AMERICAN GRAFFITI

Written by

George Lucas, Gloria Katz & Willard Huyck

 RADIO
On a dark screen an immense amber
light appears and an electric
humming begins. The eerie light
glows brighter and illuminates a
single huge number--11. We hear
static and a large vertical band of
red floats mysteriously across the
screen.

Pulling back slowly, we watch the glowing band traverse back

and forth over the amber light and past more numbers
appearing-- 90... 110... 130. And we begin to hear voices--
strange songs, fading conversations and snatches of music
drifting with static.

Pulling back further, we realize it is a car radio filling

the screen and radio stations we're hearing, until the
indicator stops. There's a pause...and suddenly we are hit
by a blasting-out-of-the-past, Rocking and Rolling, turn-up-
the-volume, pounding Intro to a Vintage 1962 Golden Week-End
Radio Show--back when things were simpler and the music was
better.

And now a wolf howl shatters through time as the legendary

Wolfman Jack hits the airwaves, his gravel voice shrieking
and growling while the music pumps and grinds...

WOLFMAN
Awwrigght, baay-haay-baay! I got a
oldie for ya--gonna knock ya right
on de flowa--baay-haay-hee-baay!

The Wolfman howls like a soulful banshee as "Rock Around the

Clock" blasts forth.

MEL'S DRIVE-IN--DUSK
A neon drive-in casts long shadows
across a vast parking lot as the
sun drops behind a distant hill. A
large neon sign buzzes in the
foreground... MEL'S DRIVE-IN, while
in the background, "Rock Around The
Clock" blares from the radio of a
beautiful decked and channeled,
white with red trim, tuck- and-
rolled '58 Chevy Impala that glides
into the drive-in. Main titles
appear over action. Steve Bolander
stops the elegant machine and gets
out. He looks around, then walks to
the front of the car and leans
against the flame-covered hood.
(MORE)
 2.
MEL'S DRIVE-IN--DUSK (CONT'D)
Steve is eighteen, good-looking in
a conservative, button-down, short-
sleeved shirt. Most likely to
succeed, president of his
graduating class. He looks around
the empty drive-in, then hears a
funny little horn.

A Vespa scooter bumps into the lot. A young kid waves at him-
- and suddenly grabs the handlebars again as the scooter
nearly topples. Terry Fields ("The Toad") maneuvers the
scooter next to Steve's Chevy but misjudges and ricochets
off the trash can before stopping. Terry grins sheepishly.
He's seventeen, short but plenty loud, both vocally and
sartorically in his pink and black shirt, levis, and white
bucks. He looks slightly ridiculous but always thinks he's
projecting an air of supercool.

Steve watches Terry smooth back his shiny ducktail and primp
his waterfall to a perfect cascade over his forehead. He
unbuttons his shirt one more button and lowers his pants to
look tough.

Terry walks over and leans against the flamed car, imitating
Steve who pays him no mind. In the background, we hear the
Wolfman howling with the music. The record ends and a
barrage of humor begins from Wolfman Jack. The Wolfman is an
unseen companion to all the kids. Witty and knowledgeable
about the trivia that counts, he's their best friend,
confidant, and guardian angel.

Now, a grey, insect-like Citroen deux-chevaux putters into

the parking lot and stops on the other side of the lot.
Steve and Terry watch Curt Henderson get out.

Curt stands by his little car. He's seventeen, a curly

bespectacled, scraggly kid with a summer-grown moustache and
a paperback stuck in his bermuda shorts. Curt thinks of
himself as the town cynic. In reality, he's a hopeless
romantic. He starts over to his buddies.

TERRY
Hey, whadaya say? Curt? Last night
in town, you guys gonna have a
little bash before you leave?

STEVE
The Moose have been lookin' for you
all day, man.

Steve reaches into his pocket and hands Curt an envelope

without saying anything. Curt opens it slowly and pulls out
a check.
 3.

CURT
(sarcastic)
Oh great...

TERRY
Whadaya got, whadaya got? Wow--two
thousand dollars. Two thousand doll-
-

!!

Steve looks at Curt suspiciously; Curt seems somehow guilty.

STEVE
Mr. Jenning couldn't find you, so
he gave it to me to give to you. He
said he's sorry it's so late, but
it's the first scholarship the
Moose Lodge has given out. Oh yeah,
he says they're all very proud of
you.

Curt hands the envelope back to Steve.

CURT
Well... ah... why don't you hold
onto it for a while?

STEVE
What's with you? It's yours! Take
it! I don't want it.

TERRY
I'll take it.

CURT
Steve... Ah, I think we'd better
have a talk. I've gotten-

Suddenly a horn honks and they all turn. Laurie Henderson

pulls into the drive-in and waves to them. She is driving
the family's '58 Edsel.

STEVE
Your sister calls. I'll talk to you
later.

CURT
Now, Steve! Let her wait.

STEVE
Okay, make it short and sweet.
 4.

CURT
Yeah, well... Listen...
(clearing his throat)
I... I don't think I'm going
tomorrow.

STEVE
What! Come on, what are you talking
about?

CURT
I don't know. I was thinking I
might wait for a year... go to city-
-

Laurie honks the horn a couple of times. Steve ignores her.

There is a long moment and Curt looks uncomfortable.

STEVE
You chicken fink.

CURT
Wait, let me explain--

STEVE
You can't back out now! After all
we went through to get accepted.
We're finally getting out of this
turkey town and now you want to
crawl back into your cell--look, I
gotta talk to Laurie.
(he hands the check back
to Curt)
Now take it. We're leaving in the
morning. Okay?

Suddenly, there's an ear-splitting roar and they all turn as

a yellow '32 Ford deuce coupe--chopped, lowered and sporting
a Hemi-V8--bumps into the lot. The low slung classic rumbles
and parks at the rear of the drive in.

Big John Milner, twenty-two, sits in his Ford, tough and

indifferent, puffing on a Camel. He wears a white T-shirt
and a butch haircut molded on the sides into a ducktail. A
cowboy in a deuce coupe--simple, sentimental and cocksure of
himself.

STEVE (CONT’D)
You wanna end up like John? You
can't stay seventeen forever.

CURT
I just want some time to think.
What's the rush? I'll go next year.
 5.

STEVE
We'll talk later.

Steve walks off toward Laurie's Edsel. Laurie gets out.

She's wearing a letterman's sweater with a large "Class of
'62" emblazoned on the shoulder. Steve goes to her and they
hug.

On the radio, the music ends, and the Wolfman's intro tune
comes on.

RADIO
(singing)
"Here comes the Wolfman--Wolfman
Jack!"

WOLFMAN (V.O.)
Oh, We're gonna rock and roll
ourselves to death baby. You got
the Wolfman Jack Show!

MEL'S DRIVE-IN--NIGHT
As the radio blares "Sixteen
Candles," we see that with the
darkness Burger City has come
alive. A continual line of hot rods
pulls into the parking lot to check
out the parked cars, then returns
to the maindrag. Carhops glide by
on roller skates. Curt and John are
fooling around in front of the
deuce coupe. A horn honks and they
turn as a '60 Ford with three girls
in it slows by them. A girl leans
out the window and smiles.

GIRL
Hi John!

The girls in the car all screech and giggle as they zoom
off.

JOHN
Not too good, huh?

CURT
Why is it every girl that comes
around here is ugly? Or has a
boyfriend? Where is the dazzling
beauty I've been searching for all
my life?

John watches the procession of gleaming cars traveling

through the hot night.
 6.

JOHN
I know what you mean. The pickin's
are really gettin' slim. The whole
strip is shrinking. Ah, you know, I
remember about five years ago, take
you a couple of hours and a tank
full of gas just to make one
circuit. It was really somethin.'

Suddenly, in the distance, there's a blood-curdling scream

from an incredible high-performance engine. The entire drive-
in stops and listens.

CURT
Hey, John. Someone new in town.

JOHN
Ahhh.

CURT
You gonna go after him?

JOHN
Hey, listen, Professor, if he can't
find me, then he ain't worth
racin', right?

CURT
The big shot!

Across the swarming parking lot, Steve sits in the front

seat of his chevy with Laurie. Budda Macrae, a car hop,
leans down to attach a tray to Steve's window, showing off
her tight blouse.

BUDDA
A cherry-vanilla coke and a
chocolate mountain. Anything else
you want, Steve?
(Steve shakes his head.)
If there is you let me know now.
Just honk and I'm yours.

She tucks in her blouse a little tighter, gives him a hot

look and goes to get the other tray. Budda takes the other
tray around the car, almost shoves it in the window where
Laurie is sitting.

BUDDA (CONT’D)
One fries--grab it before I drop
it.

She gives Laurie an antagonistic look and goes off. Steve

laughs. Laurie smiles.
 7.

She's seventeen, very pretty, with big doe-eyes, and a short

bobbed hairdo. She pushes up the sleeves on Steve's
letterman sweater, which is sizes too large for her. His
class ring glints on a chain around her neck. Laurie is
sweet, the image of vulnerability, but with a practical and
self-preserving mind beneath.

STEVE
Where was I?

LAURIE
Um, how you thought high school
romances were goofy and we started
going together just because you
thought I was kinda cute and funny,
but then you suddenly realized you
were in love with me, it was
serious... and ah... oh, you were
leadin' up to somethin' kinda big.

STEVE
You make it sound like I'm giving
dictation. Well, seriously, what I
meant was, that ah... since we do
care for each other so much, and
since we should really consider
ourselves as adults. Now, I, ah...
could I have a couple of those
fries?

Through the windshield of the Chevy, they see Terry run by

in front of them, chasing Budda Macrae who's outdistancing
him on her roller skates.

TERRY:

Come on, Budda. Come on...

Steve watches them go by, then looks back at Laurie.

STEVE (CONT’D)
Ah, where was I?

LAURIE
..."consider ourselves adults"...

Laurie pretends to be interested in her french fries, but is

obviously expecting something big.

STEVE
Right... right... anyway, I thought
maybe, before I leave, we could
ah... agree that...
(MORE)
 8.
STEVE (CONT'D)
that seeing other people while I'm
away can't possibly hurt, you know?

Laurie hasn't looked up but her mood has changed like a

mask.

LAURIE
You mean dating other people?

STEVE
I think it would strengthen our
relationship. Then we'd know for
sure that we're really in love. Not
that there's any doubt.

Steve smiles and then looks to her. He stops smiling. They

listen to the radio for an awkward moment. Laurie struggles
to hold back her tears. With obvious difficulty, she turns
to him and smiles. He's expected something different and
doesn't know what to do, so he smiles back.

LAURIE
I think you're right. I mean, we're
not kids anymore, and it's silly to
think that when we're three
thousand miles apart we shouldn't
be able to see other people and go
out.

Laurie takes his ring on the chain from around her neck and
puts it in her purse.

STEVE
Laurie, now, listen, I didn't ask
for that back. I think that...

LAURIE
I know. I just sort of think it's
juvenile now. I'll keep it at home.
It's less conspicuous there.

STEVE
You don't want to wear it?

LAURIE
I didn't say that. I understand and
I'm not upset. I mean, I can't
expect you to be a monk or
something while you're away.

Steve just looks at her and nods. The Wolfman howls an intro
to "Gee" by the Crows. Outside, skooting around the drive-in
after Budda, Terry is pleading with the sexy car hop as she
delivers a tray to a car.
 9.

TERRY
...and I have a really sharp record
collection. I even have "Pledging
My Love" by Johnny Ace. Anyway, how
can you love Nelson when he's going
out with Marilyn Gator. Since he
dumped on you maybe we could--

BUDDA
He didn't dump on me, you little
dip. Hi, Steve!

Her tone changes immediately. Terry looks sour and turns

around to Steve who's getting out of the chevy. Budda
leaves, wiggling her butt for Steve.

TERRY
She's a little conceited--just
playing hard to get.

STEVE
Listen, I came over here to talk to
you about--

TERRY
Any time, buddy. I'm your man.
Nothing I like better than chewing
the rug with a pal. You talk, I'll
listen. I'm all ears. Shoot.

STEVE
Shut up.

TERRY
Sure.

STEVE
Terry, I'm going to let you take
care of my car while we're away--at
least until Christmas. I'm afraid
if I leave it with my--

Steve notices Terry isn't with him any more and turns. Terry
is standing frozen to a spot.

STEVE (CONT’D)
What's wrong?

Terry tries to talk, much like a shell-shocked war veteran.

His mouth moves but only a gurgle comes out.

Curt is standing by the Chevy, talking with his sister

Laurie. She's still upset by what Steve said to her.
 10.

CURT
Hey, sis--what's wrong?

LAURIE
Nothing.

Meanwhile, they watch Terry as Steve explains to him about

the car.

STEVE
Now listen, only 30 weight Castrol-
R. I've written the tire pressure
and stuff on a pad in the glove
compartment. Are you listening?

The others are watching now as Terry shakes his head

mechanically.

CURT
What's wrong, he's crying!

There is indeed a tear rolling down Terry's cheek.

TERRY
I can't... believe... it.
(He starts toward the car
and gently caresses its
paint.)
I don't know what to say. I'll...
love and protect this car until
death do us part.
(He circles the car.)
This is a superfine machine. This
may even be better than Daryl
Starbird's superfleck moonbird. It
is better than Daryl Starbird's.

Laurie watches Terry, realizing that like the car, she'll be

left behind as a fond memory. She turns and looks at Steve,
who's been watching her. There's a moment between them...
Budda comes by with an empty tray. Terry sees her and wipes
his eyes. He walks up to her, a strange look on his face.

TERRY (CONT’D)
Budda, how would you like to go to
the drive-in movies with me?

The idea is so preposterous that even Budda is speechless.

She looks around at others.

BUDDA
You've got to be kidding!
 11.

TERRY
Would I kid you about a thing like
that? I want you to know that
something has happened to me
tonight that is going to change
everything. I've got a new...

John walks up quietly and casually pulls down hard on the

back pockets of Terry's low riding levis. There is general
hysteria as Terry quickly pulls up his pants.

TERRY (CONT’D)
Car!! All right, who's the wise--
(He turns and sees John
and changes his tune.)
Oh, John--verrry funny.
(He tries to laugh with
the others.)

JOHN
Hey, did she do that to you?

STEVE
Let's get going. It seems like
we've spent most of our lives in
this parking lot.

TERRY
Hey, Curt, let's bomb around, I
wanna try out my new wheels!

CURT
I'd like to, Toad, but I'm going
with Steve and Laurie to the hop.
I'd just slow you down anyway.

TERRY
Yeah, tonight things are going to
be different.

JOHN
Hey, wait a minute, you're goin' to
the Hop? The Freshman Hop?

CURT
Yeah.

JOHN
Oh, come on, man. That place is for
kids. You two just got your ass out
of there. Don't go back now.

CURT
You ain't got no emotions?
 12.

TERRY
We're gonna remember all of the
good times, is what we're gonna do.

JOHN
Yeah, well, go.

CURT
Why don't you come with us?

JOHN
Bullshit, man!

CURT
Come on. For old time's sake.

JOHN
Yeah, yeah... Well, listen. You go.
Go ahead, Curtsy, baby. You go on
over there and you remember all the
good times you won't be having. I
ain't goin' off to some goddamned
fancy college. I'm stayin' right
here. Havin' fun, as usual.

John walks angrily to his coupe, gets in and slams the door.
Curt looks at the others and shrugs.

TERRY
Jesus, Milner, you're in a great
mood tonight.

Curt goes over and stands by the window of the yellow coupe.

CURT
What's the matter John? Did I say
somethin' wrong? I'm sorry.

JOHN
Ah, man, it's nothin'.

CURT
Well, we'll see you later, okay?

JOHN
Right.

CURT
We'll all do somethin' together.
You know, before Steve leaves.

John looks at him suspiciously.

 13.

JOHN
Okay, wait a minute. Now, you're
not going?

CURT
I don't know.

John shakes his head. On the radio, Wolfman is taking a call

from a listener--

MAN (V.O.)
Wolfman?

WOLFMAN (V.O.)
Who is this?

MAN
This is Joe... in Little Rock, way
down in the Valley.

WOLFMAN
You callin' from Little Rock,
California?

MAN
Long distance.

WOLFMAN
My, my, my... listen, man, what
kind of entertainment you got in
that town?

MAN
All we got is you.

John roars his engine and pulls the yellow deuce coupe into
a screeching take-off out of the drive-in. Terry and Curt
watch him go off.

MAIN STREET, MODESTO-NIGHT

During the day, G street is a line of used car lots, small

shops, tacky department stores and greasy spoons. At night,
it is transformed into an endless parade of kids in flamed,
lowered and customed machines who rumble down the one way
street, through the seemingly adultless, heat-drugged little
town.

Police cars glide ominously with the flow of traffic. In

parked cars, couples neck between flashing headlights. Guys
looking cool in a '56 Chevy sit in the slouched position of
the true Low Rider--and over it all the music and the
Wolfman can be heard. Just now, it's "Runaway" by Del
Shannon.
 14.

John travels with the flow of traffic, watching some dopey

guys shooting squirt guns from a moving car. John drives the
deuce coupe effortlessly. He looks over at a car pacing
alongside of his own.

JOHN
Hey, Zudo.

A sweaty looking guy turns and nods from the window.

PAZUDO
Hey, Milner.

JOHN
Hey, man, what happened to your
flathead?

PAZUDO
Huh?

JOHN
What happened to your flathead?

PAZUDO
Ah, your mother!

JOHN
What?

PAZUDO
Your mother. Hey, we been talkin'
about you.

JOHN
Yeah?

PAZUDO
Yeah. There's a very wicked '55
Chevy lookin' for you.

JOHN
Yeah, I know.

PAZUDO
Watch out for the cop that's in
Jerry's Cherry.

JOHN
Yeah. All right, thanks.

John nods and the two cars pull apart down the street.
 15.

TRAVELING G STREET-STEVE'S WHITE '58 CHEVY

The Rock and Roll blares as Terry the Toad cruises along the
main drag, singing along with the music. Sitting low in his
seat, he looks around, his face aglow, experiencing a new
world from the inside of a really fine car. This is the
greatest thing that has happened to Terry in seventeen long
years of being a short loser.

Terry turns a corner and another car pulls alongside. A guy

looks out the window.

GUY
Hey, Toad.

Terry looks over and smiles coolly, proud of his new wheels.

GUY (CONT’D)
(leaning out the window)
Is that you in that beautiful car?
(Terry nods modestly)
Geez, what a waste of machinery.

Terry's smile changes to a scowl as the car pulls away from

him.. Terry accounts the slight to jealousy. Then he forgets
it and enjoys driving the beautiful Chevy again. Another car
pulls alongside of him as he cruises along slowly.

GIRL
Hey, kid.

Terry looks over at the car cruising next to him. In the

back seat, a guy has dropped his trousers and is pushing his
bare buttocks against the side window--a classic BA complete
with pressed ham. Terry looks away, wondering why this is
still happening to him, even in his new car.

TRAVELING G STREET-LAURIE'S '58 EDSEL

Curt is in the back seat gazing out the window at the dark
main street of the small farm community. Steve and Laurie
are talking quietly in the front seat. Laurie is sitting
near the window and it sounds like Steve is convincing her
to move over. Laurie finally does. His arm goes around her
and her head rests on his shoulder.

Curt is laughing as the Wolfman harasses someone on the

radio. The Wolfman is placing a call.

WOLFMAN (V.O.)
Here we go with another call out of
the station. Can you dig it? Answer
the phone, dummy.
 16.

MAN (V.O.)
Pinkie's Pizza

WOLFMAN
Ah, yeah, listen, you got any more
of those secret agent spy-scopes?

MAN
Hit parade on the stethoscope?

WOLFMAN
No. No, the secret agent spy-scope,
man. That pulls in the moon, the
sky and the planets... and the
satellites and the little bitty
space men.

MAN
You must have the wrong number,
partner.

WOLFMAN
'Bye.

Wolfman cuts into "Why Do Fools Fall in Love." Curt is

laughing in the back of the car, as he listens to the ever-
present D.J.

Steve slows the Edsel to a stop at the next light. Curt

glances over at a classic white '56 Thunderbird and sits up.
In the T-bird, a girl watches him. Blonde, beautiful, her
hair, backlit by a used car lot, seems to glow, making her
look almost ethereal. Curt doesn't move, as if afraid of
scaring her away. She smiles faintly---then says something,
so softly it's lost...

CURT
What?

Curt struggles to lower his window. She repeats it, but he

can't hear. The light changes. She smiles once more and is
gone.

CURT (CONT’D)
(shouting)
What? What?!!!

STEVE
We didn't say anything.

CURT
Quick! Hang a right!
 17.

STEVE
What? Why?

CURT
Cut over to G Street, I've just
seen a vision! She was a goddess.
You've got to catch her!

STEVE
I didn't see anything.

LAURIE
We're not going to spend the night
chasing girls for you.

CURT
I'm telling you, this was the most
perfect, dazzling creature I've
ever seen.

STEVE
She's gone. Forget it.

CURT
She spoke to me. She spoke to me,
right through the window. I think
she said, "I love you."

Curt looks at his sister and Steve in the front seat. They
are bored by his romantic visions.

CURT (CONT’D)
That means nothing to you people?
You have no romance, no soul? She--
someone wants me. Someone roaming
the streets wants me! Will you turn
the corner?

Laurie looks around at him and seems to pity his flights of

poetic fantasy. Curt sits back and shakes his head.

PARKING LOT
Big John sits in his deuce coupe,
backed into the parking lot of the
Acme Fall-out Shelter Co., the
prime spot in town for girl
watching. A guy in wrap-around dark
glasses leans by the car next to
John. They watch a group of
laughing girls cruise by in a
Studebaker.

JOHN
Oh, oh. Later.
 18.

GUY
Alligator.

John turns on his lights and swings the deuce coupe out into
the flow of traffic, after the Studebaker. John accelerates
and pulls alongside the Studebaker. The girl in the front
seat rolls down her window. John grins and yells over at the
carload of cuties.

JOHN
Hey, you're new around here.
Where're you from?

FIRST GIRL
Turlock.

JOHN
Turlock? You know a guy named Frank
Bartlett?

FIRST GIRL
No. Does he go to Turlock High?

JOHN
Well, he used to. He goes to J.C.
now.

FIRST GIRL
Do you go to J.C.?

JOHN
Yeah, sure.

FIRST GIRL
Oh, wow! Do you know Guy Phillips?

JOHN
Yeah, sure. I got him in a class.

FIRST GIRL
He's so boss.

JOHN
How would you like to ride around
with me for awhile?

FIRST GIRL
I'm sorry, I can't. I'm going
steady.

JOHN
Ah, come on!
 19.

FIRST GIRL
I just can't.

JOHN
You're just ridin' around with a
bunch of girls. Hey, how about
somebody else in there? Anybody
else want to go for a ride?

The girls chatter and giggle among themselves. One of the

girls dangles a bra out the back window, and they all break
into hysterical laughter. The girls try to accelerate ahead,
but John stays alongside their car.

JOHN (CONT’D)
Aw, come on... I got plenty of
room. It's dangerous to have that
many people in a car. Cops see ya,
you're had. You got nothing to
fear, I'm as harmless as a baby
kitten.

A small voice rises above the chatter.

CAROL
I'll go. I'll go.

FIRST GIRL
Judy's sister wants to ride with
you. Is that all right?

JOHN
(grinning)
Yeah, sure, Judy--her sister--her
mother--anybody. I'll take 'em all.
Listen, we'll go up and stop at
that light. It'll turn red by the
time we get there. All right?

The first girl grins and nods. John winks at her.

JOHN (CONT’D)
You ever get tired of going steady
with somebody that ain't around--
I'm up for grabs.

The cars stop at the light. A girl rushes out from the
Studey and runs around the back of John's coupe. She opens
the door and climbs in fast as the light changes.

The Studebaker pulls off fast. John pushes through the gears
and turns and smiles at his pick-up, as "That'll Be the Day"
plays on the Wolfman Jack Show.
 20.

JOHN (CONT’D)
So, you're Judy's little sister.

Carol Morrison shakes her head. She is thirteen years old,

very cute--wearing blue jeans, sneakers and a "Dewey Webber
Surf Board" T-shirt which hangs to her knees. John seems
slightly panicked.

JOHN (CONT’D)
Ah, shit,--how old are you?

CAROL
Old enough. How old are you?

JOHN
I'm too old for you.

CAROL
You can't be that old.

JOHN
Listen, listen. I think you better
go back and sit with your sister.
Hey, ah... where are they, anyway?
They comin' back or somethin'? This
is a joke, right? This better be a
joke, 'cause I'm not drivin' you
around.

CAROL
But you asked me. What's the
matter? Am I too ugly?
(on the verge of tears)
Judy doesn't want me with her and
now you don't want me with you.
Nobody wants me... even my mother
and father hate me. Everybody hates
me.

JOHN
No they don't. I mean, I don't
know, maybe they do. But I don't.
It's just that you're a little
young for me.

CAROL
I am not! If you throw me out I'll
scream.

JOHN
OK, OK, just stay cool. There's no
need to scream. We'll think of
something.
(MORE)
 21.
JOHN (CONT'D)
(He looks at her as she
wipes her eyes.)
It shouldn't take too long to find
your sister again.

Suddenly, a car horn honks next to them. John looks over at

the car.

VOICE (O.S.)
Hey John--you gonna be there
tonight?

JOHN
Oh, shit! Hey, get down!

John grabs Carol by the neck and pushes her head down onto
his lap so she can't be seen. John casually waves to the
friend in the car cruising alongside.

JOHN (CONT’D)
Hey, cool...

Carol's head is being held down on his lap. She looks up at

him.

CAROL
Hey, is this what they call copping
a feel?

John jumps, and immediately lets go of her as if burned.

JOHN
NO! Uh uh. N-O. Don't even say
that. Jesus...

John is beginning to sweat now.

CAROL
What's your name?

JOHN
Mud, if anybody sees you.

CRUISING G STREET-STEVE'S '58 CHEVY

Terry continues to cruise the main drag, slouched low and

looking cool in his newly acquired machine. He adjusts his
waterfall curl as the Wolfman dedicates a list of songs. He
passes a group of guys bullshitting around the raised hood
of a souped-up parked car.
 22.

Terry cruises alongside two girls in a Ford. He revs the

engine to get their attention and once he has it he motions
to roll down their window. They flip him the bird instead
and he lets them pass.

Terry pulls up to a stop light. The car next to him is a '56

Ford--a good opponent and besides, the kid driving looks
younger than Terry.

TERRY
What you got in there, kid?

KID
More than you can handle.

Terry revs his engine. So does the Ford. The tension mounts.
The green arrow for the left turn lane flashes on, the car
on Terry's other side moves off, and before he can control
his reflexes, Terry, too, has shot into the intersection
while the light remains red! Terry quickly shifts and
returns to the starting position. The other driver is
grinning.

Terry is flustered and embarrassed. Terry revs the Chevy a

couple more times, concentration intently this time on the
right light.

Green!... The Ford bolts into the intersection. Terry

likewise floors the gas pedal and goes crashing backwards
into a large Buick. Terry is stunned for a moment, then
realizes he forgot to shift into first. He fumbles to get
the car into first gear.

A distinguished looking man comes up to his window after

inspecting the damage. Terry tries to escape, but in his
panic the engine dies. He struggles to start it.

OLDER MAN
Excuse me, but I think we've had an
accident.

TERRY
Well, goddamnit, I won't report you
this time, but next time just watch
it, will ya?

Terry roars off in a cloud of indignant smoke, leaving the

gentleman standing in the street looking dismayed. The cars
behind him begin to honk their horns and shout crudities.

USED CAR LOT

Terry pulls up in front of a used car lot and jumps out to

inspect the damage to Steve's Chevy.
 23.

He rubs a small scratch on the back fender, but it won't

disappear. As he spits on it, a slick, baggy-suited car
salesman ambles up.

SALESMAN
I'll give you $525 for her on a
practically new Corvette... and on
top of this, I'm going to know 10%
off the low price of this beautiful
Vette. I'm talking about only $98
down and $98 a month. Now, how am I
able to make you this incredible
offer? I'll tell you! I'm forced to
move all the sporty cars off the
lot as quickly as I can. Boss's
orders. He doesn't want 'em. I
think it's a mistake, but what can
I do?

Terry begins to get worried as the salesman begins to fondle

his new Chevy. He becomes frightened as the salesman
attempts to drag him over to one of the 'Vettes. Finally
Terry breaks away and jumps back into his car and the
salesman continues to rave on as Terry drives away.

HIGH SCHOOL GYM--"AT THE HOP"

Herbie and the Heartbeats, wearing their matching red

blazers, rock into a raunchy rendition of their masterpiece--

HERBIE AND THE HEARTBEATS

One, two, three, four-- one, two
three, four-- BAH... BAH... BAH...

BAH... BAH... BAH... BAH... BAH...

BAH... BAH... BAH... BAH... BAH...

BAH... BAH... BAH... At the hop!!

Pulling back from the bandstand, we see the Dewey High

School gym--the basketball nets swung back and draped with
crepe, the lights half-low, the noise high, and the waxed
floor being polished and pounded by stockinged feet as a
seething mob of adolescents join in that ancient rite--The
Hop.

A hundred of them are dancing and swaying while the band

gyrates on a raised platform. Kids on wooden bleachers watch
the whirling and spinning mass of ponytails and ducktails,
button-down shirts and mid calf skirts, cardigan sweaters
with little belts in the back.
 24.

THE GIRLS' LAVATORY

Laurie stands in front of a mirror in a line of other girls.

She brushes her hair, staring rather despondently at herself
in the mirror. The girl next to her is Peg Fuller, a cute
cheerleader.

PEG
Hey, why are you so depressed?
You'll forget him in a week.
Listen, after you're elected senior
queen you'll have so many boys
after your bod--

LAURIE
I don't want to go out with anybody
else.

PEG
Laurie, I know it's a drag but you
can't--remember what happened to
Evelyn Chelnick? When Mike went to
the Marines? She had a nervous
breakdown and was acting so wacky
she got run over by a bus.

LAURIE
I just wish I could go with him or
something.

PEG
Laurie, jeez... Come on.

BOY'S LAVATORY
We move down a row of sinks at
which guys are working as intently
on their coiffures as the girls.
Ducktails being smoothed; glassy
waterfalls being primped; the
fronts of crew cuts being waxed to
stand stiff.

Steve stands looking at himself, then glances at Eddie

Quentin standing next to him, dabbing something on his face.

STEVE
What's that?

Eddie jerks his hand down and hides something.

EDDIE
What's what?

Steve turns and pulls Eddie's hand up.

 25.

STEVE
Hey, zit make-up!
(laughing)
Wait till I tell--hey, everybody,
Eddie--

EDDIE
Come on, Steve--don't. Just cool
it.

He takes his pimple cream back and Steve continues to laugh.

He stops slowly and looks at himself again in the mirror. He
finds something on his neck, looks around at Eddie.

STEVE
(quietly)
Let me see some of that stuff.

Eddie gives him the tube and Steve dabs it on his neck.

EDDIE
You leave tomorrow?

Steve nods.

EDDIE (CONT’D)
You and Laurie engaged yet?

STEVE
No, but we got it worked out. We're
still going together but we can
date other people.

EDDIE
And screw around--I hear college
girls really give out.

Suddenly a voice shouts "One-two--" they turn to see a guy

at every toilet hit the flusher on "Three," sending a
torrent of water down the pipes. Suddenly, there's a
rumbling noise as the pipes break and water gushes over the
floor. Panic! Everybody crashes for the doors, laughing and
shoving each other.

HIGH SCHOOL GYM

The guys tumble out the lavatory door and abruptly cool it
as a dumb-looking paunchy teacher stops and looks them over,
rocking on his heels. They escape quietly. Steve and Eddie
meet Laurie coming out of the girls' lavatory with Peg.
They're watching the dancers as Hervie and his band moan
through a slow number--"She's So Fine."
 26.

STEVE
Come on.

LAURIE
Come on what?

STEVE
Let's dance.

LAURIE
No thanks.

STEVE
Laurie, I want to dance.

LAURIE
Who's stopping you?

Eddie and Peg are listening and watching. Steve smiles at

them like everything's okay. He glares at Laurie.

STEVE
(under his breath)
Laurie, I thought since this was
our last night together for 3
months, you might want to dance
with me.

LAURIE
How sentimental. You'll be back at
Christmas.

STEVE
I want to dance now, not at
Christmas.

He takes her arm, which she pulls away.

LAURIE
Get your cooties off me--

Eddie and Peg are watching with great interest. Steve smiles
at them again. Then he leans down and whispers something to
Laurie.

LAURIE (CONT’D)
Go ahead, slug me, scar my face. I
wouldn't dance with you if you were
the last guy left in this gym.

EDDIE
Uh, Peg, I think we should dance.
 27.

PEG
No, this is getting good.

LAURIE
I'll dance with you, Eddie. You
don't mind, do you, Peggy?

She takes Eddie by the hand and leaves Steve fuming with
Peg.

PEG
Joe College strikes out.

Steve gives her a snide look, then watches Laurie and Eddie
laughing, as they join in The Stroll. The whole gym is
Strolling in unison, like some strange musical military
formation.

HIGH SCHOOL HALLWAY

The Stroll music floats from the gym down the empty hall.
Curt walks along with his hands in his pockets. One last
trip down the grey, locker-lined corridor. He slows and
stops by locker 2127. He smiles a little, then flips the
dial of the lock. Once to the right--back to the left--then
to the right again. Curt hits the handle. It doesn't open.
Changed already. He shrugs and goes off down the hallway.

HIGH SCHOOL GYM

Curt walks in the background, behind the line of kids

clapping as one couple Strolls down between them. Then Curt
hears somebody call him.

MR. WOLFE (O.S.)

Hey--Curtis!

Curt wanders over toward a young teacher, Mr. Wolfe, who is

surrounded by a group of admiring (and grade-seeking) girls.
Mr. Wolfe wears ivy league clothes and is about twenty-five,
not much older than his students.

MR. WOLFE (CONT’D)

Curtis, come here. Help me, will
you? I'm surrounded.

GIRL
You won't dance? Come on.

MR. WOLFE
No, really, I'd like to, but I
can't.
(MORE)
 28.
MR. WOLFE (CONT'D)
I mean, if old Mr. Simpson came in
here and saw me dancing with one of
you sexy little--excuse me... one
of you young ladies, he'd have my
rear end.

GIRLS
Aahhh.

The all giggle. Mr. Wolfe shrugs at Curt and heads for a
door. Curt follows him and they escape from the girls into
the night.

OUTSIDE THE GYM

Curt and Mr. Wolfe come out of the gym. Mr. Wolfe sees a
couple of guys skulking around in the shadows smoking
cigarettes and laughing. The music has changed to "See You
in September."

MR. WOLFE
Hey, Warren. Come on, gentlemen,
back inside. Put 'em out. Let's go.

CURT
(grinning as he pulls out
a pack of cigarettes)
Kids... Want one?

MR. WOLFE
(taking one from the
pack)
All right. Hey, I thought you'd
left.

CURT
No, not yet.
(looking for matches)
I have no matches.

Mr. Wolfe takes out a pack of matches and lights both their
cigarettes. They walk down a chain-link fence, past dark,
venetian-blinded classrooms.

MR. WOLFE
Brother, how do I get stuck with
dance supervision? Will you tell me
that?... You going back East? Boy,
I remember the day I went off. Got
drunk as hell the night before.
Just--

CURT
Blotto.
 29.

MR. WOLFE
Blotto. Exactly. Barfed on the
train all the next day.

CURT
(grinning)
Cute. Very cute. Where'd you go
again?

MR. WOLFE
Middlebury. Vermont. Got a
scholarship.

CURT
And only stayed a semester.

MR. WOLFE
(smiling and nodding)
One semester. And after all that, I
came back here.

CURT
Why?

MR. WOLFE
(shrugging)
Decided I wasn't the competitive
type. I don't know... maybe I was
scared.

CURT
Well, you know I might find I'm not
the competitive type myself.

MR. WOLFE
What do you mean?

CURT
Well, I'm not really sure that I'm
going.

MR. WOLFE
Hey, now--don't be stupid. Go.
Experience life. Have some fun,
Curtis.

Then a voice calls from the shadows.

JANE (O.S.)
Bill?

They turn and see a girl coming out of a doorway. Mr. Wolfe
looks at Jane, one of his students, but doesn't say
anything.
 30.

JANE (CONT’D)
I mean--Mr. Wolfe. Can I speak with
you a minute.
(She smiles at Curt.)
Hi, Curt.

CURT
Jane...

He looks at Mr. Wolfe, who seems a little embarrassed. Then,

Mr. Wolfe sticks out his hand.

MR. WOLFE
Anyway--good luck, Curtis.

Curt shakes his hand.

CURT
Yeah... I'll see you. Thanks a lot.

Curt walks back toward the gym. Looking around, he sees Mr.
Wolfe standing in the shadows with the girl, talking
intimately. Curt turns away and goes off. Before going back
into the gym, Curt stops. He sees a white T-bird parked
among a row of cars in the parking lot. He walks--then
starts running toward the car. There's a blonde sitting in
the front seat making out with some guy.

Curt leans down to the window and is about to say something

to his dream girl. But she turns and he sees it's not her.
Her boyfriend glares at him like he's some kind of peeping
Tom. Curt backs away awkwardly, trying to smile. He leaves.

CRUISING MAIN STREET--'32 DEUCE COUPE

The yellow Ford coupe is gliding down the street--skimming

around corners gracefully as the night lights glide up its
lacquered hood. Inside the car, Carol glances at John and
smiles. The Wolfman is howling on the radio.

WOLFMAN (V.O.)
A Wolfman exclusive for ya now. The
Beach Boys, baby, a brand new
group. I predict they gonna go a
long way. This is called "Surfin'
Safari."

Carol is continuing to jabber on, relating past adventures

with her little friends. John is unimpressed.

CAROL
So the next night we found out
where they parked and went out with
ammunition.
 31.

JOHN
Don't you have homework or
something to do?

CAROL
No sweat--my mother does it.
Anyway, he thought he was had. He
started the car and couldn't see
through the windshield--and zoomed
straight into the canal--it was a
riot.

John smiles sarcastically.

CAROL (CONT’D)
I still got some, so don't try
anything.

She takes a pressurized can of shaving cream and squirts his

nose. He swipes the shaving cream on his nose--swerving--A
car honks.

JOHN
Hey, watch it will ya! Jesus
Christ, thanks a lot.
(looking at her angrily)
Hey, drivin' is a serious business.
I ain't havin' no accidents because
of you.

Carol sinks into her corner of the car. She sticks her
tongue out for a quick moment.

JOHN (CONT’D)
(catching her look)
Come on, don't give me any grief.
I'm warning ya.

CAROL
Spare me, killer.

He stares at her and she shuts up. "Surfin' Safari" is

blaring on the radio and she starts twisting with the music.
John turns the radio off.

CAROL (CONT’D)
Why'd you do that?

JOHN
I don't like that surfing shit.
Rock 'n Roll's been going downhill
ever since Buddy Holly died.
 32.

CAROL
Don't you think the Beach Boys are
boss!

JOHN
You would, you grungy little twerp.

CAROL
Grungy? You big weenie, if I had a
boyfriend he'd pound you.

JOHN
(looking in the rear-
view mirror)
Sure--ah, shit, Holstein!

She looks around, and sees a police car following them,

bubble lights aglow.

CAROL
Good, a cop--I'm going to tell him
you tried to rape me.

John pulls the car over and stops.

JOHN
Oh, no--No. Hey--

CAROL
It's past my curfew. I'm going to
tell him how old I am, my parents
don't know I'm out and you tried to
rape me. Boy, are you up a creek.

John looks at her.

JOHN
Hey--ah, really--don't say
anything.

She looks at him.

CAROL
If you say "I was a dirty bird.
Carol's not grungy, she's
bitchin'."

The cop is tapping at John's window. John wipes his face.

CAROL (CONT’D)
Say it--I'll tell him.
 33.

JOHN
(quietly)
I was a dirty bird, Carol's not
grungy, she's bitchin.'

CAROL
Okay--I'll think about it.

"The Great Imposter" can be heard on the passing car radios.

John rolls down his window. He looks at the surly cop.

HOLSTEIN
Where you going, Milner?

JOHN
I'm going home--sir.

HOLSTEIN
Where you been, Milner?

JOHN
Ah--at the movies--sir.

HOLSTEIN
Milner, you weren't around the 12th
and G streets at about 8:30, were
you?

JOHN
No, I wa at the movies--like I said-
- sir.

Holstein looks at him, then steps back, looks at the car.

Holstein's only a couple years older than John, but the
uniform separates them by light years.

HOLSTEIN
Uh-huh. Milner, the reason I
stopped you was because the light
on your license plate is out.
(opening his ticket book)
I'm gonna have to cite you for
that. And Milner, the front end of
this... this... this thing you're
driving looks a little low.

JOHN
Oh, no sir. It's twelve and a half
inches. Regulation size. Now, it's
been checked several times. You can
check it if you like, sir.

Holstein just glares at him and then leans in close through

the window.
 34.

HOLSTEIN
Look, Milner.

JOHN
Yes, sir.

HOLSTEIN
You can't fool with the law.

JOHN
Yes, sir.

HOLSTEIN
We know that was you tonight. We
have an excellent description of
this car. I could run you in right
now and I could make it stick. But
I'm not gonna do that, Milner, you
know why?

John shakes his head no.

HOLSTEIN (CONT’D)
Because I want to catch you in the
act. And when I do, I'm gonna nail
you, but good. Happy Birthday,
Milner.

Holstein drops the ticket through the window onto John's

lap. He starts back to his patrol car. When he's out of
earshot John answers.

JOHN
Thank you--asshole.

CAROL
(looking over at him)
You're a regular J.D.

JOHN
Here, file that under C.S. over
there.

Carol takes the ticket and opens the glove compartment.

CAROL
C.S.? What's that stand for?

JOHN
Chicken shit--that's what it is.

CAROL
Oh...
 35.

She looks amazed as she adds the new ticket to a mess of

similar tickets crammed in the glove compartment. The police
car pulls by them. John scowls, then roars his engine and
pulls back into the stream of traffic.

CRUISING MAIN STREET--STEVE'S '58 CHEVY

Terry is looking and feeling like he's got it made. He

downshifts and slows for a red light. A very mean-looking
black '55 Chevy--blown, scooped and slicked--pulls up next
to him. The driver, Bob Falfa, has a gum-chewing girlfriend
sitting almost on top of him. Terry challenges the '55 Chevy
by revving his engine.

Bob Falfa doesn't even look over. He revs his engine--which

sounds like a cross between a Boeing 707 and a SuperChief.
Terry can't believe it. He quits revving his engine--feeling
deflated.

Terry looks over at the snotty grin on Falfa's girlfriends'

face.

GIRLFRIEND
Ain't he neat?

Terry doesn't say anything and Bob Falfa glares over at him.

FALFA
Hey, you know a guy around here
with a piss yellow deuce coupe--
supposed to be hot stuff?

TERRY
You mean John Milner?

Falfa nods slowly.

TERRY (CONT’D)
Hey, nobody can beat him, man. He's
got the fastest--

FALFA
I ain't nobody, dork. Right?

TERRY
Right...

FALFA
Hey, you see this Milner, you tell
him I'm lookin' for him, huh? Tell
him I aim to blow his ass right off
the road.
 36.

GIRLFRIEND
(giving another snotty
smile)
Ain't he neat?

Terry doesn't say anything. There's another incredible

scream as Falfa roars off, leaving Terry to stare through
his smoke. Terry accelerates the '58 Chevy--at a prudent
speed.

As the radio blares "Almost Grown," Terry glides past the

lighted stores slowly, taking in everything with wide eyes
from his beautiful new car.

Terry passes a steaming rear-end collision at an

intersection where two guys and two girls are all yelling.

Then, suddenly, he spots a girl--walking--alone. His mouth

drops open in amazement as he slows to a crawl. Debbie,
nineteen, with blonde hair, wearing a blue and white
spaghetti- strap dress, strolls along the sidewalk.

Terry rolls the powerful engine, but she ignores him. As he

passes her, he speeds up.

TERRY
What a babe... what a bitchin'
babe... And Wolfman Baby, she's all
mine.

Terry tears around the corner and starts his approach once
more. He quickly whips out his comb, touches up his hair and
settles down into a comfortable slouch.

TERRY (CONT’D)
Okay, honey, here I come--James
Dean lives!

He hits the clutch, roars the engine a couple more times and
then--disaster. Debbie passes behind some rough looking
dudes on motorcycles, parked along the curb. One especially
vicious biker turns and looks at Terry as he passes.

Terry roars off around the block.

TERRY (CONT’D)
Stay cool, honey--don't let those
creeps bug you. Wolfman, please
don't let those creeps bug her...
please.

As Debbie passes the bikers, they hoot, holler, and make

barnyard noises.
 37.

From the cat calls, and Debbie's manner it seems obvious

that Debbie is a girl a lot of boys have "known."

She has walked clear of the bikers as Terry screeches around

the corner again. He pulls up alongside her and again slows
to a crawl. The pass each other for awhile, but she doesn't
look over.

TERRY (CONT’D)
Hi!
(lowering his voice)
Hello... buenos noches? Need a
lift? Nice night for a walk? Do you
know John Milner? Curt Henderson?
Sure you wouldn't like a ride
somewhere? Did anyone ever tell you
that you look just like Connie
Stevens?

This stops her and she turns--Terry hits the brakes and the
car bounces.

TERRY (CONT’D)
You do! I mean it! Just like Connie
Stevens. I met her once.

DEBBIE
For real?

TERRY
Yeah. At a Dick Clark road show.

Debbie starts slowly toward the car.

DEBBIE
You really think I look like her?

TERRY
No shit--excuse me, I mean I'm not
just feeding you a line. You look
like Connie Stevens. What's your
name?

DEBBIE
Debbie. I always though I looked
like Sandra Dee.

TERRY
Oh yeah--well, you look a lot like
her too.

DEBBIE
This your car?
 38.

TERRY
Yeah. I'm Terry the--they call me
Terry the Tiger.

DEBBIE
It's really tough looking.

TERRY
What school do you go to?

DEBBIE
Dewey--can it lay rubber?

TERRY
Oh yeah, it's got a 327 Chevy mill
with six Strombergs.

DEBBIE
Wow--bitchin' tuck and roll. I just
love the feel of tuck and roll
upholstery.

TERRY
You do?

DEBBIE
Yeah.

TERRY
Well, come on in--I'll let you feel
it. I mean, you can touch it if you
want--
(realizing it's coming
out wrong he gets
nervous)
I mean the upholstery, you know.

DEBBIE
Okay.

Terry is elated. He climbs out of the car and she slides in

the driver's side. Terry climbs back in next to her and
slams the door. She's sitting right next to him--like a real
date should. Terry gets a little nervous.

DEBBIE (CONT’D)
Peel out.

TERRY
What?

DEBBIE
Peel out. I love it when guys peel
out.
 39.

Terry nods, checks his clutch, revs the engine to a high-

pitched whine and they're off--

The tires smoke, scream, the car shots off, fish-tailing,

nearly hitting a parked car, straightening out... and
disappears down Main Street.

HIGH SCHOOL GYM--THE HOP

On stage, the band is "taking five." They're looking tough

for the girls while the Student Body Secretary is making
announcements at the mike.

GIRL
--a great band and they came all
the way from Stockton. Let's hear
it.

There's applause as the girl continues.

GIRL (CONT’D)
And we want to thank Darby Langdon,
who did all these neat decorations.

There's more applause. Standing among the crowd, Steve and

Laurie both look angry.

LAURIE
I don't care if you leave this
second.

GIRL
(into the mike)
Now the next dance is gonna be a
snowball and leading it off is last
year's class president Steven
Bolander-- and this year's head
cheerleader, Laurie Henderson.

There's applause, whistles and cheers from the crowd. A blue

spotlight floats over the dance floor and then lands on
Steve and Laurie, who are in the midst of their argument.

STEVE
What's wrong with you! You're
acting like a snotty--

Laurie squints into the spotlight and realizes everybody's

watching them.

LAURIE
Oh God, come on.
 40.

STEVE
Come on what?

LAURIE
(pulling him toward the
floor)
Oh, Steven--please, everybody's
watching. Smile or something.

Steve gives a sick smile as she drags him out onto the
floor. A record needle scratches and "Smoke Gets in Your
Eyes" blares out as Steve and Laurie dance alone in the
middle of the floor. The crowd quiets, getting a little
misty about this soon-to-be separated teenage couple. For
their part, Steve and Laurie are arguing, whispering in each
other's ears.

LAURIE (CONT’D)
You think I care if you go off. You
think I'm going to crack up or
something. Are you conceited!

STEVE
Quit--quit pinching--I don't know
why I ever started taking you out
in the first place.

He takes her hand from the tucked-under-the-chin position

and puts it around him, in a bear-hug.

LAURIE
You take me out? When we first met
you didn't have enough sense to
take the garbage out... I asked you
out, remember?

STEVE
What do you mean, you asked me out!

LAURIE
Backwards Day--remember? If I had
waited for you to ask me--even
after that you didn't call me for
two weeks.

STEVE
I was busy.

LAURIE
You were scared. Dave Oboler told
me. Then when you did ask me out
you didn't kiss me for three dates.
 41.

STEVE
Well--I was--

LAURIE
Scared--Jim Kaylor told me. I even
asked my father why you hadn't
kissed me.

STEVE
Your father--great!

LAURIE
He said he thought you were bright
and you'd probably think of kissing
me after a while.

He moans.

LAURIE (CONT’D)
You didn't, of course. I had to.
Remember that picnic?

STEVE
Out at the canyon?

LAURIE
Oh boy! You can't remember anything-
- the first one, up at the lake.
That was the first time you kissed
me--I practically had to throw
myself at you.

STEVE
(quietly)
I remember.

They continue to dance slowly. Laurie starts to cry, hating

herself for it. Steve loosens a minute and looks at her.

STEVE (CONT’D)
What's wrong?

LAURIE
Go to hell.

He holds her tighter and they circle the floor, all alone,
the crowd watching quietly, the gym echoing with "Smoke Gets
in Your Eyes."

THE GYM PARKING LOT

Curt is leaning against a car in the parking lot. He's

looking up at the stars and listening to the music floating
out from the gym.
 42.

WENDY
What are you doin', stealing hub
caps?

A pretty, dark-haired girl, Wendy, slides up next to him and

leans against the car. There's an awkward pause like that
which happens often when two people who used to be close
meet after things have changed.

CURT
Well--hey, Wendy.

WENDY
How've you been?

CURT
Fine. Great. How've you been?

A horn honks and Wendy turns to a VW that's idling nearby.

WENDY
I'm coming--wait a sec.
(turning back to Curt)
She's got her car. Hey, I thought
you were going away to school.

CURT
Ah, maybe... maybe.

WENDY
Same old Curt. All the time we were
going together you never knew what
you were doing... well, anyway, I
gotta go.

CURT
Hey, Wendy--where are you going?

WENDY
Nowhere.

CURT
(smiling at her)
Well, you mind if I come along?

WENDY
(affectionately)
Okay.

CURT
Okay.
 43.

They go off toward the VW and climb in.

BACK INSIDE THE

GYM

The hop is almost over and the lights have been lowered,
conservatively. Steve and Laurie hold each other, hardly
moving and he kisses her. Still kissing, they continue to
circle slowly--until a short, totally bald teacher comes and
pokes Steve in the side.

MR. KROOT
All right, Bolander, break it up.
You know the rules. You and your
panting girlfriend want to do that
you'll have to go someplace else.

He gives them a disgusted look and starts off.

STEVE
Hey, Kroot!

The teacher turns, surprised by the omission of "Mr."

STEVE (CONT’D)
Why don't you go kiss a duck.

Kroot's beady eyes widen and he comes back.

KROOT
What? What did you say?

STEVE
I said go kiss a duck, marblehead.

Kroot is stunned and people have stopped dancing to watch

MR. KROOT
Bolander--you're suspended. You're--
don't even come Monday. You are
out!

STEVE
(smiling broadly)
I graduated last semester.

Suddenly everything has changed. Mr. Kroot is furious, but

unable to do anything. He finally storms off in a huff.
Steve, Laurie and the people watching all laugh.

STEVE (CONT’D)
(to Laurie)
Get your shoes. Let's go before we
get thrown out.
 44.

THE GYM PARKING LOT

Steve and Laurie walk toward her Edsel. In the background

Wolfman Jack is taking a phone call from someone.

MAN (V.O.)
Hello, Wolfman.

WOLFMAN (V.O.)
Who's this?

MAN
This is Weird Willard.

WOLFMAN
Hold on a minute, let me get my
pants off... you understand?

Steve opens the door to the car and then turns Laurie and
kisses her.

STEVE
Why don't we go to the canal?

LAURIE
(teasing)
What for?

STEVE
Listen, I can get tough with you
too, you know.

LAURIE
Yeah, hard tough.

She kisses him and they get into the car. As they pull out,
the Wolfman continues his conversation on the radio.

WOLFMAN (V.O.)
I got 'em down around my knees,
man. Wear these tight pants. I
can't get 'em... All right, I'm
gonna do my little dance now, man.

And the Wolfman goes into an insane rain-dance rhythm as we

hear "Little Darlin'"

CRUISING MAIN STREET--STEVE'S '58 CHEVY

Terry not only looks cool now, but is cool, singing with the
radio, a girl beside him. Hot stuff.

Terry ever so slowly tries to put his arm around her, but by
the time he manages it, he has to shift.
 45.

They drive by some kids having a car-to-car water pistol

war.

TERRY
I go to Dewey too, ya know.

DEBBIE
I never seen ya.

TERRY
I bug out a lot. When I graduate,
I'm going to join the Marines.

DEBBIE
They got the best uniforms. But
what if there's a war?

TERRY
With the bomb, who's going to start
it? We'd all blow up together.
Anyway, I'd rather be at the front.
I'm like that--rather be where the
action is, you know. Once I got in
a fight with--

DEBBIE
I love Eddie Burns.

Terry stops, trying to figure out where their conversation

went.

TERRY
Eddie Burns--oh, yeah, Eddie Burns.
I met him once, too.

DEBBIE
You really think I look like Connie
Stevens? I like her--Tuesday Weld
is too much of a beatnik, don't you
think?

TERRY
Yeah, beatniks are losers.

DEBBIE
Who do you like? I mean, singers
and stuff.

Terry slowly maneuvers his arm around her.

TERRY
Ah hell--I like most of the people
you like.
 46.

DEBBIE
(putting her head on his
shoulder)
That's nice--we got a lot in
common.

Both of them start singing with the radio. Suddenly she puts
her hand on his leg.

DEBBIE (CONT’D)
You know what I'd like more than
anything in the world right now?

Terry almost does a comic strip "Gulp!"

DEBBIE (CONT’D)
I'd love a double Chubby Chuck.
Isn't that what you'd like more
than anything right now?

TERRY
(quietly)
Sure...

MEL'S DRIVE-IN
The endless chrome-flashing parade
continues. Among the lines of fine
cars, Terry is parked in the '58
Chevy next to an order speaker on a
metal pole. Terry leans out the car
window and orders into the
intercom.

TERRY
A double Chubby Chuck, a Mexicali
Chili Barb, two orders of French
fries--

DEBBIE
And cherry cokes.

The intercom clicks on and a garbled voice squawks back at

him.

INTERCOM
Ark, wark, dork.

TERRY
(pushing the button)
Now wait a minute. What? Huh?

INTERCOM
Ark, wark, dork.
 47.

TERRY
Yeah, right. Cool.

As they wait for their order, several guys in various

passing cars yell sleazy greetings to Debbie. Suddenly, a
rough- looking face, belonging to Vic Lozier, pops in her
window.

VIC
Hey, Deb. How's my soft baby?

DEBBIE
Beat it, Vic. I'm not your baby.

Terry nervously pretends not to hear.

VIC
Oh, come on, honey. So I never
called you back. I've been, you
know, busy...

DEBBIE
Three weeks... besides, it only
took one night for me to realize
that if brains were dynamite, you
couldn't blow your nose.

VIC
Look who's talking. Who's the wimp
you're hanging out with now?
Einstein?

DEBBIE
Tiger happens to be very
intelligent. Unlike you. I know
every thing your dirty little mind
is thinking...
(She looks out the
window, down at Vic's
pants)
...it shows...

TERRY
Hey, now--
(his voice cracks)
I mean, hey now, buddy, the lady
obviously doesn't--

VIC
Look, creep, you want a knuckle
sandwich?
 48.

TERRY
Ah, no thanks, I'm waiting for a
double Chubby--Chuck...

VIC
Then shut your smart ass mouth!
I'll call ya, Deb, some night when
I'm hard up.

DEBBIE
I won't be home.

Vic makes a kiss-off noise. She lights a match and flicks it

at him. He finally leaves.

TERRY
You seem to, ah--know a lot of
weird guys.

DEBBIE
That sex fiend is not a friend of
mine; he's just horny. That's why I
like you, you're different.

TERRY
I am? You really think I'm
intelligent?

She moves very close to him and whispers in his ear.

DEBBIE
Yeah. And I'll bet you're smart
enough to get us some brew.

TERRY
Brew?

DEBBIE
Yeah.

TERRY
Brew... oh--yeah... oh, sure...
(she kisses him)
Yes! Liquor! This place is too
crowded anyway.

Terry backs out and drives off, leaving the approaching car
hop standing in an empty parking space.

CAR HOP
What about your double Chubby
Chuck, mexicali-chili-barb and
(looking at the tray)
--two cherry cokes, sir?
 49.

CRUISING MAIN STREET-'57 VOLKSWAGEN

We see the white T-bird ahead for just a moment, before it

accelerates, passes a car and disappears, as we hear
"Peppermint Twist" from the radio.

In the VW, Curt is in the back, shaking the driver's seat,

yelling at Bobbie. Wendy is in front next to Bobbie.

CURT
There--don't you see it? Speed up,
you're losing her--

BOBBIE
Quit shouting in my ear!

CURT
Cut around him, cut around him.

The little VW swerves and cuts around an old dagoed Dodge,

then speeds along the fast lane.

Ahead, we catch a glimpse of the T-bird as it turns a

corner.

CURT (CONT’D)
There, hang a right--over there!

Bobbie turns, somebody honks, she hits the curb, shifting

madly she mis-clutches; the beetle lugs forward; Curt falls
back in the seat and Wendy looks at him.

CURT (CONT’D)
You lost her!

WENDY
What's wrong with you? You know
Bobbie gets nose bleeds when she's
upset.

BOBBIE
I do not! You shut up!

CURT
Lost her again. Ah, Wendy, my old
lover, come back here and console
me.

WENDY
Eat your heart out. Who was she
anyway?
 50.

CURT
I don't know, but I'm going to find
out.

BOBBIE
I know her!

There are a few moments of silence as Bobbie lets Curt sweat

it out. Finally, Curt breaks.

CURT
Okay, come on, who is she?

BOBBIE
You know Mr. Beeman? He owns Hepcat
Jewelers.

CURT
Yeah.

BOBBIE
Well, she's his wife.

CURT
But she was young and beautiful,
and cruising 10th Street. You're
thinking of someone else.

WENDY
Mr. Beeman's not so old.

CURT
What cruel fate keeps me from my
true love? How am I ever going to
meet her?

WENDY
(to Bobbie)
Did you know that my ex is going to
become a presidential aide? It's
supposed to be a secret, but his
big ambition in life is to shake
hands with President Kennedy. How
are you going to accomplish that at
J.C.?

CURT
Maybe I've grown up. Maybe I've
changed my mind.

WENDY
Maybe you don't think you can do
it!
 51.

CURT
Maybe you should shut up!

WENDY
Maybe I will... and maybe I won't.

CURT
Why don't you move your bod into
aft chamber, where we might discuss
this in private.

BOBBIE
(seeing that Wendy is
considering it)
Thanks a lot.

CURT
Come on, Wendy? She doesn't say
anything. They pull up to a
stoplight. Wendy looks at the red
stoplight and then abruptly gets
out of the car and jumps in the
back.

WENDY
Well, slide over, I'm not sitting
on your lap.

She gets in and the car goes off.

In the back seat, Curt and Wendy are talking softly. He puts
his arm around her and she makes a face, but doesn't remove
it. Bobbie watches in the rear-view mirror, Curt sees her.

CURT
To the Opera, James.

BOBBIE
Drop dead.

CURT
Unless you want to go to Gallo Dam
and have an orgy.

WENDY
You wish.

Curt looks at her and turns her head. He kisses her and puts
his arm around her. They neck. The radio plays "Barbara
Ann."
 52.

The little VW flashes by in the stream of traffic. Bobbie

drives, glancing in here rear-view mirror occasionally and
also watching the station wagon ahead, in which two pairs of
feet are dancing against the back window.

Wendy pulls away from Curt's lips and looks out the window.

WENDY (CONT’D)
I've been silly. I'm glad you're
going to stay. Maybe we'll have
some classes together.

CURT
Maybe.

BOBBIE
(from the front seat)
Look, there's Kip Pullman! He's so
neat.

Wendy turns and leans forward, laughing. Curt watches her

seriously, studying her.

BOBBIE (CONT’D)
Do you know Kip?

CURT
Huh? Yeah, I know him.

BOBBIE
Talk to him when we go by.

CURT
What do you want me to say?

BOBBIE
Anything... I just want to meet
him.

They pull up next to Kip's car and Curt leans forward and
yells out Bobbie's window.

CURT
Kip, baby, what's up?

KIP
Henderson, long time no see.
Whadaya been doing?
 53.

CURT
Not much, just wanted to let you
know that Bobbie here is hopelessly
in love with you and trembles at
the sight of your rippling
biceps...

Bobbie swerves the car away and turns a corner. She stops on
a dime at the curb.

BOBBIE
You creep, fink, son-of-a-bitch--

She turns and starts flailing at Curt with her purse.

CURT
Help, wait! Joke--Joke--Bobbie,
remember your nose bleeds!

BOBBIE
Get out--get out of my car--I hate
you!

CURT
Excuse me--ouch--Wendy--I got to go
now.

Wendy is laughing and Curt climbs over her out of the small
car. He gets out and closes the door. Wendy changes seats
and looks at him seriously.

WENDY
Curt, I hope I see you at
registration. Call me if you want.
It was nice seeing you again.

CURT
See ya.

The car pulls off and Curt watches it. Suddenly, he sees
something--the T-bird going the other way down the street.

CURT (CONT’D)
Oh shit--there!! Wait!

The VW's gone and Curt starts after the T-bird on foot. He
runs down the middle of the street, oblivious to the horns
honking and the cars swerving to miss him.

We move with Curt as he moves like a broken field runner

through the traffic only to finally lose the girl and the
Thunderbird and to slow and finally stop, standing on the
white line. Cars slow down and kids rubberneck as they go by
him.
 54.

CRUISING G STREET--'32 YELLOW DEUCE COUPE

John is driving and the Wolfman is howling on the radio

while Carol is having the time of her life.

WOLFMAN (V.O.)
Went to a dance lookin' for
romance. Found Barbara Ann...
baby... Hey, this one is for all
you out there watchin' the
Submarine Races.

And the radio moans into "Who Wrote the Book of Love." Carol
sits with her feet up against the dash. John knocks them off
and she scowls at him.

CAROL
I'm so thirsty, I could die. Just a
little 10 cent coke to wet my
whistle. It won't take a minute, I
can drink it in the--

John suddenly hits the brakes and Carol almost hits the
floor. John reaches over and opens the door.

JOHN
Why don't you just get out and get
one then! So long, goodbye, hasta
lumbago.

She stares at him, shaken, looking sweet and helpless. He

turns and looks at her. A tear rolls down her cheek slowly.
John can't take it.

JOHN (CONT’D)
All right, one coke and then home.

Carol is delighted. She slams the door. John takes off.

CAROL
Isn't it great, the way I can cry
whenever I want. A lot of people
can't do that, but Vicki showed me
how. I bet you can't cry.

JOHN
Don't count on it. I may surprise
you any minute now.

MEL'S DRIVE-IN
John cruises around the lot until
he finds a space among the rows of
dazzling cars.
(MORE)
 55.
MEL'S DRIVE-IN (CONT'D)
He pulls in and leans out to hit
the intercom button.

JOHN
(into intercom)
One ten cent coke. Is ice extra?
All right, ice.

CAROL
Thanks for nothing.

She looks around, sitting up so maybe some of her friends

will see her in John's neat car.

CAROL (CONT’D)
Oh rats, I though some of my
friends might be here.

JOHN
Probably a couple of weeks past
their bedtime.

CAROL
Wait, there's Dee Dee. I hope she
sees me.

JOHN
Oh Shit, Dee Dee!

A long line of cars coast past. Occasionally, someone yells

a greeting to John. The car hop brings the coke. Then a
couple, Al and Linda, come over. They lean in the window
smiling--John prays they don't see Carol.

AL
Hiya, John. Say, do you think if I
brought my Mopar by the shop Monday
you could spot weld the bumper
bracket?

JOHN
Have to be before noon.

AL
Sure. Hey, have you met Linda?

JOHN
No. Hi--ahh, this is my, ahh,
cousin, Carol. I'm kinda
babysitting tonight.

CAROL
Babysitting!!
 56.

She slugs John on the arm. John grabs her arm as she starts
to swing again.

JOHN
Jesus--watch it, will yuh?
(smiling at Al)
Been hittin' me all night. Kids
will be kids, you know.

She struggles to hit him and spills her coke all over the
car. He pushes her rather roughly against the door.

JOHN (CONT’D)
Watch out--damn it! Look what--why
don't you grow up!
(looking at Al again)
We don't get along too well. It's
been like this--

CAROL
You spastic creep!

She is about to really cry this time. She jumps out of the
car and runs off down the street. John wipes his car out as
Al and Linda watch in amazement.

JOHN
We don't get along too well. You
know what cousins are like.

AL
Yeah... well, I'll see ya on Monday
before noon.

John mutters profanities to himself, but his anger subsides

after a few moments. He looks back in the direction Carol
went. All he can see are two Hell's Angels on choppers
rolling in the same direction. He looks a little concerned
and starts the coupe.

CRUISING MAIN STREET--'32 YELLOW DEUCE COUPE

John roars along looking for her until he sees her walking
angrily along the sidewalk--being followed by a Ford full of
guys.

John passes Carol and the Ford and pulls over and stops just
ahead of them. Carol stops when she sees John. The Ford also
stops and the guys call out to her. She considers the
situation a moment, then runs and gets in with John. He
pulls off and she grins at him happily.

CAROL
Hi cousin, how's your bod?
 57.

SCENIC LIQUOR STORE--STEVE'S '58 CHEVY

Terry pulls into the parking lot and stops. He looks up at

the flashing liquor store sign and considers his battle
plan. "Maybe Baby" by Buddy Holly is playing on the radio.

DEBBIE
Do you have an ID?

TERRY
No... hey, but no sweat. What'll it
be? Beer, little wine?

DEBBIE
If you could get some Old Harper,
I'd give you a French kiss.

TERRY
Old Harper, rrright! He gives her
an OK sign with his fingers and
goes over to the store. He starts
to enter, then stops and thinks. He
sees a man in a business suit
approaching, and smiles.

TERRY (CONT’D)
Excuse me, sir, while you're in
there-- I mean, since you're going
in anyway, I wonder if--

MAN
Yes, son?

TERRY
Could you--sir--could you give me
the time?

MAN
(looking at his watch)
Why sure, it's a quarter to twelve.

TERRY
Great. Quarter to twelve. Thanks a
lot.

The man regards him, Terry pretends to start off until the
man goes in. Terry pulls himself together as another man
approaches, or rather stumbles up, being older, scruffy and,
essentially, a bum.
 58.

TERRY (CONT’D)
Pardon me, sir, but I lost my I.D.
in--in a flood and I'd like to get
some Old Harper, hard stuff. Would
you mind buying a bottle for me?

The bum is still trying to focus on Terry and smiles.

BUM
Why certainly, I lost my wife, too--
her name wasn't Idy, though, and it
wasn't in a flood--but I know what
ya--

TERRY
Thanks, here's enough for a pint.

The old man takes the money and falls into the store. Terry
watches and then waves to Debbie in the car that everything
is cool.

As he waits for the bum to come back out, the first man in
the suit exits. Terry smiles at him again.

TERRY (CONT’D)
Hi. Still quarter to twelve.

MAN
Right-o. Night.

TERRY
Night.

The man gets into the car and backs out. Terry goes over to
the window of the liquor store and looks to see how the
wino's doing with his booze. Terry sees the liquor store
owner setting four bottles of cheap wine on the counter.

TERRY (CONT’D)
(gesturing through the
window from outside)
Hey, no. Not wine. Ssss--hey!

The owner turns and sees Terry waving. Terry ducks out of
sight. When he looks back again, Terry sees the old bum is
gone! Terry can't believe it. He finally enters the store.

INSIDE THE LIQUOR STORE

Terry tries to look very casual as he sidles up to the

counter. Country-Western music hums over the liquor in hi-
fi.
 59.

TERRY
(smiling at the owner)
Hi there--ah, say--was there an old
man in here a minute ago?

OWNER
Yeah. He went out the back.

Terry is destroyed.

OWNER (CONT’D)
You want something?

Terry looks at the man and the endless rows of liquor behind
him.

TERRY
Yeah--ah--let me have a Three
Musketeers, ah, and a ball point
pen ther, a comp, a pint of Old
Harper, couple of flashlight
batteries and some of this beef
jerky.

The owner puts everything into a bag and starts to ring it

up.

OWNER
Okay, got an I.D. for the liquor?

TERRY
A what? Oh, sure--
(feeling his pockets)
Oh nuts, I left it--I left it in
the car.

OWNER
Sorry, you'll have to get it before-
-

TERRY
Well, I can't. I also ah, forgot
the car.

The owner takes the liquor out of the bag and puts it back
on the shelf. Terry stands there. The owner takes the money
from him and gives him his change.

OUTSIDE THE LIQUOR STORE

Terry comes back to the Chevy with the bag full of junk.
Debbie smiles at him excitedly and scoots over to the
window.
 60.

DEBBIE
Hey, did ya get it? Ya get it, ya
get it?

He hands her the bag.

DEBBIE (CONT’D)
You got it. You got it!

She goes through the bag and finds a comb and the batteries.

DEBBIE (CONT’D)
You didn't get it. Why didn't you
get it?

TERRY
Ah, well, I needed some things and
I thought as long as I was in there-
- look, Debbie, can you loan me a
dollar?

DEBBIE
What? Are you for real? Come on.
Girls don't pay. Guys pay.

TERRY
Yeah, well, see--I've only got a
fifty and he doesn't have change.

DEBBIE
Well, I can't believe this... I
really cannot believe this. Here.

She takes the money from a squeeze-open plastic change purse

and hands it to him. Terry smiles weakly and goes back to
try his luck again at the liquor store.

He stops in front of the door as a young guy with numerous

tattoos on his bulging arms approaches the liquor store.

TERRY
Hi--excuse me. I was wondering--
could you, ah--

GUY
Buy you a bottle of booze. Yeah, I
know. You lost your I.D. What kind
do you want?

TERRY
(amazed)
Gee, that's terrific. Ah, just some
ah--Old Harper.
 61.

He takes Terry's money and enters the store. The clerk hands
the man a bottle of Old Harper. Terry waves excitedly to
Debbie, lowering his pants a bit. Suddenly, there's a
gunshot! Terry whirls to see the young man stuffing cash
from the register into his pockets, backing away with a
smoking gun. He rushes out of the store, tossing the bottle
to Terry and running off into the night. Suddenly, the owner
emerges from behind the counter, shooting wildly. Terry
ducks and heads for the car with his pint of Old Harper.

AUTO WRECKING YARD

John's '32 deuce coupe crunches to a gravelly stop in front

of a dark auto-wrecking yard. John and Carol get out and
climb over the fence. They walk through a valley of twisted,
rusting piles of squashed, mashed and crushed automobiles.
John sticks his hand into his pockets moodily and stops and
looks at one of the burnt-out cars.

JOHN
That's Freddy Benson's Vette... he
got his head on with some drunk.
Never had a chance. Damn good
driver, too. What a waste when
somebody gets it and it ain't even
their fault.

CAROL
Needs a paint job, that's for sure.

John doesn't hear her and walks on.

JOHN
That Vette over there. Walt
Hawkins, a real ding-a-ling.
Wrapped it around a fig tree out on
Mesa Vista with five kids in it.
Draggin' with five kids in the car,
how dumb can you get? All the ding-
a-lings get it sooner or later.
Maybe that's why they invented
cars. To get rid of the ding-a-
lings. Tough when they take someone
with them.

CAROL
You never had a wreck though--you
told me.

JOHN
I come pretty close a couple of
times. Almost rolled once. So far
I've been quick enough to stay out
of here. The quick and the dead.
 62.

CAROL
I bet you're the fastest.

JOHN
I've never been beaten--lot of
punks have tried. See that '41 Ford
there? Used to be the fastest
wheels in the valley. I never got a
chance to race old Earl. He got his
in '55 in the hairiest crash ever
happened around here. He was racing
a '54 Chevy, bored and loaded, out
on the old Oakdale Highway and
every damn kid in town was out
there. The Chevy lost its front
wheel doing about 85. The idiot had
torched the spindles to lower the
front end and it snapped right off.
He slammed bam into the Ford and
then they both of them crashed into
a row of cars and all those kids
watchin! Jesus, eight kids killed
including both drivers, looked like
a battlefield. Board of Education
was so impressed they filmed it.
Show it now in Drivers Education,
maybe you'll see it. Anyway, since
then street racing's gone
underground. No spectators, I mean.
Too bad.

CAROL
I'd love to see you race.

Carol takes his hand and they walk a bit, until John
realizes what he's doing, and drops her hand and pulls away.

JOHN
Come on! None of that.

CAROL
Whadaya mean? I'm the one who's
supposed to say that. Whadaya
afraid of? I'll keep it above the
waist.

JOHN
Funny...
(he looks at her for a
moment)
Who knows, in a few years--but not
now, bunny rabbit.
 63.

CAROL
Bunny rabbit! Oh brother, you are
such a drip.

She stomps off and gets back into the coupe, quickly rolling
up all the windows. John saunters up and finds the door
locked.

JOHN
Come on, open the door.

CAROL
If you say "Carol's not a bunny,
she's a foxy little tail."

John grins and starts to pull his keys out of his pocket. He
stops grinning: Carol grins and dangles his keys inside the
car. John leans against the window, closes his eyes, a
defeated man.

JOHN
(quietly)
Carol's not a rabbit, she's a foxy
little tail.

He hears the button click up and slowly opens the door.

CAROL
You say the cutest things.

John gets into the car.

WOLFMAN (V.O.)
Sneakin' around with the Wolfman,
Baby.

The Wolfman's gravelly voice whispers over the airwaves as

John and Carol drive out of the shadowy car grave-yard.

WILSON'S APPLIANCE STORE

Curt is sitting on the hood of a parked De Soto watching a

row of televisions in the window of an appliance store.
Twelve silent images of Ricky Nelson on "Ozzie and Harriet"
glow in the dark showroom. Music from passing cars rises and
fades as they cruise behind Curt. The Wolfman can be heard.

WOLFMAN (V.O.)
Oh, this is gonna strike a raw
nerve, mama. Here's the Platters.

The Wolfman howls and the Platters wail into the "Great
Pretender." Curt sings along, mouthing the words. Then
somebody walks in front of Curt.
 64.

Curt pays no attention, then sense the presence of another

guy. Soon he realizes that he is being surrounded by a group
of three hoods. They slink up from all sides wearing car
coats with the name "PHAROAHS" embroidered across the back.

Curt looks them over--they all watch the silent tv's. One of
them, without turning, talks to Curt.

JOE
Whadaya doin', creep?

CURT
Me?

JOE
No, I'm talking to the other fifty
creeps here. You know Gil Gonzales?

CURT
Gil Gonzales... no.

JOE
Don't know Gil... you oughta. You
really should.

CURT
Yeah... why?

JOE
No reason... he's a friend of
ours... and that's his car you're
sitting on.

There's silence. Curt looks uneasy and slides quietly off

the De Soto. Curt sticks his hands in his pockets and starts
slowly down the sidewalk.

JOE (CONT’D)
Hey, where ya goin?

CURT
(turning)
No place. Not going any place.

JOE
Ya must be going someplace--I mean
ya left here. Bring him over here,
Ants, I want to show him something.

Ants (a tall, ghoulish-looking kid who probably got his name

from the scar across his face which has recently been
stitched to look like a party of ants marching across his
cheek) brings Curt back gently.
 65.

Joe is bent over looking across the hood of the De Soto.

JOE (CONT’D)
Here--bend down, look here. See
that? Right across there--see?

CURT
I guess so--yeah.

Joe unbends and lightly punches Curt on the shoulder.

JOE
You scratched it, man. Where do you
get off sitting on Gil's car, huh,
man?

Joe gives him another charming punch on the shoulder. The

others have left the tv's and are watching Curt now, looking
puzzled and pained at the scratch on the car.

CURT
I'm sorry. It's not much of a
scratch. I don't think he'll even--

JOE
It ain't the size that's in
question here. It's the principle.
Jeez, this is tough... what should
we do with ya?

ANTS
Tie him to the car and drag him.

Curt turns and laughs at Ants' suggestion. He laughs and

laughs until he realizes nobody else is; they are pondering
the suggestion.

CURT
That's funny
(clearing his throat)
Hey, you guys know Toby Juarez?
He's a Pharoah, isn't he?

JOE
Toby Juarez. Yeah, sure we know
Toby.

CURT
He's a friend of mine.

They all grin and laugh with Curt who feels better.
 66.

JOE
Sure, good old Toby. He's a friend
of yours. That's cool... we all
hate his guts.

Curt stops smiling again.

CURT
Oh--well, I don't know him that
much anyway.

JOE
We killed him last night.

ANTS
Tied him to a car and dragged him.

Curt looks at them both, praying they're kidding. Joe looks

at him, shaking his head.

JOE
This is going to take some
thinking. You better come with us
maybe.
(putting his arm around
Curt)
Go riding with the Pharoahs...

CURT
Well, I don't think I can--I gotta--

JOE
I know just how ya feel.

Joe leads Curt gently but forcibly toward an incredible

maroon '51 Merc that's been lowered and chopped so that the
windows are like ominous slits and the whole machine has a
submarine quality. Joe opens the door and Curt slides into
the white fluffy interior. In the small back window, a metal
plaque reads "PHAROAHS."

The third member of the gang is Carlos, a short little kid

about fifteen years old. He appears tougher than the rest
with a cigarette dangling from his mouth. Joe heads for the
driver's side and Ants and Carlos both go for the front
passenger door.

CARLOS
Shotgun!

ANTS
No, I called it!
 67.

CARLOS
When?

ANTS
Before we picked you up.

CARLOS
You can't call it for the whole
night, man. I got it now. Get in
the back.

Carlos gives Ants a hard look and Ants backs down and climbs
in the back with Curt. The Pharoah's Mercury roars out from
the curb.

CRUISING MAIN STREET--PHAROAHS' '51 MERCURY

The radio blares "Ain't that a Shame?" as Curt sits in the

back seat of the car looking very nervous. He eyes the three
hoods cautiously. They are sitting super low, their eyes
just visible over the windows.

Then, Curt happens to look around. He does a double take.

Through the narrow window he sees the Thunderbird passing in
the opposite direction. Curt swivels and watches through the
back window as the T-bird disappears around a corner. Then,
he shakes his head. Of all the times to be trapped with the
Pharoahs.

On the radio the Wolfman is giving a phone operator a bad

time and the Pharoahs are chuckling.

As the Wolfman continues on the radio, the cars pass though

the night like a metallic ballet. The Pharoahs' Mercury
(with Curt aboard) passes Laurie's Edsel...

Inside the Edsel, Steve is driving. He puts his arm around

Laurie and she leans her head on his shoulder.

As the Edsel cruises by in one direction, John Milner's '32

Ford coupe rumbles by on the other side of the street.

INSIDE THE DEUCE COUPE

Carol is laughing like mad as the Wolfman continues. Even

John has to chuckle at the mad D.J.'s raspy patter.

WOLFMAN (V.O.)
Who is this on the Wolfman
telephone?

OPERATOR (V.O.)
Hello, Collect...
 68.

WOLFMAN
Pardon me. Your name is Colette?

OPERATOR
Yes. Collect Call.

WOLFMAN
Your name is Colette Call?

OPERATOR
Sir, this is the Operator.

WOLFMAN
Are you French, Operator?

OPERATOR
This is a collect call for Wolfman
Jack.

WOLFMAN
I... I love you, Operator.

OPERATOR
Is this Wolfman Jack?

WOLFMAN
Is Floyd there?

OPERATOR
It's for a Wolfman... Jack...

Carol looks over at John and shakes her head.

CAROL
I just love listening to the
Wolfman. My Mom won't let me at
home. Because he's a Negro, I
think... anyway, he's terrific. Do
you know that he just broadcasts
from a plane that flies around in
circles all the time? Do you think
that's true?

INSIDE STEVE'S '58 CHEVY

Terry drives on through the wonderful night--a blonde

sitting next to him, he's feeling very bitchin'. He and
Debbie are also mesmerized by the Wolfman.

WOLFMAN (V.O.)
Floyd, I love you, Floyd. Is this
you, Floyd? I cannot look on thee,
love took my hand...
(MORE)
 69.
WOLFMAN (V.O.) (CONT'D)
and smiling did reply, who made the
eyes but I. Floyd, reach out and
touch my soul.

INSIDE THE PHAROAHS' '51 MERCURY

Even Curt has to laugh at the Wolfman--despite his

situation. Little Carlos sits in the front seat and looks
over at Joe who's driving.

OPERATOR (V.O.)
Your party's ready, sir.

WOLFMAN
You mean Floyd? Hello, is this
Floyd?

VOICE (V.O.)
Hello, is this Matilda?

WOLFMAN
No, it ain't honey--bye!

CARLOS
You tell her, Wolfman. He's my man.
When I graduate, I'm gonna be a
Wolfman. Hey, you know he
broadcasts out of Mexico someplace?

JOE
No, he don't. I seen the station
right outside of town.

CARLOS
That's just a clearing station,
man. So he can fool the cops. He
blasts that thing all the way
around the world. It's against the
law, man.

In the back seat, Ants nods in agreement.

ANTS
Ah, man--they'll never catch the
Wolfman.

Then Ants' nose starts twitching and he looks over at Curt

suspiciously.

ANTS (CONT’D)
Hey, man, who cut the cheese?

Curt tries to smile but looks pretty guilty. Then Joe looks
around from the front seat.
 70.

JOE
He who smelt it, dealt it.
(looking at Curt in the
back)
Hey, creep, scoot down. Sitting up
like that, it wrecks the lines of
the car, you know what I mean?

Curt scoots down to a level even with Ants. Ants is staring

at him and grinning evilly. Then they hear an incredible
roar, and they all turn to see Bob Falfa's black '55 Chevy
pass by. Falfa has a new girl with him this time, a lovely
redhead.

JOE (CONT’D)
There's that badass Chevy again.
Look at he snatch he's got with
him.

ANTS
Hey, man, he looks like a whimp.

Curt nods and tries to join in.

CURT
Probably is. Whimps get all the
snatch.

Carlos and Ants look at him. Like nobody asked him to open
his mouth.

CARLOS
Milner ain't gonna beat that. His
time has come. He's getting old. He
ain't as fast as he used to be.

INSIDE THE DEUCE COUPE

Milner may not be as fast a he used to be--and having a

little teeny-bopper with him isn't helping matters. He looks
over at Carol. She's moved closer to him.

JOHN
You got two seconds to get your ass
over in the corner.

CAROL
Don't worry, I won't rape you.

Carol slides back to her side. But as they glide along,

Carol watches John. She's moon-eyed and flipped over him.
John deftly down-shifts as he approaches a light and then
accelerates through the gears with a "race" expertise.
 71.

There's a honk and John and Carol look over to see a '60
Cadillac full of girls laughing at them.

GIRL
You got a bitchin' car.

John nods modestly.

GIRL (CONT’D)
In fact, we're gonna give you our
special prize for having the
neatest car around. You want me to
give it to you?

JOHN
If the prize is you, honey, I'm a
ready Teddy.

GIRL
Yeah, well get bent turkey.

The girl suddenly launches a water balloon, which John ducks

deftly, the tumescent missile catching Carol full in the
face. The girls roar off. John cracks up as Carol blinks
away the water, not believing what's happened. She wipes her
face.

CAROL
All right, very funny. What a chop.
Ha ha. Quit laughing!!

John tries to control himself, but can't.

CAROL (CONT’D)
Let's catch 'em at the light. Then
you jump out and flatten their
tires.

JOHN
Hey, wait a--

CAROL
Just do what I say!

JOHN
Yezz, bozz....

MAIN STREET INTERSECTION

Carol jumps out of the car as John stops the car in the
right hand lane next to the Cadillac. As Chuck Berry wails
"Johnny B. Goode," they go into action.
 72.

The girls in the Cadillac recognize John as one of their

victims and quickly roll up all windows and lock their
doors. John starts pulling the stems from the front tires,
sinking the car. Carol starts around the car with the
shaving cream, spraying all their windows with the foamy
lather.

Carol is having a great time and John is laughing as they

continue their guerrilla attack. They finish and jump back
in the coupe. The light turns green and John takes off,
leaving the Cadillac stranded at the intersection, covered
with shaving cream. Traffic begins to back up... horns begin
to honk.

CANAL BANK--STEVE'S '58 CHEVY

The crickets chirp under the full moon. We hear "I Only Have
Eyes for You" playing as the Chevy slowly comes to a stop in
an isolated spot along the irrigation canal.

Terry gets out of the car, pops the top off two cokes and
pours half of them into the canal. He hums, refilling them
with bourbon. He goes back to the car.

TERRY
Tootie fruiti all ruti... It's
Super Cola!

He hands her one of the bottles and takes a long drink out
of the other. He grabs the steering wheel for support and
his eyes begin to water.

TERRY (CONT’D)
It's a... a little... strong, I
think.

DEBBIE
(drinking)
It's the living end.

Terry takes a smaller sip this time...

TERRY
Yeaah, I guess it wasn't mixed.

DEBBIE
Wow, it's pretty tonight. It's a
perfect night to go horseback
riding-- I was going with a guy
once who had a horse.

Terry chokes.
 73.

TERRY
Oh yeah? I used to have a couple of
horses myself.

DEBBIE
Really?

TERRY
I used them for hunting. I do a lot
of hunting. Deer mostly, although I
got a couple of bear last year.
Yep, they were good ponies--hunting
ponies. I had to train 'em special,
you know.

DEBBIE
Do you still have 'em? We could go
for a ride.

TERRY
No, I had to sell 'em. To get these
wheels... and a jeep. I also have a
jeep pick-up, with four-wheel
drive. It's got a gun rack. And I
use that for hunting mostly.

DEBBIE
Why do you kill little animals? I
think that's terrible.

TERRY
Oh, well, yeah, I figure with
bears, though, it's either me or
them... You know, I think you're
really neat.

He suddenly grabs at her, putting his arms around her. She's

caught off-guard and tries to move away.

DEBBIE
Wait a second.

Terry immediately lets go of her.

TERRY
Oh, jeez, I'm sorry. I don't know
what got into me--I didn't mean to--
maybe it's the booze or something.

She puts her coke on the floor. She unfastens the chain
holding her sweater together and takes it off.

DEBBIE
There--now.
 74.

Suddenly, she grabs him and pulls him down on top of

herself. She kisses him madly. At first he's surprised, but
then gets the hang of it. They begin to neck passionately,
encountering many obstacles in the cramped front seat.

DEBBIE (CONT’D)
Ow--you pinched me.

TERRY
I'm sorry.

DEBBIE
Let me get my head over here--okay,
now you get up--

TERRY
Ow--my leg, my leg. Ow, watch it!

DEBBIE
Ummm, I just love tuck 'n roll
upholstery.

As they roll around, a couple of guys walk by the car

laughing. Terry manages to sit up and watches them go off
into the night.

TERRY
Geez, it's like Grand Central
Station around here. Why don't we
go someplace else.

Debbie pulls him back down on top of her.

DEBBIE
Nah, come on. They won't come back.

TERRY
Wait a minute. I got a blanket in
the back. Why don't we go over into
the field?

DEBBIE
All right. Okay.

They both get out of the car. Terry gets the blanket out of
the trunk. They walk along a path next to the moonlit canal.
Debbie carries their drinks for them. They left the radio on
and Wolfman's voice can be heard as he takes another call.

WOLFMAN (V.O.)
Hello.

GIRL (V.O.)
Yeah!
 75.

WOLFMAN
How old are you?

GIRL
I'm thirteen, how old are you?

WOLFMAN
I'm only fourteen.

GIRL
Oh, boy, I love you, Wolfman.

SINGERS
(singing over)
"Wolfman Jack."

WOLFMAN
Oh, now we gonna do the weather for
all the valleys and the mountain
tops. Gonna be hot... about 200
degrees in Merced, 400 degrees out
in Fresno, and I know we're gonna
have about 500 degrees up around
the valley somewhere. You got the
Wolfman Jack Show.

MINIATURE GOLF COURSE AND ARCADE

As the Silhouettes yip-yip-yip-yip into "Get a Job," we see

the mysterious white Thunderbirds cruise by and disappear.
The Pharoahs' Mercury turns into the parking lot of a a
miniature golf course. The doors open and the Pharoahs exit.
There's a pause, then Ants reaches into the car and pulls
Curt out also. The Pharoahs saunter into the miniature golf
compound.

CURT
Hey, terrific, I love miniature
golf.

JOE
I hate it.

CURT
Well, I don't play that often
really. Ah--what're we doing here
then?

JOE
We're outta gas.

CURT
They don't sell gas here.
 76.

JOE
No... but we're outta money, too.
Come on, Carl.

CURT
Curt.

Joe gives Curt a gentle push and they go inside. The golf
course is empty, except for a couple of ugly girls putting
around in the far corner. Under a trellis, Curt and Joe
enter as the Pharoahs fool around with the candy machine,
pinball games, "Check Your Weight," and "Air Corps Gunner"
games, pretending to play with them. Joe looks around,
whistling again.

JOE
All right, men.

Quickly the Pharoahs go into action, jimmying locks,

pounding coin returns, pulling out plugs, prying open change
boxes and stuffing looses coins into their pockets.

Joe smiles at Curt, who looks sick again, involved now in a

robbery. Ants is sitting in a "Rocket to the Moon" ride,
pounding on it unsuccessfully when suddenly it starts. Ants
starts bouncing up and down looking dumber than usual. He
swears at Rocket to the Moon under his breath--suddenly a
screen door slams. The Pharoahs turn. A man in an undershirt
stands by the "Get Your Balls Here" booth, regarding them
warily.

MR. GORDON
What're you punks doing?

The Pharoahs can't think of anything right away. Ants

bounces noisily in the "Rocket to the Moon." The Pharoahs
are all looking to Joe for guidance. Joe for his part is
mumbling.

CURT
Hey, hi. Mr. Gordon, what's up?

The man looks at Curt, surprised.

MR. GORDON
Henderson--Curt Henderson? You with
these punks?

The Pharoahs don't know what's happening yet. Curt walks

over to Mr. Gordon.

CURT
These are my friends. We were
just...
 77.

Mr. Gordon looks skeptical, then Curt smiles at him. Then

Mr. Gordon smiles.

MR. GORDON
Jeez, you guys had me scared.

He laughs nervously. The Pharoahs laugh. Everybody's happy.

MR. GORDON (CONT’D)

Hey, you haven't left yet?

CURT
Oh ah--no--no, I'm not--

Mr. Gordon looks puzzled.

CURT (CONT’D)
I mean, I'm not leaving until
tomorrow.

MR. GORDON
Tomorrow. Well, listen, Hank
Anderson's inside. Come in and say
goodbye. You know, Hank's the one
that brought your name up on the
floor of the Moose Hall. You got
the check, didn't you?

He leads Curt toward the screen door. Curt looks around at

the Pharoahs, who are slowly starting to work again
pilfering the machines. Inside the small office, Curt shakes
hands with Hank Anderson, who pats him on the shoulder.

HANK
We are all proud of you, Curt. The
Moose Scholarship couldn't have
gone to a better boy. And if
there's anything we can do, let us
know.

MR. GORDON
Yeah, you'll stay in touch by
letter, won't you?

There's a knock at the screen and they turn to see Joe at

the screen door.

JOE
Hey, we're all done out here.

MR. GORDON
All done? What--what's he mean?
 78.

CURT
Ah, he means, we're all done having
loads of fun out here.

MR. GORDON
Oh, well...

HANK
Wonderful. You can have all the fun
you want. This place is for fun.

CURT
Yes. Yes, it is. Thank you. Thank
you both.

MR. GORDON
Good luck now.

HANK
Before I say goodbye, Curt, I want
to tell you I hope you'll be taking
along with you a little piece of
this place.

CURT
I think I have.

HANK
Good. Don't forget us.

CURT
No, I won't forget you and you
won't forget me.

MR. GORDON
Okay. 'Bye.

HANK
Good-bye and good luck.

CURT
'Bye.

JOE
It was nice to meet yuh.

CURT
Right. What he said goes for me,
too.

Curt and Joe go out through the arcade toward the Mercury.
They start walking faster, anxious to get away. Joe grins at
Curt as they climb into the car.
 79.

JOE
Yeah, you just might make it as a
Pharoah yet, boy.

Back in the office, Hank and Mr. Gordon watch the car pull
out.

HANK
Some day he'll make a fine Moose.

THE CANAL BANK

Steve's Chevy sits near the canal. The door is open and the
radio blares, while Terry and Debbie are off somewhere in
the weeds making out.

Suddenly, a beam from a flashlight plays across the trunk.

Feet approach the car as the light beam moves across the
interior and stops on the vacated shoes on the front seat.

The light beam continues past the empty bourbon bottle and
starts int he direction of the field where Terry and Debbie
are lost in the throes of passionate love. As we follow the
light into the field we hear footsteps.

As the darkened figure approaches the couple, we see the

light go out and catch a gleam of silver in the moonlight as
a switchblade springs open!

Terry reacts to the sound.

DEBBIE
What's wrong?

TERRY
I thought I heard something.

She kisses him and he forgets about the noise. The figure
retreats back to the Chevy, where another indistinct figure
waits.

VOICE (O.S.)
They're porking in the weeds. No
sweat.

Terry and Debbie are resting in the field, listening to the

radio in the distance. A car engine is heard starting up and
disappearing down the canal bank.

The countryside is very quiet. Only crickets and frogs are

heard as Terry begins to drop off asleep. He suddenly jumps
with a start.
 80.

TERRY
Wait a minute!

DEBBIE
What?

TERRY
The radio is gone... That means--
the car is gone!

He scrambles to the spot where the Chevy once stood.

TERRY (CONT’D)
Oh no!!! OH NO!!!

Debbie comes up and watches Terry look heavenward.

TERRY (CONT’D)
Oh God--I'm sorry. But, why the
car? You could have struck us with
lightning or something--anything---
but not the car!

THE CANAL BANK--LAURIE'S '58 EDSEL

Cars are seen here and there in the moonlight along the
irrigation canal outside of town. In the cars radios are
playing "To the Aisle," laughter can be heard in some,
whispering in others.

Laurie's Edsel is parked by the slow-moving water. In the

front seat of the car, Steve and Laurie are making out.
Laurie leans back against Steve, his arms around her, and
they look out the window at the stars...

LAURIE
You know, it doesn't make sense to
leave home to look for a home, to
give up a life to find a new life,
to say goodbye to friends you love
just to find new friends.

STEVE
What? Say that again, I didn't--

LAURIE
That's what Curt said.

STEVE
Oh, figures.
(smiling)
You must've talked his ear off
trying to get him to stay.
 81.

LAURIE
That's not true. I didn't say
anything. Curt just said at dinner
tonight he realized there was no
big hurry. He thought he should
take it easy for a while, go to
J.C. and try to figure out what he
wants to do with his life.

STEVE
That sounds logical.

Laurie's expression changes.

LAURIE
You think so?

STEVE
Sure. I think Curt's probably right
for Curt. Not for me though.
Laurie, look at me. Now you know
what I want out of life. And it's
just not in this town.

LAURIE
I'm not going to the airport
tomorrow.

She looks sullen and he smiles a little. He turns her around

and gently kisses here. They begin to make out, Laurie
seeming a little desperate. Steve pushes her slowly down on
the seat. He moves on top of here and his hand begins to
wander.

LAURIE (CONT’D)
Steve! Don't.

STEVE
(quietly)
It's our last night together for
three months... come on.

LAURIE
We've been through this before.

STEVE
I'm going to miss you so much. I
need something to remember you by.
You don't want me to forget you.

She closes her eyes, trying not to cry.

 82.

LAURIE
(softly)
No...

He starts to move on top of her, kissing her neck. She

struggles for a few moments, then goes limp, not responding.
He pulls away angrily.

STEVE
What's wrong? You're just lying
there.

LAURIE
Well go ahead, you want to.

STEVE
Not like that.

LAURIE
If you're not going to remember me
for anything else, why don't you go
ahead?

STEVE
You want it and you know it. Don't
be so damn self-righteous with me.
After those things you told me
about watching your brother--

LAURIE
You're disgusting! Get out of my
car! I told you never--

STEVE
I'm sorry.

LAURIE
Get out! It's not worth it. I don't
care if you're leaving--now get
out!

She reaches past him and pulls the door handle. The door
swings open and she shoves Steve out. Then she starts the
engine and drives away, leaving Steve standing there in the
darkness. In the distance, he hears the laughter of other
couples and the drifting music from their radios.

THE CANAL ROAD

Terry and Debbie walk slowly along the dark canal. Terry
takes a large slug of his bourbon and coke.

DEBBIE
Anyway, the Goat Killer--
 83.

TERRY
Let's talk about something else.

DEBBIE
--Whenever he strikes, he leaves a
bloody goat's head near the victim.
Isn't that creepy?

Terry thinks about it and indeed it is. He looks around into

the darkness and then takes Debbie's hand.

DEBBIE (CONT’D)
They thought he went up to
Stockton, but two nights ago they
found Carlie Johnson and Don White
right here by the canal all hacked
to pieces and--

TERRY
Who do you think'll take the
regionals this--

DEBBIE
--not only were there bloody goats'
heads, but he had switched all the
parts of their bodies around. You
know putting her arms on him and
his legs on--

Terry is slowing and he stops her. He motions for her to

shut up and they listen. The wind whines across the flat
valley. Ahead there is only darkness, then footsteps!

TERRY
Wait a second. Did you hear...?

DEBBIE
You think it's the Goat Killer?

TERRY
(whispering)
No! I mean, no. Listen, I'll go for
help, you stay here.

Terry has turned and is starting off when she grabs him by
his shirt-tail.

DEBBIE
Come on, we'll hide in the field.

She takes Terry's hand and they go off behind some bushes,
away from the black water.

Debbie looks through the bushes, squinting.

 84.

DEBBIE (CONT’D)
Maybe if it's the Goat Killer he'll
get somebody and we'll see the
whole thing.

Terry stands with his eyes closed.

TERRY
I don't want to see the whole
thing. Especially if it's us he--
oh, why me? I'm going to look lousy
with your legs and a goat's head
and--

DEBBIE
Shhh--he's stopped. I can't see him
very--I think he's coming this way.

She edges off to get a better view.

TERRY
Well, as long as he's not--Debbie!
Debbie!

She's gone. Terry starts off, taking one step, turns, takes
another, turns, takes another. Suddenly Terry hears
something behind him. He turns very slowly and looks...

A figure is standing right behind him, silhouetted by the

moon, its face obscured. Terry jumps about three feet and
yells.

STEVE (O.S.)
Terry!

TERRY
Who, me? Why me?

Terry stops yelling, seeing that it's Steve.

STEVE
Terry.

TERRY
Steve!

Debbie comes back through the bushes and Terry looks at her
nervously.

TERRY (CONT’D)
Where'd you go, anyway?

DEBBIE
Over there.
 85.

TERRY
Well, don't go off again. Come on,
let's get out of here.

Terry and Debbie start to walk with Steve back toward town.
Terry keeps taking pulls from the bottle of bourbon.

STEVE
What're you doing out here? Hey,
where's my rod?

TERRY
(choking)
Um, oh, did I introduce you? This
is Debbie. Debbie, this is Steve.

DEBBIE
Hello.

STEVE
Hi.

DEBBIE
Hi.

They continue to walk along the dark canal bank.

STEVE
Well, what about my car?

TERRY
Um... I'ts in the garage. I put it
in the garage for safe keeping. I
mean... I don't want to take any
chances with it.

STEVE
Oh, great.

DEBBIE
Yeah. Yeah. It's a good thing too.
'Cause somebody stole our car.

STEVE
Really? That's terrible. What kind
was it?

TERRY
Gee, ah, where's Laurie, anyway?

STEVE
I guess we broke up.
 86.

TERRY
You broke up? Bull!

Steve just shrugs. The three of them go off into the

darkness.

CRUISING MAIN STREET-'32 YELLOW DEUCE COUPE

The coupe makes an eccentric swerve as it cruises along the

main drag. Inside, Carol is looking at the gear-shift knob
that she's taken off the shift arm as they listen to "Do You
Want to Dance?"

CAROL
It doesn't look like a gear shift
knob.

JOHN
Come on, will ya? Give it back to
me.

CAROL
Well, go ahead, cream me. What's
wrong, you're a tough guy. Break my
arm, see if I care.

JOHN
Forget it.

He ignores her, and finally his silence makes her take a

small round knob out of her pocket and put it back on the
shifter where it belongs.

CAROL
I was just going to keep it for a
little while. You're an ogre, just
like my father. He won't let me
play records, or stay out late, or
anything.

JOHN
(worried)
He ah--doesn't like you to stay out
late?

CAROL
No--he's terrible. Once I was at a
party that didn't end till late and
he called the cops. Can you
imagine? It was only a little after
midnight and he had the whole
police force--
 87.

JOHN
Say, where do you live anyway?

CAROL
Over on Ramona, why?
(She suddenly smiles)
Oh no. Uh uh. You thought I'd tell
you where--not me, not old Carol.
The night is young and I'm not
hitting the rack until I get a
little action.

John sighs, wondering if he'll ever get rid of her. He looks

back at something in the rear view mirror. He speeds up and
checks the mirror again.

CAROL (CONT’D)
What do you keep lookin' at?
(she looks around behind
them)
Who's that? You know him? He's
following awful close.

JOHN
Grab onto something.

Carol looks scared and grabs onto the dash. John suddenly
hits the brakes. The deuce coupe noses down and Bob Falfa's
Chevy has to swerve abruptly to avoid a crash.

Falfa pulls the Chevy around and alongside the coupe. He has
another new girl with him.

FALFA
(shouting over)
Sorry if I scared ya, man.

JOHN
(looking ahead)
Takes more than that to scare me.

FALFA
Where ya been hiding? Didn't anyone
tell ya I been looking for ya?

JOHN
Hey, I can't keep tracka all the
punks lookin' for me.

FALFA
They say you're the fastest thing
in the Valley. But that can't be
your car, man.
(MORE)
 88.
FALFA (CONT'D)
That must be your mama's car. Hell,
I feel embarrassed just getting
near ya.

JOHN
Ya should, man--you're driving a
field car.

FALFA
Field car? What's a Field Car?

JOHN
Field Cars drive through the
fields, dropping cow shit all over
the place to make the lettuce grow.

FALFA
(laughing)
That's pretty good. Hey, I like
that paint job you got. What they
call that--sorta a cross between
Piss Yellow and Puke Green, ain't
it?

JOHN
Yeah, well, you're car's so ugly
you must have to sneak up on the
pumps to get a tank of gas.

FALFA
Well, at least I don't have to move
over to let a funeral go by, man.

Through all the insults, Carol has been cracking up.

CAROL
(shouting)
Your car's uglier than I am.

John and Falfa both look at her and she sits back.

CAROL (CONT’D)
That didn't come out right...

They both stop at a light now. Falfa roars his engine.

FALFA
Come on, boy, prove it. Let's go.

JOHN
Look kid, why don't you go out and
win a few races, then come back and
see me.
 89.

CAROL
Oh, race him, you can beat him.

John gives Carol a very fierce look and she sinks back into
her corner.

FALFA
Hey, that's a tough lookin' girl
you got with you, man. What're you
doin'? Trying to pick up a few
extra bucks babysitting?
(grinning at Carol)
Hey, Doll. Why don't you come on
and ride with me--in about ten
years?

JOHN
Leave her out of this. This is just
between you and me.

Falfa revs his engine again. John thinks a moment, then

shifts down into first.

The light changes, and John and Falfa take off, tires
screaming. The two cars perfectly in sync, rocket down the
block toward the next red light. John starts to slow for the
light. Falfa looks over, laughs, and runs the red light.
John stops.

CAROL
Wow! He's really fast, isn't he?

JOHN
Yeah. But he's stupid.

CRUISING 10TH STREET-PHAROAH'S '51 MERCURY

Curt is still out riding with the Pharoahs. He seems a

little easier with them now, after their successful heist at
the miniature golf course. The radio is playing "Party
Doll."

CURT
Hey--any of you guys know a blonde
in a white T-Bird?

JOE
Yeah, I seen her, what about it?

CURT
I was just wondering who she is.
 90.

JOE
She's outta your price range, man.
My brother's been with her and he
clued me in.

CURT
Price range? You mean she's a--

JOE
Yeah, Thirty Dollar Sheri. Can you
believe that? Thirty dollars.

CURT
We must be thinking of different
blondes.

CARLOS
Hey man, don't tell Joe what he
thinks.

ANTS
Thirty dollars ain't much. I saw
ten thousand once. My old man had
it in a suitcase. They caught him
the next morning though.

CARLOS
Fuzz ahead, watch it.

JOE
Where?

CARLOS
Fuzz ahead, watch it.

JOE
Where?

CARLOS
At Jerrie's Cherries. You can just
barely see the fender.

ANTS
That's rotten, man. Hiding like
that.

CARLOS
That's shitty.

JOE
It's dishonest.

Ants gives him the evil eye. Joe watches the cop car in the
used car lot as they pass it.
 91.

JOE (CONT’D)
We oughta do something. I got an
idea. I got a good idea.

MAIN STREET
Steve, Terry and Debbie have made
it back into town from the canal.
They walk past the closed stores
and stop on a busy corner.

STEVE
I think I'm gonna go over to Burger
City.

TERRY
Yeah. Yeah. Laurie's probably over
there.

STEVE
You really think she's got me
worried about where she is, don't
you?

TERRY
Well...

STEVE
Let me tell you something. I
couldn't care less. Want to come
along?

DEBBIE
Yeah, I do. I do.

TERRY
No.

STEVE
Make up your minds.

TERRY
No, thanks. U'mm. You know we got
to report the car missing.

STEVE
All right. See yuh.

TERRY
Yeah. See yuh.

Steve goes off and Debbie looks at Terry.

DEBBIE
Why can't we go to Burger City?
 92.

TERRY
Burger City? Burger City!!? How can
you think of hamburgers when
somebody stole my car.

She looks hurt and starts off.

ALLEY BEHIND JERRY'S CHERRIES USED-CAR LOT

Curt is getting out of the low-slung Merc and Joe saunters

around from the driver's side. He smiles, friendly like--

JOE
Listen, ah--Carl, I--

CURT
Curt.

JOE
Curt.

He nods at Curt, looking cautiously around the dark lot.

JOE (CONT’D)
Despite you scratching Gil's car, I
like you. And I know what you'd
like more than anything right now.
Like every guy in town, you got the
same secret dream, right?

Curt nods.

JOE (CONT’D)
Ya want to join the Pharoahs. Huh?
You can admit it--you'd like to--
but you never dreamed it could be
possible, did you?

Curt shakes his head slowly.

JOE (CONT’D)
Well, tonight, I'm goin' to give
you your chance.

Curt hasn't the slightest idea what Joe is talking about.

Joe puts his arm around Curt's shoulders and leads him away,
explaining what he has to do, while Ants and Carlos grin.

In the middle of the used car lot, a patrol car hides among
the autos for sale. Inside the car, Holstein sits with
another officer who's dozing. Across Holstein's dark
glasses, reflections of the kids' cars cruising by can be
seen, as Holstein waits to nab somebody.
 93.

Joe approaches the patrol car through the lot. He ducks,

carrying a length of metal cable in his hand. Curt wanders
behind him. Joe sees him and motions for him to get down.

JOE (CONT’D)
Get down!

Curt ducks down near Joe.

JOE (CONT’D)
Okay. Now you got it? I'm stayin'
here. You're on your own.

CURT
Wait a minute, wait a minute, Joe.
What if he hears me?

JOE
Shhh. Listen. Look at it this way:
Now you got three choices. One, you
chicken out. In that case, I let
Ants tie you to the car and drag
you around a little bit. And you
don't want that, right?

CURT
No.

JOE
Two, you foul up and Holstein hears
you and well, ah... you don't want
that, right?

CURT
No, I don't.

JOE
Three, you are successful and you
join the Pharoahs with a carcoat,
and the blood initiation and all
that, huh?

CURT
(seeing Joe walk away)
Wait--wait a minute. Wait a minute!
What blood initiation?

WOLFMAN (V.O.)
Oh, here we go baby! Here's "Come
Go With Me."

The policeman waits for a victim. In the background, we see

Curt dodging from behind one car to another. Taking cover,
Curt makes another break toward a car--and trips and falls.
 94.

In the cop car, Holstein thinks he hears something. He opens

the door and gets out. Adjusting his billy club, he paces
around the used car lot officiously, while Curt hides behind
a Falcon and peeks out from behind a fender. He sees
Holstein walking back toward the squad car. The cop opens
the door again and climbs in. The echoing sound of the calls
coming over the police radio blend with the Wolfman's
howling as cars pass with their radios blaring.

Curt is inching forward with the cable, toward the squad

car. In the background, a slow freight train can be heard
starting to move across the valley. Curt ties the cable to a
post and then, looking scared, crawls under the police car
with the cable.

Underneath the car, Curt inches on his back and then reaches
up and attaches the cable to the rear axle of the car.

MAIN STREET
Terry and Debbie are walking across
the street, Terry looks miserable
and disconsolate about the loss of
the Chevy he possessed for three
short hours. Debbie tries to be
more positive about the situation.

DEBBIE
Hey, why don't we go get your jeep?

TERRY
What? What are you talking about?

DEBBIE
You know, your jeep. The one you
sold the hunting ponies for. The
one with the four-wheel drive.

Terry just stares at her morosely. He stops by a parking

meter and sinks down on top of it.

DEBBIE (CONT’D)
Come on, Terry--Terry?

ALLEY BEHIND JERRY'S CHERRIES USED CAR LOT

Curt and Joe are on the run toward the Merc. Ants and Carlos
jump in as they start their getaway.

JOE
Hey, you sure you got enough slack?

CURT
Yeah, yeah. No sweat. Let's get out
of here.
 95.

MAIN STREET
Joe shifts into high gear and is
flying down the main drag. Terry
and Debbie look startled as they
see the Pharoah's Mercury roaring
by--and Curt leaning out the door,
shouting insanely.

CURT
Stand by for Justice!

Terry and Debbie watch the Merc speed suicidally past

Jerry's Cherries Used-Car Lot.

Holstein spots them and the driver starts up the engine of

the squad car. THe red lights start flashing and the siren
wails. The patrol car shifts into gear and leaps forward.
Suddenly, there's a horrendous metallic screech, the patrol
car hurtles up and out, airborne for a moment--then noses
down and bounces along the pavement, sending out sparks as
it slides to a stop.

The driver is stunned and frozen to the wheel. Holstein

manages to remove his dark glasses and looks back. There,
sitting quietly in the middle of the parking lot, is their
trans-axle and two rear wheels. The patrol car sits on the
ground at a twenty degree angle, while its engine whines
impotently at top speed.

On the radio, the all-seeing Wolfman gives an evil laugh--

WOLFMAN (V.O.)
Oh, I can't believe it. Feels so
good 'cause you're sweet sixteen.

And Johnny Burnette takes his cue and croons into "You're
Sixteen."

A DARK ROAD OUTSIDE TOWN--DEUCE COUPE

John has glided off the main drag and into a residential
area. Everything is dark and quiet as the adult population
sleeps through the night. John pulls the coupe to the curb
and turns off the engine. He turns out the lights.

Inside the car, there's silence. Only the clock ticking.

Carol looks over at John a little nervously.

CAROL
Why are we stopping here?

John looks at her and his arm slides along the back of the
seat above her. She notices his arm and the fact that he's
moving slowly toward her.
 96.

JOHN
(in a husky voice)
Carol...

CAROL
What?

JOHN
I--I don't think that I can control
myself any longer.

CAROL
You can't?

JOHN
No... Carol, I've got to have you.

CAROL
Me?

He touches her hair and she slouches back into her corner
fearfully.

JOHN
All night you've been sitting there
and you've been so sexy and it's
been so hot--and I can't wait any
more...

CAROL
Well--well, a lot of that's an act,
you know. Like... like my crying.
It was just an act.

JOHN
Well, it's been building up inside
of me like a volcano, all night.
Maybe if I knew where you lived I
could fight it--I could take you
home--but since you won't tell me,
and since here we are--I've got to
have you. It's too late--

CAROL
It's not too late! It's never too
late! 231 Ramona--two three one--

JOHN
(smiling)
Two three one--

CAROL
I'll show you! It's easy to find.
 97.

John starts the car engine. Carol looks very relieved. The
yellow deuce coupe roars off down the dark street.

MEL'S DRIVE-IN
Steve sits in the almost empty cafe
section of Burger City. He stirs a
coffee and mulls over the night's
events in his mind. A door opens
and Budda Macrae comes in. She
watches him a moment, then takes
off her little Bell Boy Cap and
gets a cup of coffee for herself.

Steve looks up as she comes over on her roller skates.

BUDDA
Hi. You mind if I sit down?

STEVE
Hi Budda. No, have a seat.

BUDDA
I got five minutes outa the rat
race, and I saw you all alone. For
a change.

She drinks her coffee and he looks out the window thinking
about something else.

BUDDA (CONT’D)
Where's Laurie?

STEVE
I don't know.

BUDDA
I thought the two of you'd be going
strong, this being your last night
and everything--

STEVE
We broke up.

Budda looks surprised.

STEVE (CONT’D)
No big deal.

BUDDA
Wow... what happened?

STEVE
Nothing. We were out at the canal
and... we had a fight.
 98.

Budda smiles and he looks at her strangely.

STEVE (CONT’D)
What's so funny?

BUDDA
Nothing. Just thinking. A girl like
Laurie--I mean, she goes to school
and is cute and popular and all,
but we're not so different. We know
what we want. I've seen her after
you for two years now.

STEVE
She's not like that.

BUDDA
Maybe not. She does have a
different approach. Hers is "Never
surrender," me I lay down my arms
at the drop of a hat--

VOICE (O.S.)
Budda, you got an hour left, let's
get on it.

BUDDA
(yelling back)
All right, relax... old fart.
Listen, I'm off in an hour. If you
wanta come over, my girlfriend's
away for the weekend.

STEVE
I don't know...

Laurie walks up the drive-in and is about to enter when she

stops and watches Steve and Budda. She thinks about going
in, then hesitates, watching them.

BUDDA
Why don't you? I never got a chance
to talk to you. You're leaving
tomorrow. Listen, I gave up a long
time ago, so it'd be just for fun.
No problems.

She smiles at him and he smiles back a little. At the door,

Laurie turns and leaves before Steven sees her.

BUDDA (CONT’D)
I'll see ya later then.
 99.

She gets up and goes back to the counter on her skates.

Steve thinks a moment and gets up also.

STEVE
Budda, Budda wait.

She turns and he comes over to her as she puts back on her
little cap.

STEVE (CONT’D)
I gotta get up early and--I just
don't think it'd work out.

BUDDA
She's got you so brainwashed--well,
hell. Some day I'm gonna win. Don't
ya think?

STEVE
Sure.

She smiles briefly, then turns and leaves. Steve watches her
go.

MEL'S DRIVE-IN
The drive-in remains a raucous
roar: Cars coming in from the hop,
from the movies, other cars going
out to the canal or back out to
cruise. Only the car hops, who have
developed a late-hour, harried
look, suggest it's nearly closing
time.

The Pharoahs arrive. The Mercury swings imperiously into the

lot. The radio can be heard as the rumbling engine dies. The
Clovers are singing "Love Potion #9."

Curt jumps out of the Mercury elated. The Pharoahs all climb
out and circle him, punching him playfully. Joe holds him
while Carlos tickles him and they all laugh.

JOE
Oh mother, it's been a glorious
night.

CARLOS
That was the bitchinest thing I
ever seen in my whole life.

ANTS
I seen a little kid attacked by
pigs once, but this was even
better.
 100.

JOE
Oh boy, I'll tell you something,
that car must've jumped five feet
in the air!

Curt nods, feeling pretty good.

JOE (CONT’D)
You sure you got to go? The night's
young.

CURT
Yeah, there's some things I got to
do. I still want to find that
blonde.

JOE
I think she was an optical
delusion, man. Psychology-wise it
ain't good to dwell on it. You'll
alter your ego or something.
Anyway, catch ya tomorrow night?

CURT
Yeah, I guess so.

JOE
Guess so? Man, we don't admit a lot
of guys to the Pharoahs. You
understand we're going to have to
swipe your jacket and all--you
gotta make up your mind.

Curt nods, thinking about it. Then he shrugs. He looks at

the three Pharoahs as they climb back into their maroon
chariot.

CURT
Hey--I'll see you guys.

JOE
Sure--listen, remember, Rome wasn't
buried in a night.

Joe laughs and Curt nods. He watches the Mercury pull out
and then he wanders back across the drive-in toward his
little Citroen.

WOLFMAN (V.O.)
My, my, my. You only got five
minutes left, if you want to talk
to the Wolfman. Gonna make all your
dreams come true, baby.
 101.

Curt gets into the little car and sits listening to the
radio. The neon

MEL'S DRIVE-IN is reflected across the windshield.

VOICE (V.O.)
Wolfman...

WOLFMAN
Yeah.

VOICE
Would you dedicate a record to keep
me and my girlfriend together?

WOLFMAN
Are you separated?

VOICE
Well, see, we're havin' a little
problem.

WOLFMAN
I'll bring you right together. Hold
on a minute, man. Hi ya, hi ya, hi,
hi, hi. Everything's gonna be all
right now, man, you understand?
Now, let me play the record for
you.

As the Wolfman talks on, Curt glances toward the street. He

sees the white Thunderbird gliding by. He sits up quickly
and tries to start the Citroen--but the machine barely turns
over. He keeps trying desperately, but the engine won't
catch.

CRUISING G STREET--'58 EDSEL

Laurie drives slowly, alone in the Edsel. On the radio, the

Skyliners are lamenting the sad state of things--"Since I
Don't Have You." Laurie wipes her eyes, crying with the
music. A horn honks. She looks over to see Bob Falfa's car
pacing her. He's alone now and grinning at her. Laurie
ignores him. They drive along further. Falfa roars his
engine, but she still doesn't give him any attention. He
gives up and pulls off.

Laurie thinks a while, pouting. She pulls alongside Falfa at

the next light. He isn't looking at her. She toots her horn
and he turns. Laurie motions him to pull over.

Falfa looks surprised. The light changes, and he follows her

to the curb. Laurie takes a deep breath, and with a
determined look, gets out and walks back to his car.
 102.

She gets in and closes the door. They start off. He looks
over and smiles.

FALFA
Hey Hey Hey, baby, what do you say?

LAURIE
Just don't say anything and we'll
get along fine.

Falfa is puzzled by the frigidity in the air. He glances at

her then back at the road, wondering about this strange
chick.

RESIDENTIAL STREET--DEUCE COUPE

The coupe slows in front of a modest California ranch-style

home. John stops the car and turns off the engine. He looks
over at Carol, who seems lost in thought.

JOHN
This the first time you've been
quiet all night.

CAROL
I had fun. Goodbye.

She sits for a moment, about to say something.

CAROL (CONT’D)
Do you like me?

JOHN
Yeah. I like you. You're all right.

CAROL
But I mean, do you like me?

JOHN
I, ah... I like you. Okay?

CAROL
Couldn't I have something to
remember you by?

John gives in to her sweet gaze. He takes off the gearshift

knob, gives it to her, and leans over and gives her a kiss.

JOHN
'Bye, kid.

CAROL
Gee, thanks. It's just like a ring
or something.
 103.

JOHN
Yeah.

CAROL
It's like we were going steady.
Wait'll I tell Marcia.

JOHN
Wait a minute, now.

CAROL
Wait'll I tell everybody.

JOHN
Don't go overboard with this thing.

CAROL
Well, I'll see you around.

She jumps out of the car and runs up the walk to the house.
He watches her stop at the screen door and turn. She gives
him a little wave, then goes inside.

John looks over at the empty seat next to him and seems a
little sad. He starts the engine and drives off slowly.

WOLFMAN (V.O.)
I haven't cried so much. And the
tears and everything, man... I
leaned down towards the microphone
and I almost shorted myself out.

OUTSIDE MEL'S DRIVE-IN

Curt has the font hood up on the beetle-like Citroen and is

fooling with the recalcitrant engine. Steve is standing
beside him.

CURT
Hold that up.

STEVE
(taking the hood from
him)
I've been thinking--maybe you're
right. Why should I leave home to
find a new home. Why should I leave
friends that I love to find new
friends?

CURT
Wait a minute, wait a minute. I've
heard this already.
(MORE)
 104.
CURT (CONT'D)
Aren't you the one who for eight
weeks has been telling me you have
to leave the nest sometime?

STEVE
I realize that. I realize--

CURT
No--no realizing. You've been
telling me all summer that it's
time to pull your head out of the
sand and take a look at the big,
beautiful world out there. Gimme
this thing.

STEVE
(letting him close the
hood)
I don't know--I--

CURT
(banging the Citroen hood
shut)
I feel like a mid-wife.

STEVE
I guess I was wrong. I may have
been wrong.

CURT
Wrong nothing. You've been talking
about getting out of this town for
eight weeks. And now--goddamnit!--
you're just--you're just mentally
playing with yourself. If you can
just relax, we'll talk about it at
the airport.

Curt walks around the side of the car and opens the door.

STEVE
Where are you going? It's awfully
early in the morning.

CURT
I have a dental appointment.

STEVE
Come on, Curt...

CURT
Just relax, wil ya? I'll see you at
the airport.
 105.

Curt gets into the car and starts the engine. Steve watches
him pull out of the drive-in, then walks off.

ALLEY BEHIND THE "COME ON INN" BAR

A half dozen people are standing around in the parking lot

behind the bar. Debbie is sitting on the hood of a car,
swinging her legs and chewing gum. The people all seem to be
watching something on the ground behind the car. Coughing is
heard, then gagging, and the unmistakable sounds of someone
being sick.

At the back door of the bar even the cooks are looking and
pointing. We hear more coughing and vomiting. A guy slides
up on the hood next to Debbie.

GUY
I never seen a guy lose so much. He
mustn't have been used to drinking.

DEBBIE
Oh no, he really likes to drink. He
told me.

An old man looks at his watch and then up at the stars.

OLD MAN
Gettin' late... I knew a man once
who got this sick. Billy Webber.
That was ten years ago. What do you
think that was there, that he had
for dinner?

More groaning and gaggin is heard. An old woman moves close

to the old man and he puts an arm around her sentimentally.

OLD WOMAN
Staying on his hands and knees like
that...
(she grins)
He looks like a dog, doesn't he?
Looks like old Ginger.

OLD MAN
Sicker than a dog, that's for sure.

The people drift off, leaving Debbie sitting alone on the

car. Now, Terry slowly emerges, pulling himself up the hood
of the car. His face is white. He lies across the hood
trying to catch his breath.
 106.

TERRY
Ohh rats, I feel like--
(he notices a car nearby
and pushes himself up)
Wait a second... hey!

He staggers across the lot toward Steve's Chevy! Debbie

slides off the car and follows him.

TERRY (CONT’D)
It's--oh my god--it looks like
Steve's car. Look, right here under
our-- it's my car. My car. We found
it. Look!

Terry staggers around and looks for the keys. He searches

under the front seat and over the visor.

Must've taken the keys with them.

DEBBIE
Maybe we oughta call the police.

TERRY
Never get here in time. I got a
better idea. We'll just steal it
back. See if you can find some wire
around. We only need a foot to hot-
wire it... okay?

GAS STATION--DEUCE COUPE

John pulls the coupe out of the garage and wheels up to the
pumps of the gas station. An attendant nods, looking at the
roaring engine.

ATTENDANT
Took the header plugs off.
Expectin' some action?

John looks at him from inside the coupe and nods slowly.

JOHN
Yeah. Think so. There's some punk
lookin' for me.

ATTENDANT
Why the hell do they bother? You've
been number one as long as I can
remember.

JOHN
Yeah... it's been a long time,
ain't it? I'll see ya. Thanks.
 107.

John drives the car out of the station and screeches down
the street.

ALLEY BEHIND THE "COME ON INN" BAR--STEVE'S '58 CHEVY

Terry is fiddling around under the dashboard, trying to hot-

wire the Chevy. As the wires connect, the radio comes to
life and the Wolfman growls.

WOLFMAN (V.O.)
Who is this on the Wolfman
telephone?

There's the sound of a phone ringing, then the unmistakable

voice of the Big Bopper answering.

BIG BOPPER (V.O.)

Hellooo, baaaby--

Just then, Terry looks up and sees one large badass looking
at him. Terry gets up slowly and sees another big guy
standing nearby. The first badass reaches in and grabs Terry
by the shirt. He pulls him from the car. Terry is smiling
weakly.

TERRY
Ah, hi--this is my car. What I mean
is, somebody stole my car--I mean I
lost my car and I want to thank you
two guys for--

The first badass shoves Terry toward the other badass.

TERRY (CONT’D)
--for returning--I mean finding it.
I mean, listen now, listen guys--
I've been sick recently, and this
kind of activity can really be hard
on a guy. Now, easy will you? Easy!

They throw him back and forth and start to rough him up
seriously. Debbie is running around helplessly while they
pummel Terry. Then, she sees the yellow deuce coupe passing.

John glances out his window and notices the fight behind the
Come On Inn. He punches it and wheels into a fast U-turn.

The hoods have quit playing with Terry and are punching him.
Terry's still on his feet, mostly because he's drunk and
staggering away from a lot of the blows; also, Debbie is
screaming and pelting the assailants with her purse.
 108.

DEBBIE
Stop it, stop it, stop it! Help!
Police! You creeps!

John jumps out of the coupe and runs into the parking lot.
He grabs one of the punks and turns him--smashing him in the
face. The punk lands on his ass. John starts circling the
other.

TERRY
Go, John!

DEBBIE
Hit him!

A good fighter, John lands a couple of blows to the gut and

lands him on his can. Both of them crawl off. Terry is lying
nearby, drunk, sick and bloodied. Debbie holds his head in
her lap. John goes over and kneels by them.

JOHN
Hey, man, you all right?

TERRY
Yeah. I'll die soon and it'll all
be over.

DEBBIE
(looking at John)
Wow--you're just like the Lone
Ranger.

JOHN
(eyeing Debbie)
Yeah. Listen, are you with the
Toad, or were you with them?

Terry manages to raise his head.

TERRY
You're talking to the woman I
love...

His head falls back again.

JOHN
What happened, man?

Terry opens his mouth to start to explain, but it's too

hard. He can only moan.
 109.

MEL'S DRIVE-IN
The drive-in is emptying out
finally as the midnight hour
approaches and passes. The die-
hards and the hard-ups are still
wheeling through Mel's looking for
remains of any action.

Steve sits inside in a booth. Two gossipy looking girls come

in smiling and slide into the booth across from him.

STEVE
Hi, Karen, Judy.

JUDY
Hi, Steve. Have you seen Laurie
lately?

Steve shakes his head no.

JUDY (CONT’D)
Well, we have.

STEVE
(already annoyed)
Oh yeah. So what?

JUDY
So nothing. She was just with a
really cute guy in a boss car. We
wondered who he was.

STEVE
I wouldn't know.

JUDY
We do. His name's Bob Falfa.

The name registers with Steve.

Terry and Debbie pull into the drive-in and park. Terry, his
face swelling, groans as he leans toward the intercom.

TERRY
Help... I mean, I want two cherry
cokes with lots of ice. Never mind,
forget the cokes, just bring the
ice, pronto.

The intercom repeats his order in a foreign language and

suddenly Steve arrives and opens the door.

STEVE
Out! OUT!
 110.

TERRY
What??

STEVE
I need the car--now.

Terry gets out and Debbie gets out her side. Steve gets in.

TERRY
What's going on?

STEVE
I'm about to find out.

Steve roars out of the drive-in, leaving Terry and Debbie

standing in an empty space.

DEBBIE
I don't believe it! You practically
get killed trying to get your car
back, then you let him have it.

Terry looks at her, his eye swollen, his lip ballooning, his
glasses broken. Finally, he gives up--it's not worth the
trouble any longer.

TERRY
It's not my car.

DEBBIE
What?

TERRY
What?

TERRY (CONT’D)
IT IS NOT MY CAR!

DEBBIE
Well, where is your car?

Terry is upset now.

TERRY
I DON'T HAVE A CAR!

DEBBIE
You don't--no car at all. What
about your jeep?

Terry shakes his head.

 111.

DEBBIE (CONT’D)
No car... well, how am I going to
get home?

Just then the car hop approaches with the two cokes on two
trays.

CAR HOP
Where's your car? I gotta hook 'em
to your car.

Terry shrugs, standing in the empty stall, the carhop with

the trays and Debbie watching. There's a low rumbling sound
and the girls turn as John's deuce coupe glides into the
stall next to them. Terry shuffles toward John's car, a
defeated man.

Terry leans against John's car and John looks out the window
at him.

JOHN
What's wrong, Toad? You lose the
car again?

TERRY
(softly)
No... Steve took it.

WOLFMAN (V.O.)
It's a shame, Baby. I'll tell
yuh... Got to take it easy when
you're drivin' that car of yours.
You got to cruise easy, baby. Don't
be doin' any accidents or anything
on me.

And the radio plays "Cryin' in the Chapel."

John smiles and gets out of the car. He goes and opens his
hood, making a last-minute check on something. Terry sits
down gently on a curb by John. Debbie has been talking with
some other boys. Eventually she wanders up slowly and looks
at Terry. He looks up at her, then away, disgraced and
embarrassed. She sits down by him and they're silent.

DEBBIE
You know, I had a pretty good time
tonight.

TERRY
Oh come on, you're just--
 112.

DEBBIE
No, no, really. I really had a good
time. I mean, you picked me up and
we got some hard stuff and saw a
hold-up, and then we went to the
Canal, you got your car stolen, and
then I got to watch you gettin'
sick, and then you got in this
really bitchin' fight... I really
had a good time.

Terry looks at her, starting to regain a little cool.

TERRY
You think so? Yeah--well I guess I
have pretty much fun every night.

DEBBIE
Anyway if you're not doing anything
tomorrow night, why don't you come
over?

TERRY
Yeah--well, I might be busy, you
know. But we could--well, I got a
little Vespa I just play around
with.

DEBBIE
Really? Why that's almost a
motorcycle. And I just love
motorcycles.

He feels his swollen lip and she touches it. Then she leans
over and kisses him.

DEBBIE (CONT’D)
I got to go.

TERRY
Ow.

DEBBIE
Goodnight.

TERRY
See ya.

She smiles, walks off, swinging her purse. She looks over
her shoulder and smiles. He smiles back.
 113.

OUTSIDE RADIO STATION--CITROEN

The little Citroen bumps along a lonely dirt road, winding

its way through dark peach orchards and wizened grape
vineyards. Curt watches the deserted landscape when
suddenly, the radio increases in volume and he turns it
down. Then it begins to roar and distort eerily as the
signal becomes more powerful. Then Curt sees it.

He stops the car and gets out. He stands looking at an

isolated white frame house hitting in the moonlight. Curt
looks up at a spidery radio antenna that rises toward the
stars, its black wires humming in the stillness.

Curt starts up the gravel walk to the door. Under the glare
of a naked spotlight, he sees a small intercom which plays
soft Rock and Roll. He hesitates, then pushes a buzzer. He
pushes it again and finally a voice comes over the intercom.

VOICE (V.O.)
Yeah, who is it?

CURT
It's--I want to talk to the
Wolfman.

VOICE
The Wolfman ain't here.

CURT
I know, but I got to get in touch
with him. I got something to give
him before--

VOICE
We don't take no deliveries after
eight. Come back tomorrow.

CURT
No, I can't. I want to ask him
something that--

VOICE
Dedications by phone is Diamond
75044. Wolfman Top 40 is Box 13,
Chula Vista. Wolfman Sweatshirts is
Wolf Enterprises, Bakersfield.
'Bye.

CURT
Listen, I got a right to talk to
him. I listened to him every night
for as long--for twelve years
almost.
(MORE)
 114.
CURT (CONT'D)
I know him and it's personal and
it'll only take a minute and I bet
Wolfman would be upset if he knew a
friend couldn't get in touch with--

A buzzer interrupts him and the door opens an inch. Curt

pushes it open slowly--no one is there. A little scared, he
goes inside and closes the door.

INSIDE RADIO STATION

Curt walks slowly down a dark eerie corridor, passing

strangely lit rooms with electronic generators, humming
dynamos and glassed-off booths filled with flashing
electronic apparatus.

Curt goes through this other-worldly maze until he comes to

a small, dimly lit control booth. A figure inside is barely
visible through the reflections in the double glass windows.
The figure turns and walks up to the window. Curt backs off
a bit. A face stares at him--long hair greased in a
ducktail, a short chinbeard. Then he speaks, his voice
filtering strangely through a hidden speaker.

MANAGER
What do you want?

Through the window, Curt can be seen but no sound is heard.

MANAGER (CONT’D)
Pull the red switch.

CURT
I'm looking for a girl.

MANAGER
Aren't we all. She ain't here. Come
on back to the booth.

Curt walks around through a few more glass doors and ends up
in the booth with the manager.

The manager sits down and leans back, turning a fan to blow
on his large chest. He's a large, friendly looking man; he
wears a Hawaiian shirt. He sucks on a popsicle. Curt stands
awkwardly.

MANAGER (CONT’D)
Hey, have a popsicle. The ice box
just broke down and they're meltin'
all over the place. You want one?

CURT
No. Thanks. Listen, ah...
 115.

MANAGER
Have a popsicle.

CURT
Are you the Wolfman?

MANAGER
No, man. I'm not the Wolfman.

The manager leans forward and picks up a spool of tape. He

holds it up as a magician would for audience inspection,
then puts it on a machine. A record is about to end. As it
does the manager punches some buttons and the record segues
into a Wolfman howl and then the distinctive Wolfman voice
takes over. The manager adjusts the monitor volume down and
sucks his popsicle.

WOLFMAN (V.O.)
Who is this on the Wolfman's
telephone?

DIANE (V.O.)
Diane.

WOLFMAN
How're you doin', Diane?

DIANE
All right.

The station manager smiles at Curt, who is watching the tape

and blinking lights of the large console.

MANAGER
That's the Wolfman.

CURT
He's on tape. The man is on tape.

WOLFMAN (V.O.)
Do you love me? Say you love me,
Diane.

CURT
Well, ah--where does he work? I
mean, where is the Wolfman now?

MANAGER
The Wolfman is everywhere.

CURT
But I got to give him this note.
 116.

MANAGER
(taking it from Curt)
Here, let me see the note.
(he reads it)
Hell, that's just a dedication. All
I gotta do is relay it. And it'll
be on the air tomorrow, or Tuesday
at the latest.

CURT
No, no. See, this is very
important. I may be leaving town
tomorrow, and it's very important
that I--damn it, that I reach this
girl right now.

MANAGER
You don't know whether you're gonna
leave town or not?

CURT
Well, I'm supposed to go to college
back East tomorrow. And I don't
know if I'm gonna go.

MANAGER
Wait a minute. Have a popsicle.

CURT
No, thank you.

MANAGER
Sit down a minute.

Curt sits down, undecided about leaving and upset about not
being able to get in touch with the lovely creature he saw
earlier that night.

MANAGER (CONT’D)
Listen, it's early in the morning.
Now, I can't really talk for the
Wolfman. But I think if he was here
he'd tell you to get your ass in
gear. Now, no offense to your home
town here, but this place ain't
exactly the hub of the universe, if
you know what I mean. And well--
I'll tell you this much--the
Wolfman does come in here now and
then, with tapes, to check up on
me, you know, and when I hear the
stories he got about the places he
goes.
(MORE)
 117.
MANAGER (CONT’D)
Hell, here I sit while there's a
big beautiful world out there,
don't ya know. Wolfman comes in
last time talking about some exotic
jungle country, handing me cigars
he says was rolled on the naked
thighs of brown beauties. The
Wolfman been everywhere and he seen
everything. He got so many stories,
so many memories. And here I sit
sucking on popsicles.

Curt looks at him a moment.

CURT
Why don't you leave?

MANAGER
Well, I'm no kid anymore. I been
here a long time. And the Wolfman--
well, the Wolfman gave me my start
and he's sorta become my life. I
can't leave him now. Gotta be loyal
to the Wolfman, you understand.

Curt nods and stands. The manager swivels around and punches
some buttons, putting on a commercial.

He turns back.

MANAGER (CONT’D)
I tell you what. If I can possibly
do it tonight, I'll try to relay
this dedication and get it on the
air for you later on.

CURT
That'd be great. Thanks. Really.

He shakes the manager's hand, then wipes it on his pants.

MANAGER
Sorry, sticky little mothers ain't
they? Bye.

CURT
'Bye.

Curt goes out the door. He starts back out through the maze
of windows and electronic machines. Echoing throughout the
rooms, the Wolfman's raucous voice follows Curt. The Wolfman
howls and Curt turns.
 118.

Through the maze of glass, shifting like prisms, he sees the

station manager sitting by the mike--howling! Then, he
laughs and howls again, starting to sing a song called
"Bluebirds on My Dingaling," pounding out the rhythm on the
console.

CURT (CONT’D)
Wolfman...

He backs away, leaving the Wolfman, who's on his feet now,

screaming out the end of the song, dancing by himself in the
little glass room, from which his voice radiates out through
the night and around the world...

MEL'S DRIVE-IN
John is working under the hood of
the deuce coupe when Falfa's Chevy
drives into the parking lot. The
radio is now blasting "Heart and
Soul." Terry moves over toward
John's car. John doesn't look up,
although he is quite aware of
Falfa's entrance.

Falfa slows down in front of John's car and revs his engine
again. John looks up--Laurie is in the car with Falfa. She
looks determined not to seem as scared as she really is.

TERRY
Hey, John, let me go with you. Come
on.

JOHN
Naw, man. I can't take you when I'm
racin' somebody.

TERRY
Ah, come on. Just let me go. So I
can watch. Or, I'll flag you, okay?

JOHN
All right. Go ahead.

Terry starts to climb into the car. John looks over at Falfa
in the rumbling Chevy.

JOHN (CONT’D)
Paradise Road.

Falfa grins and gooses the Chevy, peeling out of Mel's Drive-
in.
 119.

CRUISING MAIN STREET--FALFA'S '55 CHEVY

Falfa looks over at Laurie, who is watching the road

nervously.

FALFA
All right now, where's this
Paradise Road?

LAURIE
You just follow this street
straight out of town... Listen, if
you're gonna race John Milner, you
can let me out right when we get
there.

FALFA
Why don't you shut up, baby? You
ain't said one word all night long.
What a weird broad. But you're
gonna appreciate me soon. You're
gonna be hangin' on for mercy, when
I get this sucker rollin'.

He accelerates the Chevy, shifting up deftly. Laurie looks

scared now.

CRUISING 10TH STREET--STEVE'S '58 CHEVY

Steve is cruising along the almost deserted streets looking

for Laurie. A T-Roadster pulls up alongside and a guy shouts
at Steve.

DALE
You heading out to Paradise Road?

STEVE
Paradise Road, I'm not--

DALE
Some guy named Falfa going up
against Milner.

STEVE
John's racing Falfa?

DALE
Yeah. Figured something was up, saw
them going out of town real
cautious and then--

But Steve is gone. Dale looks surprised as the Chevy roars

off toward Paradise Road.
 120.

MEL'S DRIVE-IN--PRE-DAWN
Curt pulls into the parking lot
just as the neon sign goes out. The
last cars are leaving as the drive-
in shutters up for the night. Curt
stops next to the lighted phone
booth and sits in his car,
listening to the Wolfman.

WOLFMAN (V.O.)
I got a dedication here that's for
a friend of the Wolfman--a special
friend of the Wolfman who's leaving
town tomorrow and wants me to play
the next song for a blonde young
lady in a Thunderbird. A white T-
Bird, you understand? Now my
friend's named Curt and he wants to
talk to you out there, baby. So you
meet him at Burger City, or phone
Diamond Now he's a friend of mine,
you hear, and, little girl, you
better call him, or the Wolfman
gonna get you.

The Wolfman howls and Curt smiles, leaning his chin on his
hand, looking around the dark drive-in, wondering about
tomorrow.

PARADISE ROAD--DAWN
John's '32 yellow deuce coupe and
Falfa's black '55 Chevy are waiting
side by side on a long, straight
country road, their front wheels
resting on a weather-beaten
starting line. The sky is getting
lighter as the radio plays "Green
Onions."

There are about six to eight other cars parked off the road
to watch the race. Everything is quiet now, only the
crickets ignoring the solemnity of the scene, and still
singing. Terry jumps out of John's car, John hands him the
flashlight and he takes up a position in front of the two
cars.

John looks over at Falfa, who's arguing with Laurie.

JOHN
Hey--Laurie, what in the hell are
you doing in there? Is she gonna
ride with you?
 121.

LAURIE
Mind your own business, John.

FALFA
Yeah, she's with me. You worry
about yourself, man.

TERRY
Everybody ready?

John settles back in the driver's seat and positions his

hand on the gear-shift, which we see is wrapped with rags
because of the missing knob.

Both drivers start revvin' their engines; the tension

builds. Terry looks nervous, the engines start to scream and
Terry, his hands shaking on the flashlight, manages to flash
it on.

Both cars roar off the starting line, tires smoking and
screaming. Terry has his hands over his head and is coughing
in a cloud of smoke as they pass. John beats Falfa off the
line.

Out on the road, as they hit third gear, the cars are almost
neck and neck. Inside Falfa's car, Laurie looks scared to
death. Falfa looks insane as he tromps it.

John hits fourth at about eighty-five. Falfa does likewise--

but starts to fish-tail. Laurie closes her eyes, almost
crying-- Falfa regains control nervously.

Falfa's engine is winding out incredibly and he begins to

get the edge on John. The cars rocket through the dawn light
along the flashing white line until suddenly Falfa's car
blows a tire, his front wheel slips off and the car shoots
off into a tomato field, hits an irrigation ditch and begins
flipping over wildly in a horrifying cloud of dust and smoke-
-

John sees the Chevy leaving the road and screams to a halt,
swimming through an unbelievable U-turn and high tailing it
back to the crash site. He is out of the car like a bullet,
running across the dirty cloddy field. The crash car is
beginning to burn in the engine compartment and John is
panicked.

Meanwhile, the spectators have arrived, including Steve, who

jumps from his car and is running across the field.

Steve and John arrive at the fire at approximately the same

time. They stop, the flames are getting higher, burning up
into the trees now. Steve looks around wildly--he sees John
and goes at him.
 122.

STEVE
You stupid sonofabitch, she was in
that car! Why did you have--

He takes a couple of swings at John, who finally manages to

tackle him around the waist. They both get up looking at the
flaming wreckage. Then John moves around the side,
crouching, trying to see past the flames--suddenly, he
stands and motions to Steve to come over. They both circle
the wreck.

Around behind the flaming car Falfa is standing in a state

of shock watching the car go up in smoke, while Laurie is
circling him, screaming and beating him with her purse.

LAURIE
I said I didn't--you lousy greasy
jerk! You coulda killed me--what's
wrong with you. You clubfoot...

She beats at him, crying hysterically. Steve runs over and

grabs her, pulling her away. She fights at Steve, too, not
knowing what's going on.

LAURIE (CONT’D)
No, no, no. Please, don't come near
me. No, please. I think I'm gonna
be sick. Oh, Steven.

STEVE
Laurie, please.

Standing in the early light, Steve holds her. She throws her
arms around him as the crowd develops along the irrigation
ditch to watch the flaming car.

LAURIE
Oh, Steven! Oh, Steven, please,
don't leave me. Don't leave me,
Steven.

STEVE
I won't.

LAURIE
I couldn't bear it.

STEVE
I won't.

LAURIE
Please.
 123.

STEVE
Believe me.

John looks at Falfa who's shaking his head, watching the car
dissolve.

JOHN
Come on, before she blows.

He pulls him off by the neck of the shirt and when they're a
few yards off, Falfa's '55 Chevy does blow--exploding like a
small A-bomb, blowing it into Modesto history.

Back on the road, John is heading toward his car, its engine
still running, its door open. Terry runs up, trotting
alongside John like a puppy.

TERRY
Jeez, did you show him! He'll
probably never even get in a car
again.

JOHN
He was faster.

TERRY
It was beautiful, John. Just beauti-
- what?

John stops by the open door of the deuce coupe. Terry stares
at him and squints against the rising sun.

JOHN
I was losin', man.

TERRY
What?

JOHN
He had me, man. He was pullin' away
from me just before he crashed.

TERRY
You're crazy.

JOHN
You saw it.

TERRY
No, you creamed him, from right off
the line. The guy never had a
chance.
 124.

JOHN
Shit, Toad. The man had me. He was
beating me.

TERRY
John, I don't know what you're
talking about. It was the most
beautiful thing I've ever seen.
That guy, he might as well get a
wheelchair and roll himself home.
Man, you got... you got the
bitchinist car in the Valley.
You'll always be number one, John.
You're the greatest.

John nods, then looks up at Terry. His face is glowing, his

glasses are smashed and his lip is swollen. John smiles.

JOHN
Look at your glasses, man.
(shaking his head)
Okay, Toad. We'll take 'em all.

TERRY
(grinning)
Right.

JOHN
We'll take em... let's get out of
here.

John climbs in the car. Terry yawns and shakes his head.

TERRY
Jesus, what a night.

He climbs in too, and the deuce coupe drives off slowly as

the sun rises over the ploughed fields and on the radio we
hear "Only You."

MEL'S DRIVE-IN-DAWN-CITROEN
Curt sleeps in the little car as
the sky grows lighter over the
empty parking lot. The phone is
ringing in the booth. It continues
to ring. Finally Curt becomes aware
of it and opens his eyes. It takes
him a moment to remember. Then,
panicked, he jumps from the car and
rushes to the booth.

CURT
Hello, hello, hello!
 125.

A soft sexy female voice is on the other end of the line.

VOICE (V.O.)
Curt?

CURT
Yeah... this is Curt, who is this?

VOICE
Who were you expecting?

CURT
Do you drive a white T-Bird?

VOICE
A white '56. I saw you on Third
Street.

CURT
You know me.

VOICE
Of course!

CURT
Who are you? How do you know me?

VOICE
It's not important.

CURT
(excitedly)
It's important to me. You're the
most perfect, beautiful creature
I've ever seen and I don't know
anything about you. Could we meet
someplace?

VOICE
I cruise Third Street every night.
Maybe I'll see you again tonight.

CURT
No... I don't think so.

VOICE
Why?

CURT
I'm leaving... in a couple of
hours. Where are you from?

VOICE
Curt...
 126.

CURT
What's your name? At least tell me
your name?

VOICE
Goodbye, Curt.

CURT
Wait a second! Wait a second!

But there's a click as she hangs up. Curt looks at the phone
a moment, then also hangs up. From the car radio, he hears
the Wolfman making kissing noises.

WOLFMAN (V.O.)
Little kiss on your ear. Good
night, sweetheart. I'll see you
later.

And then the Spaniels duh-duh-duh-duh-duh into "Goodnight

Sweetheart."

AIRPORT DAY
A DC-3 prop airliner is warming up
its engines as it waits to take off
from a small country airport. There
aren't too many people around. Just
Curt and his friends and family
seeing him off. Curt stands with a
kindly-looking couple in their
fifties. He hugs his mother and
shakes hands with his dad.

Then, Curt moves to his friends. He shakes Steve's hand.

STEVE
Good luck.

CURT
Yeah, same to you. And I better see
you there next year.

STEVE
Oh yeah, I'll be there.

CURT
Sure.

Curt hugs his sister. Laurie holds on to him for a moment.

CURT (CONT’D)
See ya later.
 127.

LAURIE
'Bye 'bye, Curt.

Curt goes to Terry and John.

CURT
So long, guys.

TERRY
Well, stay cool, man.

CURT
Yeah.

TERRY
Ah--don't do anything I wouldn't
do.

Curt smiles at Terry, who has a bandage on his forehead.

Curt looks at John and they don't seem to know what to say.
Finally, John gives Curt a little slap on the cheek.

CURT
I'll see ya, buddy.

JOHN
I know, you probably think you're a
big shot, goin' off like this--but
you're still a punk.

CURT
Okay, John. So long.

He walks toward the plane and they all wave. He looks around
as he goes up the steps carrying a small bag and a portable
radio. The stewardess smiles as he passes her. Above the
door of the plane it reads RADAR EQUIPPED. Curt looks back
again, then goes inside. The plane takes off down the runway
and then climbs up into the sky.

INSIDE THE PLANE

Curt listens to the radio as the plane takes off. It's

playing "Goodnight Sweetheart." As the plane climbs and
banks over the valley, the music fades and the station
drifts between static and other stations...and then it's
gone. Curt turns off the radio and looks out the window.

As the plane banks, through the window Curt sees the white
Thunderbird crossing beneath on the small grey ribbon of
highway. Curt watches it. Then the plane's shadow ripples
over the car and it, too, is gone.
 128.

THE BLUE SKY

As the plane flies off against the blue sky we see cameos of
Curt and his friends:

John Milner was killed by a drunk driver in December 1964.

Terry Fields was reported missing in action near An Loc in
December 1965. Steve Bolander is an insurance agent in
Modesto, California.

Curt Henderson is a writer living in Canada.

THE END