アメリカン・グラフィティ(1973年)

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AMERICAN GRAFFITI

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? (snooping over his shoulder) 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 (voice over)
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 consipicuous 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 hace 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… 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 (voice over)
Wolfman?

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

MAN (voice over)
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 etereal.
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 (off)
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.

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 frist 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 theri 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.

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 (off)
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 (off)
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 embarassed. 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 radion.

WOLFMAN (voice over)
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.

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.

(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 tred 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 ou. (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.

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 taht 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 scrowls, 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.

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.

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.

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 obcious
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.

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.

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
Wll, 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.

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.

They dance.

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.

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. KOOT
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 ommision of “Mr.”

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.

(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 (voice over)
Hello, Wolfman.

WOLFMAN (voice over)
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 Laure and kisses
her.

STEVE
Why don’t we go th the canal?

LAURIE (teasing)
What for?

STEVE
Listine, 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 (voice over)
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!”

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 ssquaks 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 sleezy 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 abut 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 (voice over)
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 knockss 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.

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–watchi 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.

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 donw 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.

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.

You got it. You got it!

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

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 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
twon 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.

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 (voice over)
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 applaince 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 (voice over)
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.

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

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

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 taht’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!

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 Laure
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 (voice over)
Who is this on the Wolfman telephone?

OPERATOR (voice over)
Hello, Collect…

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(voice over)
Floyd, I love you, Floyd. Is this you, Floyd? I cannot look on
thee, love took my hand…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 (voice over)
Your party’s ready, sir.

WOLFMAN
You mean Floyd? Hello, is this Floyd?

VOICE (over)
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
Hey, man, who cut the cheese?

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

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
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 isnt’ 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. Sh’es 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.

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.

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.

GRIL
Yeah, well get bent turkey.

The girl suddenly launches a water ballon, 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 happenened. She wipes her face.

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

John tries to control himself, but can’t.

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.

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 guerilla 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
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.

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.

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
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 turnk. They walk along a path next to the
moolit 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 (voice over)
Hello.

GIRL (voice over)
Yeah!

WOLFMAN
How old ar 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 aminiature golf
coures.

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.

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 inthe
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 theri 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…

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.

Hey, you haven’t left yet?

CURT
Oh ah–no–no, I’m not–

Mr. Gordon looks puzzled.

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?

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.

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 (off)
They’re porking in the weeds. No sweat.

Terry and Debbie are restingin 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.

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
Oh no!!! OH NO!!!

Debbie comes up and watches Terry look heavenward.

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.

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
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.

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–

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.

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.

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 (off)
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 ather
nervously.

TERRY
Where’d you go, anyway?

DEBBIE
Over there.

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 fromthe 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.

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 know 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–

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
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 graps 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 hinding? 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. 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.

That didnt’ 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.

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.

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.

CARLOS
It’s dishonest.

Ants gives him the evil eye. Joe watches the cop car in the used
car lot as they pass it.

JOE
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?

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.

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.

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.

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.

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.

Get down!

Curt ducks down near Joe.

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 (voice over)
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.

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 attatches 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
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.

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 (voice over)
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.

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.

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 coffe and he looks out the window thinking about
something else.

BUDDA
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.

No big deal.

BUDDA
Wow…what happened?

STEVE
Nothing. We were out at the canal and…we had a fight.

Budda smiles and he looks ather strangely.

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 (off)
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
I’ll see ya later then.

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.

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.

JOE
Oh boy, I’ll tell you something, that car must’ve jumped five
feet in the air!

Curt nods, feeling pretty good.

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 (voice over)
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.

Curt gets intothe little car and sits listening to the radio. The
neon MEL’S DRIVE-IN is reflected across the windshield.

VOICE(over)
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 allright 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 deperately, 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. 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.

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.

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 (voice over)
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 alreay. 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.

Curt gets intothe 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.

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.

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?

A GAS STATION–DEUCE COUPE

John pulls the coupe out fo 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.

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 (voice over)
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 (voice over)
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.

–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.

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.

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.

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!

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
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.

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 witht he
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 (voice over)
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–

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
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.

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 (over)
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. 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
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
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…

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 (voice over)
Who is this on the Wolfman’s telephone?

DIANE (voice over)
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 (voice over)
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.

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
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. 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
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.

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
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
Paradise Road.

Falfa grins and gooses the Chevy, peeling out of Mel’s Drive-in.

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.

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 (voice over)
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 3132. Now he’s a frind
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 fron
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
ingnoring 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?

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 postions 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 thorugh 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.

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
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.

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 duece 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.

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!

A soft sexy female voice is on the other end of the line.

VOICE (over)
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…

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 (voice over)
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
See ya later.

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.

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

FULL CAST AND CREW FOR AMERICAN GRAFFITI

Directed by

George Lucas

Writing credits

George Lucas

Gloria Katz

Willard Huyck

Cast

Richard Dreyfuss …. Curt Henderson

Ron Howard …. Steve Bolander

Paul Le Mat …. John Milner

Charles Martin Smith …. Terry Fields

Cindy Williams (I) …. Laurie Henderson

Candy Clark …. Debbie Medway

Mackenzie Phillips …. Carol Morrison

Wolfman Jack …. Disc Jockey

Bo Hopkins …. Joe

Manuel Padilla Jr. …. Carlos

Beau Gentry …. Ants

Harrison Ford …. Bob Falfa

Jim Bohan …. Holstein

Jana Bellan …. Budda Macrae

Deby Celiz …. Wendy

Lynne Marie Stewart …. Bobbie Tucker

Terence McGovern …. Mr. Wolfe

Kathleen Quinlan …. Peg Fuller

Tim Crowley …. Eddie Quentin

Scott Beach …. Mr. Gordon

John Brent …. Car Salesman

Gordon Analla …. Bozo

John Bracci …. Station Attendant

Jody Carlson …. Girl in Studebaker

Del Close …. Man at Bar

Charles Dorsett …. Man at Accident

Stephen Knox …. Kid at Accident

Joe Miksak …. Man at Liquor Store

George Meyer …. Bum at Liquor Store

James Cranna …. Thief

Johnny Weissmuller Jr. …. Badass #1

William Niven …. Clerk at Liquor Store

Al Nalbandian …. Hank

Bob Pasaak …. Dale

Chris Pray …. Al

Susan Richardson …. Judy

Fred Ross …. Ferber

Jan Dunn …. Old Woman

Charles Q. Murphy …. Old Man

Ed Greenberg (I) …. Kip Pullman

Lisa Herman …. Girl in Dodge

Irving Israel …. Mr. Kroot

Kay Ann Kemper …. Jane

Caprice Schmidt …. Announcer at dance

Joe Spano (I) …. Vic

Debralee Scott …. Falfa’s Girl

Ron Vincent …. Jeff Pazzuto

Donna Wehr …. Carhop

Cam Whitman …. Balloon Girl

Jan Wilson …. Girl at Dance

Suzanne Somers …. Blonde in T-Bird

Produced by

Francis Ford Coppola

Gary Kurtz

Cinematography by

Jan D’Alquen

Ron Eveslage

Film Editing by

Verna Fields

Marcia Lucas

Casting

Mike Fenton

Fred Roos

Art Direction

Dennis Clark

Set Decoration

Douglas Freeman

Costume Design by

Aggie Guerard Rodgers

Make-up Department

Bette Iverson …. key hair stylist

Gerry Leetch …. key hair stylist

Production Management

James Hogan (III) …. production manager

Assistant Director

Ned Kopp (II) …. first assistant director

Charles Myers …. second assistant director

Sound Department

Walter Murch …. sound re-recordist sound montage

James Nelson (II) …. sound editor

Art Rochester …. production sound mixer

Toni Basil …. choreographer

Jim Bloom (I) …. production associate

Christina Crowley …. script supervisor

Nancy Giebink …. production associate

Karin Green …. music co-ordinator/supervisor

Gino Havens …. dialog coach

Al Locatelli …. design consultant

William Maley …. gaffer

Ken Phelps …. key grip

Henry Travers (II) …. transportation supervisor

Beverly Walker …. assistant to producer

Haskell Wexler …. visual consultant

Doug von Koss …. property master




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