14add440692bd1e8fbb8c2df367ba4cb27426383
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http://www.imsdb.com/scripts/Replacements%2C-The.html
THE REPLACEMENTS by
. THE END
 The film opens with Shane Falco, a former star quarterback at The Ohio State University who choked in his final college game at the 1996 Sugar Bowl and failed to succeed in the pros, doing his job cleaning the bottoms of peoples' boats. While underwater, he finds a metal trophy football labeled "Shane Falco: All American" and pretends he is playing football again.
Meanwhile, the fictional Washington Sentinels are shown playing a game in which commentators John Madden and Pat Summerall mention a players' strike taking place over salary disputes. As the game winds down, Sentinels quarterback Eddie Martel chooses to slide to the ground instead of scoring the game winning touchdown to avoid getting injured.
Later that day, Sentinels owner Edward O'Neil decides to hire Jimmy McGinty, the Sentinels' former coach who was fired after getting into a fight with the team's star quarterback, to recruit replacement players during the strike and coach the team for the remainder of the season. He tells McGinty that all they need is three wins out of their final four games to advance to the playoffs. McGinty tells O'Neil he will only do it if he promises not to interfere with his coaching style. McGinty recruits many different ragtag players, and eventually convinces Falco to come off his boat and play quarterback again. Falco soon becomes attracted to the team's head cheerleader, Annabelle Farrell, who likes him as well, but doesn't want to date him because of her stereotype that all pro athletes are prima donnas.
In the Sentinels' first game using replacement players, they trail by four with only a few seconds left to play. McGinty calls a passing play, but Falco gets scared and changes the call to a running play. Cochran, the team's running back, gets tackled just before he reaches the end zone and the Sentinels lose. That night, the actual Sentinels players taunt the replacement players at a bar, leading to a fight between the two teams. The replacement players get arrested, but are beginning to build team chemistry, which is something they lacked in the first game. The newfound team chemistry leads to a last second field goal victory in the next game, and then another last second victory the next week, leaving the team needing only one more victory to make the playoffs.
O'Neil tells McGinty that Eddie Martel has crossed the picket line and will be re-activated by the Sentinels for the final game of the season. McGinty protests at first, saying that he will use Falco as his quarterback, but the owner convinces him that the team cannot afford to have Falco choke with the game on the line, especially since they are playing the best team in the league who has had their entire team cross. A heartbroken McGinty tells Falco that he has been cut in favor of Martel, but Falco accepts the news, saying that it's best for the team since Martel is a better player than he is, to which McGinty says that Falco has heart and Martel does not. Falco stands Annabelle up on a date because of his depression.
In the final game of the season, Martel has trouble connecting with the team due to his prima-donna attitude, and scolds them whenever he makes a mistake. At halftime, the Sentinels trail 17â0, and a reporter asks McGinty what they will need to win the game, to which he replies "miles and miles of heart" meant as a message to Falco. Falco hears him say this and comes to the game during halftime, and the rest of the team kicks Martel out of the locker room. Falco runs onto the field at the start of the half and draws loud and thunderous applause from the fans. He apologizes to Annabelle and kisses her on national TV. Cochran is able to run for a touchdown at the beginning of the half before injuring his leg. The Sentinels then score again to cut the lead to 17â14. With only a few seconds left in the game, McGinty calls for a field goal to tie the score and then go into overtime. But when Nigel 'The Leg' Gruff, the kicker, gets set, he tells Falco that he cannot kick the field goal, because several men in the audience will "take his pub". Falco then takes the snap and runs it all the way for a touchdown, only to have it brought back for a holding call. Falco then goes to the sidelines and tells McGinty that he wants the ball, implying that he has gotten over his fear of choking with the game on the line. Falco throws a pass to tight end Brian Murphy for a touchdown, and the Sentinels win 20â17, advancing to the playoffs, and the Sentinels begin dancing in synchronized formation.
The film ends with a voiceover from McGinty saying that when Falco and the rest of the players left the game that night, there were no endorsement deals or victory parades waiting for them, just a locker waiting to be cleaned out. Falco and all of the replacement players then returned to their regular jobs, but it didn't matter, because they each got a second chance at glory, which lasts forever.
The film opens with Shane Falco , a former star quarterback at The Ohio State University who choked in his final college game at the 1996 Sugar Bowl and failed to succeed in the pros , doing his job cleaning the bottoms of peoples ' boats . While underwater , he finds a metal trophy football labeled Shane Falco : All American and pretends he is playing football again . Meanwhile , the fictional Washington Sentinels are shown playing a game in which commentators John Madden and Pat Summerall mention a players ' strike taking place over salary disputes . As the game winds down , Sentinels quarterback Eddie Martel chooses to slide to the ground instead of scoring the game winning touchdown to avoid getting injured . Later that day , Sentinels owner Edward O'Neil decides to hire Jimmy McGinty , the Sentinels ' former coach who was fired after getting into a fight with the team s star quarterback , to recruit replacement players during the strike and coach the team for the remainder of the season . He tells McGinty that all they need is three wins out of their final four games to advance to the playoffs . McGinty tells O'Neil he will only do it if he promises not to interfere with his coaching style . McGinty recruits many different ragtag players , and eventually convinces Falco to come off his boat and play quarterback again . Falco soon becomes attracted to the team s head cheerleader , Annabelle Farrell , who likes him as well , but does n't want to date him because of her stereotype that all pro athletes are prima donnas . In the Sentinels ' first game using replacement players , they trail by four with only a few seconds left to play . McGinty calls a passing play , but Falco gets scared and changes the call to a running play . Cochran , the team s running back , gets tackled just before he reaches the end zone and the Sentinels lose . That night , the actual Sentinels players taunt the replacement players at a bar , leading to a fight between the two teams . The replacement players get arrested , but are beginning to build team chemistry , which is something they lacked in the first game . The newfound team chemistry leads to a last second field goal victory in the next game , and then another last second victory the next week , leaving the team needing only one more victory to make the playoffs . O'Neil tells McGinty that Eddie Martel has crossed the picket line and will be re-activated by the Sentinels for the final game of the season . McGinty protests at first , saying that he will use Falco as his quarterback , but the owner convinces him that the team can not afford to have Falco choke with the game on the line , especially since they are playing the best team in the league who has had their entire team cross . A heartbroken McGinty tells Falco that he has been cut in favor of Martel , but Falco accepts the news , saying that it s best for the team since Martel is a better player than he is , to which McGinty says that Falco has heart and Martel does not . Falco stands Annabelle up on a date because of his depression . In the final game of the season , Martel has trouble connecting with the team due to his prima-donna attitude , and scolds them whenever he makes a mistake . At halftime , the Sentinels trail 17â0 , and a reporter asks McGinty what they will need to win the game , to which he replies miles and miles of heart meant as a message to Falco . Falco hears him say this and comes to the game during halftime , and the rest of the team kicks Martel out of the locker room . Falco runs onto the field at the start of the half and draws loud and thunderous applause from the fans . He apologizes to Annabelle and kisses her on national TV . Cochran is able to run for a touchdown at the beginning of the half before injuring his leg . The Sentinels then score again to cut the lead to 17â14 . With only a few seconds left in the game , McGinty calls for a field goal to tie the score and then go into overtime . But when Nigel The Leg ' Gruff , the kicker , gets set , he tells Falco that he can not kick the field goal , because several men in the audience will take his pub . Falco then takes the snap and runs it all the way for a touchdown , only to have it brought back for a holding call . Falco then goes to the sidelines and tells McGinty that he wants the ball , implying that he has gotten over his fear of choking with the game on the line . Falco throws a pass to tight end Brian Murphy for a touchdown , and the Sentinels win 20â17 , advancing to the playoffs , and the Sentinels begin dancing in synchronized formation . The film ends with a voiceover from McGinty saying that when Falco and the rest of the players left the game that night , there were no endorsement deals or victory parades waiting for them , just a locker waiting to be cleaned out . Falco and all of the replacement players then returned to their regular jobs , but it did n't matter , because they each got a second chance at glory , which lasts forever .
http://en.wikipedia.org/wiki/The_Replacements_(film)
The Replacements (film)
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<pre>                                   THE REPLACEMENTS


                                   by

                                   Vince McKewin




<b>                                           SECOND DRAFT
</b>
                                           February 19,
<b>1999
</b>



<b>       FADE IN:
</b>
<b>       EXT. MARINA DEL REY - DAY
</b>
       It's raining lightly in the harbor and the
       water around the moored boats looks dirty and
       cold.

       We PICK UP a sad excuse for a boat sitting in
       an end slip.

       It's a sea-gull-shitcovered, thirtyfoot cabin
       cruiser that hasn't cruised in a long, long
       time. A ratty looking unpainted plywood
       addition has been nailed to the top of the
       cabin. It's partially covered with a blue
       plastic tarp.

<b>       SUPERIMPOSE:   MARINA DEL REY, CALIFORNIA -
</b><b>       FALL
</b>
       The tarp moves and SHANE FALCO's half-naked
       torso emerges from under it. Shane is late
       twenties, golden boy handsome, but quickly
       going to seed. He looks hung over.

       Shane glances up at the sky and rain. He
       pulls on the top part of an old patched wet
       suit and zips it up. He shivers.
<b>
</b><b>EXT. MARINA DEL REY HARBOR - DAY
</b>
We're BUZZING around the harbor with Shane in
an old Zodiac inflatable DINGHY.

Shane has pulled up the attached rubber hood
to his wet suit so that only the white, pasty
oblong of his face is visible.

It's still raining as he steers the little
boat around the sailboats and yachts.

He pulls up to a fiftyfoot sailboat and CUTS
the ENGINE.

With practiced moves, he ties the dinghy to
the rear rail of the sailboat and clips a
bill for services rendered on the sailboat's
stern line.

He slips on a weight belt,    puts on a pair of
old gaffer taped goggles,    jams the end of a
air-hose in his mouth, and    falls backward out
of the dinghy and into the    water.


<b>EXT. UNDERWATER - DAY
</b>
It's dark, dirty and murky. Suddenly, Shane
floats INTO FRAME and comes AT us with a long
spatula.


<b>ANOTHER ANGLE
</b>
He attacks the underside of the sailboat
which is covered with green algae muck that
hangs a foot off the bottom of the boat.

The spatula scrapes away the green mess
revealing the pure white underside of the
boat.


<b>CLOSE ON SHANE
</b>
As he scrapes. Muck from the boat floats
past him. This doesn't look like fun.

As he works, he happens to look down and
notices something on the bottom.
<b>
</b><b>SHANE'S POV
</b>
Amidst the beer cans and other trash,
something golden is sitting on the bottom.


<b>BACK TO SCENE
</b>
Shane takes a deep pull on his hose, lets it
go and drifts down.

A shaft of sunlight penetrates the murky
water and reveals a broken trophy half-buried
in the mud. Shane kneels over it and picks
it up.

The trophy is almost a full-size football
rendered in bronze attached to a broken base.

Shane turns "the ball" over in his hands. He
grips the seams like he's done this before.

Then he holds the football out in front of
him.

Suddenly, he starts barking garbled signals
to an imaginary offense. He turns to his
running back as he yells something like "Blue
31!" It comes out in bubbles

He cocks his left leg and his wide receiver
goes in motion.

Then on the "snap" he turns and starts a five
step drop.

He moves in slow motion because hey... he's
underwater! He executes a perfect play
action fake on the third step of his drop,
and looks "down field" for his receivers.

But there's a blitz! He steps up in the
pocket but a linebacker's arm almost takes
his head off. He dodges, he bobs, he weaves
in a kind of delicate ballet.

He rolls left and keeps looking for the open
man.

Suddenly he points down field, pulls up and
cocks his arm.

The "ball" comes behind his ear and snaps
forward in a perfect release.
<b>
</b>      The trophy spins OUT OF FRAME but we HOLD ON
      Shane as he watches his pass. Suddenly, he
      throws both arms up in a touchdown signal.

      We STAY ON him as he freezes in this pose of
      victory, fifteen feet underwater, on the
      trash-covered, muddy bottom of Marina Del
      Rey.

<b>         CUT TO:
</b>

<b>       EXT. EDWARD FRANCIS O'NEIL STADIUM (WASHINGTON,
</b><b>D.C.) -
</b><b>       DAY
</b>
      Bam! A Miami Dolphin linebacker crushes a
      Washington Redskin running back and lands on
      his throat, elbow first.

      It's a beautiful fall day in November and
      Miami is beating the Skins in front of
      seventy-six thousand crazed Washington fans.
      The Redskins are at their home stadium better
      known as "The Big O."


<b>      INT. CONTROL BOOTH - DAY
</b>
      JOHN MADDEN and PAT SUMMERALL are calling the
      game in shirtsleeves.

<b>                        SUMMERALL
</b>                That play, my friends,
                sums up the Redskins'
                running game all day
                long. Now Washington
                calls their last time
                out.

      Madden leans over to do his diagram that
      shows up on your TV screen. We STAY ON him
      as he draws and explains.

<b>                        MADDEN
</b>                Hey, the Dolphins do
                this as good as
                anybody. See, in a
                four, three, two, two,
                you got the guards...
                boom!... Plugging up
                the middle, then the
                corners... boom and
<b>
</b>         boom!     Are free to
         box...    leaving the
         middle    linebacker to
         cut off    the trap
         here...    boom!

<b>                 SUMMERALL
</b>         Third and twenty-two,
         but forget the first
         down with eight seconds
         showing and the Skins
         down by a touchdown.

<b>                 MADDEN
</b>         Could be the last play.

<b>                 SUMMERALL
</b>         Could be the last play
         of the season if the
         players go out.


<b>EXT. SIDELINES - DAY
</b>
Redskin quarterback EDDIE MARTEL is
conferring with Redskin head coach BUD TILDON
near the bench. Madden and Summerall
continue OVER.

<b>                 MADDEN (V.O.)
</b>         Take it all in, people.
         This could be it for
<b>         2,000.
</b>
We MOVE TO veteran Redskin center REESE
EVANS, 38, standing on the sidelines, uniform
totally clean.

He looks near tears.

<b>                 SUMMERALL
</b><b>         (V.O.)
</b>         Once again, if you
         haven't heard, it was
         announced during
         halftime that the
         N.F.L. Players
         Association will hold a
         press conference
         immediately following
         this game -- that would
         make it about five
         o'clock Eastern time --
         and it is expected that
<b>
</b>            the players' union will
            announce a strike
            effective immediately.


<b>ON REDSKINETTES
</b>
Twelve striking-looking women dressed in
burgundy and gold are doing some inane
chatter to a section of fans that ignore
them.

The girls are led by pretty ANNABELLE
FARRELL, a bundle of manic energy inside a
body from heaven.

<b>                    MADDEN (V.O.)
</b>            It's all about money,
            folks. More money, of
            course and ain't it
            always? The shame of
            it is the big losers
            are you out there, the
            fans.


<b>ON MARTEL
</b>
The Redskin quarterback moves to the huddle.

<b>                    SUMMERALL
</b><b>            (V.O.)
</b>            Here we go: Third
            down, eight seconds to
            play, ball on the
            Dolphins' thirty-three
            yard line. Skins down
            by a touchdown.

The huddle breaks and Martel sets up over the
center.

<b>                    MARTEL
</b>            Green 48! Green 48!
            Hut! Hut!

The ball is snapped and Martel drops back.
He looks for a receiver and doesn't see
anybody.

He steps up in the pocket, sees an opening
and takes off running down field.

<b>                   MADDEN (V.O.)
</b><b>
</b>          There goes Martel!

Martel is a pretty good broken field runner
for a big guy. Plus with the defense
covering every possible receiver, he's got a
lot of daylight.

Nobody has touched him as he crosses the
fifteen. Suddenly, a safety, smaller than
Martel, looms in front of him at the ten.

Martel goes down in one of those wimpy
quarterback slides before the safety can even
hit him.

BANG!   The GUN sounds and the game is over.


<b>ON MADDEN AND SUMMERALL
</b>
They look at each other in disbelief

<b>                  SUMMERALL
</b>          Well... Martel goes
          down ten yards short of
          a score.

<b>                  MADDEN
</b>          On maybe the last play
          of the season.

<b>                  SUMMERALL
</b>          I think he might have
          slipped.

<b>                  MADDEN
</b>          Yeah, there's a lot of
          that going around.


<b>ON THREE REDSKIN FANS
</b>
We'll see these guys throughout. They're
typical low level Washington bureaucrats
named TODD, ROD and BOB who live for the Hogs
-- the traditional name for the Redskin
offensive linemen.

Todd is shirtless and his entire upper body
is painted Redskin red.

At that moment, they are livid with their
quarterback and Bob is speaking for them all.
<b>
</b><b>                    BOB
</b>         We're    coming to your
         house    tonight, and
         we're    gonna fucking
         kill    you! And if you
         got a    dog, we're gonna
         kill    your fucking dog
         too!


<b>ON ANNABELLE
</b>
Behind her, the rest of the cheerleaders are
already walking away. Annabelle looks at
Quarterback Martel with pure disgust as he
walks off the field.

<b>  CUT TO:
</b>

<b>INT. LARGE BEDROOM - DAY
</b>
The room's blinds are pulled tightly against
the bright sunlight. Only the blue light of
a TV illuminates anything.

Suddenly, we hear an old man in the bed give
out with a loud piercing wail.

The door to the room bangs open and an
English male nurse named AUGUSTINE RIPLEY,
dressed in white, comes running in. He's
carrying a syringe in each hand, poised at
the ready.

He runs to the bed of    the still wailing
EDWARD FRANCIS O'NEIL    (75). O'Neil is hooked
up to an oxygen tank,    watching the just
completed Redskin game    with the sound off.

<b>                 AUGUSTINE
</b>         Did they win or lose?!

O'Neil continues to wail.

<b>                 AUGUSTINE
</b>         That has the distinct
         tonal quality of a
         loss.

He puts one needle down and jabs O'Neil with
the other one.

He murmurs to the old man as he injects him.
<b>
</b><b>                 AUGUSTINE
</b>         Nice medicine for a
         loss. Keeps us calm.
         Makes us not so sad.
         Keeps us on an even
         keel. Gives us some
         perspective, doesn't
         it? And we'll save the
         winning medicine for
         next Sunday, won't we?

He finishes.

<b>                 O'NEIL
</b>         If you keep talking to
         me like I'm a five-
         year-old, I'm going to
         hurt you.

<b>                 AUGUSTINE
</b>         Sounds exciting.

He reaches for the phone and hits the speed
dial.

<b>                 AUGUSTINE
</b>         We'll want to talk to
         coach now, won't we?

He hands the phone to O'Neil.

<b>                 O'NEIL
</b>                (on the phone)
         What the fuck was
         that?!

<b>INTERCUT WITH:
</b>

<b>INT. TILDON'S OFFICE
</b>
Coach Tildon sitting in his office. We can
hear players getting dressed, listening to
MUSIC and getting SHOWERS outside his open
door.

<b>                 TILDON
</b>                (on the phone)
         I think he slipped.

<b>                 O'NEIL
</b>         Bullshit he slipped!
         He could have scored!
<b>
</b>         Anybody could have
         scored! I got one foot
         in the god damn grave
         and I could have
         scored!

<b>                 TILDON
</b>         Mister O'Neil, let's
         face facts: The
         players are going out.
         It's gonna happen. And
         nobody wants to get
         hurt on the last play
         before a strike that
         could go on for the
         rest of the season.

<b>                 O'NEIL
</b>         You god damn wimp!
         You're fired! Get out!
         Get out! Get out!

O'Neil throws the phone down. Augustine
picks it up and then cranks up the oxygen a
notch.

O'Neil takes big gulps of the rich air.

<b>                 AUGUSTINE
</b>         Better? It always
         makes you feel better
         when you fire someone,
         we know it does, don't
         we? Yes...

<b>                 O'NEIL
</b>         Get me Jimmy McGinty.
         Get him here. Tonight.

O'Neil sucks hard on the oxygen.

<b>  CUT TO:
</b>

<b>INT. REDSKINS LOCKER ROOM - DAY
</b>
A REPORTER is interviewing WILSON JONES, the
huge defensive end for the Redskins. Wilson
wears an enormous diamond earring.

Wilson is dressing at his locker.

<b>                 WILSON
</b>         Hey, man, I do what my
<b>
</b>         union says.

<b>                 REPORTER
</b>         But you're already one
         of the highest paid
         players in the game.
         The fans just don't see
         the point of a player
         like you striking.

<b>                 WILSON
</b>         Let me tell you
         something: I'm a big
         man, you see?

Wilson holds his arms out.   Yes, he's
gigantic.

<b>                 WILSON
</b>         There are some days
         when I am so beat up,
         that I cannot dress my
         own big ass. I asked
         management for a valet
         or some shit to help me
         dress and they said no
         way. So, fuck 'em!

<b>                 PLAYER (O.S.)
</b>         Shut up everybody, here
         it is...

Somebody turns UP a TV in the locker room.


<b>ON TV
</b>
A handsome ex-player named Jerome Lindell
steps up to a podium at a press conference.
He's wearing a two thousand dollar suit.

On the TV he is identified with a super:

"JEROME LINDELL -- President -- National
Football League Players' Association."

<b>                 LINDELL (V.O.)
</b>         I have just left a
         meeting with
         representatives of the
         owners and I am sad to
         say that they have
         refused the players'
         final demands which
<b>
</b>         center around a rise in
         the current salary cap.
<b>                 (MORE)
</b>
<b>                       LINDELL (V.O.) (CONT'D)
</b>         Therefore, I am
         recommending that all
         N.F.L. players walk out
         and not play until our
         demands are met. I
         want the players to
         walk out tall, to walk
         out righteous, to walk
         out in the knowledge
         that we do this as a
         team. We shall
         overcome the fat cats.
         I send peace to my
         union brothers.

The entire locker room is silent for a beat.
And then everyone starts getting dressed
again, maybe a little slower than before.


<b>ON WILSON JONES
</b>
<b>                 WILSON
</b>         Shit, I'm goin' to
         Vegas.

<b>  CUT TO:
</b>

<b>INT. O'NEIL'S BEDROOM - CLOSE ON O'NEIL - NIGHT
</b>
As he sleeps peacefully.    The only sound is
the HISS of his OXYGEN.

Then we hear ICE CUBES SLOSHING in a glass.

O'Neil opens his eyes and sees:

JIMMY McGINTY, a handsome devil in his late
sixties, wearing golf clothes and sipping the
last dregs of a Scotch rocks.

                 McGINTY
         You look like shit.

<b>                 O'NEIL
</b>         I'm dying, Jimmy.

                  McGINTY
<b>
</b>         You been dying for
         twenty years.

O'Neil motions to the glass. Jimmy pours
three fingers from a Glenlivet bottle and
hands it to him.

                 McGINTY
         That poof of a nurse of
         yours is gonna kick my
         ass if he catches you
         drinking.

O'Neil removes his oxygen to sip his whiskey.
He smiles as it goes down.

<b>                 O'NEIL
</b>         Gimme a butt.

                   McGINTY
         I quit.

<b>                   O'NEIL
</b>         No.

McGinty nods.

<b>                 O'NEIL
</b>         You pussy. I want you
         to come back as head
         coach. I fired that
         asshole Tilden today.

                 McGINTY
         I'm retired. And
         besides, you don't have
         a team. They all flew
         home in their jets to
         their castles.

<b>                 O'NEIL
</b>         We're gonna finish the
         season anyway. All of
         us owners decided.
         We're gonna use
         replacement players.

                 McGINTY
         You're a bunch of
         greedy bastards, aren't
         you?

<b>                 O'NEIL
</b>         Us, greedy?! What
<b>
</b>         about the god damn
         players?! I got the
         highest payroll in the
         N.F.L. and they still
         want more!

                 McGINTY
         That's because you've
         been bottle-feeding
         straight cash to these
         big babies for years.

O'Neil sips his whiskey and calms down.

<b>                 O'NEIL
</b>         No team owner in their
         right mind is gonna
         give back those T.V.
         revenues.
<b>                 (MORE)
</b>
<b>                 O'NEIL (CONT'D)
</b>         All we promised Fox was
         twenty-two guys with a
         pulse every Sunday.
         But think about it,
         Jimmy. We got a great
         opportunity here! We
         got a chance to put a
         team on the field that
         plays the game just for
         the love of it. Like
         we used to play it.

                 McGINTY
         We also used to play
         without face guards.

<b>                 O'NEIL
</b>         Jimmy, I'm really
         dying. The doctor says
         I'll be gone by
         Superbowl Sunday. Help
         me bring a winner back
         to D.C. You did it for
         me once before. You
         can do it again.

                 McGINTY
         Listen: I golf once a
         week with the President
         of the United States.
         I walk my grandkids to
         school every day. I
<b>
</b>         got a    young wife who
         will    fuck me any time I
         want,    which frankly,
         isn't    too often, but
         it's    comforting to know
         it's    there. I don't
         need    it.

<b>                 O'NEIL
</b>         Come on. Wouldn't it
         be fun? A bunch of
         poor nobodies who play
         to win instead of a
         bunch of bitchy
         millionaires? You can
         put it together, Jimmy.
         Player's love you.
         They always have.

McGinty pours more Scotch and looks into the
glass.

<b>                 O'NEIL
</b>         Tell me you're gonna do
         it.

                 McGINTY
         Shut up, I'm thinking.
                (pause)
         Okay. Here's the deal:
         you let me recruit who
         I want, with no
         interference?

<b>                 O'NEIL
</b>         Absolutely.

                 McGINTY
         I'm talking anybody I
         want. No exceptions.
         And no interference
         with my coaching,
         either, like you used
         to.

<b>                 O'NEIL
</b>         Sure, Jimmy, sure.

                 McGINTY
         And one more thing: no
         more Notre Dame
         stories. You start
         telling me Notre Dame
         stories and I pull your
<b>
</b>         plug personally.   I
         swear to God.

O'Neil smiles.

<b>                  O'NEIL
</b>         Deal.

<b>  CUT TO:
</b>

<b>INT. REDSKINS' HEAD COACH'S OFFICE - DAY
</b>
McGinty is sitting behind the empty desk as
his two main coaches give him a presentation.
They are offensive coordinator LEO
PILACHOWSKI and defensive coordinator
<b>CHRISTOPHER BANES.
</b>
<b>                 PILACHOWSKI
</b>         ... Six phone lines
         with internet access on
         two: One for defense
         and one for offense.

<b>                 BANES
</b>         We thought we would
         skip special teams for
         the moment.

<b>                 PILACHOWSKI
</b>         Except for a kicker.
         We definitely need a
         kicker. A place kicker
         over a punter.

<b>                 BANES
</b>         The thinking being that
         if we lose the toss, we
         have to be able to at
         least kick off.

Both coaches laugh nervously.     McGinty
doesn't say anything.

<b>                 PILACHOWSKI
</b>         Okay. Here's the list
         of every player cut
         this past season. What
         we would like to do
         is...

                  McGINTY
                 (interrupting)
<b>
</b>         Those people?
                (pointing to
         list)
         Most of them were cut
         because they were
         shitty.

McGinty takes out a piece of paper of his own
with a bunch of names on it.

                 McGINTY
         We're going to go
         another way here. I've
         done some scouting
         since I retired. On an
         ad hoc basis, of
         course. And what I
         have here is a list of
         people I've kept an eye
         on. They've all played
         football somewhere, but
         only a few in the pros.
         And they've all got
         something... unique to
         bring to the game.
         We're gonna take these
         people and try to put
         together a winning
         team. And if nothing
         else, they should be
         fun to watch.

McGinty looks up when he senses someone
standing in the doorway. It's REESE EVANS,
the veteran Redskin we saw standing on the
sidelines with the clean uniform.

<b>                 EVANS
</b>         You won't need a
         center.

                 McGINTY
         How you doin', Reese?

<b>                 EVANS
</b>         Bored and ready to
         retire. I'm just
         looking for one more
         hit. One more really
         good hit.

                 McGINTY
         What about the strike?
<b>
</b><b>                 EVANS
</b>         Hell, I'm rich. I got
         no complaint with
         Mister O'Neil. I just
         want a chance to play
         one last time.
<b>                 (MORE)
</b>
<b>                 EVANS (CONT'D)
</b>         Shit, I'd rather go out
         with a broken leg than
         sitting on the bench.

McGinty nods to Pilachowski. The coach takes
a marker and fills in "Evans" in the center
circle.

                 McGINTY
         Welcome to the new
         Washington Redskins.
                (to his coaches)
         Let's find Reese
         somebody to play with.

<b>  CUT TO:
</b>

<b>INT. METHAMPHETAMINE LAB - DAY
</b>
A bunch of BIKER types are cooking up a vat
of speed. These guys are big, and
badasslooking.

After a beat, one of the Bikers looks up at
the door.

<b>                 BIKER
</b>         Did you hear something?

The other biker shakes his head, no.

The one who asked the question walks over to
the door and listens for a beat. Nothing.

He turns to go back and suddenly the door
disintegrates in front of a charging man
wearing a "police" windbreaker.

This is DANIEL    BATEMAN, a big,    young,
psychotic cop,    who immediately    runs over the
poor Biker who    was listening at    the door,
kicking the guy    in the head as    he goes by.

Bateman dives on two more Bikers, and
<b>
</b>viciously head-butts one of them.

He stuffs the other's head into the meth
mixture, pulls him out and clubs him with a
big police blackjack, three quick times:
Rap! Rap! Rap!

The guy goes down like lead.

Bateman looks around and spots a big BIKER
cowering in a corner. The Biker is
terrified.

Bateman takes two stops toward the guy when
suddenly three more COPS wearing windbreakers
run in, out of breath.

They look around at the unconscious Bikers.

<b>                 COP #1
</b>         Jesus, Bateman! Why
         don't you ever wait for
         us?!

BEEP! BEEP! BEEP! Someone's BEEPER is
going off. The three cops look at theirs.
Nothing.

The cowering Biker looks at his.

<b>                   BIKER #2
</b>         Not me.

Bateman pulls his beeper, studies it and
looks puzzled.

<b>                 BATEMAN
</b>         What area code is 703?

<b>                 COP #1
</b>         Washington, D.C.

<b>  CUT TO:
</b>

<b>INT. LIQUOR STORE - DAY
</b>
A loaf of Wonder Bread is spinning through
the air in SLOW MOTION. It comes AT us,
twisting and turning.


<b>ON CLIFFORD FRANKLIN
</b><b>
</b>He's tall, maybe 22, and positioned behind
the cash register. He's wearing a Washington
Redskins sweatshirt.

Clifford's hands are up as he waits to catch
the bread which was tossed by his MANAGER at
the back of the store.

The loaf hits Clifford's hands and then
bounces out. It lands on the counter in
front of a TEN-YEAR-OLD smart-ass KID.

<b>                          KID
</b>         Nice hands.

<b>                 CLIFFORD
</b>                (not amused)
         What else?

<b>                 KID
</b>         A pack of Marlboro
         Reds, a pint of Martel
         Cognac and a box of
         Trojans, extra long.

Clifford grabs the Kid's two one-dollar
bills, and makes change for the bread.

<b>                 CLIFFORD
</b>         Get out of here. I'm
         telling your mother you
         were talking like that.

The Kid leaves.

The Manager yells from the back of the store
as he holds up a portable phone.

<b>                 MANAGER
</b>         Hey, Clifford, somebody
         on the phone wants you
         to play football next
         weekend.

<b>                 CLIFFORD
</b>         Tell 'em I gotta work
         Saturday. And I'm
         watching the Redskins
         on Sunday. Ain't
         nothing stopping me
         from watching the
         Redskins on Sunday.
                (mumbling)
         No way that's gonna be
<b>
</b>            happening, me not
            watching the Redskins
            on Sunday.

<b>                    MANAGER
</b>                   (into phone)
            He's gotta work.
                   (pause)
            They said they'll pay
            you.

<b>                      CLIFFORD
</b>            Pay me?    How much?

<b>                    MANAGER
</b>                   (on phone)
            How much?
                   (pause)
            Ten thousand five
            hundred dollars!

<b>                    CLIFFORD
</b>                   (stunned)
            Ray, who the fuck is on
            the phone?!

<b>                    MANAGER
</b>                   (pause)
            It's the Washington
            Redskins!

Clifford collapses.

<b>  CUT TO:
</b>

<b>INT. BACKSTAGE - NIGHT
</b>
We hear deafening APPLAUSE as we hold on
ANDRE and JAMAL WILLIAMS, two huge
bodyguards, dressed in identical black suits.

Suddenly,   the artist formerly known as Prince
comes off   stage, grabs a towel from an
assistant   and starts walking with Jamal in
front and   Andre in the rear.

As they walk, a CELL PHONE RINGS. Andre
pulls it from his pocket and answers it,
quietly.

Jamal runs interference with the techies and
groupies backstage.
<b>
</b><b>                 JAMAL
</b>                (to someone)
         Get out of the way!
                (to someone
         else)
         Don't look at him! He
         don't like being looked
         at, god damn it! No
         eye contact!

As they walk, Andre is still talking on the
phone.

Finally, they get to the backstage door and
stop. The rock star prepares to run the
gauntlet of adoring fans behind his trusty
bodyguards.

But his bodyguards are conversing quietly but
urgently with each other.

One of the assistants throws open the door.
A big mob waits outside.

The anointed one turns to his bodyguards to
lead the way, but... they're gone!

The mob surges. The artist formerly known as
Prince screams as he's trampled to death by
his fans.

<b>  CUT TO:
</b>

<b>EXT. MARINA DEL REY - DAY
</b>
Shane Falco, wearing his patched wetsuit,
climbs out of his inflatable dinghy and flops
onto the deck of his cabin cruiser.

He looks cold and tired.

                 McGINTY (O.S.)
         You look like a
         swordfish I caught
         once.

Shane jumps.

McGinty is sitting in an old deck chair on
the stern of the boat.

                 McGINTY
         He hit the deck just
<b>
</b>         like that.

Shane studies his visitor.

<b>                 SHANE
</b>         And you look like that
         coach from the
         Seventies. From the
         Redskins. McGinty.
         Except you look a
         shitload older.

                 McGINTY
         The price of happiness.
         Something to take the
         chill off?

He offers Shane an elegant flask.   Shane
takes it and drinks.

                 McGINTY
         I'm running the
         Redskins again. And I
         want you to quarterback
         'em.
<b>                 SHANE
</b>         No, man, I've been out
         way too long.

                 McGINTY
         What, three years since
         San Diego dumped you?
         That's nothing. You're
         in shape, flopping
         around in the water
         like that.

<b>                 SHANE
</b>         You know what my
         nickname was in San
         Diego, don't you?

                  McGINTY
         Sure.   Footsteps.

<b>                 SHANE
</b>         As in, I hear 'em and I
         dump the ball.

                 McGINTY
         Well, you didn't have
         much of a line to
         protect you.
<b>
</b><b>                 SHANE
</b>         I got two concussions
         to prove it.

                 McGINTY
         That's why girls don't
         play the game.

McGinty drinks from his flask.

                 McGINTY
         I scouted you when you
         were playing at Ohio
         State. I told San
         Diego they were
         probably making a
         mistake when they
         signed you.

<b>                 SHANE
</b>                (truly shocked)
         No kidding?

                 McGINTY
         Oh, you had a lot of
         tools: a quick
         release. Fast. A
         scrambler by nature.
         Good downfield vision.
         But you got hurt a lot.
         And worst of all, you
         never could win the big
         game. What did you
         lose the Sugar Bowl by,
         your senior year?
         What, forty points?

<b>                 SHANE
</b>         Forty-five. And now
         you want to recruit me?

                 McGINTY
         A scrambling
         quarterback is gonna do
         real well in this new
         replacement
         environment. And to
         tell you the truth, I
         think I can help you
         with your biggest
         problem.

<b>                  SHANE
</b>         Okay.   What's my
<b>
</b>         biggest problem?

                 McGINTY
         Courage. I think that
         Sugar Bowl took it all
         out of you.

There's a beat as Shane looks away.

<b>                 SHANE
</b>         I'm retired from
         football.

                 McGINTY
         Yeah, and it looks like
         things have been going
         really well for you
         since.

Shane doesn't meet McGinty's eyes.

<b>                 SHANE
</b>         I like being here.
         It's quiet. I like
         being alone.

                 McGINTY
         Yeah. No screaming
         crowds, that's for
         sure.
                (pause)
         You know what separates
         the winners from the
         losers? Gettin' back
         on the horse. The one
         that kicked you in the
         teeth. You're still
         young. You still got
         bags of talent. If you
         do well, who knows what
         will happen when the
         strike ends?

Shane keeps staring out at the water.

                 McGINTY
         You want me to tell you
         you're not going to get
         hurt? You know you
         will. No doubt about
         that. But, hell...

McGinty points to the boats in the harbor.
<b>
</b>                 McGINTY
         ... Wouldn't you rather
         get hurt than scrape
         the shit off of other
         guys' toys?

<b>  CUT TO:
</b>

<b>EXT. QUEENS (NEW YORK) - DAY
</b>
We're right off Queens Boulevard on a busy
side street where LOU PACIFICO, 30, is taking
book. Lou is short, dark and handsome.

He leans against the wall of a liquor store.

<b>                 PASSERBY #1
</b>         Deuce and an eightball
         on Go Down, Rita in the
         eighth.

Lou writes quickly on a small pad.

After a beat, another passerby leans in and
whispers something to Lou. Lou writes
quickly again.

>From across the street an old woman sticks
her head out of a four-story walk-up. This
is LOU'S MOTHER who speaks with a heavy
Italian accent.

<b>                 MOTHER
</b>         Louis, you got a phone
         call!

<b>                 LOU
</b>                (from across the
                 street)
         Who is it?

<b>                 MOTHER
</b>         It's the Washington
         Foreskins.

<b>                 LOU
</b>         What?! Ma, what are
         you, out a your tree?

<b>                 MOTHER
</b>                (yelling louder)
         I'm telling you they
         said it's the
<b>
</b>         Washington Foreskins!
         Foreskins! Foreskins!
         Foreskins!

People in the street are now starting to look
up at this old woman screaming "Foreskins!"

Louis quickly crosses the street to his
apartment house.

But at that moment, a soccer ball bounces
toward him from where a group of kids are
playing in an alley.

Out of pure instinct, Lou gives it a mighty
boot.

We FOLLOW the arc of the ball as it sails
DOWN the block. Everyone stops to admire the
kick.

Still airborne, the ball crosses Queens
Boulevard.

At that moment, a very old mafioso type is
being helped from his limo by several
lieutenants.

Pow! The ball hits the old guy right in the
back of the head, knocking off his porkpie
hat and dropping him to the pavement like a
bullet.

The lieutenants pull pistols and surround
their fallen leader.


<b>ON LOU
</b>
He sees what happens and quickly ducks into
his apartment house.


<b>ON ONE MAFIA LIEUTENANT
</b>
He spots Lou before he disappears inside.

<b>  CUT TO:
</b>

<b>EXT. HIGH SCHOOL PRACTICE FIELD - DAY
</b>
Coach ROLAND LAMONT, a good-looking ex-
running back in his late twenties, is
<b>
</b>coaching a high school player.

We can see that Roland is wearing a pretty
substantial knee brace.

He holds up a football.

<b>                 ROLAND
</b>         Cut right on me, now.
         Right on me.

He pitches the ball out to one kid, who runs
right at him, steps on Roland's foot with his
cleats and then cuts around him.

Roland screams and falls to the ground.

<b>                 ROLAND
</b>         Not right on me,
         goddamn it!

He writhes there a beat until he hears:

<b>                 VOICE (O.S.)
</b>         Coach Lamont! Phone
         call! Long distance.
         Washington, D.C. It's
         the Washington
         Redskins!

Roland holds his foot and manages a smile
because he seems to know what the phone call
means.

<b>                 ROLAND
</b>                (to the sky)
         Thank you, Lord!

<b>  CUT TO:
</b>

<b>EXT. BIG O (WASHINGTON D.C.) - MAGIC HOUR
</b>
The stadium appears empty.

Suddenly, a football thrown with a perfect
spiral comes AT us.


<b>REVERSE ANGLE
</b>
We see the ball sail cleanly through a rubber
ring attached to the crossbar on the
goalpost.
<b>
</b><b>ON SHANE FALCO
</b>
He's in shorts and a sweatshirt taking snaps
from center Reese Evans.

<b>                 EVANS
</b>         Nice. Try a roll to
         the right.

Evans bends over another ball.    Shane sets up
in the shotgun.

<b>                 O'NEIL (V.O.)
</b>         Shane 'Footsteps'
         Falco? This is what
         you're going to build
         an offense around?


<b>EXT. STANDS - MAGIC HOUR
</b>
McGinty is sitting with O'Neil on the fifty
yard line twenty rows back.

Augustine holds O'Neil's oxygen tank as the
old man sits huddled in a coat that's way too
big for him.

<b>                 O'NEIL
</b>         Christ, Jimmy, I ask
         you to build me a team
         based on balls and the
         first player I see is
         Footsteps Falco?!

                 McGINTY
         He's got as much
         natural talent as any
         quarterback in the
         league.

<b>                 O'NEIL
</b>         And he's got the
         happiest feet I've ever
         seen!

                 McGINTY
         All he needs is a shot
         of self-confidence.
         He's our quarterback.
         That's the way it is.
<b>
</b><b>                   O'NEIL
</b>           What about a safety?
           We got two a days
           starting tomorrow and a
           game in five days! And
           we still don't have a
           safety?!

O'Neil motions to Augustine for more oxygen.

<b>                   AUGUSTINE
</b>           Here we go. Nice fat
           little hits.

He turns the valve up.   O'Neil breathes
deeply.

<b>                   O'NEIL
</b>           I called a friend of
           mine who just happens
           to be the Governor of
           Maryland.

                   McGINTY
           Terrific, the Governor
           is going to play
           safety?

<b>                   O'NEIL
</b>           Don't worry about it.


<b>ON SHANE
</b>
He drills a perfect spiral through the
circle.

<b>  CUT TO:
</b>

<b>EXT. BIG O - MORNING
</b>
A ramp at the rear of the stadium gives
vehicle access to the interior. The bottom
of this ramp is now a maelstrom of activity.

The regular Washington Redskins are in a
picket line walking in circles. The players
are dressed in everything from fur coats to
expensive leather jackets and leather pants.
Half of them are on cell phones.

We can see some of their cars parked
haphazardly nearby: BMWs, Porsches,
<b>
</b>Mercedes, etc.

Jerome Lindell, the president of the
Players' Association, is being interviewed on
camera by a REPORTER.

<b>                 REPORTER
</b>         As president of the
         Players' Association,
         what does your presence
         mean here, Mister
         Lindell?

<b>                 LINDELL
</b>         Very simply, support
         for these fine players
         and union men.
         Washington D.C. is the
         home of freedom and the
         collective bargaining
         agreement. I am here
         to remind all Americans
         that the owners are no
         better than the robber
         barons of the
         Nineteenth Century.
         They have blatantly
         gone out and hired
         scabs, which is against
         all principles of our
         Constitution and the
         Declaration of
         Independence and
         probably even the
         Emancipation
         Proclamation.

The picketers start shouting and pointing.

<b>                 LINDELL
</b>         And here come the
         Scabskins now!

A bus slowly makes its way towards the ramp
and the picketers.


<b>INT. BUS - MORNING
</b>
Shane is sitting in the first seat with Reese
Evans (center).

We MOVE BEHIND them and see, among others,
Daniel Bateman (psychotic cop), Clifford
<b>
</b>Franklin (can't catch a loaf of bread), Jamal
and Andre Williams (ex-bodyguards), Lou
Pacifico (kicker and bookmaker), and Roland
Lamont (ex-high school coach).

BANG! EGGS start HITTING the bus WINDOWS.
We can hear the regular players chanting:

<b>                    PLAYERS
</b>            Scabskins! Scabskins!
            Scabskins!


<b>ON CLIFFORD FRANKLIN
</b>
He's very excited as he looks out the window
at the striking players. Roland Lamont sits
next to him.

<b>                    CLIFFORD
</b>            Oh God, there's Eddie
            Martel! And Wilson
            Jones! I love Wilson
            Jones! Yo, Wilson!
            Yo, player!


<b>ON WILSON
</b>
His big face looms right outside the bus
window. He looks pissed off and scary.


<b>ON LOU PACIFICO
</b>
He leans across his seat to Shane.

<b>                    LOU
</b>            Hey, Lou Pacifico.

Shane shakes his hand.

<b>                    SHANE
</b>            Shane Falco.

<b>                    LOU
</b>            I know. I lost a ton a
            money on that Sugar
            Bowl disaster of yours.
            Wow. Did you get your
            butt kicked or what?


<b>ON JAMAL
</b><b>
</b>He's looking out the window when an eeg
splats against it. He turns to his brother
Andre:

<b>                 JAMAL
</b>         You know I don't take
         that shit.

Jamal reaches into his jacket and starts to
pull out a nine-millimeter pistol.

Andre stops him.

<b>                 ANDRE
</b>         Be cool.


<b>INT. BOWELS OF STADIUM - DAY
</b>
A nondescript van pulls up and a muscled,
deadly-looking guy in handcuffs and jail
issue clothes gets out. This is bearded
safety EARL (he-ain't-no-girl) WILKINSON.

A Maryland state trooper unlocks the cuffs.
Earl looks... hungry.


<b>EXT. STADIUM - DAY
</b>
The replacements are getting off the bus as
the players chant.

<b>                 PLAYERS
</b>         Scabskins! Scabskins!

When Reese Evans (former Redskin center) gets
off the bus, the players go wild.

Reese coolly gives them the international
suck my dick sign.

Clifford gets off behind him. He waves and
smiles at the striking players.

They throw rotten fruit at Clifford in
return.

<b>  CUT TO:
</b>

<b>INT. EQUIPMENT ROOM - DAY
</b><b>
</b>SID, an oldtimer equipment man folds towels.
Behind him, we can see helmets, pads, etc.

McGinty walks up dragging Shane who is fully
dressed in a uniform, including helmet.

                   McGINTY
                  (to Sid)
           What is this?

McGinty points to the intricate face guard on
Shane's helmet.

It's an exaggerated version of a lineman's
cage with so much metal criss-crossing that
you can hardly see Shane's face.

                   McGINTY
           He's a quarterback!
           How is he supposed to
           see?

<b>                   SID
</b>           He told me he was a
           linebacker!

<b>                   SHANE
</b>           I can see.

McGinty holds up three fingers.

                   McGINTY
           How many fingers?

<b>                    SHANE
</b>           Two.   No, wait.    Three.

<b>  CUT TO:
</b>

<b>EXT. FIELD - DAY
</b>
Andre and Jamal are hitting the blocking sled
simultaneously. They drive it OUT OF FRAME.


<b>ON SHANE
</b>
He's now wearing a helmet with a twobar
quarterback face guard. He takes a snap and
pitches out to running back Roland Lamont.

Roland, now wearing a big knee brace, looks
sharp as he cuts to the outside.
<b>
</b><b>ON PILACHOWSKI
</b>
The offensive coordinator is standing with
McGinty who is concentrating on the
scrimmage. Suddenly, Pilachowski spots
someone. His mouth drops open.


<b>ON MICKEY LEE
</b>
He's a fourhundred-fifty-pound ex-Sumo
wrestler crammed into a Redskin uniform.     Fat
rolls are visible everywhere.

<b>                 PILACHOWSKI
</b>         Oh my God. That's
         disgusting!

Lee walks up. McGinty bows and says
something in Japanese. Lee bows and answers
back in Japanese. Then they shake hands.

                 McGINTY
         How you doin', Mickey?

<b>                 LEE
</b>         Not bad, Coach.

                 McGINTY
         You look great. Why
         don't you work out at
         left tackle?

<b>                 LEE
</b>         You got it.

Lee puts on his helmet, pulls his ponytail
out the back and rumbles away.

Pilachowski is looking at McGinty like he's
crazy.

<b>                 PILACHOWSKI
</b>         You're not serious.

                 McGINTY
         I met Mickey in Hawaii.
         When he was even
         bigger. He's a Sumo
         wrestler. That means
         he's an expert at
         pushing people around.
<b>
</b>         That's what pass
         blocking is, Leo.

Defensive coordinator Christopher Banes comes
running up in a lather.

<b>                 BANES
</b>                (to McGinty)
         I got a defensive end
         who's deaf!!

<b>                 PILACHOWSKI
</b>                (watching Lee
         walk
                 away)
         I'll trade you for a
         tackle who's gonna play
         in a diaper.

<b>                 BANES
</b>         How can I coach a deaf
         man?!

                 McGINTY
         You don't have to...

He looks across the field at a big, good-
looking kid named BRIAN MURRAY who is in the
middle of a pass rushing drill.

Murray looks really fast, especially for his
size.

                 McGINTY
         Brian Murray would have
         gone in the first round
         five years back if he
         hadn't been born deaf.
         I first saw him play
         right here in D.C. for
         Galludet College. He's
         a hell of an athlete.
         You won't have to tell
         him anything.

<b>                 BANES
</b>         I can't believe it! I
         got to be able to
         communicate with him.

                 McGINTY
         Then learn to sign.
         Hey, look at it this
         way: He'll never get
<b>
</b>           pulled off sides on an
           audible.

McGinty thinks this is funny as shit.


<b>ON SHANE
</b>
He's just done a fivestop drop on a pass
play. He's looking down field when he sees
something scary.

<b>                   SHANE
</b>           Oh shit! No!

He throws the ball away and then is nailed
and taken down on his back by Bateman
(psychotic cop).

Shane groans and lies there with Bateman on
top of him.

<b>                   BATEMAN
</b>           Hi, I'm Danny.

<b>                     SHANE
</b>                    (groaning)
           Shane.

McGinty pulls Bateman up.

                   McGINTY
           Nice pop, Danny.

<b>                   BATEMAN
</b>           Thank's, Coach!

Danny runs off.

<b>                   SHANE
</b>           What was that?

                   McGINTY
           Danny Bateman. Ex-cop,
           ex-Marine, ex-rugby.
           He's absolutely
           harmless, if you just
           play dead.

McGinty helps Shane up.

                   McGINTY
           San Diego used you all
           wrong. You're not a
<b>
</b>            drop back passer.
            You're a scrambler.
            Like you were in
            college. So, we're
            gonna roll out. A lot.
            Get used to setting up
            on the run. You'll
            live a lot longer.

<b>                    SHANE
</b>            I'm very interested in
            that.

<b>     CUT TO:
</b>

<b>PRACTICE MONTAGE
</b>
<b>A)    BATEMAN
</b>
      is lined up at middle linebacker. When
      the play starts, he runs headlong into
      four blockers and takes them all down
      with him.

<b>B)    WIDE RECEIVER CLIFFORD FRANKLIN
</b>
      beats his man, and turns as Shane,
      rolling out to his left, puts the ball
      right on his numbers. Franklin drops it.

<b>C)    ANDRE AND JAMAL
</b>
      On the snap, they pull to lead a sweep.
      Unfortu-nately, each thinks the play is
      to their side. They forearm each other
      and then get into a fight.

<b>D)    LOU PACIFICO
</b>
      boots one from thirty-five yards through
      the uprights. He smiles, takes out a
      Marlboro Light and a Bic and fires up.

<b>E)    CLIFFORD FRANKLIN
</b>
      pulls up, does a button hook and Shane
      puts the ball in his hands. Franklin
      drops it.

<b>F)    LEE
</b>
      the Sumo guy, hits the blocking sled and
      turns it over.
<b>
</b><b>G)   BATEMAN
</b>
     is down on the ground viciously punching
     another player as two assistants try to
     pull him off.

<b>H)   FRANKLIN
</b>
     is in a crossing pattern in the end zone.
     Shane puts the ball right in front of
     him. Unfortunately, it hits him in the
     hands.

<b>        CUT TO:
</b>

<b>EXT. FIELD - DAY
</b>
Shane is sucking down water from the portable
water cart when head cheerleader Annabelle
Farrell walks up. She's dressed in tight
workout clothes.

<b>                  ANNABELLE
</b>          Annabelle Farrell, head
          Redskinette.

<b>                  SHANE
</b>          Excuse me?

<b>                  ANNABELLE
</b>          I'm in charge. Of the
          Redskinettes. The
          cheerleaders?

<b>                  SHANE
</b>          Oh yeah, hi.

<b>                  ANNABELLE
</b>          I've been watching you.
          You look good. You
          look strong. Good
          quick release. Smart.
          You read defenses
          quickly. You're gonna
          do great.

<b>                  SHANE
</b>          Hey... thanks.

<b>                  ANNABELLE
</b>          I saw your second
          concussion. The one
<b>
</b>         against Cleveland.
         Pow! You could hear it
         in the cheap seats.
         But you completed the
         pass. That's what
         counts.

<b>                 SHANE
</b>         I guess so.

<b>                 ANNABELLE
</b>         If there's anything you
         need, let me know. And
         I mean anything, okay?
         You understand?

Shane is really not sure.

<b>                  SHANE
</b>         Sure.   I understand.

<b>                 ANNABELLE
</b>         They put you up at the
         Hilton?

<b>                  SHANE
</b>         Yeah.

<b>                 ANNABELLE
</b>         Good. Remember:
         anything. You got it?
         Okay?

Shane nods.   She walks away.

We watch her world-class ass move across the
gridiron.


ON McGINTY AND CLIFFORD FRANKLIN

McGinty is holding a ball and talking to his
wide receiver.

                 McGINTY
         ... because it's a damn
         waste of all that
         speed, Clifford. I
         told you that when you
         were in high school.
         You've got to catch the
         ball, son. This is the
         main idea of the
         passing game.
<b>
</b><b>                 CLIFFORD
</b>         I know, Coach, I know.

                 McGINTY
         Okay. I assume that
         you have touched a
         woman in a romantic
         way, have you not?

<b>                 CLIFFORD
</b>         Oh yeah, Coach, sure.
         In a, you know,
         romantic way.

                 McGINTY
         Good. From here on
         out, you touch this
         football, all the
         time...

He shoves the football in Clifford's hands.

                 McGINTY
         ... just like you touch
         your girl friends. I
         better not see you
         without this ball. You
         understand?

McGinty starts to walk away.

<b>                 CLIFFORD
</b>         Coach, wait! Can I
         still like touch my
         girl friends if I
         don't, you know, let go
         of the ball?

McGinty thinks about that.

                 McGINTY
         Yes, Clifford, if you
         can manage that,
         absolutely.

<b>  CUT TO:
</b>

<b>INT. LOCKER ROOM - DAY
</b>
Andre and Jamal are just about dressed.

Andre helps Jamal on with his jacket.     Jamal
<b>
</b>then helps Andre on with his.


<b>ON SHANE
</b>
He's stripped down sitting on a bench.
Reporters are trying to interview him.
Microphones are in his face and video cameras
jockey for position.

<b>                   SHANE
</b>           ... just glad to be
           back playing. That's
           all I've really got to
           say.

<b>                   REPORTER
</b>           But where have you
           been? What have you
           been doing to make a
           living?

<b>                   SHANE
</b>           Well... I've been
           involved lately in
           the... aquatic
           business...


<b>ON MICKEY LEE AND ROLAND LAMONT
</b>
Mickey is watching Roland unbuckle his big
complicated knee brace. (NOTE: There should
be something slightly medieval about this
brace.)

<b>                   MICKEY
</b>           You only played one
           game?!

<b>                   ROLAND
</b>           Actually, less than two
           minutes. I was a
           rookie third round pick
           in '93. We were
           playing Atlanta in the
           home opener. Near the
           end of the first
           quarter, they sent me
           in, I took a screen
           pass over the middle
           and got hit by both
           linebackers.
           Simultaneously. One a
<b>
</b>         side. My knee turned
         into wet toilet paper.
         End of career.

<b>                 MICKEY
</b>         Can you play on it now?

Roland takes out a wrench and starts
unscrewing a bolt on his brace.

<b>                 ROLAND
</b>         I've been teaching high
         school football for
         five years. It's not a
         bad life. I'm good at
         it. There are some
         days when I actually
         love it. But for one
         more shot at this?
         Shit. I'd give it all
         up. This time, they're
         gonna have to take me
         out in a box.


<b>ON EARL WILKINSON (CRIMINAL)
</b>
He's standing naked in front of his locker
staring with anticipation at a garment bag.

Slowly, he unzips the bag revealing a
beautiful new suit. He touches the lapels
reverently.


<b>ON CLIFFORD FRANKLIN
</b>
He's sitting in front of a locker, holding
his football, with a shit-assed-eating grin.

Someone walks by.

<b>                 CLIFFORD
</b>         I got Wilson Boone's
         locker, man. Do you
         believe that shit?

He drops his ball and quickly picks it up
again. He looks around to make sure Coach
didn't see him.

<b>  DISSOLVE TO:
</b><b>
</b><b>EXT. BIG O PARKING LOT - MORNING
</b>
The regular Redskins are out in force,
holding signs as they lean on their Beamers
and Porsches.

Shane pulls up in a battered '89 Honda.

When he gets out, he's immediately surrounded
by six striking regulars, led by quarterback
Eddie Martel and defensive end Wilson Jones.

<b>                 MARTEL
</b>         Hey, you can't park
         there.

<b>                 SHANE
</b>         Look, I don't want any
         trouble.

<b>                 MARTEL
</b>         You don't want any
         trouble?! You're
         taking my job away, but
         you don't want any
         trouble?
                (to Wilson)
         He doesn't want any
         trouble, but he puts
         this piece of shit in a
         no parking zone.

Shane looks but it's obvious he's parked
legally.

<b>                  SHANE
</b>         Okay.   I'll move it.

<b>                 MARTEL
</b>         No, we'll do that for
         you. Go ahead, Wilson.
         Move it for him.

Wilson motions to another big guy. The two
of them proceed to roll the Honda over on its
roof. It lands with a crunch.

<b>                 JAMAL (O.S.)
</b>         You all put that car
         back.

Everybody turns to see Andre and Jamal
walking towards them.
<b>
</b><b>                 WILSON
</b>         Who the fuck are you?

<b>                 ANDRE
</b>         We're the people who
         take care of the
         quarterback. We're the
         guards.

All the regulars laugh at this.

<b>                 JAMAL
</b>         Put the car back.
         Gently.

<b>                 WILSON
</b>         Kiss my ass.

<b>                 SHANE
</b>                (to Jamal)
         It's okay.

<b>                 JAMAL
</b>         No, it's not.

Jamal points to a gorgeous midnight blue
Porsche.

<b>                 JAMAL
</b>                (to Wilson)
         That's your ride, ain't
         it?

Before Wilson can even answer, Jamal pulls
his NINE MILLIMETER. BOOM! BOOM! No more
Porsche windshield.

All the regular Redskins dive for cover.

<b>                 WILSON
</b>         My windshield! You
         crazy motherfucker!

<b>                 JAMAL
</b>         Move his car back.

<b>                   WILSON
</b>         My car!

Jamal raises his GUN again.    POW!   No Porsche
driver's side window.

<b>                  WILSON
</b>         No!   Stop!
<b>
</b>He turns to his cowering teammates.

<b>                 WILSON
</b>         Come on, help me, god
         damn it!

The guys quickly pick up the Honda and put it
right side up.

<b>                 WILSON
</b>                (to Jamal)
         You are gonna pay for
         this.

<b>                 JAMAL
</b>         No I'm not. And quit
         messing with my man
         here. That includes
         his ride.

Jamal spins the nine and holsters it.

Andre and Jamal get on either side of Shane.
They look at each other and then quickly
switch sides.

<b>                 ANDRE
</b>         Let's go to practice,
         Shane.

<b>                 SHANE
</b>         Let's do that.

Shane smiles at his guards, smiles at the
still-shocked Redskins, and they move out.

<b>  CUT TO:
</b>

<b>INT. LOCKER ROOM BATHROOM - DAY
</b>
Shane, dressed in pads and pants, opens the
door and walks in. During the opening and
closing of the door we hear:

<b>                       ASSISTANT COACH (O.S.)
</b>         ... so if anyone does
         have any firearms, we
         need to turn those in
         as soon as possible, no
         questions asked...

Shane stands in front of the urinal and goes
<b>
</b>through the painstaking process of locating
his dick.

First he wrestles open his football pants and
then has to deal with the cup, etc.

Next to him, at another urinal, is WALTER
COCHRAN, a big, serious bornagain tackle.

As he pisses, Walter has his Bible propped
open behind the flush handle so he won't miss
a minute of scripture.

<b>                 WALTER
</b>         Praise the Lord, Shane.

<b>                  SHANE
</b>         Yeah.   Sure.

<b>                 WALTER
</b>         Walt Cochran.
         Offensive tackle.

Shane nods.   Walter pees for a beat.

<b>                 WALTER
</b>         Shane, will you witness
         with me?

<b>                 SHANE
</b>         Will I what?

<b>                 WALTER
</b>         Will you witness with
         me? For this upcoming
         practice.

<b>                  SHANE
</b>         Now?

By now Shane is pissing too.

<b>                 WALTER
</b>         Praise the Lord for
         giving us a way to
         eliminate, Shane. Why
         not talk to Him in the
         midst of performing his
         gift?

Walter takes his hand off his whizzing member
and holds it out to Shane.

Shane looks at Walter's hand for a long time,
<b>
</b>but finally, he removes his own guiding hand
and clasps Walter's hand tentatively.


<b>REVERSE ANGLE
</b>
They continue pissing as they hold hands.

<b>                    WALTER
</b>            Heavenly Father, thank
            you for allowing us to
            pee the poisons from
            our systems. Please
            help us in today's
            practice to be strong
            and...

<b>  CUT TO:
</b>

EXT. McGINTY'S HOUSE - DAY

A barbecue is in progress for the new
Washington Redskins at the beautiful home of
Coach McGinty.

The huge back yard features a pool and a
catered buffet/barbecue.

Andre and Jamal are loading down their
plates.

Mickey Lee is gnawing on a two-foot slab of
ribs.

Lou Pacifico has a little three card monty
going at a picnic table.

Coach    McGinty is holding up a beautiful baby
girl    to the admiring players. He kisses the
baby    and then hands the child to his gorgeous
young    wife.

Augustine is pushing Mister    O'Neil in a
wheelchair. They pass the     outside bar and
O'Neil suddenly lunges for    a bottle of
tequila. Augustine has to     rip it out of his
hands.

Coach Banes and Earl Wilkinson (criminal) are
talking to a distinguished-looking big man in
his fifties. This is a D.C. CIRCUIT COURT
<b>JUDGE.
</b><b>
</b><b>                 BANES
</b>         Where did you play,
         Judge? Wait. Do I
         call you judge?

<b>                 JUDGE
</b>         Your Honor, or Judge is
         fine. I played at
         Harvard. But I played
         in the days when you
         went both ways.
         Offense and defense.
         When players were
         really tough.
                (to Wilkinson)
         And where did you play
         college ball... I'm
         sorry, what was your
         name again?

Wilkinson is smiling but he looks dangerous.

<b>                 WILKINSON
</b>         Smith. Ray Smith. I
         played at a junior
         college nobody ever
         heard of. What
         position did you play
         on defense, Judge?

<b>                 JUDGE
</b>         Middle linebacker.

<b>                 WILKINSON
</b>         Yeah, big fellow like
         you, that's what I
         would have guessed.

<b>                 JUDGE
</b>         It was a different game
         in those days. Raw.
         Powerful. No tricks,
         like today.

<b>                 WILKINSON
</b>         You know, maybe you can
         show me some of your
         technique, Your Honor.
         Maybe you can show me
         some of that toughness.

<b>                 JUDGE
</b>         I'd be glad to!
<b>
</b>There's an evil glint in Wilkinson's eye.


INT. McGINTY'S HOUSE - DAY

Shane is standing alone in a large hallway
looking at an enormous trophy case stuffed
with the spoils of football.

<b>                 ANNABELLE
</b><b>         (O.S.)
</b>         You would think he's
         done enough.

Shane turns and sees her.    She's as fetching
as ever.

<b>                 ANNABELLE
</b>         McGinty, I mean.

<b>                 SHANE
</b>         I was kind of thinking
         the same thing.

<b>                 ANNABELLE
</b>         My theory is he came
         out of retirement to
         see if he could win
         with losers.
                (pause)
         Oh, shit. I'm sorry.
         I didn't mean...

<b>                 SHANE
</b>                (interrupting)
         Hey, it's okay. I've
         been called worse.

<b>                    ANNABELLE
</b>         Like    after that Sugar
         Bowl    game? I guess you
         could    survive anything
         after    that.

Shane has to actually smile at this.

<b>                 SHANE
</b>         Sometimes I feel like
         everybody in the world
         saw that game. Like I
         could go to India and
         some little guy would
         run up to me and say,
         'Boy, did you suck in
<b>
</b>         the '92 Sugar Bowl.'

Annabelle laughs.

<b>                 SHANE
</b>         So, how come you're
         such a fan?

<b>                 ANNABELLE
</b>         My dad. He's a huge
         Redskin fan. For
         years. He's in his
         twenty-ninth year at
         the Senate Office
         Building. As a guard,
         not a senator. The
         only thing that keeps
         him going he says, is
         me and the Redskins.
         That's where I get it.
         My fan-ness.
                (suddenly)
         Are you scared?

Shane is totally taken off guard by this
woman.

<b>                     SHANE
</b>         Scared? Well... yes.
         Absolutely.

<b>                 ANNABELLE
</b>         It's okay. Anybody
         would be. But you're
         good. And you'll do
         good.

<b>                 SHANE
</b>         Well, thank you. Look,
         I gotta study the play
         book tonight. So...
         I'll see you.

<b>                 ANNABELLE
</b>         Break a leg tomorrow.

<b>                    SHANE
</b>         What?!

<b>                    ANNABELLE
</b>         It's    from the theater.
         For    opening night. You
         say    the worst thing
         that    can happen. And
<b>
</b>         it won't.   Break a leg.

Shane waves uncertainly and walks away.


EXT. McGINTY'S BACK YARD - DAY

The Judge (now with his jacket off) and
Wilkinson are lined up across from each other
in a three-point stance in something called a
man maker drill.

The entire team forms two lanes on either
side of them, as they face off.

The idea is to knock the other guy down and
get by him.

<b>                 JUDGE
</b>         Alright, this is how we
         used to stop a running
         back.

<b>                 WILKINSON
</b>         I can't wait.

Someone says hut! And Wilkinson slams into
the Republican 16th Circuit Court Judge and
knocks him head over heels.

The Judge lands on his back, wham!   He's out
cold.

Wilkinson slaps hands with Andre and Jamal.

<b>                 WILKINSON
</b>         Oooh... got me a judge!
         Man, that felt good!

<b>  CUT TO:
</b>

<b>EXT. BIG O STADIUM - DAY
</b>
It's another beautiful fall afternoon and
cars are entering the stadium parking lot.

At one of the entrances, the striking
Redskins are picketing. Jerome Lindell (NFL
Players President) is still marching with
them.

A little boy stops one of the Redskins and
asks for an autograph on a program. The
<b>
</b>player gives it to him and the kid walks
away.

Lindell runs after the kid, grabs the program
and rips off the page the player signed.

<b>                 LINDELL
</b>                (to kid)
         Don't be asking    for no
         autographs from    the
         real players and    then
         go in and watch    the
         scabs!

The kid retreats quickly.    Lindell rips up
the page.

<b>                 LINDELL
</b>                (to the player)
         That is not the message
         we want to send our
         children!

<b>  CUT TO:
</b>

<b>INT. LOCKER ROOM - DAY
</b>
It's very quiet. Shane sits in pads and no
jersey, methodically squeezing a football.

Reese Evans, his center, stops by.

<b>                 EVANS
</b>         You okay?

Shane nods and gives a nauseous-looking
smile.

<b>                 EVANS
</b>         Remember to nod your
         head on the snap.

<b>                 SHANE
</b>                (out of it)
         Nod my head?

<b>                    EVANS
</b>         For    when Murray's in.
         The    deaf kid. Hello?
         He    needs to look at you
         on    the snap.

Shane nods that he understands but he goes
<b>
</b>back to staring at a wall.

Andre and Jamal sit facing each other. Andre
throws a vicious forearm at Jamal's head but
Jamal catches it. They both nod in approval.

Lou Pacifico smokes and stares.

Bateman is leaning against a wall, fully
dressed, helmet on. He's staring into space
and smiling to himself. He looks terrifying.

Earl Wilkinson (the criminal) is polishing a
beautiful pair of new alligator shoes.

Clifford Franklin looks at himself in the
mirror as he ceremoniously puts on his
helmet.

Walter Cochran is reading his Bible in front
of his locker, which features a picture of
Jesus and a cross.

Mickey Lee (ex-sumo) is sitting in front of a
bowl of hard boiled eggs. He's methodically
popping them into his mouth. He eats four as
we watch.

Coach Pilachowski comes up to Lee and watches
him eat.

<b>                 PILACHOWSKI
</b>         What are you, crazy?
         Nobody eats right
         before a game.

<b>                 LEE
</b>         I always ate before a
         big match. I need the
         bulk.

Like a hole in the head he needs the bulk.

Coach McGinty comes strolling through the
locker room, the picture of calm.

He walks by defensive end/tight end Brian
Murray and signs to him to have a good game.
Murray signs back, "Thanks, Coach."

Cochran spots McGinty and puts down his
Bible.

<b>                 COCHRAN
</b><b>
</b>         Coach McGinty, I'd like
         to lead the team in the
         pregame prayer.

                 McGINTY
         No. No praying.
         That's the problem with
         professional sports
         today: too much god
         damn praying. Five
         hundred dollar fine to
         the first man I hear
         praying.

McGinty turns and bums an egg from Mickey and
walks to the middle of the locker room.

He eats the egg as he turns slowly and takes
in his players.

                 McGINTY
         A lot of people are
         waiting for you to fall
         on your asses today.
         And guess what? You're
         going to. But I don't
         give a shit if you look
         funny out there. Or if
         you miss a block, or
         drop a pass, or trip
         over your own dick.
         This is professional.
         And the difference
         between professional
         and amateur, between
         playing for the
         Washington Redskins and
         Michigan State is
         simply... money. You
         are being paid to win.
         Not just to play. Not
         just to learn how to be
         good sports. Not for
         the alumni. You are
         being paid to win. I
         don't care how the fuck
         you do it. But I'm
         demanding it. Because
         those guys whose place
         you're taking have
         forgotten that simple
         fact. So, go win it.

He walks away.   The players get up and start
<b>
</b>moving.

<b>  CUT TO:
</b>

<b>EXT. BIG O - DAY
</b>
We're FOCUSED ON an enormous,    plastic blow-up
Washington Redskin helmet that    bobs on the
ground in front of the exit to    the field.
The idea is, the players will    run into and
then out of the helmet as they    are
introduced.

Annabelle and her fellow twenty cheerleaders
are lined up on either side of the bobbing
helmet, waiting for the players.


<b>ON MADDEN AND SUMMERALL
</b>
They are in their booth, vamping ON CAMERA.

<b>                  MADDEN
</b>          ... Pretty bold move by
          New England Patriot
          owner Victor Kiam, who
          went out and bought an
          entire semi-pro team
          once the strike
          happened.
<b>                  (MORE)
</b>
<b>                  MADDEN (CONT'D)
</b>          Redskin management, on
          the other hand, is
          going with a bunch of
          unknowns. Their public
          relations people don't
          even have bios yet on
          most of their players,
          although we'll see one
          or two familiar faces
          out there today.

<b>                  SUMMERALL
</b>          Like Shane Falco, the
          enormously talented
          college quarterback
          from Ohio State, who
          never fulfilled his
          potential in the pro's.
                 (to Madden)
          Wow, remember that
<b>
</b>            Sugar Bowl Falco
            quarterbacked when
            Florida State creamed
            them?

<b>                    MADDEN
</b>            Oh, yeah, they were
            absolutely decimated!

<b>                    SUMMERALL
</b>            Dusted. And if I'm not
            mistaken, Falco set a
            record in that game for
            Bowl interceptions.
            Anyway, for some of
            these players this is
            another shot; a last
            shot, probably, for a
            guy like Falco...

<b>  CUT TO:
</b>

<b>INT. TUNNEL - DAY
</b>
Shane is looking out at the field through the
blow-up helmet. He looks scared.

Suddenly, a CANNON goes off with a stomach-
resounding BOOM! Shane jumps.

<b>                    ANNOUNCER
</b><b>            (V.O.)
</b>            Ladies and gentlemen,
            your Washington
            Redskins!


<b>IN STANDS
</b>
A sparse crowd is in attendance, mostly
diehard fans like Todd, Rod and Bob, who are
decked out in burgundy and gold. They look
drunk already as they cheer like mad.

<b>                    ANNOUNCER
</b><b>            (V.O.)
</b>            Here's the starting
            defense today...


<b>INT. TUNNEL
</b>
Bateman is first in line.    He looks like a
<b>
</b>racehorse on cocaine.

<b>                    ANNOUNCER
</b><b>            (V.O.)
</b>            At middle linebacker,
            number 56, Daniel
            Bateman!

Bateman takes off at a dead run out of the
tunnel and into the helmet.


<b>ON HIS FOOT
</b>
It hits a wire stretched across the ground
inside the helmet.


<b>ON BATEMAN
</b>
He trips big-time into the side of the
helmet. He bounces (it's inflated,
remember?) to the other side, bounces again
and is shot out of the front of it like a
cannon ball.


<b>ON CHEERLEADERS
</b>
Bateman bounces out of the helmet and takes
out the first six cheerleaders.

Girls fly left and right.       One girl is
knocked out of her shoes.


<b>ON MADDEN AND SUMMERALL
</b>
Madden covers his face.     Summerall looks
pained.

<b>                    SUMMERALL
</b>            Oh, my...


<b>IN STANDS
</b>
Even the hardcore Todd, Rob and Bob can
hardly look at the carnage.


<b>OUTSIDE STANDS
</b>
A contingent of strike players like Eddie
<b>
</b>Martel and Wilson Jones huddle in the parking
lot. They are laughing their asses off as
they watch on a personal TV.


<b>ON FIELD
</b>
Cheerleaders are down and screaming in pain.
Annabelle is running from girl to girl, doing
triage.


<b>ON BATEMAN
</b>
He's sheepishly standing to one side as
trainers come out to assist.


<b>INT. BLOWUP HELMET
</b>
Jamal and Shane are examining the trip wire.
Obviously, they were sabotaged.

<b>                    JAMAL
</b>            Bastards.

<b>                    ANNOUNCER
</b><b>            (V.O.)
</b>            And now... uh, the rest
            of the Washington
            Redskins.

The rest of the team walks unceremoniously
out of the helmet and onto the field.

<b>  CUT TO:
</b>

<b>EXT. FIELD - DAY
</b>
BOOM! The Patriot kicker puts one in the end
zone for a touchback.

The ball is placed on the twenty as Shane and
the offense walk out onto the field.

Shane walks slowly toward the huddle that's
forming.


<b>IN HUDDLE
</b>
Andre and Mickey Lee are arguing.
<b>
</b><b>                   ANDRE
</b>           That's where I stand.

<b>                   LEE
</b>           No it's not.

<b>                   ANDRE
</b>           Come on, man, that's my
           spot in the huddle.


<b>ON SHANE
</b>
As he walks, we hear McGinty's voice in
Shane's helmet. Yes, they do it by one-way
helmet radio so the filtered voice you hear
is McGinty, speaking into his headset mike.

                   McGINTY (V.O.)
           All right, son, nice
           and easy now. Let's
           run our ten planned
           plays, get a feel for
           the land...

Shane walks into the huddle and chaos.

<b>                   ANDRE
</b>           ... Fat fucking nip!
           You don't know shit!

<b>                   LEE
</b>           What did you call me?!

<b>                   ANDRE
</b>           You heard me, you tub a
           rice shit!

<b>                   SHANE
</b>           Hold on, what's the
           problem here?

Andre and Lee ignore Shane and start pushing
each other.

<b>                   LEE
</b>           I'm gonna kick your
           black ass...

<b>                   ANDRE
</b>           You ain't kickin' jack
           shit...

Now Jamal gets involved as Shane tries to get
<b>
</b>between them.

<b>                    JAMAL
</b>                   (to Lee)
            Don't be messing with
            my brother...

<b>                    SHANE
</b>            Hey, hold on...


<b>ON REF
</b>
He's watching the play clock and when it gets
to zero he pulls his penalty flag and throws
it.

<b>                    REF
</b>            Delay of game!    Five
            yards!


<b>IN HUDDLE
</b>
Lee suddenly punches Andre through his face
guard. Andre knocks into Shane and spins him
around. Jamal then goes to punch Lee, he
misses and nails Shane in the back of the
helmet.

Shane goes down hard.


<b>ON MADDEN AND SUMMERALL
</b>
They look confused.

<b>                    SUMMERALL
</b>            ... I don't know.
            Something seems to be
            going on in the huddle.
            It looks like... yes,
            Shane Falco is on his
            back. They haven't run
            a play yet but Falco is
            down.

<b>                    MADDEN
</b>            This is not a good
            sign.


<b>ON FIELD
</b><b>
</b>Trainers race out to Shane, who is lying face
up with the huddle standing over him.

<b>                 SHANE
</b>                (clearing the
         cobwebs)
         What happened? Am I
         hurt already?

Shane sits up.   Suddenly, he remembers what
happened.

<b>                 SHANE
</b>         God damn it! I am the
         quarterback! I am the
         only one supposed to
         talk in the huddle!

<b>                 ANDRE
</b>         Yeah, but he took my
         place...

<b>                 SHANE
</b>         I don't give a shit!

Shane gets to his feet.

<b>                 SHANE
</b>         Huddle up!

Everybody leans in.

<b>                 SHANE
</b>         If you've got something
         to say, raise your
         hand! Is that
         understood?!

Lee raises his hand.   Shane grits his teeth
and nods.

<b>                 LEE
</b>         Suppose like, you don't
         feel good. Or you're
         hurt or something like
         that. Then what?

<b>                 SHANE
</b>         Then you tell me before
         the huddle starts!
         Okay, listen up: 68
         blue east storm toss.
         On two.
<b>
</b>Jamal raises his hand.

<b>                     SHANE
</b>            What?!

<b>                    JAMAL
</b>            That's to the right...
            right?

<b>                    ANDRE
</b>            No, it's to the left.

<b>                    SHANE
</b>            It's to the right!

<b>                    JAMAL
</b>            You better be quiet,
            Shane, they'll hear
            you.

We do hear a WHISTLE.        A penalty flag flies
by.

<b>                    REF
</b>            Delay of game!     Five
            yards!

Shane throws ups his hands.


ON McGINTY

He's talking into his mike.

                    McGINTY
            What the hell is going
            on?


<b>ON MADDEN AND SUMMERALL
</b>

<b>                   MADDEN
</b>            Well, Pat, so far the
            Redskins have minus ten
            yards offensively.


<b>ON O'NEIL
</b>
He's in bed sucking oxygen watching the game.
Augustine sits with him.

<b>                     O'NEIL
</b><b>
</b>            Turn it off. This is
            going to kill me.


<b>ON REDSKIN HUDDLE
</b>
It breaks this time and everyone runs to the
line of scrimmage.

<b>                    SHANE
</b>            Blue 68. Blue 68!
            Hut! Hut!

On the snap, Shane turns to head off to
Lamont but instead runs right into Jamal who
knocks him down.

Shane looks up at Jamal.

<b>                    SHANE
</b>            Have you suddenly
            decided you don't like
            me, Jamal?

<b>                    JAMAL
</b>            Oh. You said it was to
            the right, didn't you?


<b>IN HUDDLE
</b>
Shane leans in.

<b>                    SHANE
</b>            Okay. Let's try
            something simple. 18
            red left slot open.
                   (to Jamal)
            That's to the left!

They break and Shane lines up over his
center.

<b>                    SHANE
</b>            Eighteen red! Eighteen
            red! Hut! Hut!

On the snap, Shane hands to Lamont who sweeps
left, cuts inside and picks up eight yards.

Shane is ecstatic.

<b>                    SHANE
</b>            Yeah!
<b>
</b>And then a penalty flag flies by.

<b>                 REF
</b>         Holding! Number 78.

Shane looks at Jamal who is trying
desperately to hide his number.

Shane leans in with the next play. Cochran,
playing right tackle, can't resist.

<b>                 COCHRAN
</b>         You see. We should
         have prayed.

<b>                 SHANE
</b>         Shut up! Pass. 22
         Solo right slot 'A,' Y
         stick. On one.

They break and come to the line of scrimmage.

<b>                 SHANE
</b>         Twenty-two green.    Hut!

Shane does a play action fake to Lamont and
then turns downfield.

Wham! He's buried by three defenders. The
ball squirts loose and the Patriots recover.


<b>ON PILACHOWSKI
</b>
He's livid on the sidelines. As his
offensive line comes off he rants at them.

Shane hobbles off past:

The defense rushing onto the field led by
Bateman.

<b>                 SUMMERALL
</b><b>         (V.O.)
</b>         Washington comes up a
         minus fourteen yards on
         their first possession.


<b>ON PATRIOTS
</b>
They break their huddle and come to the line
of scrimmage. Bateman is snorting fire.
<b>
</b>Earl Wilkinson (with SMITH on the back of his
jersey) patrols the secondary and calls out
the formation.

<b>                  EARL
</b>          Wide right! You got
          wide right! Check on
          the wing!

The PATRIOT QUARTERBACK sets up over center.

<b>                  PATRIOT QB
</b>          Blue fourteen!

Bam! Bateman runs offside and flattens the
quarterback. Penalty flags fly everywhere.


<b>ON SIDELINE
</b>
Defensive Coordinator Banes rolls his eyes.

The Ref moves the ball five yards and gives
the offside sign.


<b>ON PATRIOTS
</b>
They come out of the huddle again.

<b>                  PATRIOT QB
</b>          Green eighty-seven!

Pow! Bateman dives offside again and
forearms the Quarterback, knocking him on his
back. Flags fly again.

One Patriot lineman makes the mistake of
pushing Bateman. Bateman literally jumps on
his head. More flags fly.


<b>ON SIDELINE
</b>
Banes is screaming something unintelligible
at Bateman.


<b>ON BALL
</b>
It's marched downfield by the Ref, this time
fifteen yards.
<b>
</b>OVER this we hear:

<b>                      SUMMERALL
</b><b>              (V.O.)
</b>              I think the Redskins
              just set a record for
              penalties in the first
              three minutes. We're
              waiting for the stats
              on that...

Here come the Patriots again.

<b>     CUT TO:
</b>

<b>FIRST HALF MONTAGE
</b>
<b>A)    SHANE
</b>
      rolls to his right but the blitz    is on
      and he reverses and rolls left.     He's
      finally cornered and has to dump    the ball
      off. The pass is incomplete and     he's
      knocked on his ass.

<b>B)    SHANE
</b>
      fakes to Lamont and rolls again.     He
      fires a bullet to Franklin on a    down and
      out. Clifford actually catches     the ball,
      then bobbles it and in trying to    get
      possession again, hands the ball    to the
      defender.

      The defender can't believe it for a beat
      and then he streaks down the sideline and
      scores.

C)    McGINTY

      just shakes his head.

<b>D)    TODD, ROB AND BOB
</b>
      scream in pain. Rod pours his own beer
      over his own head.

<b>E)    O'NEIL
</b>
      looks disgusted as he watches with
      Augustine.

<b>F)    BATEMAN
</b><b>
</b>     grabs the opposing running backs' face
     mask and spins him around and around.
     Flags fly everywhere.

<b>G)   SHANE
</b>
     is on the run again looking for a
     receiver. He finally throws the ball...
     right into the hands of the opposing
     safety.

     Shane dives for the guy and misses.   The
     safety scores.

<b>H)   ANNABELLE
</b>
     is trying desperately to get the crowd
     into the game by jumping up and down and
     waving her pom poms.

     Five guys right in front of her get up
     from their seats, take all their stuff
     and leave.

<b>        CUT TO:
</b>

<b>EXT. GAME - ANGLE ON SCOREBOARD - SECOND QUARTER
</b>
shows the Patriots up 17 to 0.


<b>ON SHANE
</b>
He's rolling in the back field again looking
for a receiver.


<b>SHANE'S POV
</b>
Nothing but meat coming at him.


<b>BACK TO SCENE
</b>
Shane panics and tosses the ball out of
bounds. Shane looks at McGinty on the
sidelines. We hear McGinty's voice.

                     McGINTY (V.O.)
             You had Lamont open in
             the flat.
<b>
</b>Shane puts his head down like he knows it.

                    McGINTY (V.O.)
            Come on, now, son.
            Pick up your pace on
            the roll. See the big
            picture. Pump and
            fake, pump and fake.


<b>IN HUDDLE
</b>
Everyone is dirty, sweating bullets and
breathing very hard.

Shane leans into the huddle.

Lee is raising his hand.

<b>                    SHANE
</b>            What?

<b>                    LEE
</b>            I don't feel good.

And with that he promptly vomits sixteen
eggs.

<b>                    ANDRE
</b>            Oh, God!

<b>                    COCHRAN
</b>            Oooooh...

<b>                    JAMAL
</b>            Man, that's ripe!

Everyone is reacting.       Some players gag.

<b>                    EVANS
</b>            Shane, we got to move!

<b>                   SHANE
</b>            Okay. On the count of
            three. Everyone more
            left. Hut! Hut! Hut!


<b>ON HUDDLE
</b>
Eleven bentover guys move in unison with tiny
steps to their left.
<b>
</b><b>ON PATRIOTS' LINEBACKER
</b>
The guy watches the huddle moving.

<b>                    PATRIOT LB
</b>            What the fuck is this?


<b>ON MADDEN AND SUMMERALL
</b>
Summerall has his binoculars on the moving
huddle.

<b>                    SUMMERALL
</b>            John, how many years
            have we been calling
            games together?

<b>                    MADDEN
</b>            Seventeen, I think.

Pat just hands John the binoculars.


<b>IN HUDDLE
</b>
Shane calls the play as they continue to move
as one.

<b>                    SHANE
</b>            U brown right, west 19
            A lead. That's you,
            Mickey. Puke on him if
            you have to.


<b>ON HUDDLE
</b>
The huddle stops and they break for the line
of scrimmage.


<b>ON LEE
</b>
He lines up face to face with the Patriots'
defensive end.

Lee breathes in the guy's face and the
Patriot gags.

<b>                   SHANE (O.S.)
</b>            Hut!

Lee runs right over the guy.       He's quickly
<b>
</b>followed by Lamont with the ball.

Lamont runs for eighteen yards and a first
down.


<b>ON PATRIOT DEFENSIVE END
</b>
He's waving for a substitute as he weaves off
the field.

<b>                 MADDEN (V.O.)
</b>         Very nice off tackle
         run by Lamont.
         Execution was letter
         perfect.

<b>                 SUMMERALL
</b><b>         (V.O.)
</b>         That puts the Redskins
         in field goal range.
         And here comes Pacifico
         to see if he can get
         them on the board
         before the half ends.


<b>ON PACIFICO
</b>
He flicks his smoke away as he runs out onto
the field.


<b>INT. BAR (QUEENS, NEW YORK)
</b>
A guy sitting at the bar turns his head
quickly to the televised game when he hears
Pacifico's name.

This is the same mafioso type who saw Lou
kick the ball that knocked the godfather's
hat off. Remember?


<b>EXT. BIG O - ON SHANE - DAY
</b>
He crouches down and waits for the snap from
Evans.

Pacifico lines himself up.

<b>                 MADDEN (V.O.)
</b>         This will be a forty-
         five yarder. That's a
<b>
</b>         tough distance for your
         first N.F.L. field goal
         try.

<b>                  SHANE
</b>         Hut!

It's a perfect snap.   Shane spots it,
Pacifico belts it.

And it goes through for three.


<b>ON TODD, ROD AND BOB
</b>
They begin immediately singing "Hail to the
Redskins," a march always sung after a score.
They and the sparse crowd in the stadium know
and sing every word.


<b>ON PACIFICO
</b>
He gets high fives all around. Then Bateman
runs up and in his ecstasy, slaps Pacifico in
the head.

Pacifico goes down, knocked out cold.


<b>ON CHEERLEADERS
</b>
Led by Annabelle, the girls are doing a
stirring finale to "Hail to the Redskins."

<b>  CUT TO:
</b>

<b>INT. LOCKER ROOM - DAY (HALF-TIME)
</b>
Everyone is lying on the floor.

Shane has ice bags on his head, shoulder,
elbow and both knees.

Pacifico is getting smelling salts from a
trainer as Bateman hovers nearby waiting to
apologize.

Mickey Lee is chewing ice.

Cochran is reading his Bible.

McGinty walks in and bends down to Shane.
<b>
</b>                 McGINTY
                (quietly)
         You got to look for
         Murray over the middle.
         You got to trust me on
         this: he's a big,
         tough kid with good
         hands.

<b>                 SHANE
</b>         We can't put three
         plays together without
         a penalty, a fumble of
         a fight.

                 McGINTY
         You still got a whole
         half left. You're a
         thoroughbred out there
         running against a bunch
         a nags. You can pick
         these fuckers apart.

Shane smiles through his pain.

<b>                 SHANE
</b>         You're good. You're
         really good.

<b>  CUT TO:
</b>

<b>EXT. FIELD - DAY
</b>
The Patriots have the ball. Their
Quarterback drops back for a pass and throws
it.


<b>ON WILKINSON
</b>
Earl is covering the intended receiver. He
deftly steps in front of the guy, and makes a
diving catch.


<b>ON MADDEN AND SUMMERALL
</b>
<b>                 SUMMERALL
</b>         Another terrific
         interception by Smith.
         That's his second.
<b>
</b>Madden starts shuffling through pages.

<b>                 MADDEN
</b>         Yeah, this guy is a
         player.

He finds the paper he's looking for.

<b>                 MADDEN
</b>         According to the
         Redskins, Ray Smith...
         is... that's weird. No
         college given, no high
         school given. It just
         says he's been a
         resident of the state
         of Maryland for the
         last four years and
         five months. Likes to
         embroider.

<b>  CUT TO:
</b>

<b>EXT. FIELD - DAY
</b>
Shane is walking toward the huddle.     In his
ear, he hears:

                 McGINTY (V.O)
         Half your job is
         getting that huddle in
         the right mindset. Use
         your imagination,
         Shane.

Shane stops short of the huddle.     Everyone is
looking at him.

There is a beat and then Shane steps in.

<b>                 SHANE
</b>         Okay, let's all take a
         few seconds to think
         about what we were
         doing for a living...
         just last week.

Shane looks around the huddle.     Everybody
looks pained and/or depressed.

<b>                 SHANE
</b>         Good. Let's kick ass.
         Red right pass 15 x
<b>
</b>             hook.

They break the huddle and Shane sets up over
Evans. He glances over at Brian Murray.

Murray is lined up in a three point stance at
tight end. But his head is turned and he's
looking directly at Shane.

<b>                     SHANE
</b>             Red fifteen! Red
             fifteen! Hut!

Shane nods on the snap.

The front five, in the persons of Andre,
Jamal, Reese, Mickey Lee and Cochran, hit out
and simultaneously knock their men on their
backs.

Shane, with plenty of time, hits Murray over
the middle for twelve yards.

Shane looks over at the sidelines.   McGinty
is smiling.


<b>MONTAGE
</b>
<b>A)   SHANE
</b>
     is under pressure but he rolls smoothly
     and rockets the ball downfield.

Murray pulls it in for fifteen yards.

<b>B)   SHANE
</b>
     rolls left off the shotgun, fights off a
     cornerback and throws back across field,
     complete to Lamont coming out of the
     backfield.

<b>C)   PATRIOT
</b>
     is calling for a fair catch on a punt.
     He catches the ball but Bateman flies
     INTO FRAME and decks him. Flags fly.

<b>D)   ANDRE AND JAMAL
</b>
     are blocking side by side, pushing their
     men back as Lamont squeezes through with
     the ball.
<b>
</b><b>E)   EVANS
</b>
     is pass blocking like the all pro that he
     is. He knocks his man flat and then
     doubles up on Cochran's man.

<b>F)   BATEMAN
</b>
     is pursuing a running back.   He knocks
     down an official and runs right over him.
     Then he gets his hands on the running
     back and pushes him out of bounds and
     then knocks over a photographer.

<b>G)   SHANE
</b>
     pumps once and then drills a twenty yard
     spiral.

     Clifford Franklin beats his man and dives
     for the ball. He bobbles it, and then
     squeezes it to his stomach as he hits the
     ground.

<b>        CUT TO:
</b>

<b>INT. BOOTH - DAY
</b>
Madden uses his pen on the screen to try to
explain a play. There are already lines
everywhere.

<b>                     MADDEN (V.O.)
</b>             ... began with a
             Redskin end around, but
             Cochran, the pulling
             tackle ran into Falco's
             pitchout ... see?
<b>                     (MORE)
</b>
<b>                           MADDEN (V.O.) (CONT'D)
</b>             Right here, it bounced
             off his helmet. Then
             it was kicked by Landon
             and then Hayes touched
             it, I think, and then
             Green got a hand on it,
             and then Bellinski
             recovered it and then
             he lost it, and finally
             the ball took a crazy
             bounce right back into
<b>
</b>            Falco's hands, look at
            his face here. He's as
            surprised as anybody!
            Falco then ran it back
            to just about the
            original line of
            scrimmage, executed the
            same play -- an end
            around to Murray -- and
            the Skins score.
            Welcome to Strike
            Football!


<b>ON PACIFICO
</b>
Boom!   He boots the extra point.

Scoreboard:    Patriots 17, Redskins 10.

<b>  DISSOLVE TO:
</b>

<b>EXT. FIELD - LATE AFTERNOON
</b>
We're on the clock which shows one minute ten
seconds left in the fourth quarter.


<b>ON HUDDLE
</b>
It breaks and comes to the line of scrimmage.
Shane drops into the shotgun.

<b>                    SHANE
</b>            Hut, hut!

Shane rolls left but there's a blitz! The
cornerback is almost on him when Shane shifts
and rolls the other way.


<b>ON FRANKLIN
</b>
He's wide open five yards from the goal line.


<b>ON SHANE
</b>
They're breathing down his back.


<b>SHANE'S POV
</b><b>
</b>He sees Franklin and cocks his arm.
Suddenly, opposing jerseys are everywhere.

Shane dumps the ball. He's immediately
decked by a defensive end.


<b>ON BALL
</b>
We watch the flight of it in SLOW MOTION. We
FOLLOW it right INTO the hands of... a New
England Patriot defensive back.


<b>ON SHANE
</b>
He's down and not moving.


<b>ON TODD, ROD AND BOB
</b>
They scream in despair.


<b>ON ANNABELLE
</b>
She falls to her knees in pain.

<b>                   SUMMERALL
</b><b>           (V.O.)
</b>           Falco is intercepted.
           That's too bad.

<b>                   MADDEN (V.O.)
</b>           Yeah, and it looks like
           he's hurt, too. He was
           really starting to put
           it together here in the
           fourth quarter. Only
           forty-eight seconds now
           left on the clock.


<b>ON SHANE
</b>
He's helped off the field and onto the bench.


ON McGINTY

He grabs Bateman before he can run out onto
the field.

                  McGINTY
<b>
</b>           Danny.
                  (very slowly)
           Get me the ball.

<b>                   BATEMAN
</b>           The ball. Okay, Coach.

He runs out onto the field.


<b>ON PATRIOTS
</b>
They line up.

<b>                   PATRIOT QB
</b>           Hut, hut, hut!

The quarterback hands off to the running back
right up the middle in a typical "run out the
clock" play.

BAM! Bateman comes out of nowhere, decks the
runner and literally rips the ball out of his
hands as he goes down.


<b>ON CROWD
</b>
They go wild!


<b>ON ANNABELLE
</b>
She does a cartwheel.


ON McGINTY

He's leaning over a groggy Shane on the
bench.

                   McGINTY
           Don't shake your head
           at me. You are going
           back in there. You are
           gonna run the same god
           damn play, you are
           gonna throw the ball to
           Franklin again and this
           time, he's gonna score.

<b>                   SHANE
</b>           I can't...
<b>
</b>McGinty grabs some smelling salts from a
hovering trainer.

He shoves them under Shane's nose.    Shane is
suddenly very awake.

                    McGINTY
            You are the only one in
            this entire stadium who
            can do it. Do you
            understand me? You can
            do something no one
            else can do. So, start
            right here. Start
            living your destiny.
            Or give it up for good.
            Right here. Right now.

Shane stares at him.

Then he stands up, wobbles and puts on his
helmet.


<b>ON HUDDLE
</b>
They're all turned and watching as Shane
makes his way slowly out onto the field.

Annabelle watches him closely.

<b>                    SUMMERALL
</b><b>            (V.O.)
</b>            Here comes Falco with
            eighteen seconds left
            on the clock.

<b>                    MADDEN (V.O.)
</b>            I'm surprised to see
            him again after that
            shot he took from
            Bellinski.


<b>ON HUDDLE
</b>
It breaks and Shane stands over Evans and
looks out at the defense.

Nasty-looking linebackers and cornerbacks
stare at him.

<b>                    SHANE
</b>            22 green!
<b>
</b>His voice cracks and several defensive
players openly laugh at him.

Shane gets an idea.

<b>                    SHANE
</b>            Check! Black 43!
            Black 43!


<b>ON ANDRE
</b>
He's down in a three-point stance facing a
defender. He whispers to Reese:

<b>                    ANDRE
</b>            What's that mean?

<b>                   REESE
</b>                  (whispering
            back)
            He's changing the play.
            Listen!

<b>                    SHANE
</b>            Black 43!

<b>                    MADDEN (V.O.)
</b>            It's a long count.
            Falco could be calling
            an audible.


<b>ON LAMONT
</b>
He shifts position in the backfield.

<b>                    LAMONT
</b>                   (to Shane)
            Is this right?

<b>                   SHANE
</b>                  (shaking his
            head)
            Black 43 left!

Lamont shifts again. Clifford goes in motion
from his flanker position but then changes
his mind and goes back the other way.

Lamont and Clifford then bump into each
other.
<b>
</b><b>ON PATRIOT DEFENSE
</b>
They are totally confused now as they try to
adjust to the equally confused Redskins.


ON McGINTY

He looks extremely pissed.


<b>ON SHANE
</b>
<b>                    SHANE
</b>           Hut!   Hut!

He turns to hand the ball off to Lamont but
Lamont is not there.

Shane turns the other way and sees Lamont
just standing there looking at him. Shane
runs over to him and hands him the ball.

Meanwhile, the Patriot defense is going the
other direction.

Lamont takes off.

One cornerback is not taken in. The guy
dives for Lamont's legs. We hear a CLANK as
the cornerback's HELMET hits Lamont's
industrial KNEE BRACE. The guy bounces off
and Lamont trots into the end zone.

<b>                   SUMMERALL
</b><b>           (V.O.)
</b>           Lamont scores!

<b>                   MADDEN (V.O.)
</b>           Whoa! Falco calls an
           audible at the line of
           scrimmage and Lamont
           takes it in!

Shane, meanwhile, is looking at McGinty on
the sidelines.

                   McGINTY (V.O.)
                  (in Shane's
           helmet)
           I guess you saw
           something I didn't.
<b>
</b>Shane nods vigorously.

                    McGINTY (V.O.)
            Don't try to bullshit
            me, pal. You didn't
            want it. Winners
            always want the ball
            with the game on the
            line. You know that.

Shane looks down.

                    McGINTY (V.O.)
            Alright. The play
            is... waggle right,
            drag hook. You
            understand?

Shane nods.


<b>ON O'NEIL
</b>
He looks ten years younger as he and
Augustine watch.

<b>                    SUMMERALL
</b><b>            (V.O.)
</b>            With eight seconds
            remaining, Pacifico
            will try the extra
            point that will send
            this game into
            overtime.

<b>                    MADDEN (V.O.)
</b>            This turned out to be
            one hell of a contest,
            Pat!


<b>ON PACIFICO
</b>
He sets up for the kick.


<b>ON SHANE
</b>
He waits for the snap.


<b>ON BRIAN MURRAY
</b>
He sets up at his flanker position.
<b>
</b><b>                   SHANE
</b>            Hut!

Shane catches the snap and pitches the ball
out to Murray from his holding position.

<b>                    MADDEN (V.O.)
</b>            It's a fake!

The Patriot right defensive end breaks
through and reaches for Murray. The only
person in his way is Shane, still kneeling in
the holding position. Shane screams as the
huge lineman trips over him and then falls on
him.

Murray sweeps around the right side and
scores untouched.

Redskins win.

Everybody goes nuts.


<b>ON O'NEIL
</b>
He pounds on Augustine.


<b>ON TODD, ROD AND BOB
</b>
They pound on each other.     Hail to the
Redskins is deafening.


ON McGINTY

He just smiles.


<b>ON SHANE
</b>
He's still under the defensive end. Reese
Evans pulls the guy off and bends down to
Shane.

<b>                    REESE
</b>            We won, Shane.   We won!

Shane manages a painful smile.

<b>  DISSOLVE TO:
</b><b>
</b><b>INT. WASHINGTON HILTON - BAR - NIGHT
</b>
It's packed with players, friends and
assorted groupies.

Pacifico is smoking and talking non-stop to a
group who hang on his every word.

Andre is already passed out at a booth.
Jamal supports one side of Andre so he
doesn't fall over.

Murray is signing to several fans who sign
back.

Clifford Franklin signs autographs.

Earl Wilkinson, dressed to the nines, is
dancing close and slow with a gorgeous woman.

Shane is at the bar and he's not in good
shape. He's got cuts and bruises visible and
every time he moves he grimaces. The
martinis are starting to help, however.

He's talking to a stunning WOMAN IN RED.

<b>                 SHANE
</b>         ... ultimately, it's a
         pain thing, you know?
         I mean, it's Darwinian,
         the survival of the
         numbest. Whoever can
         take the pain most,
         gets the largest
         contract. It's sick.

He finishes his martini and throws the olive
over his shoulder.

<b>                         WOMAN
</b><b>         IN RED
</b>         Exactly. Let me buy
         you another.

She signals to the bartender.

<b>                 WOMAN IN RED
</b>         I don't know how you do
         it. I hate pain. Pain
         is a no no as far as
         I'm concerned.
<b>
</b>Shane gets his new drink, takes a sip and
visibly slumps at the bar.

<b>                           SHANE
</b>                (slurring)
         I'm glad that you are
         concerned.

<b>                 WOMAN    IN RED
</b>         Hey, are you    alright?
         I'll take you    up to
         your room, if    you like.

Shane looks at her closely.

<b>                 SHANE
</b>         I would like.

<b>  CUT TO::
</b>

<b>INT. HALLWAY - NIGHT
</b>
Shane weaves down the hallway with the Woman
In Red.


They stop at a door.

<b>                 SHANE
</b>         Here's home.

Shane fumbles for a key.

Another stunning-looking woman suddenly
appears from down the hall. This is the
<b>WOMAN IN BLUE.
</b>
<b>                 WOMAN IN RED
</b>         A friend of mine is
         going to join us, okay?

<b>                  WOMAN IN BLUE
</b>         Hi.   Ready to party?

She checks the hallway, takes the key from
Shane and sticks it in the lock.

<b>                 SHANE
</b>                (looking at both
                 women)
         Oooooh. Bookends.

<b>                 WOMAN IN BLUE
</b><b>
</b>         And you're the book,
         baby.

Suddenly, Annabelle Farrell appears in the
hallway.

<b>                 ANNABELLE
</b>                (to the girls)
         Go away. Both of you.

<b>                 WOMAN IN RED
</b>         Fuck off!

Crack! Annabelle punches her in the nose
with a straight right hand. The girl bounces
off the wall.

<b>                 SHANE
</b>                (to Annabelle)
         These are my guests.

<b>                 WOMAN IN RED
</b>                (now bleeding)
         You crazy bitch!

Both girls take off.

<b>                 SHANE
</b>         Why did you do that?

Annabelle opens the door.

<b>                 ANNABELLE
</b>         You were about to be
         rolled.

<b>                 SHANE
</b>                (as he enters)
         That's what I was
         hoping.


<b>INT. ROOM - NIGHT
</b>
Annabelle is pulling the bed down as Shane
falls into a chair.

<b>                 ANNABELLE
</b>         They work the bar
         downstairs looking for
         drunk Redskins.

Shane looks embarrassed.
<b>
</b><b>                 SHANE
</b>         I guess they found one.

<b>                 ANNABELLE
</b>         Don't feel so bad.
         It's a rookie mistake.

She turns and sees that he's already passed
out.

She looks at him not unkindly. Then she
unbuckles his belt and starts pulling his
pants off.

<b>  DISSOLVE TO:
</b>

<b>INT. ROOM - CLOSE ON SHANE'S BEAT UP FACE - DAWN
</b>
as he opens his eyes.

He rolls over and screams in pain.


<b>ON ANNABELLE
</b>
She's wearing nothing but a Redskins' T-
shirt. She quickly bends over him.

<b>                  ANNABELLE
</b>         Here.   Take this.

<b>                 SHANE
</b>                (groaning)
         What is it?

<b>                 ANNABELLE
</b>         It's for the pain.
         Take it. It's only a
         little bit illegal.

Shane takes it and swigs a glass of water.

<b>                 SHANE
</b>         Oh, God. I've got to
         go to the bathroom.
         It's far away, isn't
         it?

<b>                 ANNABELLE
</b>         I'll help. We'll just
         take our time.

She helps him get out of bed.   When he
<b>
</b>stands, he screams again.

<b>                 ANNABELLE
</b>         Kidneys.

<b>                 SHANE
</b>         Oh, man. My hair
         hurts.

<b>                 ANNABELLE
</b>         You took a hell of a
         beating. The martinis
         didn't help, either.

She walks him to the bathroom like an old
man. He shuffles in and closes the door.

<b>                 ANNABELLE
</b>         Don't be afraid if
         you've got blood in
         your urine. That's
         normal.

<b>                 SHANE (O.S.)
</b>         Did you undress me?

<b>                 ANNABELLE
</b>         Yes.

<b>                 SHANE (O.S.)
</b>         And you... slept here
         with me?

<b>                 ANNABELLE
</b>         Yes.

<b>                 SHANE (O.S.)
</b>         Did we... ?

<b>                 ANNABELLE
</b>         Are you kidding? You
         were catatonic.

He appears again at the door.

<b>                 SHANE
</b>         No blood.

<b>                  ANNABELLE
</b>         Good.   Back to bed.

He leans on her as she walks him back.

He gets into bed with a moan.
<b>
</b><b>                    SHANE
</b>            May I ask you a
            personal question?

She nods.

<b>                    SHANE
</b>            Do you do this for all
            Redskin quarterbacks?

<b>                    ANNABELLE
</b>            Of course not.

<b>                    SHANE
</b>            Then why me?

Annabelle takes her time answering.

<b>                    ANNABELLE
</b>            I don't know. I guess
            I can't resist a man
            who can take a hit.

<b>                    SHANE
</b>            I can't take a hit!

Annabelle cradles his head.

<b>                   ANNABELLE
</b>            Shhh. It's all in your
            head. Now, get some
            sleep.

<b>  CUT TO:
</b>

<b>INT. HOTEL HALLWAY - DAY
</b>
Annabelle walks up to Shane's door with a
stack of newspapers. She enters.


<b>INT. ROOM - DAY
</b>
The bathroom door is closed.      Annabelle talks
to him anyway.

<b>                    ANNABELLE
</b>            You're the golden boy
            in the press this
            morning.

She reads a headline.
<b>
</b><b>                 ANNABELLE
</b>         'Falco scores big.'
                (to herself)
         Well... not really.
                (still reading)
         Hey, a lot of the
         regular players are
         starting to cross the
         picket line.

<b>                 SHANE (O.S.)
</b>         Redskins?

<b>                 ANNABELLE
</b>         It doesn't say.

Shane comes out of the bathroom dressed and
ready to go. He's still moving slowly and in
great pain.

<b>                 ANNABELLE
</b>         Where are you going?

<b>                 SHANE
</b>         McGinty called a dinner
         meeting with the whole
         team.

Shane tries to put on his coat, but he's so
sore he can't. Annabelle helps him.

<b>                 SHANE
</b>         Thank you. Thanks
         for... everything.     You
         saved my life.

<b>                 ANNABELLE
</b>         No. Probably just your
         wallet and your watch.

<b>                 SHANE
</b>         And that pill, that
         sure worked.

<b>                 ANNABELLE
</b>         You're basic double D
         Vicodin. But be
         careful: It's habit-
         forming. The best
         stuff always is.

There's another awkward silence.
<b>
</b><b>                      SHANE
</b>           Well...

<b>                   ANNABELLE
</b>           Ice both knees and that
           shoulder before bed.

<b>     CUT TO:
</b>

<b>EXT. CLIFFORD FRANKLIN'S APARTMENT - NIGHT
</b>
Clifford, still carrying his football, comes
out of his apartment in a third floor walk-
up. He's wearing his Redskins jacket.

As he turns around from locking his door, he
stops dead in his tracks.

All of Clifford's neighbors, all the way down
both halls, are standing in front of their
doors.

They all start applauding.

Clifford smiles from ear to ear.


<b>MONTAGE
</b>
<b>A)    ANDRE AND JAMAL
</b>
      are trying to hail a cab on Wisconsin
      Avenue. Suddenly, one cab, then two,
      then four SLAM on their BRAKES.

    Cabbies hop out to open their doors for
the brothers.

<b>B)    ROLAND LAMONT
</b>
      walks down G Street with Brian Murray.
      Brian spots something in a store window
      and stops Roland.

      Roland gasps as he sees himself
      duplicated on ten TV screens in an
      appliance store. He's on tape being
      interviewed at a Redskins' practice.

<b>C)    EARL WILKINSON
</b>
      dressed in casual chic, is moving quickly
      through Lord and Taylor's Department
<b>
</b>      Store    with two sales clerks in tow. He
      stops,    grabs four cashmere sweaters,
      smells    them, hands them to one clerk and
      moves    on.

<b>D)    LOU PACIFICO
</b>
      is standing in front of the White House.
      He has a line of ten people who are
      paying five bucks for an autographed
      picture of himself that he hands out from
      a huge stack.

<b>     CUT TO:
</b>

<b>EXT. PALM RESTAURANT - ESTABLISHING - NIGHT
</b>
We see Shane walk in the door.


<b>INT. PALM - NIGHT
</b>
The Scabskins are all being served dinner in
a private room.

Mickey Lee is served a steak the size of a
briefcase. Andre and Jamal get lobsters big
enough to be pets.

Ed O'Neil is being fed pureed asparagus by
Augustine. When Augustine drops the napkin
and bends over, O'Neil whispers urgently to
Cochran who is enjoying a steak:

<b>                   O'NEIL
</b>           I'll give you 50
           thousand dollars for a
           bite of that steak!

McGinty taps his glass at the head of the
table and stands.

                   McGINTY
           Alright, listen up:
           There have been a lot
           of rumors about the
           regular players
           crossing the picket
           lines. They are not
           rumors. Many union
           players have now seen
           the error of their ways
           and are coming back in
<b>
</b>         droves. Apparently,
         they have been struck
         with the realization
         that it is a blessing
         to be playing
         professional football.

There is dead silence in the room.   Everybody
thinks it's over.

                 McGINTY
         But they had their
         chance. Now it's your
         turn. Mister O'Neil
         and I have agreed to
         ban all striking
         players and to continue
         to go with you guys.

There's a beat and then everyone breaks into
cheers.

Suddenly, the door flies open and a REPORTER
and a cameraman step in and start filming.
The Reporter shoves a microphone at McGinty.

<b>                 REPORTER
</b>         Coach, what will be
         your strategy against
         New York this Sunday?

Out in the restaurant, patrons see the
players and a few break into "Hail to the
Redskins."

Suddenly, the whole restaurant starts
singing.

Shane looks embarrassed.

Pacifico stands up on his seat, and conducts
the singing.

Andre and Jamal hold their lobsters in the
air and make them dance to the song.

<b>  CUT TO:
</b>

<b>INT. EDDIE MARTEL'S HOUSE - NIGHT
</b>
We're ON a TELEVISION showing Pacifico
conducting and the entire restaurant singing.
<b>
</b>Eddie Martel (Redskin quarterback) is
watching the scene at home on the late local
news.

<b>                 NEWSPERSON
</b><b>         (V.O.)
</b>         ... The Palm patrons
         showed an impromptu
         appreciation tonight
         for the new Washington
         Redskins. They may be
         unknowns and far from
         superstars, but it sure
         looks like they have
         charmed the fans.

Martel looks very angry.

<b>  CUT TO:
</b>

<b>INT. SHANE'S ROOM - NIGHT
</b>
Shane answers his door.     Annabelle is
standing there.

<b>                   SHANE
</b>         Hi.    Come in.

<b>                  ANNABELLE
</b>         No.

She gives him a bottle of pills.

<b>                 ANNABELLE
</b>         We don't travel with
         the team. So, here's
         Tylenol with codeine,
         regular Vicodins, the
         magic bullet one that I
         gave you before, and a
         couple of Darvons if
         you actually break
         something. Pop 'em in
         the ambulance.

<b>                   SHANE
</b>         Wow.    Thanks.

<b>                 ANNABELLE
</b>         I'll be watching on TV.
         The Giants got back
         three of their four
         defensive linemen.
<b>
</b>         Plus their middle
         linebacker.

<b>                  SHANE
</b>         Yeah.   I know.

<b>                 ANNABELLE
</b>         What can I say? Go
         from the shotgun and
         scramble your ass off.

Shane smiles at her.

She suddenly grabs him and they kiss big-
time.

Then she breaks and walks quickly away.

Shane doesn't know what to make of this.

<b>  CUT TO:
</b>

<b>EXT. MEADOWLANDS (NEW JERSEY) - DAY
</b>
We're DOWN ON the field in the middle of a
play.

Shane is running away from three New York
Giant defensive linemen.

Shane is not even looking for a receiver.
He's looking to save his life.

Finally, he's caught by a six-foot-five, two
hundred and seventy pound defensive end named
HANK MORRIS, who throws him down and lands on
top of him. Oooof!

<b>                 MORRIS
</b>                (in Shane's ear)
         Hello, again!


<b>INT. CONTROL BOOTH - ON SUMMERALL AND MADDEN - DAY
</b>
They're back in their booth calling the game.

<b>                 MADDEN
</b>         That's all-pro Hank
         Morris's third sack,
         his second here in the
         fourth quarter and the
         sixth of the day for
<b>
</b>            the Giants. Falco is
            gonna be sore tonight.

<b>                    SUMMERALL
</b>            If he can stay alive
            that long. Ten-three
            New York in what has
            turned out to be an
            incredible defensive
            duel.


<b>EXT. STADIUM - DAY
</b>
Jerome Lindell is once again outside the
stadium, picketing with a smaller group of
players.

He does his interview on camera, standing in
front of a huge semi-truck.

And a big, overweight truck driver stands
next to him.

<b>                    LINDELL
</b>            ... because it's about
            brothers, and
            brotherhood and
            standing together
            against the oppressors.
            That's why I am so
            grateful to our
            Teamster brothers who
            have joined us here
            today in New York to
            protest the greed squad
            known as the N.F.L.
            owners.

The truck driver suddenly pumps his arm and a
<b>CACOPHONY OF TRUCK AIR HORNS GO OFF.
</b>
It's deafening but Lindell smiles through it
all.


<b>EXT. FIELD - DAY
</b>
Shane is rolling out with Morris on his heels
again. He can't find anyone open and runs
out of bounds.


<b>IN HUDDLE
</b><b>
</b>Everybody is breathing hard, beat-up and
exhausted. Shane leans in.

<b>                   SHANE
</b>                  (to Reese Evans)
           You got to double up on
           Morris.

<b>                   EVANS
</b>           He's too far outside
           for me to get to him.
                  (to Cochran)
           Bring him down and sit
           on him.

<b>                   COCHRAN
</b>           He's huge! He's been
           beating the crap out of
           me all day! I feel
           like a rag doll out
           here.

<b>                   LEE
</b>           I'll help this time.

<b>                   SHANE
</b>           Okay. Spread left 'A'
           Right, roll right Half
           Back Sail. On two.

They break.   Shane sets up in the shotgun.

<b>                   SHANE
</b>           Red, fifteen.   Hut,
           hut!

On the snap, Lee and Cochran double-team
Morris.

Morris slaps Cochran away like, well, a rag
doll, and then confronts the Sumo master.

He bumps stomachs with Lee. Lee flies
through the air and lands on his ass.


<b>ON SHANE
</b>
He spots his receiver, he cocks his arm and
wham! Morris decks him. And, of course,
lands on him. Oooof!

<b>                  MORRIS
</b><b>
</b>                (to Shane)
         It's just me, fuck-
         face!

In order to get up, Morris puts one huge hand
on Shane's helmet and pushes himself up.
Shane moans as his face guard digs a four-
inch hole in the turf.


ON McGINTY

He's talking into his mike.

                 McGINTY
         You want a time-out?
         That looks like it
         hurt.

Shane gets up. He's got a huge piece of turf
stuck in his face guard so that for a beat,
we can't even see him.

Then he pulls out the dirt and grass, and we
see Shane really pissed off for the first
time.

<b>                 SHANE
</b>         Huddle up!

Everyone gathers around.

<b>                 SHANE
</b>         Same thing... Except...
                (to Lee and
                 Cochran)
         Let him in. Don't
         touch him.

<b>                 LEE
</b>         What?

<b>                 EVANS
</b>         Shane...

<b>                 SHANE
</b>         Shut up! Let him
         through. On two.

They break the huddle.     Shane goes into a
shotgun.

<b>                 SHANE
</b>         Red fifteen. Hut!
<b>
</b>         Hut!

Shane does a three-step drop from the
shotgun.

Cochran and Lee hit out on either side of
Morris, giving him a clear shot at Shane.

Morris comes hard and fast.

Shane looks downfield, winds up, turns and
fires the ball at Morris's head.

The ball goes like a bullet for five feet and
then sticks like a dart in Morris's face
guard.

For a moment, Morris is blinded.

And Shane is dumbfounded.

Then Morris starts to wrestle the ball out of
his mask.

<b>                 SHANE
</b>         Get him!

Andre and Jamal grab onto Morris who starts
stumbling down field with the ball still
stuck in his helmet.

<b>                 MADDEN (V.O.)
</b>         Morris intercepts!
         Wait! The ball is
         stuck in his face!

But Morris won't go down. He's still trying
to pry the ball loose as he throws off Jamal.

Then he shakes off Andre.


<b>ON BRIAN MURRAY
</b>
He's in SLOW MOTION in midair, diving towards
Morris.


<b>MURRAY'S POV
</b>
It's absolutely QUIET (he's deaf, remember?)
as he soars towards Morris's head, helmet and
ball.
<b>
</b>Wham! Murray's full body weight hits Morris
in the helmet, which flies off and rolls
across the field with the ball still stuck in
it.

OUT OF THE SILENCE, we suddenly hear the hit
and the crowd roar.

Morris goes down like a building with Murray
buried in his throat.


<b>ON ROOM (D.C.)
</b>
Todd, Rod and Bob are destroying Todd's den
in reaction to the hit.


<b>ON ANOTHER LIVING ROOM
</b>
Annabelle is screaming "Whoa!" to that hit.


<b>ON O'NEIL AND AUGUSTINE
</b>
They're watching ON TV.

<b>                 O'NEIL
</b>         Now that's a hit!


<b>ON BALL AND HELMET
</b>
It's in the very chubby hands of Mickey Lee,
who is rumbling downfield with the
fumble/helmet recovery.

New York players have been slow to pick this
up because they, too, have been admiring the
lick that Murray put on Morris.

Suddenly, the whole team is chasing Lee.

They catch him pretty easily at the twenty,
but Lee represents a lot of weight.

Lee staggers across the ten, shaking players
off left and right.

One defensive halfback sacrifices himself and
throws himself at Lee's feet.

Lee trips over the guy, gains his footing
again, walks on the guy (who screams in
<b>
</b>agony) and falls into the end zone carrying
three players with him.


<b>ON MADDEN AND SUMMERALL
</b>
John is beside himself.

<b>                    MADDEN
</b>            Lee scores! Lee
            scores! Lee scores! I
            love to see a fat guy
            score!


<b>ON LEE
</b>
He gets up in jubilation, spikes the
ball/helmet combination, and runs through the
back of the end zone.

But he doesn't stop. He's aiming for a low
wall that separates the first row of fans
from the field.


<b>ON FOUR FANS
</b>
They see Mickey rumbling at them and they all
get the picture at the same time. They
scream!


<b>ON MICKEY
</b>
He launches himself into the stands in
ecstasy.


<b>ON FOUR FANS
</b>
Crunch!     Lee lands on all four of them.


<b>ON FOOTBALL
</b>
It's hiked into Shane's hands and Pacifico
boots the extra point.


<b>ON SCOREBOARD
</b>
"Giants 10 -- Redskins 10
 TIME REMAINING: 58 seconds."
<b>
</b><b>ON SIDELINE
</b>
Murray and Lee are getting congratulations
from everyone.

<b>                 PACIFICO
</b>                (to Murray)
         What a hit!
                (slower)
         What a hit!

Murray nods that he understands.

<b>                 EVANS
</b>                (to Murray)
         I'm proud of you, kid.

Jamal and Andre are hugging Lee. In the
b.g., we can see paramedics lifting one of
Lee's four fans onto a stretcher.

<b>                 ANDRE
</b>         You're the one, you're
         the one, you're the
         one...

<b>                 LEE
</b>         You think that's worth
         a shoe deal?

McGinty walks into the middle of it.

                 McGINTY
         Stop with the lovefest!
         Let's get the goddamn
         ball back and win this
         thing!

<b>  CUT TO:
</b>

<b>EXT. FIELD - DAY
</b>
We're CLOSE ON Bateman as he lines up for the
kick-off. Everybody in the stadium knows
that an on-side kick is coming.

Bateman is standing in the hot spot for
recovering the ball.

Shane and everyone with decent hands is on
the field.
<b>
</b>Pacifico lines it up and boots it ten yards.

The ball takes a crazy hop, hits a Giant, and
ricochets off him.

Bateman runs over two guys and grabs the ball
on the bounce. He's got it.

But Bateman doesn't go down. He turns and
starts running across the field.

Shane runs after him.

<b>                 SHANE
</b>         No! Danny, go down!
         You're using up the
         clock!

But Bateman likes this new job: kick-off
returner! Especially after he runs over a
Giant and stiff-arms another.

Bateman is finally trapped on the far
sideline after gaining perhaps eight yards.

So, he turns and starts running back the
other way.

Shane has been chasing him and now sees
Bateman running back at him.

Shane has no choice but to throw himself in
front of Bateman's legs.

Bateman goes down.

Shane jumps up:

<b>                 SHANE
</b>                (to ref)
         Time out!

Bateman looks up at Shane.

<b>                 BATEMAN
</b>         Beautiful tackle,
         Shane!

<b>                 SUMMERALL
</b><b>         (V.O.)
</b>         Now that's something
         you don't see everyday!
<b>
</b><b>ON CLOCK
</b>
Bateman has burned up most of the clock.
Eighteen seconds remain.


<b>ON SIDELINE
</b>
McGinty, Shane and Pacifico confer.

<b>                   SHANE
</b>           We got time for one
           play, but if we don't
           get it out of bounds,
           the game is over.

                   McGINTY
           Yeah, but you're
           looking at a sixty-five
           yard kick from here.

<b>                   PACIFICO
</b>                  (smoking a butt)
           No problem.

<b>                   SHANE
</b>           Seriously?

<b>                   PACIFICO
</b>                  (to Shane)
           You hold it. I'll kick
           it.

McGinty looks at Shane and they both shrug.

                   McGINTY
           What the fuck.


<b>ON SUMMERALL AND MADDEN
</b>
Madden can't believe it.

<b>                   MADDEN
</b>           I can't believe it!
           McGinty is gonna let
           Pacifico try the field
           goal from sixty-five
           yards out!

<b>                   SUMMERALL
</b>           Hey, John, this kid has
           got a heck of a foot.
<b>
</b><b>                   STRAM
</b>           But sixty-five yards?
           Come on!


<b>ON SHANE
</b>
He's set up to receive the snap.

Pacifico lines himself up the way soccer-
style kickers do.

Then he takes a drag on his smoke, and flicks
it away.

<b>                   MADDEN    (V.O.)
</b>           Pat... did he    just? I
           think that guy    is
           smoking on the    field!

<b>                   SUMMERALL
</b><b>           (V.O.)
</b>           No, I think you
           imagined that one,
           John.

Shane looks at Pacifico and his clean
uniform.

Then Shane looks at his own uniform which is
covered with blood, dirt, and grass stains.

Pacifico looks clean.

<b>                   SHANE
</b>           You look great, Lou,
           you know that?

Pacifico is really touched.

<b>                   LOU
</b>           Really? Thanks, Shane.
           That means a lot to me.

Shane turns to Evans who smiles at him
between his own legs.

<b>                  SHANE
</b>           Hut!

The snap is perfect.    Pacifico boots the shit
out of it.
<b>
</b><b>ON BALL
</b>
End over end, yard after yard, it flies
straight and true.

<b>                  MADDEN (V.O.)
</b>          It's straight enough!
          If it's got the
          distance, it's...

The ball hits the crossbar and goes over.

<b>                     MADDEN (V.O.)
</b>          Good!     Redskins win!

Everybody goes crazy. Players are pounding
on Pacifico. But Pacifico is desperately
looking around for someone.

He spots him: It's Bateman running flat-out
across the field to congratulate him.

Pacifico runs for his life.

<b>  CUT TO:
</b>

<b>INT. APARTMENT DOOR - NIGHT
</b>
Shane knocks. After a beat, the door opens
and Annabelle is standing there rubbing her
eyes. She's wearing a cut-off Redskin
jersey.

<b>                  ANNABELLE
</b>          Are you hurt?

<b>                     SHANE
</b>          No.     Not really.

<b>                  ANNABELLE
</b>          You're getting used to
          being slapped around.
          That's a good sign.

<b>                    SHANE
</b><b>          I...
</b>
Nothing comes out.

<b>                  ANNABELLE
</b>          Would you like to come
          in and make love?
<b>
</b><b>                 SHANE
</b>         Yes. No. I'm here
         because ... I don't
         want to be alone.

<b>                    ANNABELLE
</b>         Most    of the world feels
         that    way. You don't
         have    to be embarrassed
         about    it.

<b>                 SHANE
</b>         But to tell you the
         truth... I'm kind of
         scared of you.

Annabelle takes that in and thinks about it.

<b>                 ANNABELLE
</b>         I won't hurt you.

She takes his hand and leads him inside.

<b>  CUT TO:
</b>

<b>INT. ANNABELLE'S BEDROOM - NIGHT
</b>
Annabelle is giving Shane a slow, sensuous,
full-body massage. It's lucky for us he's on
his stomach.

Shane does a lot of moaning as Annabelle's
fingers work their magic.

She gets to a place on his shoulder that's
especially tender. He moans even louder.

<b>                 ANNABELLE
</b>         That shoulder is going
         to need special
         handling.

Annabelle pulls her jersey off and gently
presses her breasts into Shane's back.

Shane puts a pillow over his head to drown
out the ecstasy.

After a beat, he pulls the pillow away.

<b>                 SHANE
</b>         You know what hurts
<b>
</b>         worse than my shoulder?

<b>                 ANNABELLE
</b>         I can't imagine.

<b>                 SHANE
</b>         Their defensive end
         punched me in the
         mouth.

Annabelle starts laughing.

<b>                 SHANE
</b>         Seriously. It's
         killing me.

Annabelle is laughing hard now as Shane rolls
over.

<b>  DISSOLVE TO:
</b>

<b>INT. ANNABELLE'S BEDROOM - NIGHT
</b>
Shane and Annabelle are in a close, after-sex
kind of cuddle thing.

Shane is unburdening himself.

<b>                 SHANE
</b>         ... after that game,
         after being beaten that
         badly in front of the
         whole country, after
         humiliating myself, my
         team, my school, my
         family, I mean -- did
         you know that I set two
         Sugar Bowl records?! I
         was sacked eleven
         times! I threw six
         interceptions!

<b>                  ANNABELLE
</b>         Okay.   Calm down.

<b>                 SHANE
</b>         Anyway, after that, I
         could never seem to
         adjust in the pros. I
         was too scared. I lost
         my balls.

We see Annabelle's hand move slightly under
<b>
</b>the covers.

<b>                 ANNABELLE
</b>         Well, they're back.

<b>                 SHANE
</b>         You know what I mean.
         My nerve. I lost the
         edge you need to play
         this game.

<b>                 ANNABELLE
</b>         I don't believe that.
         I don't think it just
         goes away. It was only
         one bad day, Shane.
         Everybody has those.

<b>                 SHANE
</b>         No. Somehow, I
         convinced myself that I
         couldn't ever win the
         big game. I got so
         down, that I was afraid
         to be playing when a
         game was on the line.
         I was afraid to screw
         up. That's the sure
         sign of a loser. From
         there, it wasn't very
         far to thinking that
         I'll never win, that I
         didn't deserve to win
         at anything. Including
         love.

<b>                 ANNABELLE
</b>         You're wrong. You're
         winning now. You're
         winning me.

They kiss real good.

<b>  CUT TO:
</b>

<b>EXT. O'NEIL MANSION - MORNING
</b>
It's a huge town house in Foggy Bottom.    Its
entrance is now lined with REPORTERS.

One is speaking ON CAMERA to his anchor.

<b>                 REPORTER
</b><b>
</b>         Bob, I'm standing in
         front of Redskins
         owner, Edward Frances
         O'Neil's home and all
         we know right now is
         that the Washington
         player previously known
         as Ray Smith is in fact
         Earl Samuel
         Wilkinson...


<b>INSERT
</b>
We see two photographs of Earl: One with his
current beard and the other, his clean-shaven
mug shot of five years ago.

<b>                 REPORTER (O.S.)
</b>         ... the All Pro Miami
         Safety who was serving
         five to seven years in
         the Maryland state
         penitentiary for three
         counts of aggravated
         assault. As you may
         recall, one of those
         counts was against a
         Baltimore City police
         officer and resulted in
         that officer being
         hospitalized for quite
         some time.


<b>INT. STUDIO - ANCHOR
</b>
He's doing his sports segment from the
studio.

<b>                 ANCHOR
</b>         Any idea how
         Wilkinson's identity
         was discovered and who
         leaked it to the media?

<b>                 REPORTER
</b>         No, Bob, but rumor has
         it that the National
         Football League
         Player's Association
         had something to do
         with it.
<b>
</b><b>                 ANCHOR
</b>         Thanks, Hank.
<b>                (TO CAMERA)
</b>         In other N.F.L. news,
         almost sixty percent of
         the regular players
         have now crossed the
         picket lines and more
         are crossing every day.
         The strike, now in its
         second week, is
         expected to go out with
         a fizzle. Most experts
         think that the Monday
         night Dallas/Washington
         game will be the last
         with replacement
         players. But even that
         game will feature at
         least 75 percent of the
         regular Cowboys. Coach
         James McGinty will try
         to make it a perfect
         three and O with a team
         made up totally of
         replacement players.
         Well... and one felon.
                (pause)
         That we know of.

<b>  CUT TO:
</b>

<b>INT. O'NEIL'S BEDROOM - DAY
</b>
McGinty stares out the window at the
reporters as Augustine feeds O'Neil soup.

                 McGINTY
         Stop worrying. The
         N.F.L. doesn't care if
         he played under an
         assumed name.
         Everything was legal.
         He was let out on a
         work release program.
         He'll be kept under
         house arrest but he'll
         still be able to play.

<b>                 O'NEIL
</b>         Where are we gonna keep
         him?
<b>
</b>                 McGINTY
         In the stadium. We'll
         fix up something
         comfortable for him and
         he'll get his exercise
         by kicking the shit out
         of N.F.L. receivers.

<b>                 O'NEIL
</b>         How did you pull that
         off?

                 McGINTY
         How else? With your
         money.

<b>                 O'NEIL
</b>                (to Augustine)
         Take this cow piss out
         of here.

<b>                 AUGUSTINE
</b>         You used to love
         asparagus soup. They
         say that when the taste
         buds go, you're at the
         beginning of the end.

Augustine leaves with the tray.

                 McGINTY

         I want to keep Falco
         after the strike ends.
         As Martel's back-up.

<b>                 O'NEIL
</b>         Let's keep 'em all.
         The hell with the
         regulars.

                 McGINTY
         You've got to take the
         union players back once
         the strike ends. It's
         part of the collective
         bargaining agreement.

<b>                 O'NEIL
</b>         The hell I do! I'm
         dying! Let 'em sue me.

                 McGINTY
         They'll do worse than
<b>
</b>            that. They'll close
            down the stadium.

<b>                    O'NEIL
</b>            God damn 'em! Then you
            got to beat Dallas.
            The whole country will
            be watching. All those
            millionaires down there
            deserve to have their
            noses rubbed in it.

                    McGINTY
            Ed, let's be honest:
            beating Dallas is gonna
            be a hell of a trick.

<b>                    O'NEIL
</b>            You can pull it    off.
            You proved that    winning
            doesn't have to    look
            pretty. These     boys are
            hungry for it,    Jimmy.
<b>                    (MORE)
</b>
<b>                    O'NEIL (CONT'D)
</b>            There's nothin' more
            dangerous in all of
            sports than a hungry
            team. I remember back
            in '47, we were playing
            Nebraska in the mud...

                    McGINTY
                   (interrupting)
            Ed, I'm begging you --
            no Notre Dame stories.

<b>                    O'NEIL
</b>            Okay, Jimmy, okay. But
            you beat Dallas for me,
            and then I'll go gently
            into that night.

<b>  CUT TO:
</b>

<b>INT. CAR SHOWROOM - DAY
</b>
We're ON    Mickey Lee, who is wearing his
Redskin    game jersey with no pads. He's
stuffed    into a Cadillac Brougham, a big-ass
version    of the Caddy.
<b>
</b>He's talking directly TO US.

<b>                  LEE
</b>          You'll score, too, with
          a Cadillac from Coleman
          Cadillac. It's a big
          car for a big man.

Mickey is very wooden as a spokesperson.    He
tries again.

<b>                  LEE
</b>                 (same thing)
          You'll score, too, with
          a Cadillac from
          Coleman's Cadillac.
          It's a big car for a
          big man.

<b>                  DIRECTOR (O.S.)
</b>          That's good, Mickey,
          that's real good.
          Let's try it again.

Mickey looks game.


<b>MONTAGE
</b>
<b>A)   EXT. STADIUM
</b>
     Andre, Jamal, Brian Murray, Roland
     Lamont, Daniel Bateman, Lou Pacifico and
     Shane are standing outside the stadium
     after practice. They are all mobbed by
     autograph seekers.

All of them are signing as fast as they can.

<b>B)   EXT. WASHINGTON MONUMENT
</b>
     The guys are on the grounds of the
     Washington Monument. They are lined up
     against a bunch of little kids. Shane
     takes the snap. (The ball is a miniature
     rubber football.)

     All the linemen fall down. The kids
     blitz and sack Shane for a big loss.

     Annabelle watches and laughs and claps.

<b>C)   MICKEY LEE
</b><b>
</b>      still crammed into the Cadillac.   He
      looks exhausted and pissed.

<b>                   LEE
</b>                  (in a monotone)
           You'll score, too, with
           a Cadillac from Coleman
           Cadillac. It's a big
           car, for a big man.

<b>                   DIRECTOR (O.S.)
</b>           Okay. Good. That was
           good. Let's try it
           again...

<b>                   LEE
</b>                  (exploding)
           What?! I'm not doing
           it again! Who are you,
           Orson Welles?! This is
           nuts!

      Lee tries unsuccessfully to get out of
      the car.

<b>D)    ALL REPLACEMENT PLAYERS
</b>
      are lined up in Redskin jerseys, minus
      pads. It's team picture day and everyone
      looks happy to be there.

<b>     CUT TO:
</b>

<b>INT. HILTON - NIGHT
</b>
Shane walks down the hall to his room.        He
enters.


<b>INT. SHANE'S ROOM - NIGHT
</b>
He walks in and closes the door.

When he turns around, Eddie Martel, ex-
Washington Redskin quarterback, is sitting on
Shane's bed.

Two defensive linemen-types stand by the
window.

<b>                   SHANE
</b>           What's this?
<b>
</b><b>                 MARTEL
</b>         This is a visit.

<b>                 SHANE
</b>         A visit. Who let you
         in?

<b>                 MARTEL
</b>         I used to nail one of
         the housekeepers.

<b>                 SHANE
</b>         Lucky girl.

<b>                 MARTEL
</b>                (pointing to the
                 linemen)
         You know who these guys
         are, don't you?

<b>                 SHANE
</b>         Dallas Cowboys.     Howdy.

<b>                 MARTEL
</b>         You'll be seeing a lot
         of these guys tomorrow.

<b>                 SHANE
</b>         What do you want?

<b>                 MARTEL
</b>         Who, me? Not much.
         But these boys wanted a
         little head start on
         you.

There's a beat and then Shane suddenly bolts
for the door. But the two linemen grab and
hold him.

<b>                 SHANE
</b>         I'm flattered that you
         actually think we have
         a chance to win.

<b>                 MARTEL
</b>         It can be a game of
         luck. And under no
         circumstances can we
         allow a scab team to go
         three and O.
         Especially against the
         Dallas Cowboys. It's
         just not good for the
<b>
</b>         game.

<b>                 SHANE
</b>         Is the union behind
         this 'visit'?

<b>                 MARTEL
</b>         I can't really say,
         Shane. By the way,
         have you ever tried
         throwing a football
         with bruised ribs?

He kicks Shane viciously in the side.     Shane
screams.

<b>                 MARTEL
</b>         The pain makes it damn
         near impossible.

The linemen drops Shane on the floor.

<b>                 MARTEL
</b>         And one other thing: I
         want you to stay away
         from Annabelle.

Shane is gasping on the floor.

<b>                 MARTEL
</b>         The sad fact is she
         won't give me the time
         of day. But you can't
         have everything I want.
         I can't let that
         happen. So, you gotta
         stop seeing her. Just
         on principle.

Martel viciously kicks Shane again.     Shane
screams.

<b>                 MARTEL
</b>         Let me hear you say it.

Shane is trying to get his breath.

<b>                 MARTEL
</b>         Come on. You can do
         it.

<b>                 SHANE
</b>                (barely visible)
         I won't go out with her
<b>
</b>         anymore.

<b>                 MARTEL
</b>         Good.
                (to the linemen)
         Gentlemen?
                (to Shane)
         Hey, have a great game!

They move toward the door.

<b>  CUT TO:
</b>

<b>EXT. BIG O - MAGIC HOUR
</b>
Once again, fans stream into the parking
lots.

In a corner of a lot, Jerome Lindell is once
again holding forth ON CAMERA.

But this time, he's standing with a hard-
looking guy in a suit, named MATHESON.

<b>                 LINDELL
</b>         I think that Mister
         Matheson here, and
         myself, are very close
         to an agreement that
         will put the 'pro' back
         in pro-football.

<b>                 REPORTER
</b>         Mister Matheson, what
         are the sticking points
         in the negotiations as
         far as the owners are
         concerned?

<b>                 MATHESON
</b>         Only one: that the
         players immediately go
         back to work with no
         change in the existing
         contract.

Lindell looks uncomfortable.   But he smiles
anyway.

<b>  CUT TO:
</b>

<b>INT. MONDAY NIGHT FOOTBALL BOOTH - NIGHT
</b><b>
</b>The familiar "MONDAY NIGHT FOOTBALL THEME
SONG" is just ending. AL MICHAELS does his
on camera intro.

<b>                 AL
</b>         Good evening from the
         Big O here in
         Washington D.C. where
         the mighty Dallas
         Cowboys take on the
         Cinderella Washington
         'Scabskins' as they
         have come to be known.
         Hi, I'm Al Michaels and
         we are witnesses to a
         unique matchup tonight
         as Shane Falco and a
         contingent of strike
         players go up against
         the entire regular
         squad of the Dallas
         Cowboys. Yes, you
         heard right: every
         Cowboy has now crossed
         the picket line, some
         as late as this
         afternoon, and they
         will all play tonight.
         Can a rag tag group of
         hasbeens and castoffs
         stand up to what was
         once called America's
         team? And what about
         the strike itself? It
         has been so ineffective
         that many predict it
         will be over before
         this game ends. Stay
         tuned as Boomer and Dan
         join me for strike
         ball, D.C. style.


<b>EXT. STADIUM - MAGIC HOUR
</b>
Eddie Martel, Wilson Jones and other regular
Redskins take their seats on the fifty yard
line.

<b>  CUT TO:
</b>

<b>INT. REDSKIN LOCKER ROOM - NIGHT
</b><b>
</b>Everyone is just about dressed in their
uniforms and ready to go.

Lou Pacifico enters in street clothes and
starts undressing quickly. He looks worried.

Shane watches Lou for a beat. We see Shane
shift his upper body and grimace.

McGinty enters and pulls Shane aside.

                 McGINTY
         Congratulations. It's
         official. You're
         staying on after the
         strike.

Shane smiles in spite of the pain.

                 McGINTY
         It's probably better
         that you not say
         anything to the rest of
         the guys until after
         the game. Okay?

<b>                 SHANE
</b>         Whatever you say,
         Coach.

McGinty walks into the middle of the locker
room and goes into pre-game speech mode.

                 McGINTY
         Alright, listen up.
         The strike is just
         about history. By
         tomorrow, you will no
         longer be Redskins.
         It's important that you
         leave here, however,
         with the knowledge that
         you have made a
         difference in your own
         life, in the owner's
         life -- or what's left
         of it -- and especially
         the fans'. You have
         proven to a skeptical
         America that sports is
         not about contracts, or
         agents or shoe deals.
         Sports is about rising
<b>
</b>         to the occasion. We
         have one more
         opportunity tonight to
         do that, one more
         chance to show what
         heart is all about.
         The Dallas Cowboys are
         waiting out there to
         kill you. I expect
         nothing less than for
         you to win even in your
         death throes. We have
         a powerful weapon on
         our side tonight:
         there is no tomorrow
         for most of you. And
         that makes you very
         dangerous people. Use
         it.

<b>  CUT TO:
</b>

<b>EXT. STADIUM - DAY
</b>
Boom! Pacifico belts the kick-off deep into
the end zone. Touchback.


<b>ON AL, DAN AND BOOMER
</b>
The three hosts sit in shirtsleeves and ties,
headphones on.

<b>                    AL
</b>         That    is one    very big
         leg    on Lou    Pacifico.
         He's    a big    reason why
         this    strike    team is two
         and    0.

<b>                 DAN
</b>         But the fact is, a
         kicker does not an
         offense make. I think
         tonight the Scabskins
         will have a very rude
         awakening.

<b>                 BOOMER
</b>         But you have to admit,
         Dan, Falco is proving
         to be the real thing.
<b>
</b><b>                   DAN
</b>           Well, Boomer, no, I
           don't have to admit
           anything.

<b>                     BOOMER
</b>                    (rolling his
           eyes)
           Here we go...

Everybody laughs politely.

<b>  CUT TO:
</b>

<b>EXT. FIELD - DAY
</b>
Bam! Earl Wilkinson flattens a Dallas punt
returner. He's now wearing a jersey with his
real name on the back.


<b>ON TODD, ROD AND BOB
</b>
Bob is dressed in a striped convict suit with
Wilkinson's number on it.

He gets high fives from Todd and Rod for
Wilkinson's hit.


<b>ON SHANE
</b>
He walks out onto the field to join the
huddle.

<b>                     ANNABELLE
</b>           Shane!

He turns and sees a smiling Annabelle.

Shane gives her a guilty wave and then
cringes with the pain of just having to lift
his arm.


<b>ON LINE OF SCRIMMAGE
</b>
The Redskins line up. Cochran is opposite
Butler, the big tackle that "visited" Shane's
room.

<b>                     COCHRAN
</b>                    (to Butler)
<b>
</b>           I just want to say what
           an honor it is to play
           opposite you. And if
           it's not too much
           trouble, I would love
           to have your autograph.

<b>                   BUTLER
</b>           No problem.

<b>                    SHANE (O.S.)
</b>           Hut!   Hut!

On the snap, Butler bashes Cochran's head
with his forearm and knocks his helmet off.
Then he runs over him.


<b>ON SHANE
</b>
He under-throws a very weak-looking pass to
Lamont.

Shane grits his teeth against the pain.


<b>ON COCHRAN
</b>
He's dazed and still on the ground.

Butler walks over and bends down to him.

<b>                   BUTLER
</b>           I'm gonna autograph
           your body with bruises,
           you scab-ass son of a
           bitch!

<b>  CUT TO:
</b>

<b>EXT. FIELD - DAY
</b>
Shane is in the backfield, once again running
for his life.

He's rolling left with Butler on his heels.
He throws another weak incomplete pass to
Murray.

Shane is crushed by Butler after he throws
the ball.

<b>                   BUTLER
</b><b>
</b>           How's that side feel?

<b>                   SHANE
</b>                  (grimacing)
           Like Christmas morning.

Butler leans on Shane's side as he gets up.
Shane gasps with pain.


ON McGINTY

He's watching Shane closely.   Then he talks
into his mike.

                   McGINTY
           What's the matter with
           your arm? Are you
           alright?


<b>ON AL, DAN AND BOOMER
</b>
They're watching the replay on their monitor.
Dan is very happy.

<b>                   DAN
</b>           What pursuit! Butler
           never gave up on him.
           That's a 270-pound guy
           who moves like a
           halfback.

<b>                   BOOMER
</b>           Dan, I think Butler's
           hit on Falco was late,
           to tell you the truth.

<b>                   DAN
</b>           Well, of course you do.
           You were a wimp
           quarterback.

<b>                   AL
</b>           Easy, guys.

Some laughter.

<b>     CUT TO:
</b>

<b>FIRST-HALF MONTAGE
</b>
<b>A)    DALLAS KICKER
</b><b>
</b>     Boom! The Dallas kicker puts away the
     extra point after a score.

<b>     ON SCOREBOARD
</b>
     Dallas 7, Washington 0.

<b>B)   SHANE
</b>
     is under pressure as he rolls out. When
     a defensive lineman gets close, he throws
     the ball away like we've seen him do
     before. A defensive back intercepts.
     Dallas's ball.

<b>C)   BALL
</b>
     Boom! The ball goes through the uprights
     for a Dallas field goal.

<b>     ON SCOREBOARD
</b>
     Dallas 10, Washington 0.

<b>D)   AUGUSTINE
</b>
     massages O'Neil's feet as the old man
     watches the game. He looks worried.

<b>E)   PACIFICO
</b>
     smokes and stalks the sidelines. He
     looks up into the stands and sees the
     mafioso type looking down at him.

<b>F)   SHANE
</b>
     steps up in the pocket. He looks
     downfield but in the face of the pass
     rush, he throws the ball weakly out of
     bounds.

<b>G)   LEE
</b>
     is pass-blocking but the first guy spins
     him around and the second guy runs right
     around him.

<b>H)   BATEMAN
</b>
     is double-teamed on a pass rush. He
     spins but he can get no leverage against
     his opponents. When the play ends, he
<b>
</b>     pushes one of them.

     A penalty flag flies by.

<b>I)   ROLAND LAMONT
</b>
     takes a    pitch out, is immediately hit
     hard and    loses the ball. A cornerback
     picks it    up and takes it all the way for
     a Dallas    score.

<b>J)   WILKINSON
</b>
     steps up and bats a ball away from a
     Dallas receiver. A flag flies.
     Wilkinson argues the call.

<b>K)   COCHRAN
</b>
     is lined up across    from Butler. On the
     snap, Butler slaps    Cochran in the face
     mask with his big,    fat club of a hand.
     Cochran disappears    OUT OF FRAME.

<b>L)   DALLAS KICKER
</b>
     Boom! The Dallas kicker puts away the
     extra point after a Dallas touchdown.

<b>     SCOREBOARD
</b>
     Dallas 24, Washington 0.

<b>M)   EDDIE MARTEL, WILSON JONES AND OTHER
</b><b>     REDSKINS
</b>
     sitting in the stands look satisfied.

<b>        CUT TO:
</b>

<b>EXT. FIELD - DAY
</b>
The Redskins huddle. Shane is in pain.       He
looks up at the clock.


<b>ON CLOCK
</b>
There's thirty-two seconds left in the half.

<b>                     SHANE
</b>           Okay.    Red right 15 X
           hook.
<b>
</b>The break the huddle and come to the line of
scrimmage.

<b>                  SHANE
</b>          15 X hut!

Shane rolls right and looks downfield. He
holds the ball and keeps rolling. No one can
get open.

Suddenly, Lamont cuts in front of him and
yells:

<b>                   LAMONT
</b>          Shane!

Lamont sees an open lane and Shane follows
him. He eats up 15 yards before two
defensive halfbacks close in.

Lamont throws an incredible block and takes
out both guys.

Shane blows by and heads for the end zone.
Only a safety stands between Shane and pay
dirt.


<b>CLOSE ON SHANE
</b>
His side is killing him with every step he
takes.

When the safety moves up on him, Shane panics
and goes down in the same kind of slide that
Eddie Martel did in the beginning.

Boom!   The GUN SOUNDS and the half ends.

Shane sees Redskin trainers running out onto
the field.

He turns and sees Lamont rolling on the
ground in pain as he holds his bad knee.
<b>   CUT TO:
</b>

<b>INT. MONDAY NIGHT FOOTBALL BOOTH - NIGHT
</b>
The boys are doing their half-time stand up.

<b>                  AL
</b>          That's the end of the
<b>
</b>         first half and not
         surprisingly, it was
         all Dallas. The
         Cowboys had over two
         hundred yards
         offensively versus
         Washington's frankly
         pathetic thirty-eight
         yards. That's total
         offense. Falco got
         close to scoring on the
         last play of the half
         but he appeared to have
         slipped. By the way,
         running back Roland
         Lamont was hurt on that
         play and word is he's
         on his way to the
         hospital.

<b>                 DAN
</b>         Al, the battle is being
         fought and won in the
         trenches. You can't
         expect a bunch of pick-
         up players to stand up
         to a professional pass
         rush like the Cowboys.

<b>                 BOOMER
</b>         There's still a whole
         half left, Dan. And
         remember, Falco is
         proving to be a second-
         half quarterback.

<b>                 DAN
</b>         You got to be kidding.

<b>                 BOOMER
</b>         Those big, fat boys in
         the trenches get awful
         tired. You ought to
         know that, Dan.

No laughter.

<b>                 AL
</b>         Okay, let's join Chris
         Berman with our half-
         time show. Chris?

After a beat we hear:
<b>
</b><b>                  DIRECTOR (V.O.)
</b>         Clear!

<b>                 AL
</b>         What's wrong with you
         guys?!

<b>                 BOOMER
</b>         He started it.

<b>                 DAN
</b>         I did not! You called
         me fat!

<b>                 BOOMER
</b>         I did not! But you
         are!

Dan reaches across Al and grabs Boomer by the
throat.

<b>                 AL
</b>         Stop it!

The three of them start wrestling in the
booth.

<b>  CUT TO:
</b>

<b>INT. REDSKIN LOCKER ROOM - NIGHT
</b>
Everyone is nursing a bruise or some sort of
wound. Shane is nowhere to be seen.

McGinty walks into the middle of the locker
room.

                 McGINTY
         Alright, listen up:
         The strike is
         officially over.
         They're announcing it
         on TV right now. So
         this is it, gentlemen.
         We have one half left
         to keep from being
         totally humiliated.
         You are better than the
         present score. You
         have nothing but your
         own self-respect riding
         on this game. It's up
         to you. Here's your
<b>
</b>         swan song, people. How
         are you gonna sing it?

And with that he walks out.     Everybody looks
beaten and depressed.


<b>EXT. OUTSIDE LOCKER ROOM - DAY
</b>
Shane stops two paramedics who push Roland
Lamont on a stretcher. Roland is really
hurting.

<b>                 SHANE
</b>         I'm sorry, Roland.
         That was a great block.

<b>                 ROLAND
</b>         For my last play in
         football, I'll take
         that block.

Shane looks terribly guilty.

<b>                 ROLAND
</b>         I thought you were
         going to score. What
         happened? Did you
         slip?

Shane can't look at him, but he nods.

<b>                 ROLAND
</b>         That's what I thought.

<b>                 SHANE
</b>         You were a warrior,
         Roland. I'm gonna miss
         you.

<b>                 ROLAND
</b>         It was a dream come
         true. Go kick some ass
         for me.

The paramedics roll him away.     Shane slumps
against the wall near tears.

McGinty comes out of the locker room.     He
locks eyes with Shane for a beat.

And then McGinty turns his back on him and
walks away.
<b>
</b><b>INT. LOCKER ROOM - DAY
</b>
Everyone is quiet.   Shane walks in.

SID, the equipment manager, sees him and
yells.

<b>                 SID
</b>         Hey, Shane, I just
         heard.
         Congratulations!

He smacks Shane on his bad side and Shane
grimaces.

<b>                 WILKINSON
</b>         Congratulations on
         what?

<b>                 SID
</b>         Shane is staying on.
         He's gonna be Martel's
         backup.

Everyone stares at Shane for a beat.

<b>                 ANDRE
</b>         Is that true?

<b>                 SHANE
</b>         Yes, Andre. It's true.

Nobody says anything for a beat.

<b>                 FRANKLIN
</b>         I got to tell you,
         Shane, you played the
         first half like you
         were staying. Like you
         already had a contract.

Shane looks around the room at this beaten
bunch. No one makes eye contact with him.

<b>                 SHANE
</b>         You're right, Clifford.
         And I'm sorry. But now
         I want to go out there
         and either beat these
         bastards or die trying.
         I never wanted to beat
         anybody so bad in my
         life.
<b>
</b>Everybody lets this sink in.

Earl Wilkinson finally speaks up.

<b>                 EARL
</b>         I don't know what yawl
         are doin' tomorrow, but
         my ass is goin' back to
         jail. But if I gotta
         go, I want to go back a
         winner.

<b>                 EVANS
</b>         Hell, I'm retiring. I
         have thirty minutes of
         football left in my
         whole career. I'm
         homicidal!

<b>                 BATEMAN
</b>         Me, too, Reese!

<b>                 EARL
</b>         Let's get it on!

Everybody turns to Shane.

<b>                 SHANE
</b>         Gentlemen, our problem
         is the Cowboys aren't
         afraid of us. But they
         should be!

<b>                 LAMONT
</b>         Damn straight!

Everybody whoops!

<b>                 SHANE
</b>         We've got one chance on
         offense to make our
         stand -- the first play
         of the half.

<b>                 JAMAL
</b>         One touchdown ain't
         gonna help, Shane.

<b>                    SHANE
</b>         No.     But one nasty-ass
         play    might. We just
         gotta    be brave. And
         trust    each other.
<b>
</b>Shane happens to glance at Pacifico.
Pacifico won't meet his eye.

Shane turns to Sid.

<b>                  SHANE
</b>          Help me with this.

Sid helps Shane strip his jersey off.

Everyone reacts to the bruises on Shane's
side.

<b>                  SHANE
</b>          Somebody has to tape me
          up.

<b>  CUT TO:
</b>

<b>EXT. FIELD - NIGHT
</b>
The Cowboys are already back on the field as
the Redskins come out of their locker room.

<b>                  AL (V.O.)
</b>          ... at nine-forty
          Eastern time, the
          agreement was reached,
          and except for this
          upcoming second half,
          the strike is history.


<b>ON AL, DAN AND BOOMER
</b>
Boomer's tie is off and his shirt is torn.
Dan looks guilty, but still angry.

<b>                  DAN
</b>          It's about time. I say
          let the professionals
          back on the field. The
          fans deserve nothing
          less.

<b>                  BOOMER
</b>          Yeah, you would say
          that.


<b>ON BALL
</b><b>
</b>The Dallas kicker puts the ball in the end
zone for a touchback.


<b>ON SHANE
</b>
He starts to follow the offense out on the
field. Then he turns and sees Annabelle
engrossed in a cheer.

He runs over to her.

<b>                   ANNABELLE
</b>           Are you okay? Is it
           your side?

<b>                   SHANE
</b>           I'm okay. I owe you an
           apology.

<b>                      ANNABELLE
</b>           What?     You do?

<b>                   SHANE
</b>           Yes. I'll explain
           later. But thank you
           for believing in me.
           You give me strength
           just looking at you.

And with that, Shane takes her in his arms
and kisses her deeply.

The crowd on that side of the field reacts to
the kiss with a "Wooooooo!"

<b>                   AL (V.O.)
</b>           Well, this is a first.
           Shane Falco seems to
           be...

<b>                      BOOMER (V.O.)
</b>           Hell,    Al, he's necking
           with    a cheerleader!
           I've    done a little of
           that    in my time.

<b>                   DAN (V.O.)
</b>           The players are not
           supposed to fraternize
           with the cheerleaders.

<b>                   BOOMER (V.O.)
</b>           Hey, Dan, what are they
<b>
</b>            gonna do?   Fire him?!


<b>ON SHANE
</b>
He breaks the kiss and looks up in the stands
at Eddie Martel.

Shane gives him the finger.

The crowd goes "Wooooo!" at that too.

Martel doesn't think this is funny.

Shane walks onto the field leaving a confused
but happy Annabelle.

He walks past Dallas defensive lineman
Butler.

<b>                    BUTLER
</b>            That wasn't too smart.

<b>                    SHANE
</b>            Suck my dick.

Butler is too shocked for a comeback.


<b>ON HUDDLE
</b>
It breaks and Shane walks to the line of
scrimmage.

<b>                    AL (V.O.)
</b>            Here we go, first and
            ten for the Redskins.
            Twenty-four zip Dallas.

We can see now that Wilkinson and Bateman are
now part of the offense.

They line up as receivers opposite defensive
halfbacks. In fact, everyone but Shane is on
the line of scrimmage, paired up across from
a cowboy.

Shane leans over Reese and takes in the
Dallas defense.

The Dallas MIDDLE LINEBACKER yells at Shane.

<b>                    LINEBACKER
</b>            Are you ready for more
<b>
</b>             pain, footsteps?

Shane just smiles.

<b>                     SHANE
</b>             Blue thirteen! Blue
             thirteen! Hut! Hut!
             Hut!


<b>MONTAGE
</b>
On the snap, many things happen at once:

<b>A)   COCHRAN
</b>
     sticks his fingers inside Butler's face
     mask and pokes both eyes. Butler
     screams!

<b>B)   SHANE
</b>
     throws the ball as hard as he can at the
     middle Linebacker and hits him in the
     crotch. The guy grabs himself and
     collapses.

<b>C)   CLIFFORD FRANKLIN
</b>
     kicks his defender in the shins as hard
     as he can. The defender screams and
     falls down.

<b>D)   BATEMAN
</b>
     gets a cornerback across from him in a
     choke    hold. The guy can't breathe but
     Bateman holds on.

<b>E)   WILKINSON
</b>
     lifts up his defender's face guard and
     connects with a right hand to the guy's
     chin.

<b>F)   LEE
</b>
     pulls the defensive lineman in front of
     him to the ground. Then he falls on him.
     The guy screams.


<b>ON FIELD
</b><b>
</b>All across the line of scrimmage, Redskins
are punching, kicking and gouging the Dallas
defense.

WHISTLES BLOW.   Flags fly everywhere.

Most of the Dallas players are down and
screaming.

Jamal stands across from a DEFENSIVE LINEMAN.
He hasn't touched the guy. But he nods to
the player to look at his hand.

The guy looks down just as Jamal flicks open
a deadly-looking switchblade.

The guy jumps back and yells:

<b>                 DEFENDER
</b>         He's got a knife!

But there is so much confusion that nobody
pays any attention. Jamal slips the knife
away.

<b>                 AL (V.O.)
</b>         Whoa! Flags fly
         everywhere! I've never
         seen anything like
         this!

<b>                 BOOMER (V.O.)
</b>         Unbelievable! One
         Washington player had a
         Cowboy in what appeared
         to be a police choke
         hold.

<b>                 DAN (V.O.)
</b>         I see at least five
         flags... no six!

The officials are going crazy trying     to
figure out the penalties as Shane and     the
offense back up and make room for the     Dallas
medical staff who come running out on     the
field.

Some Dallas players are livid:

<b>                 BUTLER
</b>                (to the Ref)
         He scratched my eyes
         out!
<b>
</b><b>                    LINEBACKER
</b>            He hit me on purpose!


ON McGINTY

He's smiling to himself on the sidelines.


<b>ON REFEREE
</b>
He faces the cameras, turns on his microphone
and sums up the penalties.

<b>                    REF
</b>            Unsportsmanlike
            conduct, number 72,
            number 81 and number 87
            on the offense, fifteen
            yards...
                   (to himself)
            ... times three...
            that's forty-five
            yards. Illegal use of
            hands, number 48 on the
            offense, fifteen yards.
            That makes it sixty
            yards. Unnecessary
            roughness number 65 and
            number 32, fifteen
            yards... that's,
            wait... forty-five...
            no, thirty...
                   (turns to
            another
                    ref)
            ... how many yards so
            far?


<b>ON BALL
</b>
A ref is taking a very long walk with it. He
stops at the Redskin two-yard line and puts
it down.


<b>IN HUDDLE
</b>
Shane leans in.

<b>                    SHANE
</b>            Okay, everybody, stick
<b>
</b>              together and don't take
              any shit. Let's make
              'em hurt!

They break the huddle and line up with their
backs to their goal.


<b>ON COCHRAN AND BUTLER
</b>
Butler is still whining.

<b>                      BUTLER
</b>              I can't believe you
              went for my eyes!

<b>                      COCHRAN
</b>              Shut up! I'm gonna do
              it again 'cause it was
              fun!


<b>ON SHANE
</b>
<b>                      SHANE
</b>              Black 98! Black 98!
              Hut!


<b>ON COCHRAN
</b>
He drops Butler with a vicious forearm.

Shane flicks the ball over the middle to
Murray who pulls it in for fifteen yards and
a first down.

<b>     CUT TO:
</b>

<b>MONTAGE - FOURTH QUARTER STUFF
</b>
<b>A)    BATEMAN
</b>
      (now at running back) sweeps outside with
      Jamal and Reese Evans leading the way.
      Both linemen growl as they throw
      themselves into the defense.

<b>B)    SHANE
</b>
      is rolling right with Butler on his
      heels. Just when it looks like Butler
      has him, Cochran comes out of nowhere and
<b>
</b>     cuts Butler at the knees. Shane fakes a
     throw and keeps the ball for a fifteen-
     yard gain.

<b>C)   SHANE
</b>
     hits Franklin with a short flick pass.

<b>D)   BATEMAN
</b>
     runs off tackle and scores.

<b>E)   PACIFICO
</b>
     kicks the extra point.     Scoreboard:
     Dallas 24, Redskins 7.

<b>F)   WILKINSON
</b>
     blitzes from his safety position and
     decks the Dallas quarterback.

<b>G)   BATEMAN
</b>
     stops a runner at the line of scrimmage
     and throws him for a loss.

<b>H)   WILKINSON
</b>
     takes a punt at his own thirty. With
     Bateman blocking, Wilkinson springs to
     the outside and goes all the way for a
     touchdown.

     Pacifico kicks the extra point.
     Scoreboard: Dallas 24, Redskins 14.

<b>I)   DALLAS FIELD GOAL KICKER
</b>
     is set to boot one. The ball is snapped,
     the kicker moves forward and suddenly
     Brian Murray breaks through the offense
     and blocks the kick.

<b>J)   SHANE
</b>
     hits Franklin on a little down and out.
     He's hit by the defender, the ball goes
     flying but so does a flag.

     Pass interference.   Redskin first down.

<b>K)   ON CLOCK
</b><b>
</b>   Four minutes six seconds remain.

<b>       CUT TO:
</b>

<b>EXT. HUDDLE - DAY
</b>
The Redskin huddle breaks.   The guys come to
the line of scrimmage.

<b>                   AL (V.O.)
</b>           First and ten at the
           Cowboy twenty and I'm
           telling you, we are
           looking at a totally
           different team here in
           the second half.

<b>                   BOOMER (V.O.)
</b>           Absolutely, Al. The
           Redskins are playing
           like there's no
           tomorrow, because, hey,
           there isn't!

<b>                   DAN (V.O.)
</b>           I gotta agree with you
           on this one. The
           surprising thing for me
           is how ineffectual the
           Cowboys have been in
           this half. I mean,
           they look totally
           intimidated.

<b>                   AL (V.O.)
</b>           I love when you guys
           agree.


<b>ON SHANE
</b>
He's in the shotgun calling signals.

<b>                    SHANE
</b>           Hut!   Hut!

He gets the snap and starts looking downfield
for receivers.


<b>ON COCHRAN
</b>
He slips while he's blocking Butler who takes
<b>
</b>advantage of the situation and blows by him.


<b>ON SHANE
</b>
He's got Franklin crossing in the end zone.
He cocks and throws, and simultaneously gets
decked by Butler.


<b>ON BALL
</b>
A Dallas defensive halfback     goes up for    it
but just tips the ball. It      keeps going    now
end over end... right into     the waiting    arms
of Franklin who is standing     by himself    in the
end zone.

Franklin is shocked.   His teammates run INTO
FRAME and mob him.

<b>                   AL (V.O.)
</b>           Touchdown, Skins!     What
           a fluke!

<b>                   BOOMER (V.O.)
</b>           Total luck there, Al.
           Makes up for the
           perfect ones they drop.

<b>                   DAN (V.O.)
</b>           Maybe not so lucky.
           Falco is down.


<b>ON SHANE
</b>
He's on his back.


<b>ON ANNABELLE
</b>
She looks worried as trainers run out onto
the field.


<b>ON O'NEIL AND AUGUSTINE
</b>
They're watching in O'Neil's bedroom.


<b>ON SHANE
</b>
Trainers are bending over him.      He's out but
<b>
</b>he's mumbling:

<b>                 SHANE
</b>         Put your tits on my
         head...

A trainer hears that and looks worried.

Shane's teammates run up and carry him off
the field.


<b>ON FRANKLIN
</b>
He's holding for Pacifico on the extra point.

On the snap, Franklin bobbles the ball but
manages to put it down.

Pacifico belts it through the uprights.

Scoreboard:    Dallas 24, Washington 21.

<b>  DISSOLVE TO:
</b>

<b>EXT. SIDELINE - DAY
</b>
Shane is sitting on the bench holding his
head and his side. He's talking quietly to
McGinty.


<b>ON WILKINSON
</b>
He's on the field calling for a fair catch.
He makes it.

<b>                 AL (V.O.)
</b>         ... one minute twenty
         remaining, and even
         though Dallas didn't
         score, they sure ate up
         a lot of the clock.


<b>ANOTHER ANGLE - WILKINSON
</b>
He's leading the offense out onto the field.

<b>                 BOOMER (V.O.)
</b>         And it looks like Falco
         cannot answer the bell.
         He's still on the bench
<b>
</b>           and it    appears that
           safety    Earl Wilkinson
           will be    leading the
           Redskin    offense.

<b>                   DAN (V.O.)
</b>           They just need to get
           the ball in field goal
           range.

<b>                   AL (V.O.)
</b>           And for Pacifico,
           that's anything up to
           sixty-five yards.


<b>ANOTHER ANGLE - WILKINSON
</b>
He takes the snap from the shotgun and keeps
the ball on a sweep. He plows for twelve
yards.

<b>                   AL (V.O.)
</b>           That's good for twelve
           yards. The clock stops
           on the first down. The
           Redskins have no time-
           outs left.


<b>ON SHANE
</b>
McGinty is still bent over him.

                   McGINTY
           I need your hands in
           there for the field
           goal. I can't trust
           Franklin to hold. He
           almost dropped the
           extra point.

Shane is in major pain but nods his head.

<b>                   SHANE
</b>           I can do it.


<b>ON WILKINSON
</b>
He rolls again, but no one is open. He
crosses the line of scrimmage, is hit and
goes down.
<b>
</b><b>ON CLOCK
</b>
It continues to run and passes twenty seconds
as we watch.


<b>ON REDSKINS
</b>
They're hurrying back to the line of
scrimmage. Wilkinson stands over center.

On the snap, Wilkinson throws the ball out of
bounds.

<b>                   AL (V.O.)
</b>           Wilkinson throws it
           away, and with twelve
           seconds remaining, the
           Redskins will try a
           forty-eight yard field
           goal to tie it up.
           That's almost a chip
           shot for Pacifico.


<b>ON SHANE
</b>
He shakily follows Pacifico out onto the
field.

Reese Evans catches up with him.

<b>                   EVANS
</b>                  (to Shane)
           Are you okay?

<b>                   SHANE
</b>           Just make it a good
           snap.
                  (to Pacifico)
           And you'll do the rest,
           right?

Pacifico doesn't answer.


<b>ON BALL
</b>
Evans leans over it.


<b>ON SHANE
</b><b>
</b>He's kneeling in the middle of the field
waiting for the snap. But something is
bothering him.

<b>                   SHANE
</b>                  (to Pacifico)
           Lou, are you alright?

Pacifico looks up from where he is set up for
the kick. There are tears in his eyes.

<b>                   PACIFICO
</b>           I'm sorry. They know
           where my family lives.

Shane tries to digest what he just heard.

<b>                     SHANE
</b>           What?!

<b>                     EVANS
</b>                    (through his
           legs)
           Come on, Shane!

Shane looks back at Pacifico and makes a
decision.

<b>                     SHANE
</b>           Hut!

The ball is snapped perfectly.      Shane catches
it and spots it perfectly.

Pacifico moves to kick it.

And Shane pulls the ball away.

Pacifico flies through the air like Snoopy as
he kicks nothing but air. He lands hard.

Shane jumps to his feet and starts running.

<b>                   AL (V.O.)
</b>           It's a fake! Falco has
           it!


ON McGINTY

He's in shock.


<b>ON SHANE
</b><b>
</b>He has totally caught the Cowboys by
surprise. He sweeps around the right side.

The Dallas middle linebacker has recovered
and is moving quickly to cut Shane off.

But Reese Evans comes out of nowhere and
crushes the guy with a flying block.

Shane cuts downfield and heads for the end
zone with nobody near him, except:

For the same safety from the first half who
waits for him at the ten.

The safety smiles as he takes a bead on
Shane.

Shane heads right for the guy. He puts his
head down and smacks helmets with the safety.
The guy goes down and Shane runs over him and
into the end zone.

<b>                    AL (V.O.)
</b>            Falco scores!


ON McGINTY

He jumps into the air.


<b>ON O'NEIL
</b>
He jumps out of bed.


<b>ON TODD, ROD AND BOB
</b>
They jump on each other.


<b>ON ANNABELLE
</b>
She's jumping for joy.


<b>ON SHANE
</b>
He spikes the shit out of the ball.   And then
sees something up field.

<b>                   AL (V.O.)
</b><b>
</b>            Wait a minute. Wait a
            minute. We've got a
            flag down.

Shane stands stock-still in the end zone
watching the REF call the penalty.

<b>                    REF
</b>            Clipping. Number 77
            offense.


<b>ON MICKEY LEE
</b>
He's wearing number 77 and he collapses in
tears.


<b>ON TODD, ROD AND BOB
</b>
They are now sobbing in agony.


<b>ON O'NEIL
</b>
He's being helped back to bed by Augustine.


<b>ON SHANE
</b>
He's walking slowly back to the line of
scrimmage.


ON McGINTY

He looks sick.

Shane walks up to Pacifico who is down. His
arm is being immobilized by a team trainer.

<b>                    PACIFICO
</b>            I broke my arm.
                   (big smile)
            Thank you. You saved
            my ass.

Shane nods.     In his earpiece, he hears
McGinty.

                    McGINTY (V.O.)
            Someday, you can
            explain what that was
            all about. We got no
<b>
</b>         kicker, so you gotta
         take it in. Your pick.
         You're the leader.

<b>                 SHANE
</b>                (to himself)
         What would Unitas do in
         this situation?
                (pause)
         I have no idea.

Shane leans into the huddle.

<b>                 LEE
</b>         I'm so sorry, Shane.
         I'm sorry, everybody.

<b>                 SHANE
</b>         No problem, Mickey.
                (to Evans)
         Hell of a hit, Reese.

<b>                 EVANS
</b>         That's the one I was
         looking for. I can
         retire in peace now.

<b>                 SHANE
</b>         Right after this play.
         So besides me, who
         really wants the ball?

He looks around the huddle. He studies each
face. And then he comes to rest on Brian
Murray.

Brian's eyes are shining.   He doesn't need
words here.

<b>                 SHANE
</b>                (to Murray)
         Yeah. You want it,
         Brian. Let's hook up.
                (signs as he
         says
                 it)
         Blue left slot open
         'A' right. Two Jet
         'X' drive. On three.
         Gentlemen, it's been an
         honor sharing the field
         of battle.

Everybody puts their hands into the middle.
<b>
</b>They break the huddle with a roar.


<b>ON CLOCK
</b>
Three seconds are showing.


<b>ON LINE OF SCRIMMAGE
</b>
Shane leans over Reese and calls it.

<b>                    SHANE
</b>            Blue 58! Blue 58!
            Hut! Hut! Hut!

Shane nods.     On the snap, Shane rolls left.


<b>ON REESE EVANS
</b>
He cuts his man at the knees.


<b>ON MICKEY LEE
</b>
He takes two men down.


<b>ON MURRAY
</b>
He cuts on a deep post.


<b>ON SHANE
</b>
He steps up and throws a clean bullet
downfield. He roars in pain as he throws it.


<b>ON MURRAY
</b>
The pass is perfect. He pulls it in and
beats his man to the end zone.

Redskins win.


<b>ON CROWD
</b>
It roars! "Hail to the Redskins" is
deafening.

Todd, Rod and Bob are screaming.
<b>
</b>O'Neil kisses Augustine.

Annabelle throws a punch into the air.

McGinty is all smiles.     Shane walks up to him
and they shake hands.

Pilachowski and Banes hug.

Lee and Andre are hugging and crying.

Cochran is on his knees praying.     Reese Evans
joins him.

Wilkinson hugs Jamal.

Clifford Franklin, hometown boy, throws
himself into the stands where fans mob him.


<b>ON EDDIE MARTEL
</b>
The Washington Redskins first-string
quarterback is so pissed off he jumps up from
his seat and turns quickly to go up the steps
and out of the stadium.

But he slips awkwardly and falls.     He grabs
his knee and screams.


<b>ON BRIAN MURRAY
</b>
He's still in the end zone, holding the ball
up to the crowd. The roar is deafening.


<b>BRIAN'S POV
</b>
We HEAR NOTHING, but somehow the pure energy
of the moment comes through.


<b>ON SHANE
</b>
IN the SILENCE, he's walking in SLOW MOTION
toward Annabelle. And everybody is smiling.


<b>  FADE OUT.
</b><b>
</b><b>THE END
</b><b>
</b></pre><br>
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	<td><h1>Replacements, The</h1><br><br>
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    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Comedy" title="Comedy Scripts">Comedy</a><br><br><br>
		
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Why are the players striking?
Why are the players striking ?
Salary Disputes.
Salary Disputes .
Salary disputes.
Salary disputes .