. Morgan looks at her quizzically and exits. EXT. TRUCK - DAY Morgan drives across town. MORGAN (V.O.) It isn't that easy. You grow up, you get married, you have a couple of kids, and you die. It's too easy. Something can't be that easy and right. Maybe I'll go back to school and become a professor. MORGAN (Continuing) Then I could just teach my classes and read my books. I was never much of a student though, so I'm not sure what respectable university would accept me. I guess I could coach tennis. EXT. PROFESSOR FROST'S HOUSE - NIGHT The truck is parked on the street. MORGAN (V.O.) I know it may be worthless, but I'm just not sure I'll ever be happy if I don't get married and have a family. I mean it doesn't have to be the same kind of family that my parents had, but I'm not sure you can really be happy without it. But I'm not sure I want to be happy. INT. PROFESSOR FROST'S HOUSE - OFFICE - NIGHT Professor Frost sits at his desk listening, drinking his orange juice from a glass. Morgan sits across from him. MORGAN (continuing) Maybe the answer is, there is no answer. Frost listens, smiles. FROST Aren't you going to Jason's wedding? MORGAN When is it? FROST Tomorrow. MORGAN Shit. MORGAN I've run so long. I've come so far. And now I meet this girl. Is that all life amounts to? FROST Only if you're really lucky. And Morgan laughs a little and thinks this is a joke. MORGAN What? FROST Only if you're really lucky. MORGAN But look at you? You're a man all you're own. FROST I'm a miserable lonely bastard. I drink myself into oblivion five nights out of the week. I met a girl once. In Hawaii, when I was working on my PH.D. We fell in love. We made beautiful love on the beach, but- but I was young and I let her go. I thought I was going to find more. MORGAN What happened to her? FROST She got married... If you've met someone you really love, and she loves you back, you better grab a hold of her because you might not ever get another chance. MORGAN But what about, "a man with a future to a man with a past?" FROST Shaw got married. When we die we've got nothing but a past, so you better make sure you're ready. Morgan takes it in, his mind racing... INT. PROFESSOR FROST'S HOUSE - HALLWAY - NIGHT Morgan runs down the hall, down the stairs. INT. PROFESSOR FROST'S HOUSE - LIVING ROOM - NIGHT as Morgan runs to the phone, picks it up, dials. MORGAN (into phone) Could I speak to Anne, please. It's an emergency. Morgan waits, finally: ANNE (V.O.) Hello? MORGAN Hey it's me. You need someone to pick you up? And there's a long silence. INT. BABY DOLLS - HALLWAY - PAY PHONE Anne stands by the phone, half naked, as patrons walk by staring at her. Dewit waits in the background. ANNE No... that's okay. MORGAN (V.O.) How are you going to get home. ANNE I'll just get a ride home from one of the girls. MORGAN (V.O.) What? Why? I'll come get you. I want to. ANNE I got to pay Dewit back tonight. INT. PROFESSOR FROST'S HOUSE - LIVING ROOM This hits Morgan. MORGAN What do you got to do? ANNE (V.O.) I don't want to talk about it. I got to go. MORGAN How much do you owe him? ANNE (V.O.) Nevermind. MORGAN Wait- wait, how much money do you owe him? ANNE (V.O.) About eight hundred. I got to go. CLICK. MORGAN Wait. Anne's gone. INT. WRIGHT'S HOUSE - MORGAN'S BEDROOM - NIGHT Morgan dashes in, goes straight for his bag, pulls out Shaw, turns to page three hundred, grabs the three hundred cash, and exits. EXT. STREET - NIGHT The truck races through traffic. INT. BABY DOLLS - FOYER - NIGHT Dewit waits. Anne enters and Dewit wraps his arms around Anne. DEWIT Gonna be the easiest money you ever made. Or the hardest. Dewit grins and they exit. EXT. LARRY KRISTOPHERSON'S KASH FOR KARS - NIGHT as the truck pulls in. Larry approaches the truck as Morgan jumps out. MORGAN How much? LARRY You want to sell it? MORGAN Yeah, and I'm in a hurry. LARRY I'll give you two-fifty for it. MORGAN Come on, it's worth at least a grand. LARRY Where's the gold? MORGAN What? LARRY Does it have gold in the glove box that I don't know about? Morgan goes to the glove box, grabs the old beat up map. LARRY That's ain't gold. MORGAN Yeah it is. I got to have five hundred. Larry thinks about it and... LARRY Deal. INT. CADILLAC DEVILLE - NIGHT They drive down Battleground Road. DEWIT Did you hear about that train wreck down in Madison county? Anne shakes her head, "no." DEWIT (continuing) Nigger went and run the train right off the tracks. Know how I knew it was a nigger? Anne stares out the window. Tears stream down her face. DEWIT (continuing) Cause I seen the picture. EXT. STREET - NIGHT Morgan runs through the street, sweating, breathing. INT. CADILLAC DEVILLE - NIGHT The car is parked. Dewit and Anne sit in the front seat. DEWIT Let's go. Anne wipes her face. They get out. They're in the Super 8 Motel parking lot. Anne looks back toward the street. EXT. BABY DOLLS as Morgan races into the parking lot, out of breath but determined to keep going. AT THE DOOR the BOUNCER tries to stop Morgan but he runs past him. BOUNCER Hey! INT. BABY DOLLS as Morgan enters, scanning the room for Anne, but she's not there. Morgan stops Susan. MORGAN Where's Anne? SUSAN She left. MORGAN Where'd she go? And now the bouncer is on Morgan, pulling him out the door. BOUNCER Boy, you're going to make me mad if you're not careful. MORGAN (to Susan) I've got the money. (screaming now) Where'd he take her? SUSAN He took her to the Super 8. And now the bouncer can't pull Morgan anymore because Morgan's on his feet running out the door. Morgan's gone. EXT. BATTLEGROUND ROAD - NIGHT Feet pumping, breath labored, Morgan runs across the street, through a stop light, through traffic. He keeps running. EXT. BATTLEGROUND ROAD - FURTHER UP Slowing, exhausted, determined, Morgan pushes himself on. EXT. SUPER 8 MOTEL - PARKING LOT - NIGHT as Morgan rounds the corner into the parking lot, screaming: MORGAN Annnnnnnnnne! Morgan goes straight to the office. INT. SUPER 8 MOTEL - OFFICE A YOUNG MAN sits behind the desk playing a guitar. Morgan stumbles to the counter, panting, out of breath. MORGAN A- a girl- an-and a redneck. Whe- where are they? YOUNG MAN Do you have a name? MORGAN Anne... The Young man checks his book. YOUNG MAN I'm sorry we don't have anyone under that name registered here. Morgan runs out. YOUNG MAN Did you check the Motel 6? EXT. SUPER 8 MOTEL as Morgan exits the office and starts running past the row of doors, KNOCKING loudly on each one, yelling: MORGAN ANNNNNNNE! And people start coming out of their rooms to see what all the commotion is about and Morgan keeps yelling: MORGAN ANNNNNE! And now Morgan's at the end of the row. He bounds up the stairs... MORGAN ANNNNNNE! and continues BANGING on the second story doors. MORGAN ANNNNE! INT. SUPER 8 MOTEL - BEDROOM Darkness. MORGAN (O.S.) ANNNNE! Anne turns on the light. Dewit lies on the bed, naked. Anne's down to just her panties and bra and she goes for the door and... Dewit goes for her but she swings the door open... and Morgan stumbles by and stops instantly. He slowly enters. DEWIT Why don't you just run along. Your girl friend has a debt to pay. Morgan, still panting stares at Dewit. MORGAN (to Anne) Get dressed. Anne starts to get dressed. Morgan pulls out the $800 and throws it on the bed. Dewit snatches it up, starts counting it, pissed as hell and still naked. Anne's dressed now. She hugs and kisses Morgan and they start to leave but... Morgan spots Dewit's car keys on the bureau and grabs them. MORGAN We'll bring it back on Monday. Morgan and Anne are gone. DEWIT Hey! EXT. SUPER 8 MOTEL Dewit exits. A woman stares at him. He's still naked. He jumps back into the room. EXT. SUPER 8 MOTEL - STAIRS Morgan and Anne, together, run down the stairs. MORGAN You want to go to a wedding? Anne kisses Morgan. EXT. TUXEDO STORE - PARKING LOT - DAY Anne waits in the CADILLAC. Morgan runs out carrying his tuxedo. EXT. HIGHWAY - DAY The Cadillac speeds by, away from Greensboro... EXT. HIGHWAY - DAY The Cadillac speeds by Hickory, N.C. INT. METHODIST CHURCH - ROOM - DAY Jason's in his tuxedo pacing nervously. David's by his side. INT. CADILLAC The speedometer hits 100 mph. Morgan puts his tuxedo on. EXT. HIGHWAY - DAY Mountains and trees. The Cadillac speeds toward Asheville, N.C. EXT. HIGHWAY - DAY The Cadillac takes the Ashville, N.C. exit. EXT. ASHVILLE, N.C. - TUNNEL ROAD - DAY The Cadillac maneuvers through traffic, turns off on a small road. INT. METHODIST CHURCH - DAY Flowers and candles. Pew after pew of people, old and young alike, all dressed for the occasion. The MUSIC starts to swell. At the back of the church Jason and the GROOMSMEN wait. Jason looks at David, at the entrance, and they start walking down the isle, toward the front of the church. EXT. METHODIST CHURCH - DAY The Cadillac screeches to a halt and Morgan and Anne get out and Morgan grabs Anne's hand and they run into the church. INT. METHODIST CHURCH - DAY as Morgan and Anne enter. Morgan's sliding on his tuxedo jacket. MOLLY and her FATHER wait at the end of the isle. Molly sees Morgan and smiles. MOLLY Go Morgan! Now about half way down, Jason and the groomsmen keep walking. Morgan moves in front of David, who's right behind Jason. David smiles and hands Morgan the ring. Jason turns around, sees Morgan, keeps walking. JASON What are you doing here? MORGAN Nothin'. What are you doing here? JASON Nothin'. And they smile and keep walking. INT. METHODIST CHURCH - ALTER - DAY The PRIEST looks down at Molly and Jason. Morgan hands Jason the ring and Jason slides it onto Molly's finger. PRIEST By the power vested in me, I now pronounce you husband and wife. Anne stares at Morgan dreaming of her own wedding day. Morgan looks back, smiles. Jason kisses Molly. EXT. METHODIST CHURCH - RECEPTION ROOM - DAY FREDDY AND THE FANTASTICS play "BABY OH BABY." The dance floor is filled with happy couples, including Karen and David, Jason and Molly, Mr. and Mrs. Wright, and Morgan and Anne. As Morgan dances past Jason he says: MORGAN This is a lot of wedding for fifteen thousand dollars. And Jason laughs and "BABY OH BABY" crescendos up and people keep dancing. And as the CAMERA pulls back we see Professor Frost and Shane sitting at a table alone, watching the couples dance. FADE OUT. THE END