"AMERICAN GRAFFITI" Screenplay 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-- 70... 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. 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. 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. 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 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. 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. 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 One fries--grab it before I drop it. She gives Laurie an antagonistic look and goes off. Steve laughs. Laurie smiles. 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 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... 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. 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 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. 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 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! 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 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? 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. 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. 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. 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 (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. 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 (shouting) What? What?!!! STEVE We didn't say anything. CURT Quick! Hang a right! 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 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. 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! 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 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 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. JOHN 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 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. (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 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. 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. 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. 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. 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 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." 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 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. 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 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. 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. 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. JANE 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. 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 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 (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 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. 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 Say it--I'll tell him. 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. 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 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... 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 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. 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 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 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. 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 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 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? 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 Peel out. TERRY What? DEBBIE Peel out. I love it when guys peel out. 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 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. 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 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. 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 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 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. 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. 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 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 (to Laurie) Get your shoes. Let's go before we get thrown out. 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. 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. 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 You know what I'd like more than anything in the world right now? Terry almost does a comic strip "Gulp!" DEBBIE 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. 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? 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? 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 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 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? 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! 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." 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 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 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? 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 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. 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 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. 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 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!! 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 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? 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 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. TERRY 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 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 (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. 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 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. DEBBIE Hey, did ya get it? Ya get it, ya get it? He hands her the bag. DEBBIE You got it. You got it! She goes through the bag and finds a comb and the batteries. DEBBIE 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. 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. CAROL I bet you're the fastest. JOHN I've never been beaten--lot of punks