Beat Sheet written by Blake Snyder.
Writers: Steve Faber, Bob Fisher
Director: David Dobkin
Opening Image: Vince Vaughn and Owen Wilson are at work as divorce mediators. For a story about weddings, this is an interesting place to start. Primally, and spatially, the scene pits a husband and a wife on either side of a table with Owen and Vince between them. Though not the children of this divorce, they are certainly childlike, and as icons of our modern age, they are the result of what happens when children grow up without parents. As we’ll see, this has affected their view of marriage and women. Vince and Owen’s wacky method of solving the sticking point works however. By the end of the scene, all the husband requests is that Owen and Vince not talk anymore. As opening scenes go, this one sets up the theme — and the tone — perfectly.
Theme Stated: In the second scene, three things happen: 1. Vince talks to his secretary about Owen’s birthday. We learn, comically, that when Owen’s parents died, Vince took over that role for his pal. This exposition is buried in Vince’s funny, fast-talking patter and the red (very primal) sleeping bag that he uses whenever he spends Owen’s birthday night with him is introduced — as is the topic of aging. Birthdays mean growing up, a process Vince and Owen are trying to avoid. 2. This is also a “Save the Cat” moment. Vince may be a fast-talking jerk, but he loves Owen and the two have created their own little family unit with Vince as the wacky mentor — or at least the wacky uncle figure in his life. 3. When Vince states: Marriage is crazy! — or words like that — it is the theme stated of the film. Is marriage “crazy?” That is what this seemingly silly movie is “about.”
Set-Up: The makers of Wedding Crashers have a problem which they solve in the set-up. As funny as it is for two adult men to have a hobby of crashing weddings in order to sleep with vulnerable women they meet there — it’s creepy. There is a smarm factor to this avocation of theirs. But the filmmakers are smart and decide to get this out of the way as quickly and humorously as possible. In the set-up we see the boys crash several weddings posing as the ethnically correct, though false, members of several wedding parties. And their tricks work. Vince and Owen are masters of this world; they are gunslingers. And they never fail. In slow motion we see the fruits of their efforts as girls fall naked into their beds one after the next. Bang! Another girl. Bang! Another. And these aren’t just ordinary girls; each is perfect, gorgeous, and eager to have sex — even though our heroes had to lie through their teeth to get them into bed. Concluding this montage is the perfect endnote — the Stasis=Death moment — and it begins when one of the girls realizes Owen doesn’t know her name. In the next scene, on the steps of the Lincoln Memorial (this movie is set in and around Washington D.C. — another perfect choice!), Owen shares his Stasis=Death moment with Vince. Maybe, he says, they should stop crashing weddings. “We aren’t that young anymore,” he says. Vince scoffs. A hardcore partier, Vince doesn’t want to stop. But there is a sense, as in all great Stasis=Death moments, that this cannot go on. Something must change in their lives or they will spiritually, if not actually, die.
Catalyst: Vince walks in to Owen’s office with a call to adventure. One of Owen’s heroes, the Secretary of the Treasury (Christopher Walken), is marrying off his eldest daughter. A high-profile wedding, with an amazing array of challenges to “crash” it — including Secret Service agents — is catnip for Vince. It is the mother of all weddings. And Vince wants to go. He begs Owen to not hang up his wedding-crasher spurs just yet and join him in the fun.
Debate: Will Owen join Vince for one last crash? That is the debate question of this section of this film. As we have seen in the set-up, the world labeled “Before,” the Thesis Statement of the world as is for these two guys, is one of immature, responsibility-free fun. And yet by going on “one last mission” — and the biggest challenge of their careers — we sense we are about to leave the “normal” world behind. As nutty as that world is, it is only the hint of the upside-down, Anti-Thesis world ahead.
Break into Two: Owen agrees to join Vince. But to get prepared, they do an unusual amount of research. By the time they arrive at the church where the wedding is to take place, they are ready. There is Christopher Walken, and just to let us know how powerful he is, we also see Senator John McCain and James Carville — power players from both sides of the aisle. Seeing this scene only stirs Vince’s juices even more. And yet! Owen is still not quite into it. But all that is about to change. Owen looks past Christopher. And “she” appears…
B Story: This is one of the clearest B Story moments I’ve seen. Owen and Vince enter Act Two, then Owen turns and sees Rachel McAdams and falls in love. And so do we. As funny and well-written as this script is, it takes off with the casting of McAdams. We know instantly why Owen falls in love with her. His relationship with Rachel will be the lynchpin of his change from immature man to “adult.” It is where he will be nurtured, where his skills as a wedding crasher will fail him and need to be left behind if he is to survive and grow. It is one of the small miracles of this movie to find an actress that we believe would make a guy like Owen change. Mostly what it does at first, however, is make Owen want to crash this wedding. On a dime, he is re-invigorated. He has a new goal: Rachel. “Give me that,” Owen says, requesting the cheat sheet Vince created to give them background on the wedding. And Vince is pleased.
Fun and Games: Having crashed the wedding and proceeded on to the reception, our two cowboys don’t know it, but they are in way over their heads. The upside-down world of Act Two is at hand and is evident from the jump in the Fun and Games section. The tables are now turned on the gunslingers. A hint of this occurs when Owen dances with Walken’s oversexed wife who dangles the topic of adultery. We also see Rachel’s weird brother, the sexually confused artist that might better fit in the Addam’s Family than in one of Washington’s most prominent. Small miracle of casting #2 occurs when Vince meets Rachel’s sister (Isla Fisher). Even physically, the very tall Vince and the very short Isla make perfect romantic combatants — for that is what Isla truly is for Vince. She is the funhouse mirror version of the beautiful, long-legged dolls that fell so easily into Vince’s bed before. And she’s crazy to boot. In their post-coital clinch, Isla announces that she is a virgin, and Vince realizes that he must leave. Now. But it’s too late. Owen has begun to pursue Rachel. Vince, the confident cocksman turns shrinking violet, and part of the comedy comes from the fact that he did this to himself — his comeuppance for all his sins as a wedding crasher are about to be visited upon him in spades. The Fun and Games continue when Vince and Owen drive deeper into their deception and agree to go back to the luxurious estate of Rachel’s upper class family. There they interact with Rachel’s Preppie/Nazi boyfriend whose constant pummeling of Vince in a touch football game adds to the comedy — remember this was Vince’s idea! But Owen still has a mission: Rachel. The Fun and Games continue into the night as Vince interacts with the weird brother, and fends off the ever-lustful advances of Isla — even at the dinner table. By the next morning, however, the fun is over.
Midpoint: As dawn comes to Hickory Hill, Vince and Owen are at odds. Vince wants to go and will only stay on out of his loyalty to his buddy. A time limit is set. And the stakes are clearly raised. Owen must woo Rachel today or lose her.
Bad Guys Close In: But Rachel’s boyfriend, Biff Himmler, is on to our heroes. He smells fraud. In a phone conversation with his buddy, Chip Goering, we see a nice inverted picture of two bad friends. Unlike Owen and Vince, these two are mean and calculating, and we even learn Biff was not faithful to Rachel and looks upon her as a possession, contrasting to the way Owen respects her. As the day continues, Biff will amp up the stakes; he will actually shoot Vince with a gun while out grouse-hunting. It’s clearly getting serious. And a little vicious. And while Owen is getting closer to Rachel, one senses time running out both for him and for his ruse. It comes to an end when Biff, sensing competition from Owen, proposes marriage to Rachel and she is forced to accept. She may love Owen but it’s too late to know — she is engaged.
All Is Lost: Owen is just about to confess his true identity when Rachel’s boyfriend does it for him. Who are you? Rachel asks Owen who has been posing as someone he isn’t in order to crash the wedding. Owen cannot answer. The “whiff of death” — the death of identity — is clear. And the All Is Lost covenant is affirmed: Owen is worse off than when this movie started. He’s lost the one thing that could save him: Rachel. The two wedding crashers are sent packing in shame. The final insult to Vince is that Isla was lying; she is not a virgin! In fact, she was playing him! Instead of being angry, Vince is impressed. And for the first time we see why: Both Vince and Owen have met their perfect mates. Too bad they have blown it so badly with them. Odds are, as they leave the family estate, they’ll never see the girls again.
Dark Night of the Soul: Lost in the miasma of not being good enough for Rachel, Owen is literally stuck between worlds. And now the specter of the mentor who taught them both (Will Ferrell) is raised. This character is a classic booster rocket if ever there was one. And the appearance of Ferrell as the über-crasher — who has turned to crashing funerals to meet women — shows the true death of the soul that awaits Owen if he decides to go that way. Owen is lost and sad.
Break into Three: In a reverse of the scene that brought them to Walken’s wedding, it is now Owen’s turn to try to get Vince to crash Rachel’s engagement party. Vince agrees but is no longer into it, and when Owen seeks out Vince after getting beaten up while attempting to crash the party alone, he learns Vince and Isla have been seeing each other and are to be married. True friend that he is, Vince stops by Owen’s for Owen’s birthday and brings the red sleeping bag with him. Their blood-brother friendship is still intact. But will Owen show up as the best man at Vince’s wedding?
Finale: Owen does indeed show up for the wedding. And while Vince and Isla are about to tie the knot, he confesses all to Rachel, telling her that he loves her. Rachel, like Owen, has never felt comfortable in her family; they are both oddballs who have recognized they are each other’s soul mate.
Final image: The four children of dysfunctional families are now united to build a new society. Vince and Isla, Owen and Rachel ride off in a convertible and discuss how they will crash a wedding! The Act Three world of Synthesis is at hand. The children of dysfunctional society have created a third way: a new world all four can live in. As they ride off into the sunset, a phallic Washington Monument rises on the horizon and is the Final Image. Long live the Republic! We may be dysfunctional children, but we will find a future!
The real happy ending: $200 million in domestic B.O.