Wild Side: The Mötley Crüe Story
A few years ago I wrote a adaptive screenplay about Motley Crue based on their book The Dirt and Nikki Sixx’s Heroine Diaries.
I actually gave it to Nikki at a book signing. Nothing ever came of it, but it’s good. I’m proud of it.
Looks like Hollywood is finally going to tell their story. Heard they are in development right now casting actors.
Anyway, please take a read if you’re interested. It truly is the best rock story of the 80's.
I’m curious to see how they handle it.
The events are obviously based on the book, but the dialogue, timeline, flashbacks and story building are all mine.
Enjoy!
Wild Side: The Mötley Crüe Story
By
Jeffrey M. Semon
INT. BACK STAGE DRESSING ROOM OF OUTDOOR FESTIVAL CONCERT
Inside a sparsely decorated dressing room four young men with long hair and heavy glam rock makeup prepare themselves to go on stage.
Sitting on a couch, a lean, heavily tattooed Tommy Lee warms up rapidly beating his drumsticks on a wooden chair. Hunched in the corner on a stool, a shadowy Mick Mars leans over his guitar, hair covering his face, he plucks one string at a time and tightens the head pegs.
Pacing back and forth, a tall, leather clad young Nikki Sixx, with a mane of dark “high” hair that has been styled to stay inches above his head, feverishly practices his bass guitar, playing the same chord pattern over and over.
Through the walls of the dressing room they can hear a crowd of 100,000 people stomp their feet and clap their hands in unison. The sound is loud and getting louder.
NIKKI
You ready Vince?
VINCE (O.S.)
Just a second.
NIKKI
C’mon man —
The reflection in the dressing room mirror shows Vince sitting down in a chair with his eyes closed. Behind him Nikki paces bath and forth.
NIKKI
(Impatiently)
Dude!
Vince’s face clinches and he let’s out a loud sigh.
VINCE
Ohhhh yeah –-
Vince opens his eyes and slides the chair back. He stands, pulling his white leather pants up while zipping the fly.
Getting up from her knees, a beautiful large breasted
blonde wipes her mouth and looks adoringly up at Vince.
VINCE
Thanks sweetheart, you’re the best.
Vince turns to his band mates and heads towards the dressing room door.
VINCE
Let’s rock!
Nikki looks back at Tommy and Mick as Vince leaves the room
NIKKI
(dryly)
What an asshole.
The three remaining band members leave the dressing room.
INT. BACKSTAGE AREA LEADING TO STAGE OF FESTIVAL CONCERT
MUSIC UP: INTRO FOR ‘WILD SIDE’
All four members of Mötley Crüe make their way through the throngs of girls, roadies and instrument cases back stage.
NIKKI SIXX (V.O.)
This is us. At this moment we are the biggest band in the world. There’s a hundred thousand Russians out there right now screaming for US.
They continue past the other bands that have just finished performing.
NIKKI SIXX (V.O.)
Personally, I think we’re the greatest band in the history of rock n’ roll and what you’re about to see is the greatest rock n’ roll story ever! Let me make it a little clearer for you. -– Our story is the quintessential rock n’ roll fable, full of more sex, more drugs and more ass kicking rock music than you could possib –-
The band walks by a tall, good looking man with high “hair-sprayed” brown hair, dressed in all white leather including a jacket that has fringe coming off the sleeves. Everyone freezes.
TOMMY LEE (V.O.)
You see that asshole! That’s that fucking douchebag David Coverdale from Whitesnake! I hate the fucking guy!
NIKKI SIXX (V.O.)
Tommy! I’m trying to narrate the movie here! What the fuck are you doing?
TOMMY LEE (V.O.)
I just saw David Coverdale and I wanted to say how much of a douchebag he is.
NIKKI SIXX (V.O.)
Okay man, but I’m trying to set up the story here and you interrupted.
TOMMY LEE (V.O.)
Sorry dude.
NIKKI SIXX (V.O.)
Anyway, like I was saying. At this moment we are the biggest band in the world and we are about to take the stage at the Moscow Music and Peace Festival -–
Everyone unfreezes and continues their way to the stage. Tommy gives David Coverdale a nasty look.
EXT. SIDE OF FESTIVAL STAGE — NIGHT
Right before taking the stage the band members gather in a
circle. They all have a nervous look on their faces. Over
the public address system a voice is heard announcing them.
CONCERT ANNOUNCER (O.S.)
Ladies and Gentlemen!
VINCE
Uh oh. —
NIKKI
What is it?
A closer look at Vince’s face shows he is turning green and his cheeks begin to puff out.
CONCERT ANNOUNCER (O.S.)
Boys and Girls!
In a violent spasm Vince leans over and vomits all over the floor below them.
NIKKI, TOMMY, MICK
(in unison)
FUCK!
CONCERT ANNOUNCER (O.S.)
The moment you’ve all been waiting for!
TOMMY
God Dammit dude! I just bought these fucking shoes!
VINCE
Sorry man.
Vince wipes his mouth and spits out any remnants of what just came up.
CONCERT ANNOUNCER (O.S.)
MÖTLEY CRÜÜÜÜÜE!!
VINCE NEIL (V.O.)
Hold it!
Everyone freezes again.
VINCE NEIL (V.O.)
For the record, I didn’t fucking puke that night.
TOMMY LEE (V.O.)
Dude, you puked all over my shoes!
VINCE NEIL (V.O.)
I “MAY” have puked on your shoes at some point, but I’m pretty sure I didn’t that night.
The band unfreezes. Realizing it is their cue, they jog on stage to take their places and prepare to play.
NIKKI SIXX (V.O.)
Whatever! That’s not important! Do you mind if I continue?
TOMMY AND VINCE (V.O.)
(in unison)
Sorry.
NIKKI SIXX (V.O.)
It took us a long time to get to this point. And in order for you to understand how we got here, I’ll start where most great
stories do. At the beginning.
EXT. LONG DRIVEWAY OF A SLIGHTLY RUN DOWN TEXAS FARM HOUSE — LATE AFTERNOON
SUPER: “EL PASO, TEXAS; 1967”
A beat up station wagon makes its way up the driveway of the farmhouse creating a cloud of dust in its wake.
INT. INSIDE OF STATION WAGON — LATE AFTERNOON
Inside the car a pretty young woman rides in the passenger seat. She has tie died clothing on and looks disheveled. A man in his late twenties with a “50’s greaser” look is driving.
In the backseat a nine year old boy sits staring at the passing scenery. His blonde hair reflects in the late afternoon sun beaming into the car.
MAN DRIVING
Are you sure this is going to work?
YOUNG WOMAN
Yeah, it’ll work.
The car comes to a hard stop skidding slightly. The young woman quickly gets out of the car and heads into the house. The young man and boy sit quietly in the car for a moment.
Reaching up toward the rearview mirror the young man adjusts it to get a look at the boy. The boy looks up at the mirror then turns away.
MAN DRIVING
How ya doin’ back there?
Not replying, the boy gives the man a look of annoyance. He quickly turns around and faces the boy.
MAN DRIVING
(loudly)
DON’T GIVE ME THAT FUCKIN LOOK YOU
LITTLE PIECE OF SHIT!
The boy gives the man a steely glare knowing all to well that he means what he says. Regardless, he ignores the man’s yelling and the boy’s face turns to a scowl.
EXT. FRONT PORCH OUTSIDE OF FARMHOUSE — LATE AFTERNOON
The young woman comes out of the farmhouse slamming the screen door loudly behind her. An older couple quickly follows her out of the house.
BACK TO INTERIOR OF CAR
Startled by the noise of the screen door the boy looks up to see what is going on. He can see the young woman arguing with the older couple, but he can not hear the muffled argument through the car window.
EXT. WALKWAY BETWEEN THE FARMHOUSE AND CAR
OLDER WOMAN
You need to start taking some
responsibility for yourself and
your family!
YOUNG WOMAN
I just need your help right now!
OLDER WOMAN
Why?! So you can run off with another man again?!
Upset, the young woman walks away from the argument toward the car. She opens the back door where the young boy is sitting. Grabbing his hand she leads him out of the car.
YOUNG BOY
What’s going on mommy?
The young woman kneels down to face her son. She is visibly upset and trying to hold back her tears
YOUNG WOMAN
It’s ok Franky, you’re going to stay with Grandma and Grandpa for a little while.
FRANKY
What? — Why? I want to stay with you mommy!
Franky’s mother can’t hold back her tears any longer. She holds his face and brushes his cheek with her hand. Franky begins to cry.
FRANKY’S MOTHER
Don’t cry honey, I’ll be back before you know it.
FRANKY
(while crying)
When?
Franky’s mother pauses knowing she is about to lie to her son.
FRANKY’S MOTHER
I’ll be back real soon baby, ok?
Franky’s mother gives him a hug. She squeezes him tight knowing she may not see him for quite some time.
Franky’s mother releases her grasp and quickly gets in the car leaving her son behind. She looks back briefly at Franky and his grandparents. Franky stands still for a moment and then takes two steps forward as if to go after her. He stops again and lowers his head in sadness.
Franky’s grandfather walks up behind him and places his hand on Franky’s shoulder.
FRANKY’S GRANDFATHER
Come on son, let’s go inside.
Franky and his grandparents turn to go in the house as the beat up station wagon takes off down the dusty road behind them.
INT. FRANKY’S BEDROOM — NIGHT
Franky lies tucked under the covers in his bed and stares up at the ceiling. His eyes begin to well up with tears till he is no longer able to hold them back.
INT. HALLWAY OUTSIDE FRANKY’S BEDROOM — NIGHT
Franky’s grandfather walks by the bedroom and overhears Franky crying. He slowly opens Franky’s bedroom door and enters.
BACK TO THE BEDROOM
Franky quickly wipes away his tears to hide the fact he was crying. His grandfather takes a seat on the edge of Franky’s bed.
FRANKY’S GRANDFATHER
It’s alright buddy.
FRANKY
Why does she keep doing this?
FRANKY’S GRANDFATHER
It’s not you son, it’s her. You didn’t do anything wrong. Your grandmother and I love you very much, always remember that.
Franky is comforted by his grandfather’s words. His
grandfather pats him on the head and stands up to leave. Franky watches him walk out of the room.
FRANKY
Grampa.
FRANKY’S GRANDFATHER
Yeah pal?
FRANKY
Thanks.
Franky’s grandfather closes the bedroom door as he leaves.
EXT. PLAYGROUND OF ELEMENTARY SCHOOL — DAY
Young Franky/Nikki stands on the side of a basketball court where other children are playing. He stares at them while they don’t even notice his presence.
One of the boys on the court pauses and looks at young Nikki. He’s bigger than the rest of the kids and intimidating.
INTIMIDATING BOY
You wanna play?
YOUNG NIKKI
Ok.
Young Nikki steps onto the court and begins to play with the other kids. He starts to run around and is tripped to the ground by the intimidating boy who asked him to play.
The intimidating boy jumps on young Nikki and begins to pummel him.
INTIMIDATING BOY
Loser! You don’t belong here, you fucking loser!
MONTAGE: NIKKI GETTING BEAT UP
— Nikki gets beat up by the intimidating boy in the school yard again.
— Nikki gets beat up by the intimidating boy and several
other boys in the school bathroom. They pick him up and stick his head into a toilet bowl.
— In the aftermath of his continued torture, Nikki stares into the bathroom mirror, his head is still soaking wet. A look of pure rage comes across his face.
EXT. SCHOOL BUS STOP OF SUBURBAN INTERSECTION — DAY
A big yellow school bus comes to a stop at the intersection. Children file off the bus one by one. Young Nikki gets off the bus carrying his books and lunch box. He is followed by three boys, one of whom beat him up earlier.
Nikki starts to walk away faster. The other kids pick up their pace to match. Soon they are in an all out sprint.
Eventually the boys catch up with Nikki and corner him in a yard.
INTIMIDATING BOY
Why are you running you fucking freak?
YOUNG NIKKI
I’m running from your ugly fucking face you stupid retard!
Nikki drops his books, but holds on to the handle of his lunchbox even tighter.
INTIMIDATING BOY
What did you just say?
YOUNG NIKKI
What are you deaf AND stupid?!
The intimidating boy takes a few steps forward and gets right in Nikki’s face.
INTIMIDATING BOY
That’s it you lit —
As soon as the boy is within striking distance Nikki swings his lunch box without hesitation cracking the boy in the head. The intimidating boy hits the ground hard, blood pouring out of his nose.
Before the other two boys have a chance to go after Nikki, he attacks them wielding his lunch box with Samurai like precision.
When Nikki is done, all the boys lay in a bloody mess on the ground and Nikki picks up his books and walks calmly away. Around the corner out of sight from where the fight took place Nikki pauses, looks down and opens up his lunch box.
The lunch box is filled entirely full of rocks. Nikki empties them out, closes it and walks home.
Young Nikki has a devilish smile plastered across his face.
EXT. FRONT ENTRANCE OF A MIDDLE AMERICAN HIGH SCHOOL — DAY
SUPER: “1975”
A teenage Nikki steps off a school bus with all the swagger of a lead in an old western movie.
He is dressed in punk rock attire and looks completely out of place in this milquetoast town.
As the other students see Nikki they stare in amazement and awe. Those that are in his path quickly scamper away in fear.
A group of girls contort their faces in disgust with the exception of one who gives Nikki a lusty look as he enters the doorway of the school.
INT. HALLWAY OF NIKKI’S HIGH SCHOOL — DAY
Nikki stands in front of an open locker wearing sunglasses in spite of being indoors. He casually reaches into the pockets of his leather jacket and pulls out a plastic baggy full of weed in one hand. In the other is a bag full of pills.
He tosses the bag of pills into the locker and opens the bag of weed to inhale a big wiff, enjoying the aroma. Nikki then closes it up and throws it into the locker and slams the locker door.
Behind the door is a teenage stoner who is staring at
Nikki. He has long straight hair and a scruffy beard.
Nikki stares back at him and they both inquisitively look at each other.
STONER KID
Dude -– Are you in a band?
Nikki pauses for a moment unsure of how to answer.
TEENAGE NIKKI
Uh –- yeah. Sure.
The two teenagers start to walk down the hall together.
STONER KID
I’m Rick, Rick Van Zandt. Do you play the bass man? I’m in a band and we need a bass player. What’s your name man?
Again, Nikki pauses unsure how to answer. His eyes light up with an idea.
TEENAGE NIKKI
Sixx. Nikki Sixx. With two “x”’s.
Nikki and Rick turn the corner of the hallway.
RICK VAN ZANDT
Whoa, very cool man. Very cool. — Got any weed?
EXT. SIDEWALK OF A SMALL TOWN — DAY
Nikki leans against a wall across the street from the local
music store with a guitar case next to him. He’s smoking a
cigarette and trying to look menacing.
Three children around the age of nine or ten walk by. Their eyes are transfixed on Nikki like he is from another planet. Nikki stares back at them through his sunglasses.
Nikki lifts his sunglasses simultaneously
TEENAGE NIKKI
(yelling)
RAAAAAAAAHHHHH!!!!
ALL THREE CHILDREN
(in unison)
Aaaaaaahh!
The children run away from Nikki screaming. Nikki laughs to himself, picks up the guitar case and makes his way across the street.
INT. LOCAL MUSIC STORE — DAY
Nikki enters the store (jingling a bell attached to the door) and takes a look around. At the counter is an older man who doesn’t like the looks of Nikki.
STORE CLERK
Can I help you son?
TEENAGE NIKKI
Yeah, I’m looking for a job. Could I get an application?
The clerk gets up from his stool behind the counter and heads towards the back of the store.
STORE CLERK
(annoyed)
Hang on, I have to go back in the office to get one.
As the clerk heads to the back office Nikki puts down the guitar case and opens it up. It is empty. He promptly grabs a bass guitar off a rack and places it into the case quickly shutting the lid.
INT. BACK OFFICE OF THE MUSIC STORE — DAY
The clerk opens a couple of desk drawers and finally finds the employment applications. Pulling one out of a stack he heads back up to the front of the store.
INT. BACK TO THE FRONT OF THE STORE
The clerk hands the application to Nikki. Nikki looks down at the application and at the same time sees a price tag sticking out of the guitar case.
TEENAGE NIKKI
You know what, I think I’m going to take this home with me and bring it back later.
Realizing he needs to get out fast, Nikki starts to go for the door. On his way out, the clerk yells for him.
STORE CLERK
Hey kid!
Nikki pauses for a moment as if he is going to shit his pants.
STORE CLERK
You MIGHT want to think about getting a haircut before you come back in with that application.
Nikki gives him a sarcastic smile and leaves, the bell attached to the door jingling while he exits.
EXT. SIDEWALK OUTSIDE OF THE MUSIC STORE — DAY
Nikki reaches down and rips off the price tag hanging from the case.
TEENAGE NIKKI
(out loud)
Fucking douchebag.
A mother walking with her young son hears Nikki and looks
at him in disgust. Nikki taunts them faking an aggressive move.
TEENAGE NIKKI
What!?
The woman and her son hurry up their pace to move past Nikki.
INT. GARAGE OF A SUBURBAN HOUSE — DAY
Standing in the driveway with his freshly stolen bass guitar Nikki observes a group of three teenage boys loudly practicing rock n’ roll in a garage with the door open. Nikki approaches them
TEENAGE NIKKI
Hey Rick, what’s going on?
RICK VAN ZANDT
Heeeeey man, guys, this was the kid I was telling you about. He plays the bass.
LEAD SINGER
Great man, let’s jam a little.
Nikki takes the guitar out of his case and awkwardly puts the strap on and plugs it in.
LEAD SINGER
All right man, let’s rock -– two three four!
The band starts playing and it quickly becomes evident that Nikki can not play a note. The other band members look around at each other in bewilderment.
Nikki knows he is playing poorly and suddenly stops.
TEENAGE NIKKI
Ah, fuck it.
Nikki packs up his guitar and leaves the garage. He is embarrassed and wants to make a quick exit.
RICK VAN ZANDT
Hey man, where you going?
TEENAGE NIKKI
You guys sound great, but I’m into stuff that’s a little edgier.
The band members look at each other knowing Nikki is full of it.
LEAD SINGER
Really? Edgier huh? — Well Mozart,
feel free to come back any time you want show us what the latest sound is.
As Nikki walks away, the band chuckles.
INT. NIKKI’S BEDROOM — NIGHT
In a bedroom covered with posters of Deep Purple, Cream and The New York Dolls, Nikki looks down at an instructional book while holding his bass guitar. He slowly moves his hands along the instrument, soaking up the knowledge like a sponge, as a small black and white television can be heard in the background.
ON THE TELEVISION: “LOS ANGELES’ LATEST ROCK N’ ROLL SCENE”
A middle aged man stands in front of a nightclub on the Hollywood strip with a microphone in his hand.
TV REPORTER
We’re standing outside one of the
newest hot spots in Los Angeles called Rodney Bingenheimer’s English Disco.
The camera cuts to a line of young people outside of the club dressed in outlandish attire for mid 1970’s L.A.
TV REPORTER
Hundreds and thousands of young people have come here to listen to the latest incarnation of rock ‘n roll.
The reporter interviews one of the girls on line.
TV REPORTER
So tell me, why do you like to come here?
The girl pauses and then looks into the camera.
GIRL BEING INTERVIEWED
Because, once you’re inside,
everybody’s a star.
Nikki’s eyes light up after hearing the girl on the television. He knows where he belongs.
INT. KITCHEN OF NIKKI’S GRANDPARENTS HOUSE — DAY
Nikki stands in front of the kitchen counter alone. He scribbles out a note onto a piece of paper. A packed duffle bag sits next to him along with his bass guitar case.
Nikki throws the duffle bag over his shoulder and stabs the note with a knife securing it to the counter.
ON THE NOTE: “MOVING TO L.A. THANKS FOR EVERYTHING. LOVE, NIKKI”
With his other hand he picks up his guitar case and walks out the front door of his grandparent’s house, the rickety screen door closing behind him.
EXT. FRONT LAWN OF SUBURBAN SOUTHERN CALIFORNIA HOUSE — DAY
SUPER: “1969”
MUSIC UP: “AND THEN HE KISSED ME” — BY THE CRYSTALS
A dark haired seven year old boy runs around in circles on the front lawn of a suburban house with his arms spread wide and making a propeller noise with his lips. It is a beautiful sunny day and the boy is focused solely on his imaginary flight.
A beautiful dark haired woman stands in the front doorway of the house and yells to her son.
TOMMY’S MOTHER
Tommy, time to come in for dinner!
The boy ignores the call from his mother and continues to run around the yard.
Leaning on a white picket fence a very pretty eight year old blonde girl stares at young Tommy and starts a conversation.
EIGHT YEAR OLD GIRL
Hi, I’m Susie.
Stopping dead in his tracks Tommy turns to face the girl and reacts in awe over this new found attention. When Tommy
looks at Susie she appears angelic, the most beautiful thing he has ever seen.
Tommy’s mother comes to the door again and yells for her son even louder than before. She sees him talking to Susie and strikes a confrontational pose putting her hand on her hip.
TOMMY’S MOTHER
Tommy! Dinner! Now!
Tommy looks back at his mother and then back at Susie
YOUNG TOMMY
Uh, I gotta go.
SUSIE
Ok, well then maybe I’ll see you tomorrow.
Tommy continues to gaze on in awe.
YOUNG TOMMY
Yeah, maybe tomorrow.
Tommy walks backwards slowly toward the house and trips over his bicycle on the way. Embarrassed, he quickly gets up and heads inside, his mother still standing in the doorway.
Realizing that Tommy has a crush on his new neighbor,
Tommy’s mother suspiciously looks back at Susie.
TOMMY’S MOTHER
Who’s that?
YOUNG TOMMY
That’s Susie. I’m going to see her tomorrow.
Tommy’s mother rolls her eyes and sighs.
TOMMY’S MOTHER
(under her breath)
Oh boy.
MONTAGE — YOUNG TOMMY SPENDING TIME WITH SUSIE
— In Susie’s back yard they have a tea party
— Susie smiling at young Tommy as they swing at the playground, Tommy smiling back.
— Susie and Tommy have a make believe wedding in her back yard with stuffed animals as witnesses. When the ceremony is over Susie leans in and kisses Tommy. Tommy smiles from ear to ear. Tommy then tries to feel up Susie and his hand is quickly swatted away. Perplexed, he pauses and quizzically looks around.
SUSIE
No Tommy, you can’t do that?
YOUNG TOMMY
Huh? Why can’t I do that?
Tommy is utterly confused. Susie gets up and runs away.
SUSIE
Bye Tommy, see you later!
Susie leaves the yard
YOUNG TOMMY
Bye. –-
(under his breath)
I have to find a girl who will let me do that.
INT. LIVING ROOM OF TOMMY’S FAMILY HOME — AFTERNOON
Tommy is jumping up and down on the couch singing out loud. Tommy’s father sits in an easy chair on the other side of the living room wearing a white tank top undershirt and reading the newspaper. He is getting irritated with his rambunctious son.
TOMMY’S FATHER
Tommy.
Tommy continues to jump on the couch.
TOMMY’S FATHER
(slightly louder)
Tommy.
Tommy continues to jump, not even acknowledging his father.
TOMMY’S FATHER
(yelling)
Tommy!
Tommy continues to jump on the couch but now he is facing his father.
YOUNG TOMMY
What is it dad?
Shocked that his son didn’t stop jumping, but rather just turned in his direction, Tommy’s father tosses his news paper aside and gets up from his chair.
TOMMY’S FATHER
That’s it! I’ve had enough.
Tommy’s father grabs his coat and heads out the door. Tommy watches him go, and then shrugs his shoulders.
INT. KITCHEN OF TOMMY’S HOME — LATER THAT DAY
Tommy’s mother stands over a stove preparing dinner for that evening. Tommy’s father anxiously enters the kitchen looking around.
TOMMY’S FATHER
Where’s Tommy?
TOMMY’S MOTHER
He’s in his room. What did he do this time?
Tommy’s father immediately heads for his son’s bedroom.
INT. TOMMY’S BEDROOM — MOMENTS LATER
Tommy jumps on his bed occasionally dropping to his butt instead of his feet and is rocketed back up by the springs of the mattress. Tommy’s father stands in the doorway shaking his head.
TOMMY’S FATHER
Follow me. I’ve got something for you.
Tommy stops jumping and follows his father out of the room.
INT. BASEMENT OF TOMMY’S HOME
Tommy follows his father down into the basement where there is a new drum kit set up in the middle of the floor.
YOUNG TOMMY
That’s for me!? Wow, awesome!
Tommy runs over to the drum set and immediately starts banging away. The noise is deafening and Tommy’s mother comes running down the basement stairs.
TOMMY’S MOTHER
Oh my God, what did you do?
TOMMY’S FATHER
I bought him a drum set. Maybe now he’ll get tired and stop jumping around like a mad man.
TOMMY’S MOTHER
So you bought him drums?! DRUMS?!
Tommy’s mother gives her husband a look of disbelief. Tommy’s father shrugs his shoulders and heads up the stairs. Tommy’s mother continues to shake her head,
TOMMY’S MOTHER
Oh boy.
EXT. BRIGHT AND SUNNY SOUTHERN CALIFORNIA BEACH — DAY
SUPER: “1977”
MUSIC UP: “CALIFORNIA GIRLS” — THE BEACH BOYS
A good looking, tanned, young man with long blonde hair
walks out of the ocean carrying a surf board. He flips his
wet hair forward and then back.
Two pretty young girls come up to the young man and start
to talk to him as he exits the water.
GIRL #1
Hi Vince!
Vince pauses and has a “shit eating” grin on his face.
VINCE
Hi ladies, what are we up to today?
Girl #2 pulls out a joint.
GIRL #2
We were going to go smoke this, want to join us?
VINCE
(smarmy)
Absolutely, we can go to my place.
GIRL #1
Sounds good!
Vince and the girls walk off the beach to go smoke the joint. As they walk away Vince gives them both a simultaneous slap on the butt.
INT. BEDROOM OF A SUBURBAN MIDDLE CLASS CALIFORNIA HOUSE — AFTERNOON
MUSIC UP: “BLACK BETTY” — RAM JAM
Vince and one of the girls he just met, playfully “fool around” in a typical teenage bedroom from the late seventies. It is decorated with posters of various rock bands from the era. The curtains are drawn, dimming the room from the afternoon sunshine.
The pair remove each other’s clothes and begin to have fun playful sex.
GIRL #1
Oh Vince, you’re amazing –-
VINCE
So are you Betty.
The girl pauses in stunned disgust.
GIRL #1
BETTY!? My name is Sally you fucking asshole!
Sally pushes Vince off her and gathers up her clothes.
VINCE
Oh c’mon, I didn’t even get to finish!
SALLY
You’re such an idiot Vince.
Sally leaves the room. Vince sits up in his bed realizing he just messed up a great opportunity through his incompetence.
He slaps his forehead and falls back into his bed.
INT. VINCE’S BEDROOM — DAY
SUPER: “THE NEXT AFTERNOON”
Vince is in his bedroom with another girl. They quickly remove their clothes and start to have sex.
SECOND GIRL
Oh Vince, you’re amazing –-
VINCE
Oh BABY, you are too. You’re so sexy — BABY.
SECOND GIRL
(while orgasming)
OH VINCE!
Vince pauses and has a “shit eating” grin on his face.
INT. HALLWAY OF SOUTHERN CALIFORNIA HIGHSCHOOL — DAY
Vince and another teenage boy run through the hallways of their suburban high school stapling flyers to every available surface.
ON THE FLYER: “THIS SATURDAY ‘ROCK CANDY’ LIVE AT ROYAL OAK HIGH SCHOOL”
While stapling a flyer to a wall a pretty brunette walks by Vince.
BRUNETTE GIRL
Hiiii Vince, I’m really looking forward to your show Saturday.
VINCE
Thanks baby, can’t wait to see you there.
Vince stares at the girls butt as she walks away.
INT. HIGH SCHOOL GYMNASIUM DECORATED FOR A DANCE — NIGHT
MUSIC UP: HARRY NEILSON’S “JUMP INTO THE FIRE”
Vince is on stage wearing a white leather vest and pants. Both have fringe hanging off the side that swings in the air while Vince jumps and dances across the stage. The rest of the band is behind him enthusiastically playing.
Vince walks on to the edge of the stage where a throng of young pretty girls have gathered. The girls reach up trying to grab him but he playfully avoids their grasp.
Vince reaches down and touches the hand of one of the girls. Their eyes connect and she mouths the words “I want to fuck you”.
Vince begins to show off his vocal prowess and power. The girls in the audience are worked into a frenzy. As the song ends he leaves his female fans screaming for more.
INT. BACKSTAGE OF THE DANCE — AFTER THE SHOW
Vince and the girl he just met make out intensely behind the curtain backstage. She pushes him up against the wall and jumps on him wrapping her legs around his waist. It is all Vince can do to simply stay standing.
BACKSTAGE GIRL
(while kissing)
My parents are going out of town
next weekend and I’m having a party.
Vince struggles to get words out while the girl smothers him with kisses.
VINCE
Yeah? — So?
The girl stops kissing Vince for a moment.
BACKSTAGE GIRL
So? So I want you to play at my party, silly.
The girl climbs off Vince and begins to walk her fingers down his chest.
BACKSTAGE GIRL
(coyly)
I’ll make it worth your while.
The girl lowers her head down and unzips Vince’s pants.
VINCE
Well, since you put it that way –- I guess I can help you out.
Vince takes a quick deep breath reacting to the girl performing oral sex.
VINCE
This -– is –- definitely -– worth –- my –- while.
Vince looks down at the top of the girls head.
VINCE
And I’m keeping any money we charge.
EXT. BACK YARD OF SUBURBAN CALIFORNIA HOUSE — NIGHT
An empty makeshift stage sits in the corner of the backyard
of a suburban house. The stage is next to a swimming pool and the yard is decorated with tiki torches and balloons. Dozens of teenagers hold red keg cups and mill around the party.
Vince stands at the sliding glass back door. He has a fist
full of bills and is chatting with a teenage Tommy Lee. Another teenage boy tries to walk through the sliding glass doorway into the back yard.
VINCE
Five bucks.
Vince puts his hand on the boy’s chest stopping him from going any further.
TEENEAGE BOY
What?
VINCE
Five bucks. You have to pay five bucks to go into the back yard for the band and the keg.
Vince gives the boy a menacing look. The boy timidly hands over a crumpled up five dollar bill from his pocket. Vince suddenly treats the boy very nicely.
VINCE
Thanks man, have fun! It’s gonna be a great show!
The girl hosting the party (from the school dance) comes up to Vince and Tommy with her friend.
GIRL FROM SCHOOL DANCE
Hi Tommy, Hiiii Vince.
TOMMY AND VINCE
(in unison)
Hey.
After receiving such a lukewarm response, she starts peppering him with questions.
GIRL FROM SCHOOL DANCE
Vince! Why isn’t the band set up
yet? Where are all your
instruments? What’s going on?
Vince looks adoringly at the young lady and gently puts his arm around her.
VINCE
Relax baby, Tommy just talked to the guys and they’re on the way right now with the gear. Okay?
Vince gives her a kiss on the head while looking at Tommy. Tommy doesn’t know what Vince is talking about.
VINCE
Now why don’t you go get a beer and try to have fun, alright?
GIRL FROM SCHOOL DANCE
Oh –- alright.
The girl walks away towards a group of her friends. When she is out of ear shot Vince turns to Tommy.
VINCE
Think she bought it?
TOMMY
Definitely.
VINCE
Good, let’s get rolling.
INT. LIVING ROOM AND HALLWAY OF HOUSE PARTY — NIGHT
Vince and Tommy go inside the house. They weave their way through the party goers till they arrive at a bedroom. Bursting through the bedroom door Vince and Tommy come across a half naked young couple making out on the bed.
INT. MASTER BEDROOM OF HOUSE PARTY — NIGHT
VINCE
Ok you two, get the fuck out!
The teenage girl quickly hops off the bed grabbing her shirt and heads for the door.
GUY ON BED
Hey! What the fuck man?!
Vince walks over to the guy and puts his hand on his shoulder.
VINCE
Trust me man. I just did you a huge favor. That girl has VD.
GUY ON BED
No shit?
VINCE
No shit. Now go get a drink and think a little more about the consequences of your actions.
The guy gets off the bed and leaves the room shaking his head.
TOMMY
You’re terrible.
Vince sits down on the edge of the bed, picks up a rotary phone and dials zero.
VINCE
(sarcastically)
Yeah I know.
Vince speaks into the phone.
VINCE
Hello operator. I need the police right away.
OPERATOR (ON PHONE)
Hold please.
POLICE OFFICER (ON PHONE)
Police department.
VINCE
(putting on a deep voice)
Yeah, this is Mr. Nugent. I live at 387 Walnut street and there’s a buncha Gawd damn kids having a huge party next door makin’ all kindsa racket! Send someone over here to shut those kids up!
Tommy tries to hold back his laughter.
POLICE OFFICER (ON PHONE)
Ok Mr. Nugent, we’ll send somebody right over.
VINCE
(putting on a deep voice)
Very good young man, have a pleasant evening.
When Vince hangs up the phone he and Tommy immediately
start laughing hysterically.
TOMMY
Ha ha — You’re an idiot. Nugent!
VINCE
Whatever man, as long as it gets them here.
Vince stands up from the bed and reaches into his pants for the wad of money he’s collected. He and Tommy leave the bedroom.
VINCE
That girl really does have VD though.
INT. LIVING ROOM OF HOUSE PARTY — NIGHT
Vince and Tommy stand with their backs against the living room wall watching the crowd. Through the windows of the living room bright blue lights flash from the police cars that have just arrived.
VINCE
(yelling)
IT’S THE COPS!
All the partiers scatter trying to find the nearest exit. In a panic the girl hosting the party comes up to Vince frantic.
GIRL FROM SCHOOL DANCE
Vince! What am I going to do? My parents are going to kill me!
VINCE
Sweetheart it’ll be ok. –- but I’m going to get out of here. The cops don’t like me too much.
Vince and Tommy leave through the back door as the police move up the front walkway. Vince takes out a wad of cash and starts to count it.
Vince turns around to look back into the house seeing the girl who hosted the party crying while the police walk through the house removing the remaining party guests.
Vince looks down at the money in his hand and back up at the house. His face is painted with regret, but he shrugs his shoulders, turns away and makes his escape with Tommy.
EXT. DESOLATE ROAD IN CALIFORNIA DESERT — NIGHT
An old pick-up truck winds its way down a lonely desert road.
INT. CAB OF PICK-UP TRUCK — NIGHT
A gray haired man in a cowboy hat and dirty flannel shirt is driving the pick-up truck alone. He holds a cigarette in his left hand, while changing the radio station with his right.
After choosing a station playing gentle country music, the man leans back and takes a long drag from his cigarette.
The man continues to drive down the road when the radio station begins to whistle and go out of tune, finally turning to static. The man smacks the dashboard trying to make the radio work again.
Suddenly out of nowhere, a bright beam of light shines down from above the road in front of him. The man slams on his brakes and comes to a screeching halt.
EXT. OUTSIDE THE TRUCK — NIGHT
The beam of light slowly moves over the truck.
BACK TO: CAB OF PICK-UP TRUCK
With the cigarette dangling off his lip, the man slowly
leans forward and looks up to see where the light is coming
from. It is too bright for the driver to see anything. He squints as the beam passes over him.
In shock by what he has just witnessed, the man lets out a deep sigh of disbelief while shaking his head.
KNOCK KNOCK
A knock on the passenger side window. The driver jumps in his seat from being startled.
MAN DRIVING
Jesus Christ!
From the driver’s view of the passenger side window, he sees what appears to be just the head of a man with long straight black hair covering most of his face.
LONG HAIRED MAN
(softly)
You going to L.A.?
MAN DRIVING
Whu –- What?
The passenger side door opens as if no one has touched it. The long haired main is dressed in black leather pants, a black t-shirt and a long black trench coat. He is carrying nothing except a black guitar case.
LONG HAIRED MAN
I said, are you going to L.A.?
MAN DRIVING
Um, yeah, I am actually.
The driver is still not sure what to make of the situation.
LONG HAIRED MAN
Can I get a ride?
MAN DRIVING
(hesitating)
Uh —
The long haired man hops into the cab as if he’s already
been invited and closes the door.
LONG HAIRED MAN
Great man, I’ve been out here for awhile and you’re the first car to stop.
MAN DRIVING
Did you see anything weird out here a minute ago?
LONG HAIRED MAN
Weird? Nah, I didn’t see anything weird.
MAN DRIVING
No bright light? Nothing?
LONG HAIRED MAN
Nah man, I saw nothing.
MAN DRIVING
What’s your name son?
LONG HAIRED MAN
Mick
Mick looks the driver eerily in the eye.
LONG HAIRED MAN
Mick Mars.
Perplexed, the driver puts the truck into gear and starts down the road again.
EXT. OUTSIDE AN L.A. LIQUOR STORE — DAY
SUPER: “1980”
INT. LIQUOR STORE — DAY
Nikki sits behind the register barely paying attention to
anything going on in the store. A customer comes up to the register and places a bottle of whiskey on the counter. Nikki presses a button to open up the register with a “no sale.”
The customer pays Nikki with a ten dollar bill, Nikki gives him his change then pockets the ten.
BACK TO EXT. OF LIQUOR STORE — DAY
The old pick-up truck carrying Mick in from the desert pulls up to a curb outside the liquor store. Mick steps out of the truck and slams the door behind, not looking back.
BACK TO INT. OF LIQUOR STORE — DAY
Mick walks in carrying his guitar case. He surveys the room and spies Nikki slouched over the counter reading a rock magazine. Nikki casually glances up to look at Mick and pretends to look down at his magazine again.
Mick walks back towards the vodka section. Since Mick is
carrying a guitar case and looks the part of a rock n’ roller, Nikki’s interest is piqued.
Mick picks up a plastic bottle of vodka and brings it to the counter to pay. Nikki tries to act as tough as possible to impress his customer. Mick looks closer at the magazine.
MICK
So what are you into?
Without skipping a beat Nikki responds.
NIKKI
Aerosmith, Kiss
MICK MARS (V.O)
Are you fucking kidding me?
NIKKI
Why, what are you into?
MICK
Jeff Beck, Paul Butterfield Blues Band
MICK MARS (V.O)
I was always on the lookout for
people to play with, but after the answers he gave I completely ruled him out. Besides he was a cocky little shit.
MICK
Listen kid, if you want to hear
some GOOD music, come down to the
Stone Pony tonight. I’ll be
playing.
NIKKI
All right man, I’ll check it out.
Mick walks out of the store and everything freezes.
NIKKI SIXX (V.O)
Whoa, whoa, whoa. Are you fucking kidding me?! That is not even close to what happened! Dick.
INT. LIQUOR STORE — DAY
Mick picks up a plastic bottle of vodka and brings it to the counter to pay.
NIKKI
So what are you into?
MICK
Jeff Beck, Paul Butterfield Blues Band. What about you?
NIKKI SIXX (V.O)
How could this demented looking Quasimodo have such lame and predictable taste?
NIKKI
The New York Dolls, Aerosmith, MC5, Kiss.
Mick looks at Nikki with utter contempt.
MICK
Oh, I’m into real players.
NIKKI
(annoyed)
Fuck you, man.
MICK
No, fuck you. If you want to see a REAL guitar player, come see me tonight at the Stone Pony.
NIKKI
Get the fuck outta my store! I’ve
got better things to do. Jerkoff.
Mick walks out of the store.
EXT. OUTSIDE THE STONE PONY — NIGHT
Nikki walks down the sidewalk past a small crowd of people hanging around the front door of the club.
Nikki enters the club shaking the hand of the bouncer along the way.
INT. STONE PONY NIGHT CLUB — NIGHT
The club is half full. Nikki sees Mick on stage playing with the band. Mick’s fingers work their way masterfully up and down the neck of his guitar.
The sound is mesmerizing and Nikki is among those mesmerized. Nikki’s jaw drops in awe at Mick’s talent. As Mick finishes the performance, the rest of the audience agrees erupting in vigorous applause.
Nikki turns around shaking his head as he walks out of the club dumfounded at what he has just seen.
INT. A DENNY’S RESTAURANT IN L.A. — DAY
SUPER: “A DENNY’S SEVERAL MONTHS LATER”
Tommy nervously sits in a booth sipping a cup of coffee and fidgeting with the silverware.
Nikki enters the restaurant carrying a back pack, looks around, spots Tommy and heads towards his booth.
Nikki sits down in the booth across from Tommy.
TOMMY
(nervously)
So?
NIKKI
So –- I saw you playing with your band last month and I want you to play drums with me.
Tommy has a goofy smile on his face.
TOMMY
Really? You want me to play drums with you? –- Sweet.
Nikki reaches into his bag and pulls out a tape recorder and presses play. A graining bass guitar can be heard.
NIKKI
I’ve got these demos —
Tommy starts to pound out a beat with his knife and fork on the table, plates and napkin dispenser. Nikki looks on in amazement. Tommy talks while playing his silverware instruments, but Nikki ignores his words staying focused on Tommy’s hands. A huge smile comes across Nikki’s face.
Nikki looks up at Tommy, Tommy is ignoring everything but the music he hears and the beat in his brain. Nikki leans back in the booth grinning, knowing that he has just found his new drummer.
INT. RUN DOWN GARAGE CONVERTED TO A REHEARSAL SPACE — DAY
Tommy and Nikki are playing a hard rock groove pouring all their energy into the practice. As if coming from out of nowhere, Mick stands at the entrance to the room.
Mick watches the duo and is clearly impressed with both of their abilities. Tommy stops playing and jumps up from behind his drum kit.
TOMMY
Dude! This is the guy I was telling you about! I saw his ad in the paper and asked him to come down.
CUT TO NEWSPAPER CLASSIFIED AD:
“EXTRATERRESTRIAL GUITARIST AVAILABLE FOR ANY OTHER ALIENS THAT WANT TO CONQUER THE EARTH”
BACK TO REHEARSAL GARAGE:
Nikki and Mick eye each other with some familiarity, but are unsure why. They trade odd glances while racking their brain to figure out how they know each other.
Suddenly Nikki’s face lights up in recognition of where he knows Mick from.
NIKKI
Hey?! You’re the fucker I met in the liquor store!
TOMMY
(under his breath)
Oh shit.
NIKKI
You were pretty good at the Stone Pony that night.
Tommy sighs in relief. All three of them pause and look at each other awkwardly for a brief moment.
NIKKI
All right, then let’s get started –- I’ve got some songs we’ve been working on.
The new trio begins to play Nikki’s song falling quickly into sync. Nikki and Tommy grin ear to ear as they play, even Mick manages to crack a smile and break down his unemotional exterior.
INT. REHEARSAL SPACE — NIGHT
Nikki, Tommy and Mick are sitting around drinking a beer. They drip with sweat from their exhausting practice.
NIKKI
Now all we need is a singer. Someone who can blow the doors off any place we’re in.
Tommy and Mick nod their heads in agreement.
MICK
You know who I want? I want that skinny blonde fucker I saw at the Starwood the other night in that band Rock Candy.
TOMMY
You mean Vince?
MICK
Yeah! That’s the guy we need. I don’t care if he can even sing. He had the crowd in a God damn frenzy.
TOMMY
Dude, I’ll fuckin call him and ask
him to come by.
INT. KITCHEN OF VINCE’S HOUSE — DAY
The phone on the wall rings. Vince’s mother picks it up.
TOMMY (ON PHONE)
Hi, is Vince there?
VINCE’S MOTHER
(yelling)
Vince! Telephone!
Vince enters the kitchen and picks up the receiver.
VINCE
Hello?
TOMMY (ON PHONE)
Yo Vince, it’s Tommy.
Vince barely pays attention to the conversation.
VINCE
What’s up man?
TOMMY (ON PHONE)
Dude, you need to come down here and sing with this band we’re putting together!
VINCE
I’m kinda busy right now man. Give me your number and I’ll call you back.
TOMMY (ON PHONE)
Alright man, it’s 555 -– are you writing this down?
Vince doesn’t take down the number instead picks his nose.
VINCE
Of course man, I’ll give you a call later.
Vince hangs up the phone and walks out of the room.
Tommy hangs up the phone suspicious of the way Vince responded to the request to play with his new band.
INT. KITCHEN OF VINCE’S HOUSE — DAY
SUPER: “2 DAYS LATER”
The phone on the wall rings. Vince answers it.
VINCE
Hello?
TOMMY (ON PHONE)
Vince, it’s Tommy. You really need to check out this band we’re starting man. It fucking rocks dude, you —
Vince walks to the refrigerator in the process stretching the phone cord and receiver away from his ear. He opens the door and takes out a soda. Vince opens the soda and takes a sip.
TOMMY (ON PHONE)
(cont’d)
— didn’t call me back I figured I’d call again to —
VINCE
(burping)
Bleeeeeh — yeah, sorry about that, I washed my jeans with your number in it. I gotta go man, I’ll call you back.
TOMMY (ON PHONE)
But? —
Vince hangs up the phone and walks out of the kitchen.
TOMMY
Dick.
INT. KITCHEN OF VINCE’S HOUSE — DAY
SUPER: “3 DAYS LATER”
The phone on the wall rings. Vince answers it.
TOMMY (ON PHONE)
Listen motherfucker! This is your
last chance. The band I’m in is playing shit that will blow your mind. Nikki Sixx is in it and we have this guitar player that looks like ‘Cousin It’ from the Adams Family!
Vince relents and gives in to Tommy’s enthusiasm.
VINCE
Tell you what, I’ll come by Saturday and check it out.
TOMMY (ON PHONE)
You better man, or I’m gonna come over there and kick you in the balls.
EXT. STREET OUTSIDE OF REHEARSAL GARAGE — DAY
Vince pulls up to the curb outside the band’s rehearsal garage. He’s driving a white Datsun 280Z T-top with a gorgeous blonde in the passenger seat. He gets out of the car dressed in all white, his hair “feathered” and wayfarer sunglasses resting on the tip of his nose.
Vince ignores the blonde girl struggling to get out of the tiny sports car and walks up the driveway. She finally gets out of the car and tries to catch up to Vince wearing heels that only allow her to take small quick steps.
As Vince approaches the garage, Mick, Tommy and Nikki are warming up and tuning their instruments. Vince’s blonde girlfriend (Lovey) catches up with Vince and gives the rest of the band a disapproving look while chomping on her gum.
TOMMY
Glad you could make it man.
Nikki walks over to Vince and hands him a sheet of lyrics.
Lovey looks over Vince’s shoulder and snatches the sheet out of Vince’s hands.
LOVEY
Let me see that baby. I want to know if they’re any good.
Nikki, Tommy and Mick roll their eyes at each other. Vince immediately grabs them right back.
VINCE
(in disbelief)
What the fuck are you doing? Go wait in the car Lovey.
NIKKI
Is Yoko going to be a problem?
VINCE
Lovey? Nah, just a pain in the ass. She has a short shelf life, but I get to drive her car which is pretty sweet.
Nikki looks at Mick with an approving nod after Vince’s response. Vince takes off his sunglasses.
VINCE
Alright, let’s get started.
Tommy clicks his drums sticks together and counts off the beat to “LIVE WIRE”.
The band kicks in with a ferocious wall of sound. Vince slowly starts to move his head back and forth with the beat. As the intro crescendos, Nikki cues Vince to come in. Vince does so flawlessly.
As the song progresses Vince becomes more animated, fully feeling the energy and groove of the song. The performance only gets better and the whole band knows it.
As the song continues, the quartet realizes they’ve got something special. Nikki and Tommy are grinning ear to ear and the normally subdued Mick thrashes in rhythm to the beat.
NIKKI SIXX (V.O.)
That was it. We knew instantly we
had something incredible. We were electric and went balls to the wall right away.
MONTAGE –- BAND REHEARSING
MUSIC UP: “LIVE WIRE” CONTINUES
— The band practices night and day furiously expending all their energy.
— Vince sits on a stool while Nikki changes his hairstyle to the “hair metal” look they pioneer. While Vince gets his hair styled, Tommy runs around with a cigarette lighter and a can of hairspray creating a blow torch.
— Goofing off together they are clearing having the time of their lives.
— Cutting up cocaine on a mirror, they snort line after line to fuel their rehearsals.
INT. REHEARSAL GARAGE — NIGHT
All four guys sit around the rehearsal space exhausted and sweaty. They look like brothers born of an ‘Aquanet hairspray’ mother. They’re drinking Meister Bräu and saying nothing.
TOMMY
So what should we call ourselves?
None of the guys respond and sit motionless. Either not caring or too tired to say anything.
MICK
How about Motley Crew?
The rest of the group nods half heartedly in agreement mumbling “sounds good,” “yeah, that’s cool” etc.
Vince looks down at his can of Meister Bräu.
VINCE
We should change the “e,w” to “u,e” and put two little dots over the “o” and the “u” like on the beer can.
They all look at each other slightly puzzled and shrug their shoulders. Again mumbling “sure, why not,” “looks cool.”
NIKKI
So that’s it? We’re Mötley Crüe?
The rest of the band nonchalantly nods in agreement. Nikki nods in acceptance too.
NIKKI
Works for me!
EXT. STARWOOD NIGHTCLUB — NIGHT
A small crowd stands outside the club.
ON THE MARQUEE: “MÖTLEY CRÜE TONIGHT”
SUPER: “1982”
INT. STARWOOD NIGHTCLUB — IN FRONT OF STAGE
Between the stage at the back of the club and the bar near the front entrance, is an open floor half full of people. In the audience is a mix of guys who are hard rock fans and girls wearing tight, “painted on” dresses and pants.
The audience mills around between the stage and bar waiting for something to happen. The house lights are lowered and Mötley Crüe takes the stage.
Tommy, Nikki and Vince move with energy to take their places, while Mick strolls casually behind them. They are dressed in all black leather and mesh outfits. Vince is the exception and is shirtless wearing white leather pants. Tommy clicks his drum sticks together counting off “Toast of the Town.”
The band rips into their performance with intensity and focus. Vince owns the stage and the girls in the audience immediately flock to the front.
MUSIC UP: “TOAST OF THE TOWN”
VINCE
(singing)
Hey Hey Hey, Hey kid, the whole
house is shakin’. We got the time
right in our sights.
MONTAGE –- BAND PERFORMING AND POPULARITY GROWING
MUSIC UP: “TOAST OF TOWN” — CONTINUES OVER MONTAGE
— The band plays gigs all over Los Angeles. “Mötley Crüe” reads on the marquees of The Whiskey a Go-Go, The Roxy and the Toubadour.
— Vince jumps onto the Nikki’s shoulders as they perform on stage.
— Audiences begin to grow for each one of their gigs.
— A photo of Mötley Crüe appears on the cover of the local music magazine Rock N’ Roll L.A.
HEADLINE READS: “MÖTLEY CRÜE TAKES OVER THE SUNSET STRIP”
— The band moves into a run down house near the Sunset Strip. Nikki and Tommy carry in beat up couches while Vince goofs around and jumps onto it.
— The band leaves several of their gigs with girls on each arm and bottles of booze in their hands. Girls show up to the house with baggies of cocaine, weed and bottles of booze. Tommy and Nikki high five each other.
— There is a constant parade of women coming and going from Mötley Crüe’s house. Girls leave through a bedroom window while others come in the bedroom door.
— Crazy partying takes place at the house with piles of cocaine on the living room coffee table, the guys having sex with multiple women and general insanity going on.
INT. BACKSTAGE OF ROCK CLUB — AFTER A SHOW
Vince is having sex with a beautiful blonde who is bent over while standing.
VINCE
(singing)
Double your pleasure, double your fun.
On the other side of the room, Tommy is having sex with the beautiful blonde’s identical twin sister.
TOMMY
(singing)
With doublemint, doublemint, doublemint gum.
TWINS
(in unison)
Ooooooooh, yes, yes, yes!
EXT. SIDEWALK OF SUNSET BLVD. — MOMENTS LATER
Vince and Tommy leave the club and walk down Sunset Blvd.
TOMMY
I can’t believe those were the same twins from the commercial!
VINCE
Yeah, I know. -– What’s that —
Vince stops walking and sniffs the air.
VINCE
What’s that smell?
Tommy sniffs the air too. Vince smells Tommy up close.
VINCE
Bro, you stink.
Tommy smells himself, then moves toward Vince to take a
whiff of him.
TOMMY
Nah man, it’s you that stinks.
Tommy and Vince continue to sniff each other and quickly realize that they both smell. They keep sniffing until they determine that the stench is coming from their crotches.
TOMMY
Oh shit, the girls are going to be at the house when we get home. We can’t go back smelling like low tide!
Vince looks around and spots a burrito stand.
VINCE
Alright, I have a plan. Wait in the van.
INT. TOMMY’S VAN — A FEW MINUTES LATER
Vince climbs into the van and hands Tommy a burrito. Vince starts to unbutton his pants.
TOMMY
Dude? What the fuck are you doing?
VINCE
Getting rid of the smell.
TOMMY
What?!
Vince unwraps his burrito and starts to rub it all over his penis. Tommy looks on in awe.
TOMMY
Fuck it. Do you think this will work?
Tommy unbuttons his pants, unwraps his burrito and rubs it
all over his penis.
TOMMY
(screaming)
Aaaaah!
VINCE
What is it?!
TOMMY
It’s fucking hot man!
Vince starts laughing hysterically.
INT. STAGE OF A ROCK CLUB — NIGHT
MUSIC UP: “TOO FAST FOR LOVE”
The club is packed with people. The band is in the midst of a show and Vince is jumping around the stage. Most of the audience is enjoying the performance except for three guys standing towards the front of the stage.
They have their arms crossed and are glaring at the band with venom. One of the guys wearing an AC-DC t-shirt takes a deep breath and spits a huge wad of saliva on Vince and his leather pants.
Vince jumps from the stage and tackles the guy who spit on him. The guy’s friends go after Vince too.
NIKKI
Nobody spits on us mother fucker!
Everything freezes.
NIKKI SIXX (V.O.)
When I saw that fucker spit on Vince my reaction seemed perfectly reasonable –- at the time.
Everything unfreezes.
Seeing the melee in front of him, Nikki takes his bass off his shoulder. He raises it above his head as if he was ringing the bell with a sledgehammer at a carnival. Nikki swings it, landing directly on one of the offending guys trying to pummel Vince.
TOMMY
Holy shit!
Tommy flies over hit drum kit jumping into the fight followed shortly by Mick who has shed his guitar.
EXT. OUTSIDE OF ROCK CLUB — NIGHT
Police cars surround the rock club. Two police officers lead Nikki out in handcuffs.
POLICE OFFICER
You’re lucky you didn’t kill that guy you God damn punk!
The man Nikki hit with the microphone stand is wheeled out on a stretcher into a waiting ambulance. Nikki laughs maniacally as he sees his victim. Nikki is thrown into a police car.
The rest of the band is lead out of the club in handcuffs and thrown into police cars. Tommy is struggling to get free.
TOMMY
Get your fucking hands off me!
One of the police officers nails Tommy with a shot to the stomach. Tommy is instantly silenced in pain and quietly gets tossed into the squad car.
EXT. OUTSIDE THE MÖTLEY CRÜE HOUSE — LATE MORNING
A red corvette pulls up to the curb of the house where Mötley Crüe is staying. Driving, is a well dressed, slightly overweight man in his mid 30’s. He has a perfect sun kissed tan and his dark thinning hair is slicked back.
He gets out of the car and takes a moment to look over the house which is a disaster. Taking out a piece of paper from his pocket, he looks it over making sure he is at the right address.
As the man approaches the front door, out stumbles a disheveled young woman. She is carrying her clothes in her arms. Mascara has run down her face and she looks terrible.
GIRL LEAVING HOUSE
Hey.
WELL DRESSED MAN
Hi.
The man smurks, watching her stagger away. He then walks up to the screen door and peers inside. Passed out on the living room floor is a man wearing tight red leather pants and long bleached blonde hair.
The house is filthy. There are empty liquor bottles
everywhere, dirt on the walls and broken / turned over pieces of furniture. The well dressed man enters the house and starts to lightly kick the blonde man trying to wake him.
WELL DRESSED MAN
Dave. -– Dave!
He kicks him again, harder this time.
WELL DRESSED MAN
Wake up Roth!
David Lee lifts his head slightly, barely opening his eyes.
DAVID LEE ROTH
That you Doc?
DOC MCGHEE
Yup. What the fuck happened here?
DAVID LEE ROTH
Man it got WEIRD last night.
David Lee starts to get up off the floor and finds a seat on a disgusting sofa. The sofa legs crack and it drops to the floor from his weight.
DAVID LEE ROTH
(nonchalantly)
Whoa.
Doc McGhee moves a chair out of the way so he can walk into the living room. Feeling something on his hand after moving the chair he wipes it on the wall, then on his pants. He is clearly grossed out.
DAVID LEE ROTH
Yeah, you might not want to touch anything. Nikki nailed some dude’s ear to the coffee table.
FLASHBACK: SUPER; “LAST NIGHT”
Nikki drives a nail through some guy’s ear while a crowd of people cheer him on.
BACK TO LIVING ROOM
DOC MCGHEE
Is he here?
DAVID LEE ROTH
No man, he must have gone to the
hospital.
DOC MCGHEE
Not the guy with a hole in his ear! Nikki!?
David Lee gets to his feet and walks toward the door.
DAVID LEE ROTH
I don’t know where he is. I think
he’s around here somewhere?
David Lee opens the screen door and exits. Doc McGhee maneuvers his way through the house to look for Nikki. As he makes his way down a hallway, he sees a bedroom door halfway open. He gets closer to the door to see Nikki sprawled out face down, naked on a mattress with no sheets.
Nikki is surrounded by empty liquor bottles and cocaine vials. Doc enters the bedroom and immediately recoils from the smell.
DOC MCGHEE
Nikki.
Nikki is unresponsive. Doc kneels down and shakes his leg to wake him. Nikki is startled and rolls over. While doing so, a stream of urine starts to spray the room.
DOC MCGHEE
Aaahhh! What the fuck man!?
Nikki gets to his feet, still completely naked and peeing on the floor.
NIKKI
Who the fuck are you?!
DOC MCGHEE
Doc McGhee — I manage Bon Jovi and I’d like to manage you guys.
NIKKI
(sarcastically)
No shit? Bon Jovi! That’s awesome.
DOC MCGHEE
Yup, no shit. And I’d like to get you in the studio right away. Here’s my card.
Doc reaches out to hand Nikki his business card being careful not to get too close.
NIKKI
We already have a manager and he sucks. What the hell can you do for us?
Tommy enters the doorway to the room. He is very hungover and wearing only boxer shorts.
TOMMY
Who the fuck is this guy?
NIKKI
(sarcastically)
This is Doc Mghee! And he wants to MAAANAGE us.
DOC MCGHEE
Listen, fellas, I can get you major label distribution and headlining a tour in 6 months. If you want to stop fucking around and get out of this shit hole,
give me a call.
Seeing that the guys are in no shape to talk seriously at that moment, Doc leaves the room and the house.
TOMMY
Think he was full of shit?
NIKKI
Who the hell knows? We’ll check it out later.
INT. LOBBY OF RECORDING STUDIO IN DOWNTOWN L.A. — DAY
All four members of Mötley Crüe enter the building through a revolving door. Nikki first, then Vince, followed by Tommy and Mick. Mick and Nikki are both carrying their guitar cases.
Nikki exits the revolving door with a serious look on his face and heads directly for the receptionist’s desk. As Vince exits the door, he stops short trapping Tommy in
between the glass of the revolving door.
TOMMY
(muffled behind the glass)
Dude! Very funny, let me out!
VINCE
What’s the magic word?
TOMMY
NOW! Motherfucker!
VINCE
That’s not very nice language young man.
Mick chuckles while standing on the sidewalk outside.
INT. RECEPTIONIST’S DESK OF RECORD COMPANY
Nikki is disheveled. His hair sticks straight off his head in a matted mess and eye makeup from the night before is running down his face. The receptionist (a beautiful brunette) gives Nikki a disgusted look as he approaches her desk. Nikki snarls at her.
NIKKI
We’re Mötley Crüe and we’re here to see Doc McGhee.
RECEPTIONIST
Just a moment.
The receptionist picks up a phone and dials an extension. Nikki looks back at the rest of the band horsing around and yells to them.
NIKKI
Cut that shit out! Let’s go.
Vince finally lets Tommy out. He stumbles out of the
revolving door and goes after Vince, trying to slap him in the head. Mick casually comes in behind them.
RECEPTIONIST
You can go up, it’s the fifth floor.
The band piles into the elevator. Vince gives the receptionist a wink as he passes.
INT. RECORDING STUDIO — MOMENTS LATER
As the elevator door opens, Nikki has a steely look on his face. He is all business and exits the elevator focused on finding Doc McGhee so they can begin recording.
Impressed by their surroundings, the rest of the band exits the elevator and looks all around, taking in the luxurious design and state of the art studio.
Doc McGhee sits in a chair at the control board outside of the sound room. Glass walls separate him from other employees setting up microphones and cables in the sound room. Doc looks up to see the guys entering the studio.
DOC MCGHEE
Glad you made it.
NIKKI
I bet you are.
Doc and Nikki glare at each other both thinking this may be
a terrible idea. Doc leans back in his chair and puts his feet up on the console.
DOC MCGHEE
Alright, why don’t we get started. –- Bill, give the boys a treat to pick themselves up.
Bill (one of the employees) walks to a table behind the console area and empties out a baggie of cocaine.
DOC MCGHEE
Help yourself boys.
The guys go over to the table, cut the cocaine into lines.
They pause for a moment. Realizing that Doc casually offering them cocaine isn’t something you encounter everyday.
Nikki furrows his brow then shrugs his shoulders, bends over and inhales a massive line of the white powder. He pops back up shaking his head. The rest of the band follows suit.
DOC MCGHEE
The studio is all set up for you. I know we’re going to kick some ass.
The guys roll their eyes at Doc’s comments while walking into the sound room.
INT. SOUND ROOM
Tommy pushes past everyone to hop into an elaborate drum set to immediately pound out a beat.
Nikki picks up a cable and plugs it into his bass. Mick does likewise and Vince enters a separate vocal recoding booth.
BACK TO — CONTROL BOARD OUTSIDE SOUND ROOM
Doc snorts a line of cocaine off the console. He pops his head up and presses a button so he is heard in the sound room.
DOC MCGHEE
Ready when you are guys.
BACK TO — SOUND ROOM
NIKKI
You ready to -– (sarcastically) kick some ass?
BACK TO — CONTROL BOARD OUTSIDE SOUND ROOM
Doc looks over at Bill and releases the microphone button so he isn’t heard in the sound room.
DOC MCGHEE
What the fuck am I getting myself into? — Roll tape.
Bill presses switches and buttons on the console. A large tape wheel begins turning.
BACK TO — SOUND ROOM
Nikki and Tommy give a nod to Mick. Mick tears into an intense intro of “Looks That Kill.” The rest of the band seamlessly enters the song.
MUSIC UP: “LOOKS THAT KILL”
BACK TO — CONTROL BOARD OUTSIDE SOUND ROOM
Doc’s eyes widen as Mötley takes charge of their recording session. In spite of their earlier interactions, Doc is thoroughly impressed.
Vince’s vocals blow everyone in the studio away. Even Nikki is taken aback by how good they are.
VINCE NEIL (V.O.)
Doc knew how good we were, WE knew how good we were and pretty soon the whole world would know how good we were.
TOMMY LEE (V.O.)
After we recorded the “Shout at the Devil” album everything Doc said was going to happen, did.
MONTAGE — SUCCESS OF THE ALBUM
— Pages flip through Billboard Magazine, landing on “Shout at the Devil” climbing the charts.
— Teenagers walk away from a ticket booth of a theater excited about the tickets they just bought. Moments later the theater puts up a “Sold Out” sign on top of a Mötley Crüe poster.
— Mötley Crüe plays before bigger and bigger crowds at larger venues.
— They start to make more money and do even more drugs. Tommy and Vince party in their new elaborate houses and throw piles of money into the air.
TOMMY LEE (V.O.)
Everything seemed to be happening so quickly. One minute we were single, broke musicians, the next we were rich rockstars with hot girlfriends. -– We were becoming part of the “machine.”
NIKKI SIXX (V.O.)
The machine is the entire mechanism that creates fame and financial success. It starts with taking someone’s creative abilities.
— The band is back in the recording studio. Their eyes are bloodshot from drugs and exhaustion.
VINCE NEIL (V.O.)
Then a company sees how many ways they can make money off the creativity. They give the artist just enough to keep them wanting to create more.
— Doc feeds them more cocaine to get them motivated to record.
TOMMY LEE (V.O.)
To make the company even more money, starting the cycle all over again.
NIKKI SIXX (V.O.)
Till eventually the artist gets burned out and eaten up by the machine.
INT. BACKSEAT OF A STRETCH LIMOUSINE — NIGHT
All four members of the band are in the backseat of the limo each with a different girl. They are all drinking
champagne.
Vince is playing with the sunroof and jumping through the opening with his girlfriend. Nikki is doing bumps of cocaine with a girl next to him that is more into the drugs than him. Mick nonchalantly sips directly from a Jack Daniels bottle with a girl next to him that couldn’t be more bored.
Everyone in the car is yelling over one another while the stereo is blasting loud. Vince sits back down inside the car and turns off the stereo.
VINCE
Could I have your attention please! –- I would like to propose a toast.
Everyone in the limo quiets down.
VINCE
Tomorrow we leave for the Monsters of Rock tour. It took us a long time to get to this point, but I’d just like to say –- we absolutely fuckin deserve it!
Everyone cheers in unison. A moment later, Tommy’s girlfriend Candice chimes in and draws the attention to herself.
CANDICE
I’d also like to propose a toast. –- To Tommy, the biggest scumbag, lying, son of a bitch, and I do mean BITCH, I have ever met!
It gets awkwardly quiet.
TOMMY
Lisa what the fuck?
CANDICE
Did you just call me Lisa you stupid fuck?! I’M CANDICE!
Vince chuckles softly.
CANDICE
And I saw the picture you took while fucking those two whores from a couple of weeks ago!
CUT TO: INT. TOMMY’S BEDROOM — NIGHT
Candice rifles through Tommy’s drawers and sees several Polaroid pictures at the bottom of the drawer. The pictures show Tommy having sex with another woman. She is livid.
BACK TO LIMOUSINE
Candice turns to scream at the limo driver.
CANDICE
Stop the car!
TOMMY
Wait, Candice, c’mon!
The limo pulls over to the curb on a street in downtown L.A. Candice pushes her way to the door to get out of the limo. Tommy follows after her.
CANDICE
I can’t believe you introduced me to that cunt mother of yours!
VINCE, NIKKI, MICK
(in unison)
Whoa!
TOMMY
(calmly)
Please don’t call my mother a cunt.
EXT. SIDEWALK OF L.A. STREET — NIGHT
Candice shuffles her way down the street in her extraordinarily high heels while Tommy climbs out of the limo behind and catches up to her quickly.
CANDICE
Why not?! Any woman that gave birth to a piece of shit like you must be a cunt!
Tommy gently grabs Candice by the arm and turns her to face him.
TOMMY
(calmly)
Candice please calm down. And please stop calling my mother a cunt.
CANDICE
Fuck you! She’s a cunt! Cunt! Cunt!
The anger is building inside Tommy as he watches and listens to Candice spout off about his mother. Time slows down for Tommy as he focuses on Candice and her venom.
TOMMY
Candice, for the last time, PLEASE stop calling my mother a cunt!
CANDICE
FUCKING CUNT!
In a flash, Tommy punches Candice in the face knocking her to the ground. Her mouth fills with blood, but she doesn’t cry. Instead she continues to yell at Tommy.
CUT TO: INT. KITCHEN OF TOMMY’S CHILDHOOD HOME — DAY
Tommy’s mother stands next to the counter leaning on it
with her left hand and her right hand firmly planted on her hip. An angry look is plastered on her face.
TOMMY’S MOTHER
Let’s get one thing straight. -– I taught Tommy to never hit girls, but that little bitch deserved to get punched in the face.
BACK TO — SIDEWALK OF L.A. STREET — AFTER PUNCH
The limo crawls up to where Candice is sitting on the ground. The heads of Nikki, Vince and Mick stick out of the windows as they gawk at the spectacle Tommy and Candice made.
VINCE
Holy shit!? Fucking Sugar Ray Leonard over here!
NIKKI
Shut up Vince. Tommy, get in the car.
Tommy doesn’t say a word and walks backwards towards the limo while Candice continues to yell at him. Before Tommy gets into the car, he shakes his head and gives Candice the finger.
EXT. MIDWESTERN HIGHWAY — DAY
A caravan of tour buses drive down the highway followed by two eighteen wheelers with “Monsters of Rock” signs on them.
A closer look at the caravan reveals smoke billowing out of the windows.
INT. TOUR BUS — DAY
Vince, Tommy and Mick sit around a table with 4 other guys, in the middle of the tour bus. Everyone seated has long hair and is dressed in the mid eighties heavy metal style.
A haze of smoke hovers in the air while one of the other long haired men cuts up a large pile of cocaine with a razor blade. Bottles of alcohol litter the table around them.
TOMMY
Hurry up Ozzy! I want some of that shit.
OZZY OZBOURNE
Patience is a virtue my son.
Ozzy continues to chop up the cocaine. A very short man sits next to him holding an acoustic guitar, which is
almost as big as him.
OZZY OZBOURNE
Randy, play that song I like.
RANDY RHODES
Which one Oz?
OZZY OZBOURNE
Ah, you know the one I mean -– just play it.
Randy begins to pick at a riff that sounds familiar to all on the bus. Mick, who is also holding a guitar, starts to play along with Randy. They are playing ‘Billy Jean’ by Michael Jackson.
OZZY OZBOURNE
(singing)
She was more like a beauty queen from a movie scene.
The rest of the guys on the bus look around puzzled as Ozzy continues to sing. They quickly embrace the moment and start to sing along with Ozzy.
GUYS ON BUS
(singing in unison)
People always told me, be careful of what you do, don’t go around breaking young girls’ hearts.
(louder)
HEEE HEEE!
INT. BATHROOM OF TOUR BUS — DURING SINGING OF BILLY JEAN
Nikki sits on the toilet seat lid. He rolls up his sleeve and carefully removes a baggy of white powder from his pocket.
Next, he takes out a small leather case. Opening the case reveals a syringe, several needles, a spoon, rubber surgical tubing and a lighter.
Nikki methodically begins to prepare a heroin injection. When the syringe is ready, Nikki ties off his arm and meticulously injects the drugs into his vein.
Nikki is awash in the euphoria the heroin gives him. The light fades in his eyes. Nikki sees the light getting dimmer.
He leans back, barely able to keep his eyes open. The noise from outside the bathroom filters into Nikki’s chemical induced ecstasy.
With his eyes closed, he sees his mother driving away as a child, her boyfriend yelling at him and him staying up at night crying.
CUT TO EXT. TROPICAL BEACH — DAY
Nikki lies in the sand staring up at the sky. He is alone with nothing but the sound of the waves crashing on the beach. He is peaceful.
A voice calling his name can be heard.
NIKKI -– NIKKI
Nikki looks around, then sits up.
BACK TO INT. TOUR BUS BATHROOM
Realizing the beach was only in his mind, Nikki takes a moment to brush off his clothes as if there is sand on them.
He stands up, puts on a pair of sun glasses, collects his heroin paraphernalia and stands up to leave the bathroom. He looks in the mirror to straight out his appearance.
The image
INT. MIDDLE OF TOUR BUS — A FEW SECONDS LATER
Nikki exits the bathroom barely able to stay on his feet. He is somehow able to keep himself together in spite of being high.
Tommy and Vince notice Nikki exiting the bathroom giving him a suspicious look.
The rest of the guys on the bus barely notice Nikki has come back into the room. They finish singing, all the while drinking heavily and doing massive amounts of cocaine.
Razzle, one of the guys on the bus and a good friend of
Vince’s, gets the group’s attention.
RAZZLE
Dude, check this out.
Razzle picks at a large scab that has formed on his forearm. The guys on the bus are clearly grossed out and react accordingly.
The bus turns into the parking lot of a hotel and comes to a stop.
MICK
I’ll give you a hundred bucks if you eat that thing.
Razzle thinks about it for a moment and then lifts the scab above his mouth dangling it for all to see. The guys react with utter disbelief shouting the entire time until Razzle finally puts it in his mouth and swallows.
VINCE
You sick fuck!
Ozzie looks around unphased.
OZZIE
(nonchalantly)
I don’t see what the big deal is?
The bus driver opens up the front door letting out a cloud of smoke.
BUS DRIVER
We’re here.
EXT. PARKING LOT OF HOTEL — DAY
The guys scurry out of the bus to escape the air of
grossness they have just been exposed to. Ozzie stumbles out of the bus and reacts like a vampire to the bright sun.
The group of rockers mill around, goofing off then slowly make their way to the hotel.
Ahead of the group, Ozzie spots something that interests him on the ground. As he gets closer he sees that it is a popsicle stick with a trail of ants leading to it.
Ozzie stops dead in his tracks and gets down on his knees.
The group pauses, wondering what Ozzie is up to.
TOMMY
Oz, what are you doing?
OZZIE
I’m the fucking prince of darkness man. I’m going to show you how it’s done?
TOMMY
Huh?
With out missing a beat Ozzie leans over, picks up the popsicle stick with one hand, places a finger over his nostril with the other hand and proceeds to snorts all the ants into his nose.
Everyone is speechless, their mouths agape. Ozzie stands up, pats Tommy on the shoulder and casually strolls into the hotel. Everyone who just witnessed this doesn’t move an inch staring at each other in disbelief.
INT. BACK STAGE OF MONSTERS OF ROCK TOUR — NIGHT
Vince, Tommy, Nikki and Mick enter their dressing room
followed by Doc McGhee. The dressing room is well decorated
with an elaborate array of food set up.
DOC MCGHEE
Alright, you guys are on in twenty minutes. Get yourselves together, I’ll be back in fifteen.
Nikki ignores everyone in the dressing room and heads straight for the bathroom. The others watch him, but say
nothing, looking at him with indifference.
Vince stands over a platter of food holding a bottle of Jack Daniels. He sips directly from it while picking through the various items on the tray.
VINCE
What the fuck is this?
Vince holds up a bottle of mustard.
DOC MCGHEE
(annoyed)
It’s mustard Vince.
VINCE
No! It’s DIJON mustard! I fucking hate Dijon mustard!
DOC MCGHEE
So don’t eat it Vince, what’s the fucking problem?
VINCE
The problem is, why the hell would YOU have them bring Dijon fucking mustard when I hate it?!
Vince whips around and hurls the jar of mustard against the wall smashing it everywhere.
VINCE
Ahhh! Fuck!
Vince grabs his wrist in pain. Blood comes pouring out of his hand.
DOC MCGHEE
What the fuck did you do?!
VINCE
Shit man, I sliced my hand real bad.
Doc rushes over, grabs a towel and wraps it around Vince’s hand. Tommy starts laughing hysterically. Mick looks on shaking his head.
DOC MCGHEE
We’re going to have to bandage this up. Tommy, go get a first aid kit.
TOMMY
No way, let him bleed, fucking idiot and his mustard.
DOC MCGHEE
Tommy c’mon!
TOMMY
Fine, I’ll be right back.
Tommy leaves the dressing room.
VINCE
(wincing in pain)
I don’t think I can go on tonight man.
Doc’s eyes open wide with intensity. Vince instantly regrets even suggesting not performing.
Doc grabs hold of Vince’s hand and squeezes it tightly. Vince reacts to the pain.
DOC MCGHEE
(calm intensity)
Listen you little shit, you’re going to go on that stage tonight and you’re going to sing your little ass off for twenty thousand people or the next thing that gets cut on you will be your little prick when I slice it off. Understand?
Doc and Vince stare at each other for a moment. Mick smirks, enjoying Doc’s warning. Tommy reenters the dressing room with some bandages.
VINCE
(meekly)
Ok dude, no worries.
Doc backs away and Tommy tosses the bandages to Vince. While Vince begins to wrap up his hand Nikki suddenly stumbles out of the bathroom unaware of anything that has just happened.
NIKKI
(out of it)
What’s going on?
Doc shakes his head in disgust and walks out of the room.
DOC MCGHEE
(under his breath)
Jesus fucking Christ.
(regular voice)
You’re onstage in five minutes.
The four men stand in silence looking at each other. Mick picks up his guitar and leaves the room, Tommy follows him. Vince finishes wrapping his hand and gets up to leave. Nikki stands in drug induced bewilderment watching his bandmates head for the stage. He follows Vince out of the dressing room door.
NIKKI
What happened to your hand?
VINCE
Fuck you.
INT. STAGE OF ARENA — MOMENTS LATER
The crowd erupts in a huge wave of applause as Mötley Crüe takes the stage. Vince’s hand is bandaged with the end of it hanging loose around his wrist.
Tommy jumps behind his elaborate drum kit and gets situated while Nikki casually crosses the stage to pick up his bass.
Offstage, Mick chugs from a bottle of vodka before plugging in his guitar.
Tommy counts off a beat and the band rips into “Shout at the Devil.” It is obvious they are out of sync from the beginning.
Nikki misses his queues for the chorus, coming in late on the backup vocals. Vince and Tommy are clearly annoyed but continue the performance.
VINCE
(away from the microphone)
Get it together! What the fuck?!
Nikki barely acknowledges Vince, but tries to pull himself together. His eyelids get heavy as he puts on a pair of sunglasses to cover up heroin induced fatigue. He is awash in euphoria oblivious to the outside world.
The crowd doesn’t seem to notice, but the band and crew does.
Time slows down as the band continues to muddle through their performance. Vince forgets some of the lyrics, Mick misses chords and Tommy drops his sticks.
They manage to struggle through and the audience discerns what has happened.
Mötley Crüe is oblivious to the world.
INT. FIRST CLASS CABIN OF AIRPLANE — NIGHT
MUSIC UP: “HOME SWEET HOME”
The four members of Mötley Crüe sit in separate rows
throughout the first class cabin, each one looking worse than the next. Their hair is tangled, makeup is smeared across faces with overgrown stubble and they generally look disheveled beyond compare.
Tommy, Mick and Vince are passed out, each with a bottle of booze on their laps. Nikki has a blanket wrapped around his shoulders staring down at his hands, they begin to shake. Tremors from withdrawal.
EXT. ARRIVALS AREA OF LAX AIRPORT — NIGHT
As they leave the airport, they get into four different limousines not saying a word to each other.
INT. FOYER OF VINCE’S BEACH HOUSE — NIGHT
Vince enters his house wearing sunglasses even though it is the middle of the night. There to greet him are two beautiful blondes with a tray of cocaine cut into lines. He closes the door behind him.
INT. KITCHEN OF MICK’S APARTMENT — NIGHT
Mick enters the kitchen of his apartment. Already standing in the kitchen wearing a bathrobe is his girlfriend. Mick opens the door of the refrigerator to get a beer. Behind him, his girlfriend yells, throwing her hands in the air. Mick hangs his head apathetically.
INT. STRIP CLUB IN DOWNTOWN L.A. — NIGHT
Tommy is seated in a booth at the back of the strip club. The table in front of him is littered with beer bottles and empty glasses. On either side of him are two strippers equally as intoxicated as Tommy. One of the strippers lowers her head to his lap. Tommy is unphased, completely numb to his surroundings.
INT. WALK-IN CLOSET OF NIKKI’S BEDROOM — NIGHT
Nikki sits naked and pale faced on the floor of the closet. His knee is tucked into his chest as he rocks back and forth. A closer look reveals him filling a syringe with a large shot of heroin.
When the syringe is filled, he lines the needle up with a
vein between his toes and injects it. Immediately he is overcome, leaning backward to lie on the floor of his closet. Awash in his high, Nikki is catatonic and fades into the ether.
INT. TOMMY’S BEDROOM — BRIGHT AND SUNNY MORNING
Tommy lies asleep, face down in a large bed covered with messy white sheets. He is motionless. The telephone rings.
Tommy doesn’t even flinch. The phone keeps ringing. Finally, Tommy reaches for the phone, his head still buried in a pillow. He picks up the phone and immediately hangs it up.
Seconds later, the phone rings again. This time Tommy answers it.
TOMMY
(groggy)
Who the fuck is this?
TOMMY’S ACCOUNTANT (ON PHONE)
Tommy, it’s your accountant. I’ve
got something I want to tell you.
TOMMY
Yeah? What is it?
TOMMY’S ACCOUNTANT (ON PHONE)
You’re not going to believe this buddy, I’ve got a girl I want to set you up with.
Tommy turns over to his back facing the ceiling.
TOMMY
Dude, I don’t need to be set up on a date. I do just fine on my own.
TOMMY’S ACCOUNTANT (ON PHONE)
You bang strippers and groupies. I’m talking about a NICE girl, a girl you could actually be seen with in public.
TOMMY
Fuck you man. -– so who is it?
TOMMY’S ACCOUNTANT (ON PHONE)
Have you ever seen T.J. Hooker?
Tommy sits straight up in his bed with a stunned look on his face.
EXT. DRIVEWAY OF PALATIAL LOS ANGELES HOME — NIGHT
A white Cadillac convertible pulls up the driveway of an upper-class home in suburban L.A. Tommy is driving, wearing a black button-down shirt.
Getting out of the car, he looks up in awe of the palatial home. Tommy is carrying a bouquet of flowers walking up to
the front door. He rings the doorbell.
A tall, handsome man in his early fifties opens the door. He has a full head of silver hair and is dressed in a yellow polo shirt with plaid pants.
After taking one look at Tommy, he is taken aback in shock.
HEATHER’S FATHER
So -– uh, you’re here to take out my daughter?
TOMMY
Um, yeah.
Heather’s father gives Tommy the “hairy eyeball.” Like two dogs meeting for the first time, Tommy and Heather’s father stare at each other for an awkwardly long moment exchanging perplexed looks.
MUSIC UP: AEROSMITH — “ANGEL”
In the background, Heather descends an elaborate spiral staircase. The front door appears to open wide as if by itself. Time slows down for Tommy.
With each step, Heather looks more and more angelic. She is wearing a tight white dress accentuating her body and her long blonde hair flows to her shoulders.
Tommy’s eyes and mouth open wide. He gazes up at Heather in amazement. Heather’s father is in Tommy’s peripheral vision and he notices Tommy gawking at his daughter.
HEATHER’S FATHER
(in-audible)
Hey.
Tommy does not react to him.
HEATHER’S FATHER
(slightly louder)
Hey.
Tommy continues to ignore him while Heather walks up next to her father.
HEATHER’S FATHER
(loudly)
Hey!
Tommy snaps out of it and looks back at Heather’s father and quickly back to Heather. Heather kisses her father on the cheek.
HEATHER LOCKLEAR
Bye daddy.
Heather walks past Tommy out the front door while her father continues to give Tommy a disapproving look. Tommy looks back befuddled.
HEATHER
C’mon, let’s go.
Heather’s father watches them walk to Tommy’s car and shakes his head while closing the door.
HEATHER’S FATHER
(under his breath)
Oh shit.
INT. TOMMY’S CAR — MOMENTS LATER
Tommy and Heather sit silent in his car as he drives them to their date.
TOMMY
So, I saw you on TV last night.
HEATHER
(confused)
You did?
TOMMY
Yeah, I love ‘The Fall Guy.’
An annoyed look comes over Heather’s face.
HEATHER
Really? You love The Fall Guy? That’s funny because I’m not IN The Fall Guy, that’s Heather Thomas.
Tommy’s eyes open wide with embarrassment.
TOMMY
Um, I -– uh.
Heather shakes her head and rolls her eyes.
HEATHER
Don’t worry about it. It’s not a big deal.
She gives Tommy a gentle smile. Tommy sighs in relief then pulls the car over as they arrive at an Italian restaurant.
INT. ITALIAN RESTAURANT — NIGHT
Tommy and Heather sit across from each other at a candle lit table. The restaurant is not particularly busy, providing them an intimate setting.
HEATHER
You know, you’re not like the other guys I’ve gone out with.
TOMMY
Yeah? What are the other guys you’ve gone out with like?
HEATHER
Well, mostly actors I guess.
Tommy chuckles.
TOMMY
Which ones?
HEATHER
Hmm, Tom Cruise, Mark Harmon -– Scott Baio.
TOMMY
Ha ha ha! You went out with Chachi?!
HEATHER
C’mon give me a break, besides, I think you’re way more — interesting –- Can you roll up your sleeves?
Heather gives Tommy a coy look and motions to see his tattoos. Tommy smiles and proceeds to roll up his sleeves giving heather a sultry look all the while. Heather gently runs her fingers over Tommy’s tattoo. Tommy stands up
slowly to excuse himself.
TOMMY
I’ll be right back.
Tommy leaves the table and goes to the men’s room.
INT. MEN’S ROOM OF RESTAURANT — A MOMENT LATER
Tommy stands in front of the bathroom mirror, he turns on the faucet and splashes water on his face. Drying his face with a towel, he looks at himself.
TOMMY
She wants you. She wants a bad boy. You’re a bad boy.
Tommy fixes his hair.
TOMMY
Play it cool and she’ll be all
over you.
Tommy straightens out his shirt collar.
TOMMY
Fuckin Chachi –- hehehe.
He leaves the bathroom.
INT. BACK TO — DINING ROOM OF RESTAURANT
Heather sits bored at the table when Tommy arrives back from the bathroom. She leans forward seductively looking Tommy in the eye.
HEATHER
Do you want to get out of here?
Maybe head back to your place?
Tommy gulps.
TOMMY
(loudly)
Check please!
INT. LIVING ROOM OF TOMMY’S HOUSE — NIGHT
Heather and Tommy are fully clothed engaged in an intense make out session on the living room couch. Heather straddles Tommy’s lap while they continue their heavy kissing.
Tommy slowly runs his hands up from Heather’s hips to her chest and she quickly pushes them away. He tries again but once more Heather rebuffs his advances.
Heather places her hands on Tommy’s face while kissing him then she slowly pulls away.
HEATHER
I need to get going.
Heather gets off of Tommy’s lap and stands up from the couch. Tommy is utterly confused.
HEATHER
Can you take me home?
TOMMY
Uh, yeah, sure I guess.
Heather straightens out her dress, puts her hair up and goes to the coffee table to pick up her purse. Tommy still doesn’t know what just happened.
EXT. DRIVEWAY OF HEATHER’S HOUSE — NIGHT
Tommy pulls his car up the driveway stopping at the front door. Heather leans from the passenger seat to Tommy and gives him a soft tender kiss. After her kiss, she gets out of the car and leans into the passenger side window.
HEATHER
Call me, ok.
Heather walks into the house and Tommy sits in the car perplexed beyond belief.
MONTAGE — TOMMY AND HEATHER DATE FOR SEVERAL WEEKS
— Tommy plies Heather with champagne, trying to get her drunk.
— Heather continues to reject Tommy’s advances on their
successive dates.
— Engaged in a romantic embrace, they sit staring out at the sunset from Tommy’s balcony. They kiss and Heather lies back allowing Tommy on top of her so they can make love.
EXT. STREETS OF DOWNTOWN LOS ANGELES — DAY
Vince speeds down a busy L.A. street alone in his Ferrari. He weaves in and out of traffic, passing cars at a blinding rate.
He brings his cocaine covered pinky finger up to his nose and takes a snort. As he does so, he passes a convertible with three pretty girls in it and quickly slows down next to drive alongside.
VINCE
(loudly)
Hey ladies!
GIRLS IN CAR
(in unison)
Hi Vince!
GIRL #1
What are you doing?
VINCE
I’m on my way to the studio. We’re recording our next album. You should stop by later.
GIRLS IN CAR
(in unison)
Ok! Bye!
Vince speeds past the girls and makes his way to the studio.
INT. HALLWAY OUTSIDE RECORDING STUDIO — DAY
The elevator door opens and Vince exits walking toward the recording studio. He enters the control room where Doc sits with two other producers.
INT. CONTROL ROOM OF RECORDING STUDIO
Doc spins around in his chair as Vince enters.
DOC MCGHEE
Where the fuck have you been?!
VINCE
What? What’s your problem?
DOC MCGHEE
My problem is, you’re an hour and a half late! Do you know how much this place costs?! Now get in the fucking studio and get to work!
VINCE
Fuck you asshole –-
Vince leaves the control room and enters the recording
studio. Tommy and Mick are waiting for him there with disapproving looks.
Nikki enters the studio wearing sunglasses after returning from the bathroom. He walks by Vince and picks up his bass. He is clearly high, but is somehow able to function.
NIKKI
Is Vince here yet?
BACK TO CONTROL ROOM
Doc buries his head in his hands. He then presses a button and leans into a microphone speaking to the studio.
DOC MCGHEE
Yeah Nik, he’s right next to you.
Nikki looks up at Vince.
NIKKI
Oh hey man, how ya doin?
Vince pauses and looks at Nikki like he has seven heads.
VINCE
He’s got to straighten his shit
out man.
DOC MCGHEE
Don’t worry about it Vince, let’s just get to work.
Doc begins to prep the control board for recording. He gives the other guys in the control room a cue to start manipulating the board.
Each of the members of the band prepares themselves to record. Even Nikki manages to pull himself together somewhat.
Doc flips a switch and begins to roll tape on the recording session.
DOC MCGHEE
(into control room microphone)
Girls, girls, girls, take one.
When you’re ready boys.
BACK TO RECORDING STUDIO
Vince shakes his head vigorously trying to focus his attention to the task at hand. He puts on a pair of headphones and stands in front of a microphone.
MUSIC UP: INTRO TO ‘GIRLS, GIRLS, GIRLS’
VINCE
Whoo! Ha Ha!
VINCE
(singing)
Friday night and I need fight! My motorcycle and a switchblade knife.
As the song progresses, the rest of the band feeds off of Vince’s intro and begin to feel the groove of the song. Their energy picks up, whipping them into a fury.
Nikki leers at Vince. Vince jumps kicking his leg in the air barely missing Nikki’s head.
Tommy has an icy glare in his eyes. He’s focused on the
task at hand but manic in his attitude.
Mick stays hunched over in the corner struggling to play the right chords. Tommy notices instantly that Mick is off and turns his head distracting him from keeping the beat.
In the midst of Vince’s vocals he picks up that Tommy has missed a beat and immediately stops singing.
BACK TO CONTROL ROOM
Doc’s face reveals his displeasure. He presses down the button to talk to the studio.
DOC MCGHEE
Cut!
The band stops playing.
DOC MCGHEE
Let’s do it again. You guys sound like shit. You gotta get it together!
BACK TO THE RECORDING STUDIO
VINCE
It would have been fine if Tommy didn’t fuck up the beat.
In a flash, Tommy leaps over his drum kit and on top of Vince. They begin to brawl, knocking over microphone stands and various equipment in the studio.
BACK TO THE CONTROL ROOM
Doc sits back in his chair letting out a sigh and shaking his head. The rest of the guys in the control room look back and forth between the fight and Doc unsure of what to do.
Doc takes a moment to drink in what he is seeing.
DOC MCGHEE
(calmly: to guys in control room)
Alright, break it up if you feel like it. Or not. I don’t give a
shit either way.
BACK TO RECORDING STUDIO
Mick watches Tommy and Vince roll around on the floor with utter indifference. Nikki remains seated on a stool still barely conscious from his heroin-induced haze.
As the guys from the control room burst in to break up the fight, time slows down.
Tommy and Vince remain in a violent rage as they are separated. Mick takes off his guitar strap, puts his guitar down and walks out of the studio. Nikki manages to get to his feet and exits the studio going to the bathroom for another hit.
Doc puts on the head phones and hits the play back button. Leaning back with his arms crossed slowly nodding to the rhythm staring blankly at the fracas going on in front of him.
Doc has on a steely glare. He is cold and calculated.
EXT. BEAUTIFULLY MANICURED LAWN OVERLOOKING A PICTURESQUE VIEW OF PACIFIC OCEAN — DAY
On the lawn, hundreds of people are seated in white folding chairs that are set up for a wedding ceremony. At the alter Tommy stands nervously pacing back and forth.
After pacing a few more steps, Tommy’s face turns green and he ducks behind the altar to throw up. While Mick and Vince look on laughing, the rest of the guests in the first few rows are disgusted.
After vomiting, Tommy comes out from behind the altar wiping his mouth. He turns to his groomsmen.
TOMMY
Where’s the best man? Where’s Nikki?
At that moment, Nikki stumbles into view, making his way from the back row towards the front. His tuxedo is ill fitting since he has lost so much weight.
Half way to the front, Nikki trips and lands on the lap of a heavy set woman in her late fifties.
NIKKI
Hey baby, how you doing?
The woman is repulsed. But before she can utter a word, Nikki licks the entire side of her face then jumps to his feet.
NIKKI
What’s the matter?! This is supposed to be a wedding! I’m just trying to add a little romance for Christ’s sake.
As Nikki continues to walk toward the altar Tommy intercepts him on his way, grabbing Nikki’s arm.
TOMMY
(angry whisper)
What the fuck is the matter with you man?! This is my wedding, you’re my best man and you’re completely fucked up!
NIKKI
Relax buddy, I’m fine. I just wanted to fully enjoy the experience of your wedding.
Tommy drags Nikki up to the altar.
TOMMY
Fine, just try to stand here and not fuck anything up, alright?
NIKKI
Alright, alright. I’ll just stand here. When does the reception start anyway? I’m thirsty.
TOMMY
Dude, PLEASE shut the fuck up and
calm down. The reception is right
after the ceremony. — Which is going to start any second.
A string quartet starts playing “the wedding march” when Heather emerges and takes her first steps towards the altar. The entire crowd turns in her direction.
Heather is breathtaking. She is lead down the aisle by her father. Tommy is waiting for her at the altar. When they reach the end of the aisle, Heather turns to her father who kisses her cheek and then shakes Tommy’s hand.
Heather takes Tommy’s hand and they stand together in front of the altar smiling at each other. They are in bliss.
INT. ELEGANT RECEPTION HALL — EVENING
As Tommy and Heather sit at the head table grinning from ear to ear the band leader winds down the music.
BAND LEADER
Ladies and Gentlemen, may I have your attention please? Now it’s time for the toast from the best man.
The guests turn to the head table and everyone seated at the head table looks from side to side for Nikki. He is missing.
BAND LEADER
Is the best man here?
INT. TOILET STALL OF BATHROOM AT RECEPTION HALL
Nikki is seated in the stall with his sleeve rolled up and surgical tubing tied around his emaciated bicep. He has just finished shooting up and tilts his head back to embrace the high.
Barely able to function, Nikki rolls down his sleeve and begins to straighten out his clothing. He manages to leave the bathroom and staggers down the hall toward the wedding
reception.
BACK TO WEDDING RECEPTION
As the guests wait, the tension in the room has grown thick. Vince’s friend “Razzle” stands up from the table where he, Vince, Mick and several others are seated.
Energetically, Razzle skips up to the microphone. Vince tries to catch him as he passes by.
VINCE
(keeping his voice down)
Razzle?! What the hell are you doing?
RAZZLE
Relax man, I’ve got it covered.
Razzle grabs the microphone out of the surprised band leader’s hand.
RAZZLE
Good evening everyone, Nikki had to step out for a minute, so I’d like to propose a toast. — To Tommy and Heather, may all your ups and downs be in bed!
The guests gasp and mumble in disgust, except for the table with rock n’ roll types who howl in laughter.
Nikki stumbles back in to the reception as Razzle is finishing his toast. All the guests notice Nikki’s condition. It is blatantly obvious to everyone.
Despite the leering eyes of the guests, Nikki is oblivious to his onlookers and takes his seat at the head table.
Heather is mortified and Tommy is fuming. Tommy gets up and walks outside to get away from the situation. Heather follows him.
EXT. EMPTY LAWN OUTSIDE OF RECEPTION HALL — NIGHT
Tommy stands with his back to the reception hall looking out at the view. Heather comes up slowly behind him.
HEATHER
Tom? Are you okay honey?
Heather places her hand on his shoulder, then takes his hand. She looks up to see tears welling up in Tommy’s eyes.
TOMMY
We’re gonna die you know.
Heather reacts in silent shock.
HEATHER
What do you mean baby?
Heather moves to stand in front of Tommy still looking up at him.
TOMMY
You saw Nikki. What he’s like now. He’s like my brother –- and he’s going to die. I’m not much better. I’m going to die. –- This can’t go on forever.
Heather brushes aside a tear sliding down Tommy’s face.
HEATHER
It’s okay baby. Everything is going to be okay.
Heather stand on her toes and the newlyweds share a romantic kiss.
INT. LIVING ROOM OF VINCE’S BEACH HOUSE — NIGHT
Vince, Tommy, Mick and a group of Mötley’s friends are partying in the living room of Vince’s palatial beach house. The living room leads to a large deck with a hot tub overlooking the ocean.
Liquor bottles are scattered around as well as small piles of cocaine on the coffee table. Several young women walk topless around the house and party in the hot tub.
Seated on the edge of the sofa is Vince’s friend Razzle. He
leans over the coffee table to snort a massive line of
cocaine.
VINCE
Damn Razzle! Slow down. Save some for the rest of us.
Vince cuts up a line, snorts it and does a shot of whisky, slamming the glass on the table.
RAZZLE
You’re telling me to slow down?! Holy shit man, you’re a human vacuum cleaner!
VINCE
Me? A human vacuum cleaner? No, that’s Lisa.
Vince turns to the hot tub on the deck.
VINCE
Hey Lisa! Come over here and show Razzle why they call you the human vacuum cleaner.
RAZZLE
That’s alright sweetie, I’ve got
to make a beer run. Vince can I borrow your Ferrari?
VINCE
What are you, a fucking retard? No way, but I’ll take you for a spin.
EXT. SUBURBAN NEIGHBORHOOD NEAR VINCE’S HOUSE — NIGHT
Vince speeds through his neighborhood in his bright red Ferrari convertible with Razzle in the passenger seat. As he takes each curve, the car skids and swerves leaving smoke and dust in its wake.
They are both laughing and screaming, yelling into the night sky unaware of how precarious their situation is.
As the Ferrari takes one more curve, it careens over the center line into the path of a pair of headlights coming right at them.
BLACKNESS
EXT. SIDE OF THE ROAD VINCE AND RAZZLE WERE DRIVING — NIGHT
Vince’s eyes are closed as blood trickles down his forehead. He lies motionless in a heap of wreckage that was just his brand new Ferrari.
As his eyes slowly open, Vince realizes where he is. He looks to his right only to see an empty passenger seat.
VINCE
Razzle?
Vince slowly starts to move. He manages to open the badly damaged driver side door and stumble out of the car. He is still dazed from the accident and his partying.
His vision becomes less blurry. He sees an overturned car on the opposite side of the road. Between himself and the overturned car lies a figure he can’t quite make out. There is silence.
VINCE
Razzle? — Razzle?!
Vince takes several slow steps towards the figure. As he gets closer he begins to realize the figure is a motionless Razzle.
VINCE
Razzle! — No, no, no!
Vince quickly runs to his friend’s side kneeling next to Razzle and cradling him in his arms. Razzle does not respond and Vince starts to rock back and forth while holding him. In the distance, the sound of sirens grows.
BACK TO LIVING ROOM OF VINCE’S BEACH HOUSE
As the party continues at Vince’s house, Tommy walks through the living room looking for a drink.
TOMMY
Where’s the booze? I’m thirsty.
Aren’t Vince and Razzle back by
now?
MALE PARTY GUEST
Nah man, they’re still out. Vince is probably doing his Mario Andretti impression.
An awkward silence comes over the room. The partygoers hear the growing sound of sirens approaching.
TOMMY
Oh no.
Tommy darts out the front door and sprints up the street as a trail of police cars and emergency vehicles pass him.
EXT. SCENE OF ACCIDENT — NIGHT
When Tommy reaches the scene of the wreck he stops dead in his tracks.
Vince is sitting on the curb with his arms wrapped around his knees and rocking back and forth. Tommy walks to Vince and puts his hand on his shoulder. Vince looks up with tears in his eyes.
VINCE
Razzle’s dead, man –- he’s dead.
Tommy sits down next to Vince and puts his arm around him.
A moment later a police officer comes over to the two rockstars.
OFFICER
Mr. Neil, we’re going to have to take you down to the station and ask you some questions.
TOMMY
What for?
The officer ignores Tommy.
OFFICER
Sir, please stand up and come with us.
Vince stands up, still barely able to get to his feet and
goes with the officer. The officer places Vince in
handcuffs and into the back seat of a squad car.
Vince has a blank stare across his face, an almost catatonic expression as the squad car drives off. Tommy watches as his friend is carried off to jail.
INT. PENTHOUSE SUITE OF LOS ANGELES HOTEL — NIGHT
Spread throughout a luxurious hotel room, half a dozen people (three men and three women) dressed in typical 80’s rock garb lie disheveled on various couches and chairs.
A table in the middle of the suite is littered with dirty ashtrays, foil wrappers and spoons with burn marks on them. It is clear that the group has been doing drugs for quite some time.
Sitting up shirtless in a bed against the wall, Nikki looks at the scene in front of him. His eyes are half open and his arms are scattered with infected track marks.
NIKKI SIXX (V.O.)
Nobody knows when they are going to die. Some people think they know what will go through their head at that moment.
The phone rings and Nikki picks it up.
NIKKI
Hello? — Yeah, it’s the penthouse. Just come up.
NIKKI SIXX (V.O.)
The truth is, I knew I was going to die. Or at least I did at the time. I knew I couldn’t go on like I was for much longer.
A knock comes from the hotel room door. Nikki, rubber legged, gets up from the bed and staggers to open it.
DRUG DEALER
Let’s get the party started!
The drug dealer enters the hotel suite and Nikki closes the
door behind him. They both walk to a sofa and the drug
dealer takes out a bag of heroin.
DRUG DEALER
You want me to fix you up?
NIKKI
Yeah man, whatever.
The drug dealer begins to cook up a shot of heroin.
NIKKI SIXX (V.O.)
But the exact moment you die. The second your soul leaves your body –- no one can really know what it’s like.
Nikki takes a strip of surgical tubing and ties off his upper bicep. The drug dealer holds up the syringe and flicks it with his finger.
NIKKI SIXX (V.O.)
Till it happens.
The drug dealer lines up the needle with one of Nikki’s veins and punctures his skin. Nikki sits back on the sofa and let’s the heroin overtake him.
His heart beat slows down.
NIKKI SIXX (V.O.)
You see it slip away -– your life -– the only thing you’ve ever consciously known forever, is ending.
Nikki’s face turns blue. He becomes completely unresponsive to everyone in the room. The drug dealer begins to slap Nikki in the face trying to wake him up. The people in the room start to panic.
NIKKI SIXX (V.O.)
Maybe other people die differently? But this is how I died.
Minutes pass by like seconds and medics are quickly at the hotel.
MEDIC #1
Check his vitals!
MEDIC #2
No pulse, he’s unresponsive.
They put Nikki onto a gurney and wheel him towards a waiting ambulance. They push him past a crowd of onlookers and into the vehicle.
INT. BACK OF AMULANCE — NIGHT
Medic #1 tears open Nikki’s shirt while medic #2 prepares the shock paddles.
MEDIC #2
Clear!
Medic #1 backs away from Nikki. Medic #2 shocks Nikki with the paddles.
MEDIC #1
Nothing.
Looking down at Nikki in the ambulance the view of his lifeless body slowly rotates. Floating above, further and further away, we see the medics continuing to revive the overdosing rock star.
NIKKI SIXX (V.O.)
Or so I thought at the time.
MEDIC #2
Charging! –- Clear!
Medic #2 shocks Nikki one more time. Instantly Nikki’s eyes burst wide open and the floating view of the ambulance comes crashing back down to Earth.
INT. BEDROOM OF HEATHER AND TOMMY’S HOUSE — NIGHT
Heather sits alone upright in bed reading a script while the evening news is on the television in the background.
ON THE TV:
ANCHOR MAN
We’re just getting this late breaking story in right now. -– Nikki Sixx, the bass player for the rock n’ roll band Mötley Crüe has apparently died of a drug overdose.
On the screen they put up a picture of Nikki. Heather looks up immediately to focus her attention on the tv.
ANCHOR MAN
Sixx was staying at the Beverly Wilshire hotel when medics were called to the scene.
Heather springs out of bed and runs into the living room to tell Tommy. There passed out, with his head on the coffee table, Tommy is unconscious surrounded by empty Jack Daniels bottles and piles of white powder.
Heather runs over to try and wake him to no avail. Tommy regains consciousness enough to push Heather away.
Heather slowly backs away from Tommy and begins to cry.
INT. LIVING ROOM OF MICK MARS — NIGHT
Sitting on his living room couch, Mick watches the same news broadcast that Heather was just viewing. Looking at the TV screen with dead eyes Mick takes a gulp directly out of a vodka bottle with one hand and casually turns off the TV with a remote control in his other hand.
BLACKNESS
EXT. DOWNTOWN LOS ANGELES SIDEWALK — DAY
Doc McGhee leaves a store front carrying a cup of coffee and a newspaper. Reading the headlines he shakes his head.
NEWSPAPER HEADLINE: “MORE TROUBLE FOR MÖTLEY CRÜE”
Doc throws the newspaper onto the front seat of his
convertible. At that moment, Doc’s “car phone” rings. He
gets into the driver’s seat and answers the call.
DOC MCGHEE
Hello?
MAN ON PHONE
(yelling)
Doc! Have you read today’s paper?!
DOC MCGHEE
(sheepishly)
Yeah Bob, I saw it just now.
BOB (ON PHONE)
Well what the fuck are you going to do about it Doc?!
DOC MCGHEE
Don’t worry about it Bob, I’m
going to fix it.
BOB (ON PHONE)
You’re fuckin A’ right you’re going to fix it! Or it’s your ass! You know how much money we have riding on these retards?!
DOC MCGHEE
I know Bob, let me take care of it ok.
Doc hangs up the phone quickly.
DOC MCGHEE
Fucking asshole!
Doc picks up the phone again to make another call.
DOC MCGHEE
Randy, it’s Doc, find the guys and get them to the studio now! — yeah, yeah, I know. Just do it!
Doc hangs up the phone again and drives away angrily.
INT. RECORDING STUDIO — LATER THAT DAY
Mick and Tommy sit in chairs around the studio while Vince
is sprawled out on a sofa in the corner. They wait
impatiently for something to happen. None of them say a word to each other.
Doc enters the room followed by Nikki, still looking fresh from his overdose and escorted by a large heavily tattooed man. He leads Nikki to an empty chair, where Nikki takes a seat.
Doc pulls up his own chair, sits down and takes a deep breath.
TOMMY
(dryly)
Holy shit. It’s a ghost. Aren’t you supposed to be dead?
DOC MCGHEE
Shut up Tommy. — You guys are a fucking mess. You know it, I know it and everyone who cares about you knows it.
None of the guys even flinch. They continue to avoid eye contact with Doc and each other.
DOC MCGHEE
The record company has told me if you don’t go to rehab right now, they will drop you.
All of the band’s heads turn immediately and focus on what Doc is saying.
VINCE
Bullshit. They’re not going to drop ANYBODY.
DOC MCGHEE
Oh really shithead? You just killed your best friend along with two other people and you think you can just go about your business?!
NIKKI
Vince is right. We make those
fuckers too much money for them to drop us.
DOC MCGHEE
Nikki, you should be a God damn corpse right now! You’re lucky to even BE here!
Doc gets out of his chair.
DOC MCGHEE
Alright, fine. Even if you don’t think the record company will drop you. You KNOW that you need help. — You KNOW that if you don’t stop you’ll all be DEAD soon.
None of them say a word. They stare at each other noticing for the first time how terrible they all look. Silence overtakes the room for a moment.
TOMMY
Alright. –- I’ll go.
Stunned, Mick, Nikki and Vince look at Tommy in disbelief.
TOMMY
What? You know he’s right. Not about the record company, about us dying. –- You all look like I feel and I know that can’t be good.
The rest of the band quietly contemplates for a moment what Tommy has just said.
DOC MCGHEE
All of you have to go. No exceptions.
NIKKI
Ok. I’ll go. I mean if Tommy can fucking do it, so can I.
MICK
I’ll go….
The entire room pauses for Mick to say more. He doesn’t.
DOC MCGHEE
Vince?
Vince sits with his arms folded. He is clearly reluctant to join the rest of the band.
VINCE
Don’t we have a tour coming up?
DOC MCGHEE
Vince, you’re going to jail if you don’t do this. And I don’t think the judge will take “I have to go on tour” as an acceptable excuse. –- We’ve reserved each of you spots at different rehabs nearby and there are cars outside ready to take you.
Vince knows he has to say yes, but can only manage a nod.
INT. GROUP THERAPY ROOM OF REHAB HOSPITAL — DAY
Nikki, along with several other patients at the rehab, sit
in metal folding chairs in the shape of a circle. A well built male counselor, with long hair in a pony tail and tattoos on his arms leads the discussion and prompts one of the patients to share.
COUNSELOR
Bobby, why don’t you go ahead.
BOBBY
I had it all, a beautiful family, a wife, baby girl, good job and it all went away. I thought I was just having fun at first. I wasn’t hurting anybody.
Nikki’s arms are folded and he looks around the room at anything but Bobby. He is clearly uncomfortable. Moments pass.
BOBBY (CON’T)
She left, took my daughter. I can’t blame her. —
Nikki stops squirming in his chair and stares blankly
ahead. Moments pass.
FEMALE PATIENT
I started doing coke when I was sixteen. Smoking weed and drinking before that. I couldn’t stop —
Nikki’s eyes begin to glass over. He remains stoic, but it is apparent that he is holding back his emotions. Moments pass.
FEMALE PATIENT
So I started hooking to support my habit. I’d become something that I never thought in a million years I’d be.
Nikki starts to see his childhood. His mother’s boyfriends, her leaving him with his grandparents, getting beat up by the bullies at school. His mother driving away leaving him behind.
COUNSELOR
Nikki, would you like to share?
The group turns to Nikki and he looks around at them. Anxious and flustered, he storms out of the room.
COUNSELOR
Nikki, please sit back down.
The counselor does not go after him but addresses the group.
COUNSELOR
Well I guess everyone has to come around in their own time.
INT. NIKKI’S ROOM AT THE REHAB CLINIC — DAY
Nikki enters his room and immediately starts to tear it apart. He rips the mattress from the bed and stomps on the bed frame breaking it in two.
He is furious, red with rage. He kneels next to the bed
frame and pounds on it with his fists. After exhausting
himself, Nikki slumps over and begins to cry.
Standing over his shoulder in the doorway is the counselor.
COUNSELOR
In my profession we call that “unhealthy” behavior. But hitting a bed is better than some guy’s face I guess.
The counselor enters Nikki’s room and sits in a chair across from the bed. Nikki says nothing and does not turn around to face him.
COUNSELOR
I’m Mike. I’m one of the people here to help you. From the looks of things I’d say you could use some.
Nikki let’s out a deep breath and turns to face Mike, still kneeling next to the shattered bed. An annoyed look is plastered across Nikki’s face.
NIKKI
Yeah, what the fuck would you know about it?
Mike’s face takes on a more serious tone.
MIKE
Do you seriously think you’re the only rock star junkie I’ve seen before? Do you think I’m some teetotaler?
Nikki notices for the first time Mike’s tattoos and style.
MIKE
I’ve got news for you pal, I’ve seen tougher AND more talented guys than you go down from this shit. You’re LUCKY you’re still alive! But sooner or later your luck is gonna run out.
Both men stop talking and take in what has just been said.
MIKE
Nikki, I’m not asking you to trust me or even anyone here. I’m just saying that you can trust that other people have found a way out of the hell you’re in.
Nikki’s demeanor shifts to accepting what Mike has just said.
INT. GROUP THERAPY ROOM OF REHAB HOSPITAL — DAY
Nikki is seated in a circle with the other patients at the rehab. His hands are folded together tightly and he rocks back and forth ever so slightly.
NIKKI
Hi, I’m Nikki. I’m an addict and I’m pretty sure I’ve done every drug known to man.
The group chuckles.
GROUP
(in unison)
Hi Nikki.
EXT. WELL GROOMED LAWN OF REHAB HOSPITAL — DAY
Sitting “Indian style” on the lawn surrounded by several other patients Tommy rests his palms facing upward as his thumb and middle finger touch in a “zen” pose.
Tommy’s eyes are closed while he wears a loose white linen outfit. A meditation instructor wearing a similar linen outfit casually walks around Tommy and the other patients.
MEDITATION INSTRUCTOR
Take a deep breath and let it out slowly.
The group of patients follows the instructor’s directions.
MEDITATION INSTRUCTOR
Feel the earth beneath you and the
sky above you and know that your body does not need any substance to experience bliss. –- just BE, in THIS moment and none other.
Tommy sits peacefully with a content smile across his face. His thoughts turn to Heather and her beauty. He sees their first date, their first time making love and their marriage.
INT. OFFICE OF COUNSELOR IN TOMMY’S REHAB HOSPITAL — DAY
Tommy sits nervously in a chair alone in the counselor’s office. The office door opens and Heather walks in followed by the counselor. Tommy immediately lights up upon seeing her. Heather is clearly nervous as well.
Heather sits down next to Tommy. Their bodies face the counselor’s desk, but their heads are turned to stare at one another.
COUNSELOR
Tommy, I brought Heather in today so you two can……
Tommy interrupts him.
TOMMY
Babe, I missed you so much! I’ve been thinking about you non-stop. I’m so sorry I’ve been such a fuck up.
HEATHER
I missed you too baby!
Unable to contain their enthusiasm for one another Tommy and Heather lean forward and kiss each other passionately.
The counselor sits in stunned silence as the young couple in front of him becomes more and more amorous. Heather climbs on top of Tommy.
COUNSELOR
Well, ummm —
Seeing that his presence is not deterring them, the
counselor stands up to leave.
COUNSELOR
I’ll just be outside.
INT. MULTIPERSON BATHROOM OF REHAB HOSPITAL — DAY
On his hands and knees Vince scrubs the toilet in a bathroom stall. He is wearing rubber gloves and a hair net to contain his blonde mane.
Leaning over the toilet, Vince sees feces splattered all over the rim of the bowl. He turns away in disgust holding back a gag reflex.
Vince reaches for the toilet handle while turning his face away and flushes it. He jams a brush into the bowl and starts to scrub, all the while doing his best not to look at the mess.
INT. HALLWAY OF REHAB CENTER — DAY
Vince wheels a mop and bucket down the hall and rolls it into a janitor’s closet. After closing the door, he strips off his rubber gloves and hair net.
Exhausted, Vince slumps back to his room.
INT. VINCE’S ROOM AT THE REHAB CENTER — DAY
Waiting for Vince is a very attractive brunette woman in a white doctor’s coat. She is wearing glasses and has her hair up in a bun.
Instantly, Vince perks up.
VINCE
(flirting)
Hi there.
DOCTOR
Hello Vince, I’m Doctor Mitchell.
VINCE
Hi Doctor Mitchell, what can I do for you today?
Vince lies back on his bed and puts his hands behind his head. Picking up on Vince’s tone, the Doctor shifts her body language.
VINCE
So who sent you?
DOCTOR MITCHELL
(annoyed)
The hospital Mr. Neil. I’m here because you’re an alcoholic addict who got his friend and two other people killed.
Vince pauses and realizes Doctor Mitchell is not there to be with him sexually. He sits up on the side of his bed facing the doctor.
VINCE
Excuse me?
DOCTOR MITCHELL
You heard what I said Mr. Neil. You may not think this is a serious matter, but I can guarantee you the judge will be taking into account my report of your progress.
Vince remains silent for a moment.
DOCTOR MITCHELL
I highly recommend you get on board with what we’re trying to accomplish here.
VINCE
And what exactly are we trying to accomplish?
DOCTOR MITCHELL
Well in the simplest of terms, we’re going to try and get you sober. –- In order to move in that direction, I think we need to address what’s brought you here.
Doctor Mitchell looks down at her clipboard and flips a page.
DOCTOR MITCHELL
Your friend, Razzle.
Vince is standoffish.
VINCE
He’s dead.
DOCTOR MITCHELL
(somewhat sympathetically)
I know. –- But you’re not, so we need to reconcile his death.
VINCE
And how will we do that?
DOCTOR MITCHELL
You’re going to write him a letter.
Vince looks at her like she has seven heads.
VINCE
(mildly sarcastic)
You want me to write a letter to a
dead person?
DOCTOR MITCHELL
That’s right. It can be very helpful.
Doctor Mitchell stands up to leave.
DOCTOR MITCHELL
You need to do this Vince, and not just because the court is making you.
Doctor Mitchell leaves the room and Vince remains motionless and silent, contemplating what she has said.
INT. VINCE’S ROOM AT THE REHAB HOSPITAL — NIGHT
Vince sits at a desk in his room illuminated only by a
single lamp shining on a blank pad of paper in front of him.
He stares at the paper unable to pick up the pen. Burying his face in his hands, blurry visions of the accident flash through his head.
He and Razzle speeding through the neighborhood. Briefly seeing the headlights in front of him. Seeing the victims from the other car. Holding Razzle in his Arms.
Tears start to flow from Vince’s eyes and drip onto the bottom of the page. Vince wipes them away, picks up a pen and begins to write.
WRITING ON THE PAPER:
Dear Razzle,
VINCE (V.O.)
Dear Razzle, I’m here in rehab writing you this letter because it’s my fault you are dead. — When we used to party I thought I was invincible.
Vince folds the letter and puts it into an envelope.
VINCE (V.O. CONT’D)
Guess I was wrong. I’ve fucked up a lot in the past few years. Hell, my whole life really. But I never meant to hurt anybody.
INT. HALLWAY OF REHAB CENTER — NIGHT
Walking down the hallway, Vince reaches the office door of Doctor Mitchell. He slides the envelope under the door.
VINCE (V.O. CONT’D)
And I am so sorry I hurt you. I can’t undo this and I’m going to carry it with me the rest of my life.
INT. OFFICE OF DOCTOR MITHCELL — NEXT MORNING
Doctor Mitchell enters her office and sees the envelope
marked “Letter to Razzle” lying on the floor in front of her. She picks it up and goes to her desk to get settled.
VINCE (V.O. CONT’D)
I’m still not quite sure what the point of this is? But I know I need to ask for your forgiveness.
Doctor Mitchell sits at her desk playing with the envelope in her hands. She looks at it contemplatively. Her colleague knocks at the door and peaks his head in.
COLLEAGUE
Whatcha got there?
DOCTOR MITCHELL
Something I asked Vince Neil to write.
COLLEAGUE
Are you going to open it?
DOCTOR MITCHELL
No.
Doctor Mitchell drops the envelope into a shredder next to her desk.
DOCTOR MITCHELL
It’s none of my business. Let’s get a cup of coffee.
Doctor Mitchell gets up from her desk and leaves her office with her colleague.
EXT. DRIVEWAY OF REHAB HOSPITAL — DAY
Stepping out of a black limousine, Mick closes the car door behind him and looks up at the building in front of him.
Slowly walking up the stairs, Mick looks haggard. Exhausted. He enters the building.
INT. LOBBY OF REHAB HOSPITAL — A MOMENT LATER
As Mick walks through the lobby doors, he catches a glimpse
of himself in a mirror on the wall. Time slows down. Mick
moves closer to the mirror, dropping his bags.
He runs his fingers over his bloated, wrinkled and
weathered face. He never noticed how awful he looked
before.
Stepping back from the mirror, Mick comes to the realization of what his drinking has turned him into. With energetic resolve, he picks up his bags and walks out of the rehab not looking back.
INT. MICK’S KITCHEN — DAY
Mick goes through his cupboards collecting all of the alcohol in his house. He pours bottle after bottle down the drain.
After completing his task, Mick calmly walks out to his balcony sits down, lights a cigarette and let’s a content smile rest on his face.
EXT. TARMAC AT LAX INTERNATIONAL AIRPORT — DAY
SUPER: “THREE WEEKS LATER”
A chartered passenger jet is parked near the gate of the airport with a movable staircase docked at the plane’s door.
Several long haired rock n’ rollers dressed in typical eighties fashion walk up the stairs and board the plane.
Doc McGhee stands next to the band holding a fist full of paper work.
DOC MCGHEE
It’s called the Moscow Music and Peace festival. It’s going to raise money to help keep kids off drugs.
The band looks at him like he has seven heads.
DOC MCGHEE
Anyway, it will be good for your image. Good luck and I’ll see you
in a few days.
Doc leaves them. Vince, Nikki, Mick and Tommy walk towards the plane with confidence and swagger.
As Mötley Crüe boards the plane, they are hit in the face
with a cloud of smoke and have entered what is about to be
a ten hour party in the sky.
The other bands on board are drinking, getting high and
engaging in all the behavior that Mötley Crüe is trying to
leave behind.
Tommy turns to Nikki.
TOMMY
Good for our image huh?
Nikki agrees with a reluctant nod.
NIKKI
Let’s just do our best to get through it.
INT. BACKSTAGE DRESSING ROOM AT MOSCOW FESTIVAL — NIGHT
Inside the sparsely decorated dressing room Mötley Crüe prepare themselves to go on stage.
Sitting on a couch, Tommy rapidly warms up with his drumsticks beating on a wooden chair. Hunched in the corner on a stool, Mick leans over his guitar, hair covering his face he strums one string at a time and tightens the head pegs.
Pacing back and forth Nikki warms up his fingers, feverishly practicing the same chord pattern over and over. Vince sits in a chair with his eyes closed.
Through the walls of the dressing room they can hear a
crowd of 100,000 people stomp their feet and clap their hands in unison. The sound is loud and getting louder.
NIKKI
(Impatiently)
Dude!
Vince’s face clinches and he let’s out a loud sigh.
VINCE
Ohhhh yeah –-
Vince opens his eyes and slides the chair back. He stands pulling his white leather pants up in the process and zips the fly.
The band exits the dressing room and starts to make their
way toward the stage. They wind through a maze of sound
equipment and instrument cases.
NIKKI SIXX (V.O.)
Not many people have lived the
life we have. This was just one chapter in the crazy story of Mötley Crüe. There are many more and we’re not close to being done yet.
EXT. SIDE OF FESTIVAL STAGE — NIGHT
Right before taking the stage, Mötley Crüe gathers in a
circle. They all have a nervous look on their faces. Over
the public address system a voice is heard announcing them.
CONCERT ANNOUNCER (O.S.)
Ladies and Gentlemen!
The crowd is ferocious, chanting in unison.
CROWD
Mot-Ley Crew! Mot-Ley Crew! Mot-Ley Crew!
TOMMY LEE (V.O.)
I know when we leave this planet people aren’t going to remember the headlines or the scandals.
CONCERT ANNOUNCER (O.S.)
Boys and Girls!
VINCE NEIL (V.O.)
They’re going to remember that we were the most ass-kicking, hard rocking, balls to the wall band that ever existed.
CONCERT ANNOUNCER (O.S.)
The moment you’ve all been waiting for!
MICK MARS (V.O.)
You’re God damn right they will.
The stage lights are completely dark.
CONCERT ANNOUNCER (O.S.)
MÖTLEY CRÜÜÜÜÜÜE!!!
The lights burst on and the band takes the stage.
MUSIC UP: “THE WILD SIDE”
INT. LUXURY MINIVAN — DAY
A very attractive blonde woman in her late thirties drives the minivan and is bopping her head in rhythm to “The Wild Side”.
Behind her in the back seat, sits a blonde haired eight year old boy dressed in a soccer uniform and a five year old girl in a car seat. As the woman sings along to the song, she bounces her hand with her middle and ring finger held down by her thumb in the shape of “rock fingers.”
The children are perplexed by what the woman is doing and quizzically look at each other.
LITTLE BOY
Mom!
His mother can’t hear him. The boy looks at his sister.
LITTLE BOY & GIRL
(in unison)
Mom!
Their mother pops her head up to look in the rear view mirror and turns the music down.
BLONDE MOTHER
What?! What is it?
LITTLE BOY
What are you listening to? It’s terrible.
BLONDE MOTHER
Terrible? Really, what would you like to listen to?
LITTLE GIRL
Britney Spears!
LITTLE BOY
Yeah, Britney Spears!
LITTLE BOY & GIRL
(in unison)
Brit-ney Spears! Brit-ney Spears!
The children continue to chant “Brit-ney Spears.” Their mother shakes her head in disbelief
BLONDE MOTHER
(under her breath)
I can’t believe I gave birth to you two.
(louder)
No Britney Spears! We’re here anyway.
EXT. SOCCER FIELD PARKING LOT — DAY
The minivan comes to a stop in the parking lot and the little boy sprints out of the vehicle towards the field. There waiting for him is a middle aged Nikki Sixx dressed in mostly black clothes wearing sunglasses.
The boy runs to Nikki followed shortly by his sister.
LITTLE BOY
Dad!
Nikki kneels down and opens his arms wide to hug the boy. The little girl joins them a moment later. They all embrace in one big hug.
NIKKI
Hey guys!
LITTLE BOY
Hey dad, is uncle Tommy here?
NIKKI
Yup, he’s right over there with the boys.
Nikki points to Tommy who is also with his children at the soccer field giving him a wave. Tommy sees Nikki and waves back as Nikki’s son runs over to Tommy’s children.
The blonde woman from the minivan makes meets Nikki as they both make their way to say hello to Tommy and his family.
As Nikki and Tommy greet each other, both Vince and Mick arrive with their families as well.
All of the members of Mötley Crüe are smiling as they play with the children and talk to each other. They are happy and they are content.
THE END
