-
Notifications
You must be signed in to change notification settings - Fork 3
/
Copy pathAmerican-Graffiti.txt
6669 lines (4962 loc) · 265 KB
/
American-Graffiti.txt
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
800
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820
821
822
823
824
825
826
827
828
829
830
831
832
833
834
835
836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
851
852
853
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
882
883
884
885
886
887
888
889
890
891
892
893
894
895
896
897
898
899
900
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
923
924
925
926
927
928
929
930
931
932
933
934
935
936
937
938
939
940
941
942
943
944
945
946
947
948
949
950
951
952
953
954
955
956
957
958
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
995
996
997
998
999
1000
"AMERICAN GRAFFITI"
Screenplay by
George Lucas
Gloria Katz & Willard Huyck
RADIO
On a dark screen an immense amber light appears and an
electric humming begins. The eerie light glows brighter and
illuminates a single huge number--11. We hear static and a
large vertical band of red floats mysteriously across the
screen.
Pulling back slowly, we watch the glowing band traverse back
and forth over the amber light and past more numbers appearing--
70... 90... 110... 130. And we begin to hear voices--strange
songs, fading conversations and snatches of music drifting
with static.
Pulling back further, we realize it is a car radio filling
the screen and radio stations we're hearing, until the
indicator stops. There's a pause...and suddenly we are hit
by a blasting-out-of-the-past, Rocking and Rolling, turn-up-
the-volume, pounding Intro to a Vintage 1962 Golden Week-End
Radio Show--back when things were simpler and the music was
better.
And now a wolf howl shatters through time as the legendary
Wolfman Jack hits the airwaves, his gravel voice shrieking
and growling while the music pumps and grinds...
WOLFMAN
Awwrigght, baay-haay-baay! I got a
oldie for ya--gonna knock ya right
on de flowa--baay-haay-hee-baay!
The Wolfman howls like a soulful banshee as "Rock Around the
Clock" blasts forth.
MEL'S DRIVE-IN--DUSK
A neon drive-in casts long shadows across a vast parking lot
as the sun drops behind a distant hill. A large neon sign
buzzes in the foreground... MEL'S DRIVE-IN, while in the
background, "Rock Around The Clock" blares from the radio of
a beautiful decked and channeled, white with red trim, tuck-
and-rolled '58 Chevy Impala that glides into the drive-in.
Main titles appear over action. Steve Bolander stops the
elegant machine and gets out. He looks around, then walks to
the front of the car and leans against the flame-covered
hood. Steve is eighteen, good-looking in a conservative,
button-down, short-sleeved shirt. Most likely to succeed,
president of his graduating class. He looks around the empty
drive-in, then hears a funny little horn.
A Vespa scooter bumps into the lot. A young kid waves at him--
and suddenly grabs the handlebars again as the scooter nearly
topples. Terry Fields ("The Toad") maneuvers the scooter
next to Steve's Chevy but misjudges and ricochets off the
trash can before stopping. Terry grins sheepishly. He's
seventeen, short but plenty loud, both vocally and
sartorically in his pink and black shirt, levis, and white
bucks. He looks slightly ridiculous but always thinks he's
projecting an air of supercool.
Steve watches Terry smooth back his shiny ducktail and primp
his waterfall to a perfect cascade over his forehead. He
unbuttons his shirt one more button and lowers his pants to
look tough.
Terry walks over and leans against the flamed car, imitating
Steve who pays him no mind. In the background, we hear the
Wolfman howling with the music. The record ends and a barrage
of humor begins from Wolfman Jack. The Wolfman is an unseen
companion to all the kids. Witty and knowledgeable about the
trivia that counts, he's their best friend, confidant, and
guardian angel.
Now, a grey, insect-like Citroen deux-chevaux putters into
the parking lot and stops on the other side of the lot. Steve
and Terry watch Curt Henderson get out.
Curt stands by his little car. He's seventeen, a curly
bespectacled, scraggly kid with a summer-grown moustache and
a paperback stuck in his bermuda shorts. Curt thinks of
himself as the town cynic. In reality, he's a hopeless
romantic. He starts over to his buddies.
TERRY
Hey, whadaya say? Curt? Last night
in town, you guys gonna have a little
bash before you leave?
STEVE
The Moose have been lookin' for you
all day, man.
Steve reaches into his pocket and hands Curt an envelope
without saying anything. Curt opens it slowly and pulls out
a check.
CURT
(sarcastic)
Oh great...
TERRY
Whadaya got, whadaya got? Wow--two
thousand dollars. Two thousand doll--
!!
Steve looks at Curt suspiciously; Curt seems somehow guilty.
STEVE
Mr. Jenning couldn't find you, so he
gave it to me to give to you. He
said he's sorry it's so late, but
it's the first scholarship the Moose
Lodge has given out. Oh yeah, he
says they're all very proud of you.
Curt hands the envelope back to Steve.
CURT
Well... ah... why don't you hold
onto it for a while?
STEVE
What's with you? It's yours! Take
it! I don't want it.
TERRY
I'll take it.
CURT
Steve... Ah, I think we'd better
have a talk. I've gotten-
Suddenly a horn honks and they all turn. Laurie Henderson
pulls into the drive-in and waves to them. She is driving
the family's '58 Edsel.
STEVE
Your sister calls. I'll talk to you
later.
CURT
Now, Steve! Let her wait.
STEVE
Okay, make it short and sweet.
CURT
Yeah, well... Listen...
(clearing his throat)
I... I don't think I'm going tomorrow.
STEVE
What! Come on, what are you talking
about?
CURT
I don't know. I was thinking I might
wait for a year... go to city--
Laurie honks the horn a couple of times. Steve ignores her.
There is a long moment and Curt looks uncomfortable.
STEVE
You chicken fink.
CURT
Wait, let me explain--
STEVE
You can't back out now! After all we
went through to get accepted. We're
finally getting out of this turkey
town and now you want to crawl back
into your cell--look, I gotta talk
to Laurie.
(he hands the check
back to Curt)
Now take it. We're leaving in the
morning. Okay?
Suddenly, there's an ear-splitting roar and they all turn as
a yellow '32 Ford deuce coupe--chopped, lowered and sporting
a Hemi-V8--bumps into the lot. The low slung classic rumbles
and parks at the rear of the drive in.
Big John Milner, twenty-two, sits in his Ford, tough and
indifferent, puffing on a Camel. He wears a white T-shirt
and a butch haircut molded on the sides into a ducktail. A
cowboy in a deuce coupe--simple, sentimental and cocksure of
himself.
STEVE
You wanna end up like John? You can't
stay seventeen forever.
CURT
I just want some time to think. What's
the rush? I'll go next year.
STEVE
We'll talk later.
Steve walks off toward Laurie's Edsel. Laurie gets out. She's
wearing a letterman's sweater with a large "Class of '62"
emblazoned on the shoulder. Steve goes to her and they hug.
On the radio, the music ends, and the Wolfman's intro tune
comes on.
RADIO
(singing)
"Here comes the Wolfman--Wolfman
Jack!"
WOLFMAN (V.O.)
Oh, We're gonna rock and roll
ourselves to death baby. You got the
Wolfman Jack Show!
MEL'S DRIVE-IN--NIGHT
As the radio blares "Sixteen Candles," we see that with the
darkness Burger City has come alive. A continual line of hot
rods pulls into the parking lot to check out the parked cars,
then returns to the maindrag. Carhops glide by on roller
skates. Curt and John are fooling around in front of the
deuce coupe. A horn honks and they turn as a '60 Ford with
three girls in it slows by them. A girl leans out the window
and smiles.
GIRL
Hi John!
The girls in the car all screech and giggle as they zoom
off.
JOHN
Not too good, huh?
CURT
Why is it every girl that comes around
here is ugly? Or has a boyfriend?
Where is the dazzling beauty I've
been searching for all my life?
John watches the procession of gleaming cars traveling through
the hot night.
JOHN
I know what you mean. The pickin's
are really gettin' slim. The whole
strip is shrinking. Ah, you know, I
remember about five years ago, take
you a couple of hours and a tank
full of gas just to make one circuit.
It was really somethin.'
Suddenly, in the distance, there's a blood-curdling scream
from an incredible high-performance engine. The entire drive-
in stops and listens.
CURT
Hey, John. Someone new in town.
JOHN
Ahhh.
CURT
You gonna go after him?
JOHN
Hey, listen, Professor, if he can't
find me, then he ain't worth racin',
right?
CURT
The big shot!
Across the swarming parking lot, Steve sits in the front
seat of his chevy with Laurie. Budda Macrae, a car hop, leans
down to attach a tray to Steve's window, showing off her
tight blouse.
BUDDA
A cherry-vanilla coke and a chocolate
mountain. Anything else you want,
Steve?
(Steve shakes his
head.)
If there is you let me know now.
Just honk and I'm yours.
She tucks in her blouse a little tighter, gives him a hot
look and goes to get the other tray. Budda takes the other
tray around the car, almost shoves it in the window where
Laurie is sitting.
BUDDA
One fries--grab it before I drop it.
She gives Laurie an antagonistic look and goes off. Steve
laughs. Laurie smiles. She's seventeen, very pretty, with
big doe-eyes, and a short bobbed hairdo. She pushes up the
sleeves on Steve's letterman sweater, which is sizes too
large for her. His class ring glints on a chain around her
neck. Laurie is sweet, the image of vulnerability, but with
a practical and self-preserving mind beneath.
STEVE
Where was I?
LAURIE
Um, how you thought high school
romances were goofy and we started
going together just because you
thought I was kinda cute and funny,
but then you suddenly realized you
were in love with me, it was
serious... and ah... oh, you were
leadin' up to somethin' kinda big.
STEVE
You make it sound like I'm giving
dictation. Well, seriously, what I
meant was, that ah... since we do
care for each other so much, and
since we should really consider
ourselves as adults. Now, I, ah...
could I have a couple of those fries?
Through the windshield of the Chevy, they see Terry run by
in front of them, chasing Budda Macrae who's outdistancing
him on her roller skates.
TERRY:
Come on, Budda. Come on...
Steve watches them go by, then looks back at Laurie.
STEVE
Ah, where was I?
LAURIE
..."consider ourselves adults"...
Laurie pretends to be interested in her french fries, but is
obviously expecting something big.
STEVE
Right... right... anyway, I thought
maybe, before I leave, we could ah...
agree that... that seeing other people
while I'm away can't possibly hurt,
you know?
Laurie hasn't looked up but her mood has changed like a mask.
LAURIE
You mean dating other people?
STEVE
I think it would strengthen our
relationship. Then we'd know for
sure that we're really in love. Not
that there's any doubt.
Steve smiles and then looks to her. He stops smiling. They
listen to the radio for an awkward moment. Laurie struggles
to hold back her tears. With obvious difficulty, she turns
to him and smiles. He's expected something different and
doesn't know what to do, so he smiles back.
LAURIE
I think you're right. I mean, we're
not kids anymore, and it's silly to
think that when we're three thousand
miles apart we shouldn't be able to
see other people and go out.
Laurie takes his ring on the chain from around her neck and
puts it in her purse.
STEVE
Laurie, now, listen, I didn't ask
for that back. I think that...
LAURIE
I know. I just sort of think it's
juvenile now. I'll keep it at home.
It's less conspicuous there.
STEVE
You don't want to wear it?
LAURIE
I didn't say that. I understand and
I'm not upset. I mean, I can't expect
you to be a monk or something while
you're away.
Steve just looks at her and nods. The Wolfman howls an intro
to "Gee" by the Crows. Outside, skooting around the drive-in
after Budda, Terry is pleading with the sexy car hop as she
delivers a tray to a car.
TERRY
...and I have a really sharp record
collection. I even have "Pledging My
Love" by Johnny Ace. Anyway, how can
you love Nelson when he's going out
with Marilyn Gator. Since he dumped
on you maybe we could--
BUDDA
He didn't dump on me, you little
dip. Hi, Steve!
Her tone changes immediately. Terry looks sour and turns
around to Steve who's getting out of the chevy. Budda leaves,
wiggling her butt for Steve.
TERRY
She's a little conceited--just playing
hard to get.
STEVE
Listen, I came over here to talk to
you about--
TERRY
Any time, buddy. I'm your man. Nothing
I like better than chewing the rug
with a pal. You talk, I'll listen.
I'm all ears. Shoot.
STEVE
Shut up.
TERRY
Sure.
STEVE
Terry, I'm going to let you take
care of my car while we're away--at
least until Christmas. I'm afraid if
I leave it with my--
Steve notices Terry isn't with him any more and turns. Terry
is standing frozen to a spot.
STEVE
What's wrong?
Terry tries to talk, much like a shell-shocked war veteran.
His mouth moves but only a gurgle comes out.
Curt is standing by the Chevy, talking with his sister Laurie.
She's still upset by what Steve said to her.
CURT
Hey, sis--what's wrong?
LAURIE
Nothing.
Meanwhile, they watch Terry as Steve explains to him about
the car.
STEVE
Now listen, only 30 weight Castrol-
R. I've written the tire pressure
and stuff on a pad in the glove
compartment. Are you listening?
The others are watching now as Terry shakes his head
mechanically.
CURT
What's wrong, he's crying!
There is indeed a tear rolling down Terry's cheek.
TERRY
I can't... believe... it.
(He starts toward the
car and gently
caresses its paint.)
I don't know what to say. I'll...
love and protect this car until death
do us part.
(He circles the car.)
This is a superfine machine. This
may even be better than Daryl
Starbird's superfleck moonbird. It
is better than Daryl Starbird's.
Laurie watches Terry, realizing that like the car, she'll be
left behind as a fond memory. She turns and looks at Steve,
who's been watching her. There's a moment between them...
Budda comes by with an empty tray. Terry sees her and wipes
his eyes. He walks up to her, a strange look on his face.
TERRY
Budda, how would you like to go to
the drive-in movies with me?
The idea is so preposterous that even Budda is speechless.
She looks around at others.
BUDDA
You've got to be kidding!
TERRY
Would I kid you about a thing like
that? I want you to know that
something has happened to me tonight
that is going to change everything.
I've got a new...
John walks up quietly and casually pulls down hard on the
back pockets of Terry's low riding levis. There is general
hysteria as Terry quickly pulls up his pants.
TERRY
Car!! All right, who's the wise--
(He turns and sees
John and changes his
tune.)
Oh, John--verrry funny.
(He tries to laugh
with the others.)
JOHN
Hey, did she do that to you?
STEVE
Let's get going. It seems like we've
spent most of our lives in this
parking lot.
TERRY
Hey, Curt, let's bomb around, I wanna
try out my new wheels!
CURT
I'd like to, Toad, but I'm going
with Steve and Laurie to the hop.
I'd just slow you down anyway.
TERRY
Yeah, tonight things are going to be
different.
JOHN
Hey, wait a minute, you're goin' to
the Hop? The Freshman Hop?
CURT
Yeah.
JOHN
Oh, come on, man. That place is for
kids. You two just got your ass out
of there. Don't go back now.
CURT
You ain't got no emotions?
TERRY
We're gonna remember all of the good
times, is what we're gonna do.
JOHN
Yeah, well, go.
CURT
Why don't you come with us?
JOHN
Bullshit, man!
CURT
Come on. For old time's sake.
JOHN
Yeah, yeah... Well, listen. You go.
Go ahead, Curtsy, baby. You go on
over there and you remember all the
good times you won't be having. I
ain't goin' off to some goddamned
fancy college. I'm stayin' right
here. Havin' fun, as usual.
John walks angrily to his coupe, gets in and slams the door.
Curt looks at the others and shrugs.
TERRY
Jesus, Milner, you're in a great
mood tonight.
Curt goes over and stands by the window of the yellow coupe.
CURT
What's the matter John? Did I say
somethin' wrong? I'm sorry.
JOHN
Ah, man, it's nothin'.
CURT
Well, we'll see you later, okay?
JOHN
Right.
CURT
We'll all do somethin' together. You
know, before Steve leaves.
John looks at him suspiciously.
JOHN
Okay, wait a minute. Now, you're not
going?
CURT
I don't know.
John shakes his head. On the radio, Wolfman is taking a call
from a listener--
MAN (V.O.)
Wolfman?
WOLFMAN (V.O.)
Who is this?
MAN
This is Joe... in Little Rock, way
down in the Valley.
WOLFMAN
You callin' from Little Rock,
California?
MAN
Long distance.
WOLFMAN
My, my, my... listen, man, what kind
of entertainment you got in that
town?
MAN
All we got is you.
John roars his engine and pulls the yellow deuce coupe into
a screeching take-off out of the drive-in. Terry and Curt
watch him go off.
MAIN STREET, MODESTO-NIGHT
During the day, G street is a line of used car lots, small
shops, tacky department stores and greasy spoons. At night,
it is transformed into an endless parade of kids in flamed,
lowered and customed machines who rumble down the one way
street, through the seemingly adultless, heat-drugged little
town.
Police cars glide ominously with the flow of traffic. In
parked cars, couples neck between flashing headlights. Guys
looking cool in a '56 Chevy sit in the slouched position of
the true Low Rider--and over it all the music and the Wolfman
can be heard. Just now, it's "Runaway" by Del Shannon.
John travels with the flow of traffic, watching some dopey
guys shooting squirt guns from a moving car. John drives the
deuce coupe effortlessly. He looks over at a car pacing
alongside of his own.
JOHN
Hey, Zudo.
A sweaty looking guy turns and nods from the window.
PAZUDO
Hey, Milner.
JOHN
Hey, man, what happened to your
flathead?
PAZUDO
Huh?
JOHN
What happened to your flathead?
PAZUDO
Ah, your mother!
JOHN
What?
PAZUDO
Your mother. Hey, we been talkin'
about you.
JOHN
Yeah?
PAZUDO
Yeah. There's a very wicked '55 Chevy
lookin' for you.
JOHN
Yeah, I know.
PAZUDO
Watch out for the cop that's in
Jerry's Cherry.
JOHN
Yeah. All right, thanks.
John nods and the two cars pull apart down the street.
TRAVELING G STREET-STEVE'S WHITE '58 CHEVY
The Rock and Roll blares as Terry the Toad cruises along the
main drag, singing along with the music. Sitting low in his
seat, he looks around, his face aglow, experiencing a new
world from the inside of a really fine car. This is the
greatest thing that has happened to Terry in seventeen long
years of being a short loser.
Terry turns a corner and another car pulls alongside. A guy
looks out the window.
GUY
Hey, Toad.
Terry looks over and smiles coolly, proud of his new wheels.
GUY
(leaning out the window)
Is that you in that beautiful car?
(Terry nods modestly)
Geez, what a waste of machinery.
Terry's smile changes to a scowl as the car pulls away from
him.. Terry accounts the slight to jealousy. Then he forgets
it and enjoys driving the beautiful Chevy again. Another car
pulls alongside of him as he cruises along slowly.
GIRL
Hey, kid.
Terry looks over at the car cruising next to him. In the
back seat, a guy has dropped his trousers and is pushing his
bare buttocks against the side window--a classic BA complete
with pressed ham. Terry looks away, wondering why this is
still happening to him, even in his new car.
TRAVELING G STREET-LAURIE'S '58 EDSEL
Curt is in the back seat gazing out the window at the dark
main street of the small farm community. Steve and Laurie
are talking quietly in the front seat. Laurie is sitting
near the window and it sounds like Steve is convincing her
to move over. Laurie finally does. His arm goes around her
and her head rests on his shoulder.
Curt is laughing as the Wolfman harasses someone on the radio.
The Wolfman is placing a call.
WOLFMAN (V.O.)
Here we go with another call out of
the station. Can you dig it? Answer
the phone, dummy.
MAN (V.O.)
Pinkie's Pizza
WOLFMAN
Ah, yeah, listen, you got any more
of those secret agent spy-scopes?
MAN
Hit parade on the stethoscope?
WOLFMAN
No. No, the secret agent spy-scope,
man. That pulls in the moon, the sky
and the planets... and the satellites
and the little bitty space men.
MAN
You must have the wrong number,
partner.
WOLFMAN
'Bye.
Wolfman cuts into "Why Do Fools Fall in Love." Curt is
laughing in the back of the car, as he listens to the ever-
present D.J.
Steve slows the Edsel to a stop at the next light. Curt
glances over at a classic white '56 Thunderbird and sits up.
In the T-bird, a girl watches him. Blonde, beautiful, her
hair, backlit by a used car lot, seems to glow, making her
look almost ethereal. Curt doesn't move, as if afraid of
scaring her away. She smiles faintly---then says something,
so softly it's lost...
CURT
What?
Curt struggles to lower his window. She repeats it, but he
can't hear. The light changes. She smiles once more and is
gone.
CURT
(shouting)
What? What?!!!
STEVE
We didn't say anything.
CURT
Quick! Hang a right!
STEVE
What? Why?
CURT
Cut over to G Street, I've just seen
a vision! She was a goddess. You've
got to catch her!
STEVE
I didn't see anything.
LAURIE
We're not going to spend the night
chasing girls for you.
CURT
I'm telling you, this was the most
perfect, dazzling creature I've ever
seen.
STEVE
She's gone. Forget it.
CURT
She spoke to me. She spoke to me,
right through the window. I think
she said, "I love you."
Curt looks at his sister and Steve in the front seat. They
are bored by his romantic visions.
CURT
That means nothing to you people?
You have no romance, no soul? She--
someone wants me. Someone roaming
the streets wants me! Will you turn
the corner?
Laurie looks around at him and seems to pity his flights of
poetic fantasy. Curt sits back and shakes his head.
PARKING LOT
Big John sits in his deuce coupe, backed into the parking
lot of the Acme Fall-out Shelter Co., the prime spot in town
for girl watching. A guy in wrap-around dark glasses leans
by the car next to John. They watch a group of laughing girls
cruise by in a Studebaker.
JOHN
Oh, oh. Later.
GUY
Alligator.
John turns on his lights and swings the deuce coupe out into
the flow of traffic, after the Studebaker. John accelerates
and pulls alongside the Studebaker. The girl in the front
seat rolls down her window. John grins and yells over at the
carload of cuties.
JOHN
Hey, you're new around here. Where're
you from?
FIRST GIRL
Turlock.
JOHN
Turlock? You know a guy named Frank
Bartlett?
FIRST GIRL
No. Does he go to Turlock High?
JOHN
Well, he used to. He goes to J.C.
now.
FIRST GIRL
Do you go to J.C.?
JOHN
Yeah, sure.
FIRST GIRL
Oh, wow! Do you know Guy Phillips?
JOHN
Yeah, sure. I got him in a class.
FIRST GIRL
He's so boss.
JOHN
How would you like to ride around
with me for awhile?
FIRST GIRL
I'm sorry, I can't. I'm going steady.
JOHN
Ah, come on!
FIRST GIRL
I just can't.
JOHN
You're just ridin' around with a
bunch of girls. Hey, how about
somebody else in there? Anybody else
want to go for a ride?
The girls chatter and giggle among themselves. One of the
girls dangles a bra out the back window, and they all break
into hysterical laughter. The girls try to accelerate ahead,
but John stays alongside their car.
JOHN
Aw, come on... I got plenty of room.
It's dangerous to have that many
people in a car. Cops see ya, you're
had. You got nothing to fear, I'm as
harmless as a baby kitten.
A small voice rises above the chatter.
CAROL
I'll go. I'll go.
FIRST GIRL
Judy's sister wants to ride with
you. Is that all right?
JOHN
(grinning)
Yeah, sure, Judy--her sister--her
mother--anybody. I'll take 'em all.
Listen, we'll go up and stop at that
light. It'll turn red by the time we
get there. All right?
The first girl grins and nods. John winks at her.
JOHN
You ever get tired of going steady
with somebody that ain't around--I'm
up for grabs.
The cars stop at the light. A girl rushes out from the Studey
and runs around the back of John's coupe. She opens the door
and climbs in fast as the light changes.
The Studebaker pulls off fast. John pushes through the gears
and turns and smiles at his pick-up, as "That'll Be the Day"
plays on the Wolfman Jack Show.