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American Graffiti (1974) script

by George Lucas, Gloria Katz and Willard Huyck

 

    RADIO

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

    Pulling back slowly, we watch the glowing band traverse back 
    and forth over the amber light and past more numbers appearing--
    70... 90... 110... 130. And we begin to hear voices--strange 
    songs, fading conversations and snatches of music drifting 
    with static.

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

    And now a wolf howl shatters through time as the legendary 
    Wolfman Jack hits the airwaves, his gravel voice shrieking 
    and growling while the music pumps and grinds...

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

    The Wolfman howls like a soulful banshee as "Rock Around the 
    Clock" blasts forth.

    MEL'S DRIVE-IN--DUSK

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

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

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

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

    Now, a grey, insect-like Citroen deux-chevaux putters into 
    the parking lot and stops on the other side of the lot. Steve 
    and Terry watch Curt Henderson get out.

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

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

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

    Steve reaches into his pocket and hands Curt an envelope 
    without saying anything. Curt opens it slowly and pulls out 
    a check.

    CURT
        (sarcastic)
   Oh great...

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

    Steve looks at Curt suspiciously; Curt seems somehow guilty.

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

    Curt hands the envelope back to Steve.

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

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

    TERRY
   I'll take it.

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

    Suddenly a horn honks and they all turn. Laurie Henderson 
    pulls into the drive-in and waves to them. She is driving 
    the family's '58 Edsel.

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

    CURT
   Now, Steve! Let her wait.

    STEVE
   Okay, make it short and sweet.

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

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

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

    Laurie honks the horn a couple of times. Steve ignores her. 
    There is a long moment and Curt looks uncomfortable.

    STEVE
   You chicken fink.

    CURT
   Wait, let me explain--

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

    Suddenly, there's an ear-splitting roar and they all turn as 
    a yellow '32 Ford deuce coupe--chopped, lowered and sporting 
    a Hemi-V8--bumps into the lot. The low slung classic rumbles 
    and parks at the rear of the drive in.

    Big John Milner, twenty-two, sits in his Ford, tough and 
    indifferent, puffing on a Camel. He wears a white T-shirt 
    and a butch haircut molded on the sides into a ducktail. A 
    cowboy in a deuce coupe--simple, sentimental and cocksure of 
    himself.

    STEVE
   You wanna end up like John? You can't 
   stay seventeen forever.

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

    STEVE
   We'll talk later.

    Steve walks off toward Laurie's Edsel. Laurie gets out. She's 
    wearing a letterman's sweater with a large "Class of '62" 
    emblazoned on the shoulder. Steve goes to her and they hug.

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

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

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

    MEL'S DRIVE-IN--NIGHT

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

    GIRL
   Hi John!

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

    JOHN
   Not too good, huh?

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

    John watches the procession of gleaming cars traveling through 
    the hot night.

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

    Suddenly, in the distance, there's a blood-curdling scream 
    from an incredible high-performance engine. The entire drive-
    in stops and listens.

    CURT
   Hey, John. Someone new in town.

    JOHN
   Ahhh.

    CURT
   You gonna go after him?

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

    CURT
   The big shot!

    Across the swarming parking lot, Steve sits in the front 
    seat of his chevy with Laurie. Budda Macrae, a car hop, leans 
    down to attach a tray to Steve's window, showing off her 
    tight blouse.

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

    She tucks in her blouse a little tighter, gives him a hot 
    look and goes to get the other tray. Budda takes the other 
    tray around the car, almost shoves it in the window where 
    Laurie is sitting.

    BUDDA
   One fries--grab it before I drop it.

    She gives Laurie an antagonistic look and goes off. Steve 
    laughs. Laurie smiles. She's seventeen, very pretty, with 
    big doe-eyes, and a short bobbed hairdo. She pushes up the 
    sleeves on Steve's letterman sweater, which is sizes too 
    large for her. His class ring glints on a chain around her 
    neck. Laurie is sweet, the image of vulnerability, but with 
    a practical and self-preserving mind beneath.

    STEVE
   Where was I?

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

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

    Through the windshield of the Chevy, they see Terry run by 
    in front of them, chasing Budda Macrae who's outdistancing 
    him on her roller skates.

    TERRY:
   Come on, Budda. Come on...

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

    STEVE
   Ah, where was I?

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

    Laurie pretends to be interested in her french fries, but is 
    obviously expecting something big.

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

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

    LAURIE
   You mean dating other people?

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

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

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

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

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

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

    STEVE
   You don't want to wear it?

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

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

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

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

    Her tone changes immediately. Terry looks sour and turns 
    around to Steve who's getting out of the chevy. Budda leaves, 
    wiggling her butt for Steve.

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

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

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

    STEVE
   Shut up.

    TERRY
   Sure.

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

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

    STEVE
   What's wrong?

    Terry tries to talk, much like a shell-shocked war veteran. 
    His mouth moves but only a gurgle comes out.

    Curt is standing by the Chevy, talking with his sister Laurie. 
    She's still upset by what Steve said to her.

    CURT
   Hey, sis--what's wrong?

    LAURIE
   Nothing.

    Meanwhile, they watch Terry as Steve explains to him about 
    the car.

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

    The others are watching now as Terry shakes his head 
    mechanically.

    CURT
   What's wrong, he's crying!

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

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

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

    TERRY
   Budda, how would you like to go to 
   the drive-in movies with me?

    The idea is so preposterous that even Budda is speechless. 
    She looks around at others.

    BUDDA
   You've got to be kidding!

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

    John walks up quietly and casually pulls down hard on the 
    back pockets of Terry's low riding levis. There is general 
    hysteria as Terry quickly pulls up his pants.

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

    JOHN
   Hey, did she do that to you?

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

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

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

    TERRY
   Yeah, tonight things are going to be 
   different.

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

    CURT
   Yeah.

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

    CURT
   You ain't got no emotions?

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

    JOHN
   Yeah, well, go.

    CURT
   Why don't you come with us?

    JOHN
   Bullshit, man!

    CURT
   Come on. For old time's sake.

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

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

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

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

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

    JOHN
   Ah, man, it's nothin'.

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

    JOHN
   Right.

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

    John looks at him suspiciously.

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

    CURT
   I don't know.

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

    MAN (V.O.)
   Wolfman?

    WOLFMAN (V.O.)
   Who is this?

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

    WOLFMAN
   You callin' from Little Rock, 
   California?

    MAN
   Long distance.

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

    MAN
   All we got is you.

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

    MAIN STREET, MODESTO-NIGHT

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

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

    John travels with the flow of traffic, watching some dopey 
    guys shooting squirt guns from a moving car. John drives the 
    deuce coupe effortlessly. He looks over at a car pacing 
    alongside of his own.

    JOHN
   Hey, Zudo.

    A sweaty looking guy turns and nods from the window.

    PAZUDO
   Hey, Milner.

    JOHN
   Hey, man, what happened to your 
   flathead?

    PAZUDO
   Huh?

    JOHN
   What happened to your flathead?

    PAZUDO
   Ah, your mother!

    JOHN
   What?

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

    JOHN
   Yeah?

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

    JOHN
   Yeah, I know.

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

    JOHN
   Yeah. All right, thanks.

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

    TRAVELING G STREET-STEVE'S WHITE '58 CHEVY

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

    Terry turns a corner and another car pulls alongside. A guy 
    looks out the window.

    GUY
   Hey, Toad.

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

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

    Terry's smile changes to a scowl as the car pulls away from 
    him.. Terry accounts the slight to jealousy. Then he forgets 
    it and enjoys driving the beautiful Chevy again. Another car 
    pulls alongside of him as he cruises along slowly.

    GIRL
   Hey, kid.

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

    TRAVELING G STREET-LAURIE'S '58 EDSEL

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

    Curt is laughing as the Wolfman harasses someone on the radio. 
    The Wolfman is placing a call.

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

    MAN (V.O.)
   Pinkie's Pizza

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

    MAN
   Hit parade on the stethoscope?

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

    MAN
   You must have the wrong number, 
   partner.

    WOLFMAN
   'Bye.

    Wolfman cuts into "Why Do Fools Fall in Love." Curt is 
    laughing in the back of the car, as he listens to the ever-
    present D.J.

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

    CURT
   What?

    Curt struggles to lower his window. She repeats it, but he 
    can't hear. The light changes. She smiles once more and is 
    gone.

    CURT
        (shouting)
   What? What?!!!

    STEVE
   We didn't say anything.

    CURT
   Quick! Hang a right!

    STEVE
   What? Why?

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

    STEVE
   I didn't see anything.

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

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

    STEVE
   She's gone. Forget it.

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

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

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

    Laurie looks around at him and seems to pity his flights of 
    poetic fantasy. Curt sits back and shakes his head.

    PARKING LOT

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

    JOHN
   Oh, oh. Later.

    GUY
   Alligator.

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

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

    FIRST GIRL
   Turlock.

    JOHN
   Turlock? You know a guy named Frank 
   Bartlett?

    FIRST GIRL
   No. Does he go to Turlock High?

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

    FIRST GIRL
   Do you go to J.C.?

    JOHN
   Yeah, sure.

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

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

    FIRST GIRL
   He's so boss.

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

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

    JOHN
   Ah, come on!

    FIRST GIRL
   I just can't.

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

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

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

    A small voice rises above the chatter.

    CAROL
   I'll go. I'll go.

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

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

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

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

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

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

    JOHN
   So, you're Judy's little sister.

    Carol Morrison shakes her head. She is thirteen years old, 
    very cute--wearing blue jeans, sneakers and a "Dewey Webber 
    Surf Board" T-shirt which hangs to her knees. John seems 
    slightly panicked.

    JOHN
   Ah, shit,--how old are you?

    CAROL
   Old enough. How old are you?

    JOHN
   I'm too old for you.

    CAROL
   You can't be that old.

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

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

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

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

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

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

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

    JOHN
   Oh, shit! Hey, get down!

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

    JOHN
   Hey, cool...

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

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

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

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

    John is beginning to sweat now.

    CAROL
   What's your name?

    JOHN
   Mud, if anybody sees you.

    CRUISING G STREET-STEVE'S '58 CHEVY

    Terry continues to cruise the main drag, slouched low and 
    looking cool in his newly acquired machine. He adjusts his 
    waterfall curl as the Wolfman dedicates a list of songs. He 
    passes a group of guys bullshitting around the raised hood 
    of a souped-up parked car.

    Terry cruises alongside two girls in a Ford. He revs the 
    engine to get their attention and once he has it he motions 
    to roll down their window. They flip him the bird instead 
    and he lets them pass.

    Terry pulls up to a stop light. The car next to him is a '56 
    Ford--a good opponent and besides, the kid driving looks 
    younger than Terry.

    TERRY
   What you got in there, kid?

    KID
   More than you can handle.

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

    Terry is flustered and embarrassed. Terry revs the Chevy a 
    couple more times, concentration intently this time on the 
    right light.

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

    A distinguished looking man comes up to his window after 
    inspecting the damage. Terry tries to escape, but in his 
    panic the engine dies. He struggles to start it.

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

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

    Terry roars off in a cloud of indignant smoke, leaving the 
    gentleman standing in the street looking dismayed. The cars 
    behind him begin to honk their horns and shout crudities.

    USED CAR LOT

    Terry pulls up in front of a used car lot and jumps out to 
    inspect the damage to Steve's Chevy. He rubs a small scratch 
    on the back fender, but it won't disappear. As he spits on 
    it, a slick, baggy-suited car salesman ambles up.

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

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

    HIGH SCHOOL GYM--"AT THE HOP"

    Herbie and the Heartbeats, wearing their matching red blazers, 
    rock into a raunchy rendition of their masterpiece--

    HERBIE AND THE HEARTBEATS
   One, two, three, four-- one, two 
   three, four-- BAH... BAH... BAH... 
   BAH... BAH... BAH... BAH... BAH... 
   BAH... BAH... BAH... BAH... BAH... 
   BAH... BAH... BAH... At the hop!!

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

    A hundred of them are dancing and swaying while the band 
    gyrates on a raised platform. Kids on wooden bleachers watch 
    the whirling and spinning mass of ponytails and ducktails, 
    button-down shirts and mid calf skirts, cardigan sweaters 
    with little belts in the back.

    THE GIRLS' LAVATORY

    Laurie stands in front of a mirror in a line of other girls. 
    She brushes her hair, staring rather despondently at herself 
    in the mirror. The girl next to her is Peg Fuller, a cute 
    cheerleader.

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

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

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

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

    PEG
   Laurie, jeez... Come on.

    BOY'S LAVATORY

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

    Steve stands looking at himself, then glances at Eddie Quentin 
    standing next to him, dabbing something on his face.

    STEVE
   What's that?

    Eddie jerks his hand down and hides something.

    EDDIE
   What's what?

    Steve turns and pulls Eddie's hand up.

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

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

    He takes his pimple cream back and Steve continues to laugh. 
    He stops slowly and looks at himself again in the mirror. He 
    finds something on his neck, looks around at Eddie.

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

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

    EDDIE
   You leave tomorrow?

    Steve nods.

    EDDIE
   You and Laurie engaged yet?

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

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

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

    HIGH SCHOOL GYM

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

    STEVE
   Come on.

    LAURIE
   Come on what?

    STEVE
   Let's dance.

    LAURIE
   No thanks.

    STEVE
   Laurie, I want to dance.

    LAURIE
   Who's stopping you?

    Eddie and Peg are listening and watching. Steve smiles at 
    them like everything's okay. He glares at Laurie.

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

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

    STEVE
   I want to dance now, not at Christmas.

    He takes her arm, which she pulls away.

    LAURIE
   Get your cooties off me--

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

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

    EDDIE
   Uh, Peg, I think we should dance.

    PEG
   No, this is getting good.

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

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

    PEG
   Joe College strikes out.

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

    HIGH SCHOOL HALLWAY

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

    HIGH SCHOOL GYM

    Curt walks in the background, behind the line of kids clapping 
    as one couple Strolls down between them. Then Curt hears 
    somebody call him.

    MR. WOLFE (O.S.)
   Hey--Curtis!

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

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

    GIRL
   You won't dance? Come on.

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

    GIRLS
   Aahhh.

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

    OUTSIDE THE GYM

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

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

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

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

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

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

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

    CURT
   Blotto.

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

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

    MR. WOLFE
   Middlebury. Vermont. Got a 
   scholarship.

    CURT
   And only stayed a semester.

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

    CURT
   Why?

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

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

    MR. WOLFE
   What do you mean?

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

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

    Then a voice calls from the shadows.

    JANE (O.S.)
   Bill?

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

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

    CURT
   Jane...

    He looks at Mr. Wolfe, who seems a little embarrassed. Then, 
    Mr. Wolfe sticks out his hand.

    MR. WOLFE
   Anyway--good luck, Curtis.

    Curt shakes his hand.

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

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

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

    CRUISING MAIN STREET--'32 DEUCE COUPE

    The yellow Ford coupe is gliding down the street--skimming 
    around corners gracefully as the night lights glide up its 
    lacquered hood.  Inside the car, Carol glances at John and 
    smiles. The Wolfman is howling on the radio.

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

    Carol is continuing to jabber on, relating past adventures 
    with her little friends. John is unimpressed.

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

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

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

    John smiles sarcastically.

    CAROL
   I still got some, so don't try 
   anything.

    She takes a pressurized can of shaving cream and squirts his 
    nose. He swipes the shaving cream on his nose--swerving--A 
    car honks.

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

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

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

    CAROL
   Spare me, killer.

    He stares at her and she shuts up. "Surfin' Safari" is blaring 
    on the radio and she starts twisting with the music. John 
    turns the radio off.

    CAROL
   Why'd you do that?

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

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

    JOHN
   You would, you grungy little twerp.

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

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

    She looks around, and sees a police car following them, bubble 
    lights aglow.

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

    John pulls the car over and stops.

    JOHN
   Oh, no--No. Hey--

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

    John looks at her.

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

    She looks at him.

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

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

    CAROL
   Say it--I'll tell him.

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

    CAROL
   Okay--I'll think about it.

    "The Great Imposter" can be heard on the passing car radios. 
    John rolls down his window. He looks at the surly cop.

    HOLSTEIN
   Where you going, Milner?

    JOHN
   I'm going home--sir.

    HOLSTEIN
   Where you been, Milner?

    JOHN
   Ah--at the movies--sir.

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

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

    Holstein looks at him, then steps back, looks at the car. 
    Holstein's only a couple years older than John, but the 
    uniform separates them by light years.

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

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

    Holstein just glares at him and then leans in close through 
    the window.

    HOLSTEIN
   Look, Milner.

    JOHN
   Yes, sir.

    HOLSTEIN
   You can't fool with the law.

    JOHN
   Yes, sir.

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

    John shakes his head no.

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

    Holstein drops the ticket through the window onto John's 
    lap. He starts back to his patrol car. When he's out of 
    earshot John answers.

    JOHN
   Thank you--asshole.

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

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

    Carol takes the ticket and opens the glove compartment.

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

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

    CAROL
   Oh...

    She looks amazed as she adds the new ticket to a mess of 
    similar tickets crammed in the glove compartment. The police 
    car pulls by them. John scowls, then roars his engine and 
    pulls back into the stream of traffic.

    CRUISING MAIN STREET--STEVE'S '58 CHEVY

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

    Bob Falfa doesn't even look over. He revs his engine--which 
    sounds like a cross between a Boeing 707 and a SuperChief. 
    Terry can't believe it. He quits revving his engine--feeling 
    deflated.

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

    GIRLFRIEND
   Ain't he neat?

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

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

    TERRY
   You mean John Milner?

    Falfa nods slowly.

    TERRY
   Hey, nobody can beat him, man. He's 
   got the fastest--

    FALFA
   I ain't nobody, dork. Right?

    TERRY
   Right...

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

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

    Terry doesn't say anything. There's another incredible scream 
    as Falfa roars off, leaving Terry to stare through his smoke. 
    Terry accelerates the '58 Chevy--at a prudent speed.

    As the radio blares "Almost Grown," Terry glides past the 
    lighted stores slowly, taking in everything with wide eyes 
    from his beautiful new car.

    Terry passes a steaming rear-end collision at an intersection 
    where two guys and two girls are all yelling.

    Then, suddenly, he spots a girl--walking--alone. His mouth 
    drops open in amazement as he slows to a crawl. Debbie, 
    nineteen, with blonde hair, wearing a blue and white spaghetti-
    strap dress, strolls along the sidewalk.

    Terry rolls the powerful engine, but she ignores him. As he 
    passes her, he speeds up.

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

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

    TERRY
   Okay, honey, here I come--James Dean 
   lives!

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

    Terry roars off around the block.

    TERRY
   Stay cool, honey--don't let those 
   creeps bug you. Wolfman, please don't 
   let those creeps bug her... please.

    As Debbie passes the bikers, they hoot, holler, and make 
    barnyard noises. From the cat calls, and Debbie's manner it 
    seems obvious that Debbie is a girl a lot of boys have 
    "known."

    She has walked clear of the bikers as Terry screeches around 
    the corner again. He pulls up alongside her and again slows 
    to a crawl. The pass each other for awhile, but she doesn't 
    look over.

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

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

    TERRY
   You do! I mean it! Just like Connie 
   Stevens. I met her once.

    DEBBIE
   For real?

    TERRY
   Yeah. At a Dick Clark road show.

    Debbie starts slowly toward the car.

    DEBBIE
   You really think I look like her?

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

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

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

    DEBBIE
   This your car?

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

    DEBBIE
   It's really tough looking.

    TERRY
   What school do you go to?

    DEBBIE
   Dewey--can it lay rubber?

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

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

    TERRY
   You do?

    DEBBIE
   Yeah.

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

    DEBBIE
   Okay.

    Terry is elated. He climbs out of the car and she slides in 
    the driver's side. Terry climbs back in next to her and slams 
    the door. She's sitting right next to him--like a real date 
    should. Terry gets a little nervous.

    DEBBIE
   Peel out.

    TERRY
   What?

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

    Terry nods, checks his clutch, revs the engine to a high-
    pitched whine and they're off--

    The tires smoke, scream, the car shots off, fish-tailing, 
    nearly hitting a parked car, straightening out... and 
    disappears down Main Street.

    HIGH SCHOOL GYM--THE HOP

    On stage, the band is "taking five." They're looking tough 
    for the girls while the Student Body Secretary is making 
    announcements at the mike.

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

    There's applause as the girl continues.

    GIRL
   And we want to thank Darby Langdon, 
   who did all these neat decorations.

    There's more applause. Standing among the crowd, Steve and 
    Laurie both look angry.

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

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

    There's applause, whistles and cheers from the crowd. A blue 
    spotlight floats over the dance floor and then lands on Steve 
    and Laurie, who are in the midst of their argument.

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

    Laurie squints into the spotlight and realizes everybody's 
    watching them.

    LAURIE
   Oh God, come on.

    STEVE
   Come on what?

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

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

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

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

    He takes her hand from the tucked-under-the-chin position 
    and puts it around him, in a bear-hug.

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

    STEVE
   What do you mean, you asked me out!

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

    STEVE
   I was busy.

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

    STEVE
   Well--I was--

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

    STEVE
   Your father--great!

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

    He moans.

    LAURIE
   You didn't, of course. I had to. 
   Remember that picnic?

    STEVE
   Out at the canyon?

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

    STEVE
        (quietly)
   I remember.

    They continue to dance slowly. Laurie starts to cry, hating 
    herself for it. Steve loosens a minute and looks at her.

    STEVE
   What's wrong?

    LAURIE
   Go to hell.

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

    THE GYM PARKING LOT

    Curt is leaning against a car in the parking lot. He's looking 
    up at the stars and listening to the music floating out from 
    the gym.

    WENDY
   What are you doin', stealing hub 
   caps?

    A pretty, dark-haired girl, Wendy, slides up next to him and 
    leans against the car. There's an awkward pause like that 
    which happens often when two people who used to be close 
    meet after things have changed.

    CURT
   Well--hey, Wendy.

    WENDY
   How've you been?

    CURT
   Fine. Great. How've you been?

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

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

    CURT
   Ah, maybe... maybe.

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

    CURT
   Hey, Wendy--where are you going?

    WENDY
   Nowhere.

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

    WENDY
        (affectionately)
   Okay.

    CURT
   Okay.

    They go off toward the VW and climb in.

    BACK INSIDE THE GYM

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

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

    He gives them a disgusted look and starts off.

    STEVE
   Hey, Kroot!

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

    STEVE
   Why don't you go kiss a duck.

    Kroot's beady eyes widen and he comes back.

    KROOT
   What? What did you say?

    STEVE
   I said go kiss a duck, marblehead.

    Kroot is stunned and people have stopped dancing to watch

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

    STEVE
        (smiling broadly)
   I graduated last semester.

    Suddenly everything has changed. Mr. Kroot is furious, but 
    unable to do anything. He finally storms off in a huff. Steve, 
    Laurie and the people watching all laugh.

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

    THE GYM PARKING LOT

    Steve and Laurie walk toward her Edsel. In the background 
    Wolfman Jack is taking a phone call from someone.

    MAN (V.O.)
   Hello, Wolfman.

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

    MAN
   This is Weird Willard.

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

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

    STEVE
   Why don't we go to the canal?

    LAURIE
        (teasing)
   What for?

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

    LAURIE
   Yeah, hard tough.

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

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

    And the Wolfman goes into an insane rain-dance rhythm as we 
    hear "Little Darlin'"

    CRUISING MAIN STREET--STEVE'S '58 CHEVY

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

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

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

    TERRY
   I go to Dewey too, ya know.

    DEBBIE
   I never seen ya.

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

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

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

    DEBBIE
   I love Eddie Burns.

    Terry stops, trying to figure out where their conversation 
    went.

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

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

    TERRY
   Yeah, beatniks are losers.

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

    Terry slowly maneuvers his arm around her.

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

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

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

    DEBBIE
   You know what I'd like more than 
   anything in the world right now?

    Terry almost does a comic strip "Gulp!"

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

    TERRY
        (quietly)
   Sure...

    MEL'S DRIVE-IN

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

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

    DEBBIE
   And cherry cokes.

    The intercom clicks on and a garbled voice squawks back at 
    him.

    INTERCOM
   Ark, wark, dork.

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

    INTERCOM
   Ark, wark, dork.

    TERRY
   Yeah, right. Cool.

    As they wait for their order, several guys in various passing 
    cars yell sleazy greetings to Debbie. Suddenly, a rough-
    looking face, belonging to Vic Lozier, pops in her window.

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

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

    Terry nervously pretends not to hear.

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

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

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

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

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

    VIC
   Look, creep, you want a knuckle 
   sandwich?

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

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

    DEBBIE
   I won't be home.

    Vic makes a kiss-off noise. She lights a match and flicks it 
    at him. He finally leaves.

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

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

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

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

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

    TERRY
   Brew?

    DEBBIE
   Yeah.

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

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

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

    CRUISING MAIN STREET-'57 VOLKSWAGEN

    We see the white T-bird ahead for just a moment, before it 
    accelerates, passes a car and disappears, as we hear 
    "Peppermint Twist" from the radio.

    In the VW, Curt is in the back, shaking the driver's seat, 
    yelling at Bobbie. Wendy is in front next to Bobbie.

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

    BOBBIE
   Quit shouting in my ear!

    CURT
   Cut around him, cut around him.

    The little VW swerves and cuts around an old dagoed Dodge, 
    then speeds along the fast lane.

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

    CURT
   There, hang a right--over there!

    Bobbie turns, somebody honks, she hits the curb, shifting 
    madly she mis-clutches; the beetle lugs forward; Curt falls 
    back in the seat and Wendy looks at him.

    CURT
   You lost her!

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

    BOBBIE
   I do not! You shut up!

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

    WENDY
   Eat your heart out. Who was she 
   anyway?

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

    BOBBIE
   I know her!

    There are a few moments of silence as Bobbie lets Curt sweat 
    it out. Finally, Curt breaks.

    CURT
   Okay, come on, who is she?

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

    CURT
   Yeah.

    BOBBIE
   Well, she's his wife.

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

    WENDY
   Mr. Beeman's not so old.

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

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

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

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

    CURT
   Maybe you should shut up!

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

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

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

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

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

    She gets in and the car goes off.

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

    CURT
   To the Opera, James.

    BOBBIE
   Drop dead.

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

    WENDY
   You wish.

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

    The little VW flashes by in the stream of traffic. Bobbie 
    drives, glancing in here rear-view mirror occasionally and 
    also watching the station wagon ahead, in which two pairs of 
    feet are dancing against the back window.

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

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

    CURT
   Maybe.

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

    Wendy turns and leans forward, laughing. Curt watches her 
    seriously, studying her.

    BOBBIE
   Do you know Kip?

    CURT
   Huh? Yeah, I know him.

    BOBBIE
   Talk to him when we go by.

    CURT
   What do you want me to say?

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

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

    CURT
   Kip, baby, what's up?

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

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

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

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

    She turns and starts flailing at Curt with her purse.

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

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

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

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

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

    CURT
   See ya.

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

    CURT
   Oh shit--there!! Wait!

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

    We move with Curt as he moves like a broken field runner 
    through the traffic only to finally lose the girl and the 
    Thunderbird and to slow and finally stop, standing on the 
    white line. Cars slow down and kids rubberneck as they go by 
    him.

    CRUISING G STREET--'32 YELLOW DEUCE COUPE

    John is driving and the Wolfman is howling on the radio while 
    Carol is having the time of her life.

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

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

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

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

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

    She stares at him, shaken, looking sweet and helpless. He 
    turns and looks at her. A tear rolls down her cheek slowly. 
    John can't take it.

    JOHN
   All right, one coke and then home.

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

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

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

    MEL'S DRIVE-IN

    John cruises around the lot until he finds a space among the 
    rows of dazzling cars. He pulls in and leans out to hit the 
    intercom button.

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

    CAROL
   Thanks for nothing.

    She looks around, sitting up so maybe some of her friends 
    will see her in John's neat car.

    CAROL
   Oh rats, I though some of my friends 
   might be here.

    JOHN
   Probably a couple of weeks past their 
   bedtime.

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

    JOHN
   Oh Shit, Dee Dee!

    A long line of cars coast past. Occasionally, someone yells 
    a greeting to John. The car hop brings the coke. Then a 
    couple, Al and Linda, come over. They lean in the window 
    smiling--John prays they don't see Carol.

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

    JOHN
   Have to be before noon.

    AL
   Sure. Hey, have you met Linda?

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

    CAROL
   Babysitting!!

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

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

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

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

    CAROL
   You spastic creep!

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

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

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

    John mutters profanities to himself, but his anger subsides 
    after a few moments. He looks back in the direction Carol 
    went. All he can see are two Hell's Angels on choppers rolling 
    in the same direction. He looks a little concerned and starts 
    the coupe.

    CRUISING MAIN STREET--'32 YELLOW DEUCE COUPE

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

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

    CAROL
   Hi cousin, how's your bod?

    SCENIC LIQUOR STORE--STEVE'S '58 CHEVY

    Terry pulls into the parking lot and stops. He looks up at 
    the flashing liquor store sign and considers his battle plan. 
    "Maybe Baby" by Buddy Holly is playing on the radio.

    DEBBIE
   Do you have an ID?

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

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

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

    TERRY
   Excuse me, sir, while you're in there--
   I mean, since you're going in anyway, 
   I wonder if--

    MAN
   Yes, son?

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

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

    TERRY
   Great. Quarter to twelve. Thanks a 
   lot.

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

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

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

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

    TERRY
   Thanks, here's enough for a pint.

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

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

    TERRY
   Hi. Still quarter to twelve.

    MAN
   Right-o. Night.

    TERRY
   Night.

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

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

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

    INSIDE THE LIQUOR STORE

    Terry tries to look very casual as he sidles up to the 
    counter. Country-Western music hums over the liquor in hi-
    fi.

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

    OWNER
   Yeah. He went out the back.

    Terry is destroyed.

    OWNER
   You want something?

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

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

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

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

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

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

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

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

    OUTSIDE THE LIQUOR STORE

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

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

    He hands her the bag.

    DEBBIE
   You got it. You got it!

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

    DEBBIE
   You didn't get it. Why didn't you 
   get it?

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

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

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

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

    She takes the money from a squeeze-open plastic change purse 
    and hands it to him. Terry smiles weakly and goes back to 
    try his luck again at the liquor store.

    He stops in front of the door as a young guy with numerous 
    tattoos on his bulging arms approaches the liquor store.

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

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

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

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

    AUTO WRECKING YARD

    John's '32 deuce coupe crunches to a gravelly stop in front 
    of a dark auto-wrecking yard. John and Carol get out and 
    climb over the fence. They walk through a valley of twisted, 
    rusting piles of squashed, mashed and crushed automobiles. 
    John sticks his hand into his pockets moodily and stops and 
    looks at one of the burnt-out cars.

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

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

    John doesn't hear her and walks on.

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

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

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

    CAROL
   I bet you're the fastest.

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

    CAROL
   I'd love to see you race.

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

    JOHN
   Come on! None of that.

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

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

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

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

    JOHN
   Come on, open the door.

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

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

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

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

    CAROL
   You say the cutest things.

    John gets into the car.

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

    The Wolfman's gravelly voice whispers over the airwaves as 
    John and Carol drive out of the shadowy car grave-yard.

    WILSON'S APPLIANCE STORE

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

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

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

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

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

    The third member of the gang is Carlos, a short little kid 
    about fifteen years old. He appears tougher than the rest 
    with a cigarette dangling from his mouth. Joe heads for the 
    driver's side and Ants and Carlos both go for the front 
    passenger door.

    CARLOS
   Shotgun!

    ANTS
   No, I called it!

    CARLOS
   When?

    ANTS
   Before we picked you up.

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

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

    CRUISING MAIN STREET--PHAROAHS' '51 MERCURY

    The radio blares "Ain't that a Shame?" as Curt sits in the 
    back seat of the car looking very nervous. He eyes the three 
    hoods cautiously. They are sitting super low, their eyes 
    just visible over the windows.

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

    On the radio the Wolfman is giving a phone operator a bad 
    time and the Pharoahs are chuckling.

    As the Wolfman continues on the radio, the cars pass though 
    the night like a metallic ballet. The Pharoahs' Mercury (with 
    Curt aboard) passes Laurie's Edsel...

    Inside the Edsel, Steve is driving. He puts his arm around 
    Laurie and she leans her head on his shoulder.

    As the Edsel cruises by in one direction, John Milner's '32 
    Ford coupe rumbles by on the other side of the street.

    INSIDE THE DEUCE COUPE

    Carol is laughing like mad as the Wolfman continues. Even 
    John has to chuckle at the mad D.J.'s raspy patter.

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

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

    WOLFMAN
   Pardon me. Your name is Colette?

    OPERATOR
   Yes. Collect Call.

    WOLFMAN
   Your name is Colette Call?

    OPERATOR
   Sir, this is the Operator.

    WOLFMAN
   Are you French, Operator?

    OPERATOR
   This is a collect call for Wolfman 
   Jack.

    WOLFMAN
   I... I love you, Operator.

    OPERATOR
   Is this Wolfman Jack?

    WOLFMAN
   Is Floyd there?

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

    Carol looks over at John and shakes her head.

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

    INSIDE STEVE'S '58 CHEVY

    Terry drives on through the wonderful night--a blonde sitting 
    next to him, he's feeling very bitchin'. He and Debbie are 
    also mesmerized by the Wolfman.

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

    INSIDE THE PHAROAHS' '51 MERCURY

    Even Curt has to laugh at the Wolfman--despite his situation. 
    Little Carlos sits in the front seat and looks over at Joe 
    who's driving.

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

    WOLFMAN
   You mean Floyd? Hello, is this Floyd?

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

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

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

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

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

    In the back seat, Ants nods in agreement.

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

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

    ANTS
   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 isn't helping matters. He looks over 
    at Carol. She's moved closer to him.

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

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

    Carol slides back to her side. But as they glide along, Carol 
    watches John. She's moon-eyed and flipped over him. John 
    deftly down-shifts as he approaches a light and then 
    accelerates through the gears with a "race" expertise.

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

    GIRL
   You got a bitchin' car.

    John nods modestly.

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

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

    GIRL
   Yeah, well get bent turkey.

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

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

    John tries to control himself, but can't.

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

    CANAL BANK--STEVE'S '58 CHEVY

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

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

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

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

    TERRY
   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 trunk. They walk along a path next to the moonlit canal. 
    Debbie carries their drinks for them. They left the radio on 
    and Wolfman's voice can be heard as he takes another call.

    WOLFMAN (V.O.)
   Hello.

    GIRL (V.O.)
   Yeah!

    WOLFMAN
   How old are you?

    GIRL
   I'm thirteen, how old are you?

    WOLFMAN
   I'm only fourteen.

    GIRL
   Oh, boy, I love you, Wolfman.

    SINGERS
        (singing over)
   "Wolfman Jack."

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

    MINIATURE GOLF COURSE AND ARCADE

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

    CURT
   Hey, terrific, I love miniature golf.

    JOE
   I hate it.

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

    JOE
   We're outta gas.

    CURT
   They don't sell gas here.

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

    CURT
   Curt.

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

    JOE
   All right, men.

    Quickly the Pharoahs go into action, jimmying locks, pounding 
    coin returns, pulling out plugs, prying open change boxes 
    and stuffing looses coins into their pockets.

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

    MR. GORDON
   What're you punks doing?

    The Pharoahs can't think of anything right away. Ants bounces 
    noisily in the "Rocket to the Moon." The Pharoahs are all 
    looking to Joe for guidance. Joe for his part is mumbling.

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

    The man looks at Curt, surprised.

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

    The Pharoahs don't know what's happening yet. Curt walks 
    over to Mr. Gordon.

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

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

    MR. GORDON
   Jeez, you guys had me scared.

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

    MR. GORDON
   Hey, you haven't left yet?

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

    Mr. Gordon looks puzzled.

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

    Terry and Debbie are resting in the field, listening to the 
    radio in the distance. A car engine is heard starting up and 
    disappearing down the canal bank.

    The countryside is very quiet. Only crickets and frogs are 
    heard as Terry begins to drop off asleep. He suddenly jumps 
    with a start.

    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.

    TERRY
   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.

    DEBBIE
   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.

    DEBBIE
   Maybe if it's the Goat Killer he'll 
   get somebody and we'll see the whole 
   thing.

    Terry stands with his eyes closed.

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

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

    She edges off to get a better view.

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

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

    A figure is standing right behind him, silhouetted by the 
    moon, its face obscured. Terry jumps about three feet and 
    yells.

    STEVE (O.S.)
   Terry!

    TERRY
   Who, me? Why me?

    Terry stops yelling, seeing that it's Steve.

    STEVE
   Terry.

    TERRY
   Steve!

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

    TERRY
   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 from the bottle of bourbon.

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

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

    DEBBIE
   Hello.

    STEVE
   Hi.

    DEBBIE
   Hi.

    They continue to walk along the dark canal bank.

    STEVE
   Well, what about my car?

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

    STEVE
   Oh, great.

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

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

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

    STEVE
   I guess we broke up.

    TERRY
   You broke up? Bull!

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

    CRUISING MAIN STREET-'32 YELLOW DEUCE COUPE

    The coupe makes an eccentric swerve as it cruises along the 
    main drag. Inside, Carol is looking at the gear-shift knob 
    that she's taken off the shift arm as they listen to "Do You 
    Want to Dance?"

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

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

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

    JOHN
   Forget it.

    He ignores her, and finally his silence makes her take a 
    small round knob out of her pocket and put it back on the 
    shifter where it belongs.

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

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

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

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

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

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

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

    FALFA
   Where ya been hiding? Didn't anyone 
   tell ya I been looking for ya?

    JOHN
   Hey, I can't keep tracka all the 
   punks lookin' for me.

    FALFA
   They say you're the fastest thing in 
   the Valley. But that can't be your 
   car, man. That must be your mama's 
   car. Hell, I feel embarrassed just 
   getting near ya.

    JOHN
   Ya should, man--you're driving a 
   field car.

    FALFA
   Field car? What's a Field Car?

    JOHN
   Field Cars drive through the fields, 
   dropping cow shit all over the place 
   to make the lettuce grow.

    FALFA
        (laughing)
   That's pretty good. Hey, I like that 
   paint job you got. What they call 
   that--sorta a cross between Piss 
   Yellow and Puke Green, ain't it?

    JOHN
   Yeah, well, you're car's so ugly you 
   must have to sneak up on the pumps 
   to get a tank of gas.

    FALFA
   Well, at least I don't have to move 
   over to let a funeral go by, man.

    Through all the insults, Carol has been cracking up.

    CAROL
        (shouting)
   Your car's uglier than I am.

    John and Falfa both look at her and she sits back.

    CAROL
   That didn't come out right...

    They both stop at a light now. Falfa roars his engine.

    FALFA
   Come on, boy, prove it. Let's go.

    JOHN
   Look kid, why don't you go out and 
   win a few races, then come back and 
   see me.

    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.

    JOE
   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.

    JOE
   Despite you scratching Gil's car, I 
   like you. And I know what you'd like 
   more than anything right now. Like 
   every guy in town, you got the same 
   secret dream, right?

    Curt nods.

    JOE
   Ya want to join the Pharoahs. Huh? 
   You can admit it--you'd like to--but 
   you never dreamed it could be 
   possible, did you?

    Curt shakes his head slowly.

    JOE
   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.

    JOE
   Get down!

    Curt ducks down near Joe.

    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 (V.O.)
   Oh, here we go baby! Here's "Come Go 
   With Me."

    The policeman waits for a victim. In the background, we see 
    Curt dodging from behind one car to another. Taking cover, 
    Curt makes another break toward a car--and trips and falls.

    In the cop car, Holstein thinks he hears something. He opens 
    the door and gets out. Adjusting his billy club, he paces 
    around the used car lot officiously, while Curt hides behind 
    a Falcon and peeks out from behind a fender. He sees Holstein 
    walking back toward the squad car. The cop opens the door 
    again and climbs in. The echoing sound of the calls coming 
    over the police radio blend with the Wolfman's howling as 
    cars pass with their radios blaring.

    Curt is inching forward with the cable, toward the squad 
    car. In the background, a slow freight train can be heard 
    starting to move across the valley. Curt ties the cable to a 
    post and then, looking scared, crawls under the police car 
    with the cable.

    Underneath the car, Curt inches on his back and then reaches 
    up and attaches the cable to the rear axle of the car.

    MAIN STREET

    Terry and Debbie are walking across the street, Terry looks 
    miserable and disconsolate about the loss of the Chevy he 
    possessed for three short hours. Debbie tries to be more 
    positive about the situation.

    DEBBIE
   Hey, why don't we go get your jeep?

    TERRY
   What? What are you talking about?

    DEBBIE
   You know, your jeep. The one you 
   sold the hunting ponies for. The one 
   with the four-wheel drive.

    Terry just stares at her morosely. He stops by a parking 
    meter and sinks down on top of it.

    DEBBIE
   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 (V.O.)
   Oh, I can't believe it. Feels so 
   good 'cause you're sweet sixteen.

    And Johnny Burnette takes his cue and croons into "You're 
    Sixteen."

    A DARK ROAD OUTSIDE TOWN--DEUCE COUPE

    John has glided off the main drag and into a residential 
    area. Everything is dark and quiet as the adult population 
    sleeps through the night. John pulls the coupe to the curb 
    and turns off the engine. He turns out the lights.

    Inside the car, there's silence. Only the clock ticking. 
    Carol looks over at John a little nervously.

    CAROL
   Why are we stopping here?

    John looks at her and his arm slides along the back of the 
    seat above her. She notices his arm and the fact that he's 
    moving slowly toward her.

    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 coffee 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.

    STEVE
   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 at her strangely.

    STEVE
   What's so funny?

    BUDDA
   Nothing. Just thinking. A girl like 
   Laurie--I mean, she goes to school 
   and is cute and popular and all, but 
   we're not so different. We know what 
   we want. I've seen her after you for 
   two years now.

    STEVE
   She's not like that.

    BUDDA
   Maybe not. She does have a different 
   approach. Hers is "Never surrender," 
   me I lay down my arms at the drop of 
   a hat--

    VOICE (O.S.)
   Budda, you got an hour left, let's 
   get on it.

    BUDDA
        (yelling back)
   All right, relax... old fart. Listen, 
   I'm off in an hour. If you wanta 
   come over, my girlfriend's away for 
   the weekend.

    STEVE
   I don't know...

    Laurie walks up the drive-in and is about to enter when she 
    stops and watches Steve and Budda. She thinks about going 
    in, then hesitates, watching them.

    BUDDA
   Why don't you? I never got a chance 
   to talk to you. You're leaving 
   tomorrow. Listen, I gave up a long 
   time ago, so it'd be just for fun. 
   No problems.

    She smiles at him and he smiles back a little. At the door, 
    Laurie turns and leaves before Steven sees her.

    BUDDA
   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.

    STEVE
   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.

    JOE
   You sure you got to go? The night's 
   young.

    CURT
   Yeah, there's some things I got to 
   do. I still want to find that blonde.

    JOE
   I think she was an optical delusion, 
   man. Psychology-wise it ain't good 
   to dwell on it. You'll alter your 
   ego or something. Anyway, catch ya 
   tomorrow night?

    CURT
   Yeah, I guess so.

    JOE
   Guess so? Man, we don't admit a lot 
   of guys to the Pharoahs. You 
   understand we're going to have to 
   swipe your jacket and all--you gotta 
   make up your mind.

    Curt nods, thinking about it. Then he shrugs. He looks at 
    the three Pharoahs as they climb back into their maroon 
    chariot.

    CURT
   Hey--I'll see you guys.

    JOE
   Sure--listen, remember, Rome wasn't 
   buried in a night.

    Joe laughs and Curt nods. He watches the Mercury pull out 
    and then he wanders back across the drive-in toward his little 
    Citroen.

    WOLFMAN (V.O.)
   My, my, my. You only got five minutes 
   left, if you want to talk to the 
   Wolfman. Gonna make all your dreams 
   come true, baby.

    Curt gets into the little car and sits listening to the radio. 
    The neon

    MEL'S DRIVE-IN is reflected across the windshield.

    VOICE (V.O.)
   Wolfman...

    WOLFMAN
   Yeah.

    VOICE
   Would you dedicate a record to keep 
   me and my girlfriend together?

    WOLFMAN
   Are you separated?

    VOICE
   Well, see, we're havin' a little 
   problem.

    WOLFMAN
   I'll bring you right together. Hold 
   on a minute, man. Hi ya, hi ya, hi, 
   hi, hi. Everything's gonna be all 
   right now, man, you understand? Now, 
   let me play the record for you.

    As the Wolfman talks on, Curt glances toward the street. He 
    sees the white Thunderbird gliding by. He sits up quickly 
    and tries to start the Citroen--but the machine barely turns 
    over. He keeps trying desperately, but the engine won't catch.

    CRUISING G STREET--'58 EDSEL

    Laurie drives slowly, alone in the Edsel. On the radio, the 
    Skyliners are lamenting the sad state of things--"Since I 
    Don't Have You." Laurie wipes her eyes, crying with the music. 
    A horn honks. She looks over to see Bob Falfa's car pacing 
    her. He's alone now and grinning at her. Laurie ignores him. 
    They drive along further. Falfa roars his engine, but she 
    still doesn't give him any attention. He gives up and pulls 
    off.

    Laurie thinks a while, pouting. She pulls alongside Falfa at 
    the next light. He isn't looking at her. She toots her horn 
    and he turns. Laurie motions him to pull over.

    Falfa looks surprised. The light changes, and he follows her 
    to the curb. Laurie takes a deep breath, and with a determined 
    look, gets out and walks back to his car. She gets in and 
    closes the door. They start off. He looks over and smiles.

    FALFA
   Hey Hey Hey, baby, what do you say?

    LAURIE
   Just don't say anything and we'll 
   get along fine.

    Falfa is puzzled by the frigidity in the air. He glances at 
    her then back at the road, wondering about this strange chick.

    RESIDENTIAL STREET--DEUCE COUPE

    The coupe slows in front of a modest California ranch-style 
    home. John stops the car and turns off the engine. He looks 
    over at Carol, who seems lost in thought.

    JOHN
   This the first time you've been quiet 
   all night.

    CAROL
   I had fun. Goodbye.

    She sits for a moment, about to say something.

    CAROL
   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 (V.O.)
   I haven't cried so much. And the 
   tears and everything, man... I leaned 
   down towards the microphone and I 
   almost shorted myself out.

    OUTSIDE MEL'S DRIVE-IN

    Curt has the font hood up on the beetle-like Citroen and is 
    fooling with the recalcitrant engine. Steve is standing beside 
    him.

    CURT
   Hold that up.

    STEVE
        (taking the hood from 
        him)
   I've been thinking--maybe you're 
   right. Why should I leave home to 
   find a new home. Why should I leave 
   friends that I love to find new 
   friends?

    CURT
   Wait a minute, wait a minute. I've 
   heard this already. 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 into the car and starts the engine. Steve watches 
    him pull out of the drive-in, then walks off.

    ALLEY BEHIND THE "COME ON INN" BAR

    A half dozen people are standing around in the parking lot 
    behind the bar. Debbie is sitting on the hood of a car, 
    swinging her legs and chewing gum. The people all seem to be 
    watching something on the ground behind the car. Coughing is 
    heard, then gagging, and the unmistakable sounds of someone 
    being sick.

    At the back door of the bar even the cooks are looking and 
    pointing. We hear more coughing and vomiting. A guy slides 
    up on the hood next to Debbie.

    GUY
   I never seen a guy lose so much. He 
   mustn't have been used to drinking.

    DEBBIE
   Oh no, he really likes to drink. He 
   told me.

    An old man looks at his watch and then up at the stars.

    OLD MAN
   Gettin' late... I knew a man once 
   who got this sick. Billy Webber. 
   That was ten years ago. What do you 
   think that was there, that he had 
   for dinner?

    More groaning and gaggin is heard. An old woman moves close 
    to the old man and he puts an arm around her sentimentally.

    OLD WOMAN
   Staying on his hands and knees like 
   that...
        (she grins)
   He looks like a dog, doesn't he? 
   Looks like old Ginger.

    OLD MAN
   Sicker than a dog, that's for sure.

    The people drift off, leaving Debbie sitting alone on the 
    car. Now, Terry slowly emerges, pulling himself up the hood 
    of the car. His face is white. He lies across the hood trying 
    to catch his breath.

    TERRY
   Ohh rats, I feel like--
        (he notices a car 
        nearby and pushes 
        himself up)
   Wait a second... hey!

    He staggers across the lot toward Steve's Chevy! Debbie slides 
    off the car and follows him.

    TERRY
   It's--oh my god--it looks like Steve's 
   car. Look, right here under our--
   it's my car. My car. We found it. 
   Look!

    Terry staggers around and looks for the keys. He searches 
    under the front seat and over the visor.

    Must've taken the keys with them.

    DEBBIE
   Maybe we oughta call the police.

    TERRY
   Never get here in time. I got a better 
   idea. We'll just steal it back. See 
   if you can find some wire around. We 
   only need a foot to hot-wire it... 
   okay?

    GAS STATION--DEUCE COUPE

    John pulls the coupe out of the garage and wheels up to the 
    pumps of the gas station. An attendant nods, looking at the 
    roaring engine.

    ATTENDANT
   Took the header plugs off. Expectin' 
   some action?

    John looks at him from inside the coupe and nods slowly.

    JOHN
   Yeah. Think so. There's some punk 
   lookin' for me.

    ATTENDANT
   Why the hell do they bother? You've 
   been number one as long as I can 
   remember.

    JOHN
   Yeah... it's been a long time, ain't 
   it? I'll see ya. Thanks.

    John drives the car out of the station and screeches down 
    the street.

    ALLEY BEHIND THE "COME ON INN" BAR--STEVE'S '58 CHEVY

    Terry is fiddling around under the dashboard, trying to hot-
    wire the Chevy. As the wires connect, the radio comes to 
    life and the Wolfman growls.

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

    There's the sound of a phone ringing, then the unmistakable 
    voice of the Big Bopper answering.

    BIG BOPPER (V.O.)
   Hellooo, baaaby--

    Just then, Terry looks up and sees one large badass looking 
    at him. Terry gets up slowly and sees another big guy standing 
    nearby. The first badass reaches in and grabs Terry by the 
    shirt. He pulls him from the car. Terry is smiling weakly.

    TERRY
   Ah, hi--this is my car. What I mean 
   is, somebody stole my car--I mean I 
   lost my car and I want to thank you 
   two guys for--

    The first badass shoves Terry toward the other badass.

    TERRY
   --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.

    JUDY
   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.

    DEBBIE
   No car... well, how am I going to 
   get home?

    Just then the car hop approaches with the two cokes on two 
    trays.

    CAR HOP
   Where's your car? I gotta hook 'em 
   to your car.

    Terry shrugs, standing in the empty stall, the carhop with 
    the trays and Debbie watching. There's a low rumbling sound 
    and the girls turn as John's deuce coupe glides into the 
    stall next to them. Terry shuffles toward John's car, a 
    defeated man.

    Terry leans against John's car and John looks out the window 
    at him.

    JOHN
   What's wrong, Toad? You lose the car 
   again?

    TERRY
        (softly)
   No... Steve took it.

    WOLFMAN (V.O.)
   It's a shame, Baby. I'll tell yuh... 
   Got to take it easy when you're 
   drivin' that car of yours. You got 
   to cruise easy, baby. Don't be doin' 
   any accidents or anything on me.

    And the radio plays "Cryin' in the Chapel."

    John smiles and gets out of the car. He goes and opens his 
    hood, making a last-minute check on something. Terry sits 
    down gently on a curb by John. Debbie has been talking with 
    some other boys. Eventually she wanders up slowly and looks 
    at Terry. He looks up at her, then away, disgraced and 
    embarrassed. She sits down by him and they're silent.

    DEBBIE
   You know, I had a pretty good time 
   tonight.

    TERRY
   Oh come on, you're just--

    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 (V.O.)
   Yeah, who is it?

    CURT
   It's--I want to talk to the Wolfman.

    VOICE
   The Wolfman ain't here.

    CURT
   I know, but I got to get in touch 
   with him. I got something to give 
   him before--

    VOICE
   We don't take no deliveries after 
   eight. Come back tomorrow.

    CURT
   No, I can't. I want to ask him 
   something that--

    VOICE
   Dedications by phone is Diamond 75044. 
   Wolfman Top 40 is Box 13, Chula Vista. 
   Wolfman Sweatshirts is Wolf 
   Enterprises, Bakersfield. 'Bye.

    CURT
   Listen, I got a right to talk to 
   him. I listened to him every night 
   for as long--for twelve years almost. 
   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 (V.O.)
   Who is this on the Wolfman's 
   telephone?

    DIANE (V.O.)
   Diane.

    WOLFMAN
   How're you doin', Diane?

    DIANE
   All right.

    The station manager smiles at Curt, who is watching the tape 
    and blinking lights of the large console.

    MANAGER
   That's the Wolfman.

    CURT
   He's on tape. The man is on tape.

    WOLFMAN (V.O.)
   Do you love me? Say you love me, 
   Diane.

    CURT
   Well, ah--where does he work? I mean, 
   where is the Wolfman now?

    MANAGER
   The Wolfman is everywhere.

    CURT
   But I got to give him this note.

    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 (V.O.)
   I got a dedication here that's for a 
   friend of the Wolfman--a special 
   friend of the Wolfman who's leaving 
   town tomorrow and wants me to play 
   the next song for a blonde young 
   lady in a Thunderbird. A white T-
   Bird, you understand? Now my friend's 
   named Curt and he wants to talk to 
   you out there, baby. So you meet him 
   at Burger City, or phone Diamond 
   3132. Now he's a friend of mine, you 
   hear, and, little girl, you better 
   call him, or the Wolfman gonna get 
   you.

    The Wolfman howls and Curt smiles, leaning his chin on his 
    hand, looking around the dark drive-in, wondering about 
    tomorrow.

    PARADISE ROAD--DAWN

    John's '32 yellow deuce coupe and Falfa's black '55 Chevy 
    are waiting side by side on a long, straight country road, 
    their front wheels resting on a weather-beaten starting line. 
    The sky is getting lighter as the radio plays "Green Onions."

    There are about six to eight other cars parked off the road 
    to watch the race. Everything is quiet now, only the crickets 
    ignoring the solemnity of the scene, and still singing. Terry 
    jumps out of John's car, John hands him the flashlight and 
    he takes up a position in front of the two cars.

    John looks over at Falfa, who's arguing with Laurie.

    JOHN
   Hey--Laurie, what in the hell are 
   you doing in there? Is she gonna 
   ride with you?

    LAURIE
   Mind your own business, John.

    FALFA
   Yeah, she's with me. You worry about 
   yourself, man.

    TERRY
   Everybody ready?

    John settles back in the driver's seat and positions his 
    hand on the gear-shift, which we see is wrapped with rags 
    because of the missing knob.

    Both drivers start revvin' their engines; the tension builds. 
    Terry looks nervous, the engines start to scream and Terry, 
    his hands shaking on the flashlight, manages to flash it on.

    Both cars roar off the starting line, tires smoking and 
    screaming. Terry has his hands over his head and is coughing 
    in a cloud of smoke as they pass. John beats Falfa off the 
    line.

    Out on the road, as they hit third gear, the cars are almost 
    neck and neck. Inside Falfa's car, Laurie looks scared to 
    death. Falfa looks insane as he tromps it.

    John hits fourth at about eighty-five. Falfa does likewise--
    but starts to fish-tail. Laurie closes her eyes, almost crying--
    Falfa regains control nervously.

    Falfa's engine is winding out incredibly and he begins to 
    get the edge on John. The cars rocket through the dawn light 
    along the flashing white line until suddenly Falfa's car 
    blows a tire, his front wheel slips off and the car shoots 
    off into a tomato field, hits an irrigation ditch and begins 
    flipping over wildly in a horrifying cloud of dust and smoke--

    John sees the Chevy leaving the road and screams to a halt, 
    swimming through an unbelievable U-turn and high tailing it 
    back to the crash site. He is out of the car like a bullet, 
    running across the dirty cloddy field. The crash car is 
    beginning to burn in the engine compartment and John is 
    panicked.

    Meanwhile, the spectators have arrived, including Steve, who 
    jumps from his car and is running across the field.

    Steve and John arrive at the fire at approximately the same 
    time. They stop, the flames are getting higher, burning up 
    into the trees now. Steve looks around wildly--he sees John 
    and goes at him.

    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 deuce coupe. Terry stares 
    at him and squints against the rising sun.

    JOHN
   I was losin', man.

    TERRY
   What?

    JOHN
   He had me, man. He was pullin' away 
   from me just before he crashed.

    TERRY
   You're crazy.

    JOHN
   You saw it.

    TERRY
   No, you creamed him, from right off 
   the line. The guy never had a chance.

    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 (V.O.)
   Curt?

    CURT
   Yeah... this is Curt, who is this?

    VOICE
   Who were you expecting?

    CURT
   Do you drive a white T-Bird?

    VOICE
   A white '56. I saw you on Third 
   Street.

    CURT
   You know me.

    VOICE
   Of course!

    CURT
   Who are you? How do you know me?

    VOICE
   It's not important.

    CURT
        (excitedly)
   It's important to me. You're the 
   most perfect, beautiful creature 
   I've ever seen and I don't know 
   anything about you. Could we meet 
   someplace?

    VOICE
   I cruise Third Street every night. 
   Maybe I'll see you again tonight.

    CURT
   No... I don't think so.

    VOICE
   Why?

    CURT
   I'm leaving... in a couple of hours. 
   Where are you from?

    VOICE
   Curt...

    CURT
   What's your name? At least tell me 
   your name?

    VOICE
   Goodbye, Curt.

    CURT
   Wait a second! Wait a second!

    But there's a click as she hangs up. Curt looks at the phone 
    a moment, then also hangs up. From the car radio, he hears 
    the Wolfman making kissing noises.

    WOLFMAN (V.O.)
   Little kiss on your ear. Good night, 
   sweetheart. I'll see you later.

    And then the Spaniels duh-duh-duh-duh-duh into "Goodnight 
    Sweetheart."

    AIRPORT DAY

    A DC-3 prop airliner is warming up its engines as it waits 
    to take off from a small country airport. There aren't too 
    many people around. Just Curt and his friends and family 
    seeing him off. Curt stands with a kindly-looking couple in 
    their fifties. He hugs his mother and shakes hands with his 
    dad.

    Then, Curt moves to his friends. He shakes Steve's hand.

    STEVE
   Good luck.

    CURT
   Yeah, same to you. And I better see 
   you there next year.

    STEVE
   Oh yeah, I'll be there.

    CURT
   Sure.

    Curt hugs his sister. Laurie holds on to him for a moment.

    CURT
   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.

        THE END

 
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