DINER
Written by
Barry Levinson
FADE IN:
The SCREEN IS BLACK. We hear MUFFLED ROCK and ROLL
MUSIC. Then we read:
BALTIMORE
1959
FADE OUT.
:FADE IN:
INT. DANCE HALL BASEMENT - NIGHT
FENWICK walks along the dimly lit basement. Heavy wiatei
coats hang from hooks on the wall. In the b.g., there
is constant traffic of pecple coming and going from the
rest rooms. From above we hear the MUFFLED SOtJV OF THE
ROCK AND ROLL BAND.
Fenwick is in his early 20s and dressed in the "JOE
COLLEGE." style of the late fifties. Sports jacket, button-
down shirt, chino pants, and Bass weejuns. We sense
that he is a little lost in himself, confused. He looks
out one of the windows that views the parking lot. Then
without any outward anger, he punches his fist through a
window pane. Seconds later he breaks another window with
his fist.
Fenwick, picking up the music beat from above, struts to
the sound as he approaches another bank of windows. He
calmly breaks another window pane with. his fist.
A GUY coming out of the bathroom in the b.g . sees Fenwick's
actions and then heads up the steps.
CUT TO:
INT. DANCE HALL - NIGHT
The crowd is gathered around the bandstand listening to
the local group, the SH K RS, playing their popular hit
HOT NUTS. The song is played toward the end of the even-
ing because of its risque Lyrics.
BAND LEADER
Hot nuts, hot nuts, get from
the peanut man.
BAND LEADER (CONT' D)
Hot nuts hot nuts, get em any -
way you can.
As the crowd swings the verse back to the Band Leader.
The Guy who spotted Fenwick breaking windows approaches
BOOGIE. Boogie is something of a "Dandy," flashiar
in dress than others in his crowd. Although he isn't
particularly good looking there is something about his
attitude that is very appealing to girls. Boogie
aster hearing the Guy heads downstairs.
INT. BASEMENT - NIGHT
Fenwick casually breaks another window with his fist.
His hand is bleeding. Boogie approaches.
BOOGIE
What's up, Fen?
FENWICK
Just breaking windows, Boog
BOOGIE. -
What for?
It's a smile.
He breaks another window with his fist.
BOOGIE
C' mon, don't be a sWuck.
FENWICK
I know that glass is made from
sand, but how come you can see
through it?
He breaks another window. Boogie grabs him.
BOOGIE
Leave the windows alone. What's
the matter with you?
FENWICX
It's a smile, that's all.
BOOGIE
I'm cracking up.
BOCCIE
(CONTINUING)
I'm warning. you, Fen, break another
window and you're gonna get a fat lip.
He lets Fenwick go.
BOOGIE
(CONTINUING)
Where's your date?
FENWICK
Gave her away.
BOOGIE
What?
FENWICK
Gave her away. David Glazer said
she was death.. So, I said if you
like the way she looks, take her.
BOOGIE
What are you, the Salvation Any?
FENWICK
Charged him five bucks.
BOOGIE
C'mcn, upstairs.
(as Ferwick just
stares at him)
C'mon .
They walk away
BOOGIE
(CONCTHUIRG)
Ycu really are nuts, you know that?
FENWICK
Me? What about her? She didn't
have to go. I'm nuts. Get that.
BOOGIE
That's what you get from dating
eleventh graders. Brains aren't
developed.
T
FENW I CK
But her tits were.
(CON INL'ED)
CONTINUED:
BOOGIE
Falsies. --.-
FE UW I CK
They were?
BOOGIE
First hand info .
FENWI CK
Shit, then what as .1 pissed about?
They disappear up the, steps.
CUT TO:
INT. DANCE HALL - NIGHT (SLIGHTLY LATER)
The band is on a break. A FRANK SINATRA RECORD is PLAYING.
CAP_7RA PANS TO EDDIE who is in a corner with one foot up
on a chair. He smokes a cigarette and taps his foot _
lightly to the music. Eddie takes Sinatra very seriously.
ShBEVI ; approaches Eddie.
SHRREVIE
Where's Elyse?
EDDIE
Talking with your wife about the
fucking wedding plans.
SD EVZE
Gettin' cold feet?
EDDIE
They've never been warn.
Boogie is talking with DLANE, the young eleventh grader
that Fenwick had the falling out with. She is an
attractive petite girl with large breasts.
BOOGIE
How can you take Glazer over the
Fen?
DUNE
'Cause.
r4' BOOGIE
Diane, did you know that Glazer
bought you for five bucks? That's
the kinda guy he is.
(C0NTINL_D)
CONTIN tD : .
- DIANE-.
He did?
BOOGIE
Do you want to leave with Glazer?
DIANE
Not really, but Fe^.wzck scares me.
Why don't you take- me home?
BOOGIE
Diane, I'm in law school at night,
I have to go home and study. I
just stopped by here, 'cause I
appreciate fine music.
DIANE
I thought you worked in a beauty
parlor.
BOOGIE
I do during the day. -
(he puts his hand
up and strokes her
CHEEK)
Diane, go with Fen. For me, okay?
CUT TO:
EXT. COUNTRY ROAD - NIGHT
Fen-.sick's
7R3 speeds by. Diane is in the car. Fenwick
is telling her scnething and she laughs
Boogie and MODE; t, follow. Behind them, Shrevie and his
wife BETh follow in a 1950 Hudson Hornet.
Fenwick floors his car and disappears around a bend.
The other cars do not keep pace'.
INT. SHREVIE' S CAR
BETH
Elyse feels that Eddie is getting
very sensitive about the wedding.
SHRE IE
I k:_ow. We were talking about it.
?? (CONTINUED)
CONTINLED :
_ _ _ _ BETH
She thinks that since he never talked
it over with Billy beforehand, it kind
of bothers him even more.
SHREVIE
The closest of the close. You t-_.ow
Billy's flying in this morning?
BETH
I didn't hear about it. Thought
he was just coming in for the
wedding day.
SHREVIE
We didn't want to mention it.
Surprise for Eddie.
Shrevie's car follows in the taillights of Boogie's car.
Fenwick's car is nowhere in sight.
BETH
Elyse's mother is very upset with
Eddie. They picked out a yellow
and white motif for the wedding.
You know, like we did, tablecloth,
napkins, maids-,of-honor. Anyway,
Eddie objected. He wanted blue and
white because that's The Colts'
colors. Refused to give in.
SHREV7E
Yeah, so?
BETD
Well, you know how stubborn Eddie
is .
SHP_-VIE
Could be worse. It could be black
and gold. Steelers' colors.
Shrevie notices Boogie's taillights come or.. He slows
down. Something is wrong up ahead.
f EXT. ?.CADSIDE - NIGHT
Fenwick's car is turned over. The headlights of the car
shine brightly against a tree.
V
(CONTINUED)
CCNTINLt.D :
--_S.t's. ficult to see exactly what has happeried.Jn the
darkness of the road. Boogie, Modell, Shrevie and Beta
exit the cars and walk toward the accident.
As they approach we see Fe_zwick lying halfway out of the
car covered in blood. Diane cannot be seen.
SERE VIE
(TO BETH)
Stay here.
The three guys move apprehensively toward the car. Fenwick's
face is covered in'blood, so touch so that it-can hardly be
.recognized.
MODELL
(-,?eac ting to the
sight of Fenwick's
FACE)
Oh Jesus.
Boogie kaeels nest to Fenwick. -After a beat,. Fenwick
explodes with laughter.
BOOGIE
You son-cf-a-bitch !
Fenwick screams in laughter.
BOOGIE
(CONTINUING)
You asshole!
Then Boogie laughs. The rest of the guys join in. Not
Bech. She is not acused. Fenwick crawls cut of the
Triumph.
F:-.NW. C.{
I really got you guys, didn't I?
Didn't I? Been carrying a ketchup
bottle around for weeks.
Diane steps out of the woods. She laughs nervously.
DIANE
11 I hid in the woods. Didn't want
any ketchup on me.
Fc: W ICK
Weeks, just lookin' for the right
ti=e.
(COYR INTJED)
CONTINLE.D :
You got me. Christ, I thought
you bought it.
FENW IC.{
Real hard holding back the laughs.
Real hard.
BOOGIE
You outdid yourself.
B ETH
That's very matt,-re, Fenwick.
FENWIC
Fuck mature.
SHREVIE
HEY[
FENWI C.(
Sorry, Beth.
BOOGIE
Tug--ied the car over yourself?
FEi1Gi I CIK
Yeah, give me a hand.
BOOGIE.
No way.
FENWIC
C'man.
+
Boogie starts back to his car. The others fe] low. enwick
pleads with them. Boogie with his back to Fen -wick is
amused, delighted that he's got Fenwick or. a nu:rber.
BOOGIE
(with the authority
of a school teacher)
Fenwick, you to ed that car over.
You must put it upright yourself.
You need some discipline in your
life.
F.:- i " + 4 1 CK
C'mon, guys. It was easy pushing
it over 'cause of the angle. 1:'11
be a bitch getting it up.
(CON INLED)
CONTINUED :
Boogie and Modell get in the car. Shrevie and his wife
ge c 111--the?uason- - - - -
MODELL
Have you tried? You haven't tried.
FE NIW7 CK
(DESPERATE)
I'a buying at. the diner.
Without missing a beat, Boogie and Modell exit the car.
BOOGIE
.Sbmuck, _another five seconds an3
you'd have us for free.
They laugh.
Shravie starts his car.
INT. SHREVIE' S CAR
BET'RL
You guys t eal ly are sick, you
n k ow that.?
COT SHREVIE
That's 'cause you got no sense
of humor.
He pulls away.
Sr.REVIE
(CONTINUING; YELLING
out the window)
See you guys later at the dine=.
CUT TO:
Exi . -DINER - NIGHT
The diner is one of the typical late S0's metal and glass
structures. Almost deco in design. Cars are parked in
front, including Shrevie's Hudson Hornet. CAXR4 PANS
to a car parked over in a corner.
TABACX has his truck open, filled with pants. A few guys
are going through the goods as Taback tries to wheel-and-
deal.
(CON'I INLTD)
CON IMIED :
(to one of the guys)
Seven bucks. All wool. You can't
beat it.
h T e GUY holds it up.
GUY
The crotch looks too short. Don't
ca--e for that.
TABACK
What are you afraid it's gonna got °
caught In the crack between your
legs?.
The other guys "Whoco" in reaction to Taback's put-down.
GUY
You sure are hot shi . since you've
taken over your father's business
here.
He throws the pants back and walks away,
CUT TO :
INi . DINER - NIGHT
The diner is the late-night hangout... made up of a mixed
bag crowd. Around one side, the aluinun siding SALE'S?. N
guys in their 30s and 40s. Some HIGH SCHOOL ERS , only
there on the waekends, and the, Boogie-S?irevie c_cwd. (The
guys in their early t•,?enties .) One thing is quite
apparent. There are no girls present, except WAIT=S.SSES.
T h at is the unspoken rule. NO DATES.
Eddie, Shrevie and Modell sit in a booth. They all eat
french fries and gravy.
EDDIE
You can't compare Mathis to
Sinatra. No way.
SHEEV IE
They're both great singers.
EDDIE
Yeah, but you can't compare them.
Sinatra is the lord. He's big in
movies, everything.
(CO`::NLID)
COYI INUED :
I
If Mathis wasn't a blue, he'd be
a big movie star.
MODELL
That's true. There's hardly any
blues in movies. Just sidekicks.
EDD IE
C'mon, they could've put Mathis in
'From Here to Eternity.' They had
blues in the war.
S'DREVIE
Mathis didn't come around until after
that movie.
EDDIE
Are you telling me Mathis could've
played Maggio? Is that what I'm
hearing?
MODELL
Who do you make-out to? Sinatra
or Mathis?
EDDIE
For that, Mathis.
S EREVIE
I'm married. We don't Wake-cut.
They laugh. -
Fern wick enters and heads toward the guys' booth.-
passes the -Waitress .
FZN 1 CK
Enid. French fries and gravy, and
a cherry coke.
He sits dcw-n and joins the guys.
SRREVIE
How'd it go?
FEiWWI C:K
Pretty good. Said she never wanted
to see me again.
J,
MOD-LL
charmed her, huh?
., (CONTINUED)
CCN.iNU D:
FENWICK
AI-I-did was -park the --car on a nice
lonely road. I Looked at her and
said, 'Fuck or fight.'
The guys laugh.
EDDIE
You maniac.
FE:l I cK
Kidding. Said she wanted to see
me again. Liked aye, sort of.
I
EDDIE
Emis?
Fenwick nods. He sticks out his pinky. Eddie gabs it
with his pinky. Therefore it's the truth.
ANGLE ON THE ALUMINUM SIDING GUYS' BOOTH
BAGEL is holding court with his guys.
BAGEL
The guy's canvassing the neighborhood,
and I notice he's stopping at the
brick houses. He's trying to sell
aluminun siding to the brick house
owners.
(HE LAUGHS)
Sure enough, he comes back to the
car. He's got a lead. Fools rush
in, right?
To the guys, this type of story is fascinating. 3cbgie
comes cut o f the rest roam in the b . g . As he starts to
pass Bagel stops him.
BAGEL
(CONTINUING)
Boog, come here.
Boogie approaches.
BAGEL
(CONTINUING)
You lay down a bet with Barnett?
BOOGIE
Don't remember.
I
(CCNTINUZ )
CON I? ?i D :
BA GET-
?'oa,. nobody bets two thousand
and forgets.
BOOGIE
Okay, so? What's the point, Bagel?
BAGEL
Where you getting C40 thousand?
You haven't got a pot to piss in.
'BOOGIE
Game's a lock.
BAGEL
Nothing's a lock. You want me to
call it off? As a favor to your
father, may he rest in peace.
BOOGIE
Bagel, get in. Trust me.
Boogie Walks off. - -
BAGEL
Kids today. Nobody's interested
in making an honest buck.
CARSON
Heard he wants to be a lawyer.
BAGEL
That's what I'm saying. You call
that an honest buck?
Boogie approaches the guys and sits do
BOOGIE
Bagel heard about my basketball
bet.
'MODELL
I'm down for fifty.
BOOGIE
Woo, biz spender. I'm telling you.
They're shaving points on the game.
This is no bullshit tip. Get in,
guys.
EDDIE
I'll think about it. Listen, who
do you pick? Sinatra or Mathis?
`' (CONTINUED)
CO TINUED:
-BOOGIE
Presley.
EDDIE
Presley. You're _ick.
BOOGIE
Did I tell you guys I'm taking out
Carol Heatrow tomorrow night?
FENWICX
You're taking out Carol Heatrow?
BOOGIE
(SARCASTICALLY)
No, you're taking her out.
EDDIE
She is death.
B00GIE
Only go for the best.
SHREVTE
Cold.
BOOGIE
What's the bet she goes for my
pecker on the first date?
FEN ICK
The only hand on your schiong is
gonna be yours.
BCOGI_
Bet me t-wen t-r .
FE4 LCK
You got it.
EDDIE
I'm in.
MODELL
Me, too.
SHREVIE
I'm in, but we need validation.
BOOGIE
All right. I'll arrange it.
CUT TO:
T
EXT. AIRPORT RUNWAY •- NIGHT
-- --
--A .our -engine- prop -comes into-vi view asTt rates its
approach. The plane sails inches off the runway and
then touches down.
CUT TO:
EXT. AIRPORT DOCKING AREA - .NIGHT
A moveable stairway is put in place. Seconds later the
hatch opens: Passengers depart, walking down the steps
in the cold night air. BILLY HALPERT steps forward into
the doorway. Billy, in his early 20s a:_d wears the
typical button-down shirt, crew neck sweater, chino pants,
and the Bass weejuns. He starts down the steps and heads
toward the terminal. As he enters:
CUT TO:
EXT. AIRPORT TERMINAL - NIGHT
Billy exits the building carrying a suitcase. We hear a
HOR! B .PING. The sound attracts his att.:ntion. He
smiles.
ANOTHER ANGLE
to include Shrevie's Hudson Hornet, as it backs up, moving
toward Billy. As it approaches, the back door opens .
BILLY
(thr awing his
BAG INSIDE)
You g' ys ara too much. Hcw' d you
know I was ccain' in this mcFn._nc?
BOOCIE. (O.5 .)
C'mcn, get in.
Billy climbs in and slams the door shut. The Hudson pulls
away.
C'JT TO:
E COUNTRY ROAD - NIGHT
The Hornet speeds down the quiet two lane road.
I
CUT TO:
M1. CAR NIGHT
Ehrevie -drives -- _ Bocgia sits shotguin_ --Fen rick and
sit in the back seat.
BOOGIE
He's crazy is t-,hat he is. With
the Shrevie here it was just nuts,
but Eddie? T?:at's lunacy.
SHREVIE
Mari age is a? right. I'm not
complaining.
BOOGIE
Not complaining. Uz u, sounds good.
FENW I CK
'Course it isn't a hundred percent
sure yet.
BILLY
What? He's getting mar_ied on
New Year's Eve.
BOOGIE
Not until she takes the test.
BILLY
Boog, what are you talking about?
FEN WI CK
Eddie's going to give Eylse a
football test. If she fails, the
marriage is off.
BILLY
Are you shitting me?
BOOGIE
You know Eddie and the Colts. Very
serious. The test has something
like a hundred and forty questions.
True and false, multiple choice,
short answer.
FENWI CK
Oral cast. He doesn't want any
cheati:,g.
BILLY
What happens if she fails? He's
going to call. it off? Is that
what I hear?
(CO TINL°ED)
CONTIN"i E'D ;
SHREVIE
rte swears to 1.tThe was
supposed to be two months ago.
Elyse keeps delaying. Heavy
pressure.
FENWI K
Her plan could be, though, to
stall until the last minute. Then
if she falls, it doesn't matter.
It's a fait accompli. Kno.t's tied.
BOOGIE
Fait accompli, my ass. He walks.
B ILLY
I doubt it. I tell you, it was a
real surprise. No call. Just a
note. Why do you figure, all of
a sudden?
BOOGIE
Botton line? Elyse turns into -- -
Iceland and Eddie's not the type
to look elcev.here. Eddie goes for
the marriage, and Elyse is back to
being the Bahamas again.
SHREVIE
You dgn' t know that for sure, Boog.
BOOGIE
I'm a good judge of human nature.
CUT TO:
EXT. HILLTOP DI`HrR - NIGr'.T
The Hudson is parked out front. The morning light is just
beginning to break. THROUGH iZ WINDOW we can see the
- guys sitting in a booth eating. They are obviously having
a good time. Shrevie takes a sip of coffee. Billy says
something and Shrevie puts his hand to his mouth. Coffee
pours through his fingers and down his chin.
CUT TO:
{
L1` T. J-:(r. - NIGhl
B ILLY
AF
-And hat' -was-nothing -compared to
what happened in Miss Nathan's
class.
SHREVIE
This is great. I was there.
BILLY
Had her for Art class. Third floor.
She catches mq talking. Tells me
to see her after class. I jumped
up from my seat and started
screaming 'I can't take it - any
morei You're always picking on met
I can't stand itt' Then, I ran to
the window, opened it and jumped
out. She freaks and faints dead
away. She forgot the gym roof was
six feet below.
SHREVIE
----Her eyes closed. -- She swayed for - -
a moment and then toppled right
over her high heels. Out cold.
I was hysterical.
BILLY
The topper was the Principal.
Donley comes in and sees Miss
Nathan on the floor. He doesn't
I .ow what to make of it.
SERE VIE
Than She=an, remember him? Normally
a shruck, but ne stands up and says
'Snhrhhh, she's sleeping, Mr. Donley.'
T h an he sees Billy in the window.
B ILLY
I said, 'I'm sorry I'm late, sir,
but my bus broke dour.. Is Miss
Nathan up yet?'
All the guys laugh.
BOOGIE
You're missing the action now,
Billy. Half the guys are a: U. of
B. night school. A Lot of
fucking laughs.
(CON, INLzD)
CONTINUED:
FENWI CK
- : Cto?BiiIy) -
A Masters in Business. That's
the lowest.
Billy shrugs his shoulders as if to say, "What. can I
- tell you?"
BILLY
Who's there?
BOOGIE
Eddie, of course. Burton.
BILLY
Burton?
BOOGIE
Dropped out of rabbinical•school.
Henry...
FENW1CK,
-Cliff, -.the Mouse..-.- -
SH'ZI.EVIE
Youssei.
- ??1
B00GIE
Thrown out.
SHREVIE
Yeah?
BOOGIE
Accidentally stole some money
from one of the teachers.
BILLY
U. of B.'s busy at night, huh?
BOOGIE
And then there's me.
BILLY
Yeah? You at law school?
BOOGIE
Thought I'd take a pop with the
law. Although I'm still working
the beauty salon.
CUT TO:
S.
F1
20.
-EXT.SSDE:IZ`LLRE.?. =STAY
The Hudson slowly drives down the
quiet tree-lined staeete
All is quiet, the morning'having y et to begin. The
neighborhood is well cared for. A pleasant, middle-
class area. The car pulls up in front of a three-story
white shingled house. Billy exits the car with his
suitcase.
BILLY
See you guys at the diner tonight. i
He slats the door shut. The car pulls away. Billy walks
up the steps, pulls out a key and opens the .door.
CUT TO:
INT. HOUSE - DAY
Billy walks up the steps to the second floor. He sees
his parents' door is open and peeks inside. The bed is
made. No one is there. He turns toward his sister's
room. CA RA 2ANS. The bed is also made. He goes up
the stairs to the third floor.
ANGLE ON A BLACK DOOR
A sign reads "No Admittance." Billy enters.
CUT TO:
INT. BILLY'S ROOM - DAY
Billy lies cn the bed in his shorts, sroking a cigaret,Ce.
C tiA SLOWLY PANS the room. An upright piano
is in a
corner. Then we see magazine pictures of variou s base-
ball stars tacked on the wall. C.A..`-'ERA PANS to pe nnants
of the Baltimore Orioles and the -Baltimore Colts. CA€ A
DRIFTS over to centerfold girls of Playboy. Then w e
see a photograph of Billy and a bunch of the guys le aning
against a railing in Atlantic City taken during the h igh
school years.
CUT T 0 :
E BILLY'S HOUSE - DAY
Billy walks away from his house, crosses the street and up
t the steps of another house. He rings the doorbell.
(CONTINUED)
CONTINUED:
Seconds later the door opens. t.S. SI:2ONS, a short,
heavyset woman, stands there.
MRS. SI ;ONS
(PLEASED)
Billy, you're in town already?
BILLY
Yeah, thought I'd spend the
holidays here. Lot of parties,
I hear.
He enters.
INT. SI?ONS' HOUSE
.Billy and Mrs. Si ons walk down the hallway.
MRS . S r,010 NS
Did you know your parents are
cut of town?
BILLY
No.
MRS . SI? IONS
They're in Florida. Be back for
Eddie's wedding though.
BILLY
He still. sleeping?
MRS. S IMMONS
What else? It's only two-thirty.
Wake him.
Billy starts up the steps.
IRS . S I;MONS
(CONTINUING)
I'll be happy when he's out of.
the house.
CUT TO:
F
IN-I.. EDDIE'S ROOM - DAY
It is a total mass. Clothes, underwear, and shoes are
strews al over the room. Bi?.lyYs lakes Eddie His eyes
open.
EDDIE
Whaddya say, Bill?
BILLY
Still the early riser, huh?
Eddie reaches over to the night table and lights a Pall
Mall.
EL DIE
Nothin' changes.
BILLY
Except you getting married.
EDDIE
Yeah, ain't that a kick.
Ae gets out of bed, picks -up a--pair of pants off the floor
and steps into them.
EDDIE
(CONTINUING)
Thcughc you weren't coming in
until New Year's Eve.
B ILLY
Nothing's happening arc=-d. c==us ,
so...
Eddie puts a shirt on and slips'a tie with an aebeady
make scot around his neck. He pulls t:e tie ud , then
• starts buttoning the rest of the shirt.
EDDIE
You bring in that girl with you?
BILLY
Broke up.
EDDIE
Shame. In that picture you sent,
looked like she had great knockers.
B ILLY
Yea?-i.
I (a beat)
Didn't figure on you and Elyse so
soon.
(CONTINUED)
CONTINUED:
Eddie searches the floor and picks out two socks that are
sLi= i ar, ut rot the same. -
EDDIE
I figured New Year's Eve would be
good. Get married. Party through
the night. You know.
He puts the socks on. They have holes in the heels.
BILLY
I was pissed off, Ed, figured
you would call, or something.
Let me know you were planning it.
EDDIE
Yeah, I know. But you're my best
man.
He walks into the bathra.,m. CA2--ERA FOLLOWS. He splashes
some water on his face and wipas it with a wash rag.
- -- - - - BILLY
Boogie and the guys picked me up
at the airport-
Eddie takes a drag on his cigarette and puts it on the
toilet seat. Then he squirts some toothpaste on the tooth-
brush.
EDDIE
(with a mouthful
OF PASTE)
Yeah? I left the diner at five.
They didn't say anything to me.
BILLY
Surr .se, I guess.
EDDIE
How'd they know?
B ILLY
Barbara Keller told Fenwick.
EDDIE
You keep in touch, huh?
BILLY
Yeah.
[
(CONTINLED)
I
CONTINUED :
EDDIE
You re tiIl n3ili± g her, a= en t
you, you son-of-a-bitch.
Eddie spits the toothpaste out and sticks his ncuth under
the faucet to rinse, .aking sure to keep his tie dry.
BILLY
Never did.
Eddie wipes his mouth with his hand.
EDDIE
Who you kidding?
He puts the cigarette back in his mouth and starts out of
the room. Billy follows.
??DDIE
(CONTINUING)
wnac else would you be doing with
her all these years?
BILLY
Talking.
ANOTHER ANG1.,E
as they start down the stairs.
EDDIE
Talking? Shit, if you want to
talk there's always the guys at
the diner. Yov don' L -need a girl
if you want to talk.
BILLY
Eddie, you'll never change.
EDDIE
Da=. right.
CUI TO:
INT. S IZ :ONS ' K r c,.-,. z: - DA
Mrs. Si=cns is cleaning the refrigerator as Eddie and
Billy enter.
I 01
(Mr, I 'UED)
CONTINUZD:
---- - EDDIE --
Ma, what's for breakfast?
IBS. S IM."2ONS
The kitchen is closed.
Eddie sits down at the table. Billy sits down on a chair
over by the wall.
EDDIE
I'm hungry here.
MRS . S I:?:ONS
(STILL CLEANING
THE REFRIGERATOR)
You want something to eat? Make
it. I haven't got all day to wait
on you.
EDDIE
Come on, Ma. Don't give me that
shit. -A fried baloney sandwich
will be good.
M.rs. Si=ons t:..Ts around angrily.
.MS. SI DNS
Get out of the house! Billy,
take him out of here!
EDDIE
A fried baloney sandwich is not
a lot to ask for, for Christsake!
Mrs. Sion picks up a butcher knifa off the sink cct:rte;
and waves it at Eddie.`-
IBS. SI- ONS
Eddie, you're giving me a headache!
Take a walk.
Eddie rises from his chair.
EDDIE
You want to stab me? Come on l
Come on!
He brings his fist up and ass,,=es a bossing position. Mrs.
Simmons moves toward Eddie welding the knife. Eddie backs
around the table. Billy watches this scene without ex-
1•f pression.
(CONTINLED)
CONTINUED:
-IBS. -SI EONS -
You miserable creature.
EDDIE
Take your best shot. Then I'm
going to p=.,ch your lights cut,
Ma.
MRS. 'S IY-"4.ONS
(STALKING HIM;
Who do you think you area
EDDIE °
Lome on! Come on2 Go for the cut,
then you're down and out.
The short, heavyset woman continues to stalk Eddie as they
move around the table. Billy is not disturbed or surprised,
T h is is apparently an ongoing occurrence,
IPS. S IIV!ONS
How dial-you -turn_ in to' such a thing t.'
EDDIE
I'-ie gat fists of granite. You're
going down.
S i=ons turns away.
FIRS. SIMMONS
I'm not going to ruin a good knife
on you. It's not worth it.
..cdie t.T-:s to Billy and smiles .
BILLY
(QUIETLY)
So what's new.
M
=s. Si=ons opens the refrigerator.
MRS . S 1i ONS
Eat a sandwich, t en give me score
peace. Bill;, you want something?
BILLY
No thanks.
V I M - S. SIMNIONS
You sure? It's no trouble.
F
B ILLY
No, really.
CUT T0:
INT. APPLIANCE STORE - TIGHT SHOT TV SCREEN - DAY
"Who_ Do You Trust?" with Johnny Carson as the emcee is on.
r CUSTOMER (0.5.)
Is this show in 'color or is there
something wrong with the set?
SH:REVIE (0.5. )
This is a black and white set, but
I don't think . that - show is in
color, anyway.
ANOTHER ANGLE - SHREVIE AND THE CUSTOM-ER
standing in an aisle filled with rows of televisions.
CUSTOMER
I don't like color television.
Don't like. that color for no thin' .
Saw 'Bonanza' at my in-laws, it's
not fog me. The Ponderosa looked
fake. Hardly recognized Little
Joe.
SHRRVIE
It might have needed some tuning.
C'JST0I R.
It's not for me. You got an Emerson?
Hear they're real good.
Screvie and theCustcmer move down the aisle Ferriick
enters the store. He looks like he is slightly drink.
SHREVIE
Here's an Emerson. This is portable.
}
Customer stares at it. Shrevie notices Fen-wick up at to
Iron= of the store. He nods to hi-.
C:J'S 10i'R
You got that 21-inch Emerscr.. 711-4 e
cabinet type.
SHREVIE
The console model.
(YELLING INTO
THE BACK)
Kenny! We get some of the Emerson
consoles in?!
(CON'TINT E0)
CON'T_N'UED :
Let me check out in the warehouse!
SHREVIE
Be right back. That'll take a
minute or two for him to check.
The Customer nods and Shrevie walks up to Fenwick.
FEZWI C:{
I talked to Boog. He's going to
take Carol to the Crest tonight.
SHREVIE
So what do you want to do?
FENWI CK
I figure I'll be there. Sit a few
seats away.
SHREVIE I
--- Think 3 ` Ll -be -there -too : - - Don'-t-----
want any judgecent calls.
r r _.WICK
Bong's got about'a hundred dollars
riding on this thing now. Making
bets left and right.
SHREVIZ
Jesus, hundred bucks, already?
F EMNi CK
Lot of paople bectin' for. Carol.
Sh_evie senses that Fenwick is a little off.
S HREVIE
What the hell you been doing?
You been drinking- already?
F:-:7JI CK
Yeah? I guess so.
SHREV IE
What for? It's coo early.
F ENWI CK
I don't kncw... I don'-. kn,sw.
Gettin' antsy or something.
Can't figure out what... I don't
know.
(CONTI:NLZD)
CONTINT33D :
Heturns_and sta?rr__s tv_head out of th 4Qrc
F L' aIY l CK
(CONTINUING)
See you at the Crest.
SHREVIE
Fen, sure you're okay?
Fenwick turns back and smiles at Shrevie.
FENWI CK
Hey... yeah.
He turns back and exits.
EXT. STREET - DAY
Eddie parks his Studebaker and he acid Billy exit the car.
They walk along a street of row houses, then cross an old
brick street heading for the pool hall on the corner.
EDDIE
Colt Char,.picns`:ip is tomcr- ow.
Want =,e to get you a ticket for
the game?
BILLY
T Can you get one this late?
EDDIE,
Yeah. You can't be in Bala'-ore
and not see the Colts win the
Championship. It would be
sacrilegious.
They enter the pool hall.
CUT TO:
INT. POOL iJ.ALL - DAY
Billy and Eddie come down the steps into the pcol room.
The place is old and dirty looking. Candy wrappers and
cigarettes litter the floor. KNOCKO, a gray-haired man
in his 60's, sits behind the cash register reading she
Wall Street Journal. On the back wall there are pictures
of the semi-nude girls from the men's magazines of the
period. Some are autographed to Knocko.
(CONTINUED)
CONTI NTUED :
As the guys approach, Knocko looks up and smiles.
L-1
KNOCKO
Billy, Billy, Billy.
BILLY
Row you doing, Knccko?
KNOCKO
Eat, sleep, you know. Never see
you and the guys anymore.
BILLY
You know how it is. Time to move
i W n, I guess.
KNOCKO
Eddie's the only one who still
pops in. Still loves the game.
(ve Gerious lv)
You doing okay, Billy.
-(CONTINUED)
CONTIM. 7ED :
-. LILLY _- _.._ --
Going for my Masters.
KNO CKO
Wonderful. All your crowd turned
out fine. Take seven. It's got
a new felt.
.EDDIE
Eight's better.
KNOCKO
Take eight. The pool maven here.
They walk toward the tables. The place is quiet. After-
noons are not the action time.
CUT TO:
INT. POOL FALL - TIGHT :HOT - A POOL BALL - DAY 'SLI Gr.TLY
LAIR) -
After a beat, Eddie's head. comes INTO FRAM behind the
ball. He closes one eye aQ he '.fines up a shot.
EDDIE
I'm scared shitless, to tell you
the truth.
BILLY (O.S.)
You know anybody who's Mot?
EDDIE,
If I had a choice, I'd just date
Elyse all my Life. Just date her
and the hell with the rest. I
like dating.
ANOTHER ANGLE
as Eddie backs off the shot and starts to Bove around the
table. Billy sips an or3rige soda.
BILLY
What are you doing it for?
Eddie approaches Billy; reaches for the bottle and takes
a sip.
{ CONTINUED)
CONTINUE-D:
EDDIE
1tat -am 4-doing_i..t -ford--I've
been dating Elyse for five years.
What am I... I have no choice..
It gets to a point where a girl
says, 'Hey, where am I going?'
He hands the bottle back and chalks his pool cue.
EDDIE
(CONTINUING)
So, there is nobody else that I
really care about. So, you know.
I'm not saying that I'm doing it
just to make her happy. The hell
with that.
He shoots and sinks a ball.
EDDIE
(CONTINUING)
She's the only one I care about.
-I -don ` t go looking for girls to -- .
date or anything like that. Arid,.
it seems like the time and all...
so. At least she's not a
ballbreaker. Christ; if she were
a ballbreaker there'd be no way.
Billy feels a certain sadness for Eddie, but he doesn't
1= ow what to say.
Eddie sees Vz'::-..a1L1, a blond-haired kid, several years
ycunger than himself.
EDDIE
(CONTINUING)
How you doing, Methan?
Megan approaches Eddie and stands inches away from Ed s
face.
MFi:?A&N
JJ, I want to be where you are.
'here the air is rare, and nobody
can touch me. What about my
sister, Harry?
Bi11y has no idea what is going on.
I ETHAN
(CONTINUING)
I -never couched your sister.
What are you saying?
(cot;-, _:vUZ7)
CONTINUED:
Sudde^I Methaa wa??ks away.
EDDIE
(TO SILLY)
Methan's favorite movie. 'Sweet
Smell of Success.'
BILLY
He memcrized the whole movie?
Eddie lines up another shot.
EDDIE
h T e younger guys, I tell ya,
are crazier than we were.
He shoots and misses. From another table a GUY yells out.
GUY
Eddie, you taking any of Boogie's
action?
EDDIE
Yeah! No way he pulls this off.
CUT TO:
EXT. CREST THZATZR - NIGHT
Tlhere is a lot of milling around in frcnt of the cheater.
The marquee reads : Troy Donahue and Sandra Dee in "Su--:er
Place."
INT. CREST TT-iEATER - NIGiT
Shrevie stands in the lobby with his wife, Beth, an attrac-
tive girl. Eddie and Fenwick enter and walk over to Shrevie.
SH 1ZEVIE
(ALMOST APOLOGIZING
for bringing Beth)
Beth heard the movie was pretty
good.
BETH
Eddie, where's Elyse?
I
EDDIE
She's hcme studying for the
football test.
(CO,rTINTJ D)
C0NTINU D:
You're kidding.
FENWICK
See- the Bcog yet?
SEREVIE
Not yet.
FART. MAGET, an enormously fat guy, enters with a FRIE.TD.
The Friend stops at the candy counter.
FRIEND
Eari, want sane candy?
EARL
(s,.arting into the
THEATER)
No. don't care for sweeti.
Boogie enters with CAnOL HEATHROW. She is a b-auti foal,
shapely blonde. Boogie looks over at the group.-nods,-
and walks to the candy counter with Carol.
B:.TH
Is that Carol Heathrow?
S HREVI E
Where?
BETH
With 3oogie.
SH_IRVI
(staring for a
LONG BEAT)
I think so.
BETH
In surprised she's with h--m. -
fro= what I've heard about her,
Boogie wouldn't seen her type.
Eddie is as;azed at hcw beau, ci±u1 Carol looks.
EDDIE
She is death. Death.
Fenwick spots the GRIPPER walking toward the Men's Rcon.
The Gripper stands about 6'4" and is all muscle.
11
CON_iIN DD
FENWICK
Davit The Gripper's :era.
SH V7.
Where?
Fenwick nods toward the Yen's Room.
SHREVIE
(CONTINUING)
Christ, the Grip's still growing,
_I think.
RNWICK
Hope he doesn't see me. Every
time he sees me, he puts the
grip on me.
EDDIE
Saw him put a grip on a guy at
the diner. Gripped him right
through his corduroy jacket.
Made him stand on tip-toes.-
S'r'_P'.EVIE
Where's Billy?'
EDDIE
Cowin' with that Barbara Keller
chick, I think.
Bccgie gets a large box of popcorn and a Coke and starts
into the theater with Carol. Just before he enters he
gives a smile to the guys.
FS:IWI CK
Guess I might as well get a seac.
(TO EDDIE)
Cowin'?
Eddie nods and they start inside. After a beat, S:revie
- - and Beth start in.
SHREVIE
Let's sit in the back.
BE'1"s.-I
Why?
SHP.VI
I
I'm tired of sittin' down close
with the guys and all.
Just as they go into the theater, Bill., enters alone.
I
a:U'rt.. i :.. -
Boogie and Carol sit watching-the screen. The box of pop-
--- co -ZAsutg in-his aa? Boag a ??ze -keep ==?.y.king-?aaks-
at Carol, then his hand slowly moves down to his fly and
he quietly unzips it.
ANGLE TO INCLUDE FENWI C<
looking over from his vantage point three seats away.
Boogie squirs around ever-,so-slightly and then places
the box of popcorn back on his lap. Evidently he has
stuck his penis into the bottom of the popcorn box. Fen-
wick nudgesEddie and then whispers some thing.into his ear.
Eddie smiles.
Carol's hand dips into the popcorn box on Boogie's lap and
takes out a handful of popcorn.
Shrevie, seated in the back, is restless, wondering what
iz happening. Beth is mesr-arized by Troy Donahua.
Billy sits on an aisle, =aware of the quiet intrigue that
is . taking place. - ?..
Carol's hand again reaches into the box and takes out a
few kernels. Boogie's eyes glance toward Fenwick. Fenwick
shakes his. head and mouths "Bet's off. Not fair." Boogie
nods "Yes.
Troy and Sandra walk the beach. The romantic score swells.
The yotzia- audience is caught up in this screen love affair.
Carol reaches into the- popcorn box once again. Suddenly
she screaws. She bolts up from her seat and races up the
aisle. The audience iq alive with chatter, war, wondering what
has happened.
Boogie turns to Fenwick and smiles. Then he heads ue the
aisle after Carol.
BETH
(as she watches
Boogie racing up
the aisle after
CAROL)
What's going on?
SHREVIE
(PLAYING DTJNB)
I don't know. I don't know.
INT. LOBBY - NIGHT
Boogie catches up to Carol just before she was about to
ente th Ladies'-Room. - - - -- --?
BOOGIE
Hold on, hold on a second.
CAROL
You'are disgusting!
BOOGIE
I know it was terrible, really
horrible and all, but it was an
accident.
CAROL
An accident!
She starts into the Ladies' Room. Boogie holds her arm.
BOOGIE
Wait! Carol! Woo! Seriously,
it was an accident. Swear to
God.- -
CAROL
An accident. Your th?.ng just
got into a box of popcorn?
BOOGIE
Damn near that. Can I be straight
with you?
Carol tries to settle dc--n.
CAROL
Boogie'...
BOCGIZ_E
There's a good reason, but it's
a little embarrassing to me. So
maybe you don't want to hear it.
I'll understand.
A long beat.
CAROL
Co on. Let me hear this.
BOOGIE
I don't like to tell this to
girls, but you really are a
C knockout, really.
(MORE)
(C01,;-: :LZD)
CONT1NUZD:
L.j BOOGIE (CONT'D)
? h;-, use sitt`rg rtex? toy u
in there got me crazy. I got a
hard on.. I don't like to admit
it, but I did. You don't know me,
but I always try to come off
being cool. Don't like to look
like I'm hustling, and there I am,
sitting next to you with a boner.
Am I embarrassing you?
CAROL
(INTRIGUED)
Co on.
The "St. = er Place Theme" can be heard softly through the
theater doors.
BOOGIE
Well, it was killing me. So ..o
stop tho pain, it was digging
into my pants and all, I opened
-----m7 fly. - Lmosen everything up.
Give it a little air, you know.
And it worked. Everything settled
down and I got caught up in the
picture. Forgot all about it.
Then when I saw Sandra wearing
the bathing suit in that cove
scene, you know, it just popped
right out and went right through
the bottom of the popcorn box.
The force of it opened the flap.
Carol stares at him, wondering if ? s is telling th= Lrut`:.
The beautiful "Su_.^ -per Place Love Theme" GROWS LCCSER for
a few seconds ar som=one comes through the doors and heads
for the candy counter.
CAROL
It just pushed the flap open?
BOOGIE
It's Ripley's, I tell ya. An d
I couldn't move the box or you
would have seen it.
CAROL
That's true.
(CONTIVL:ID)
CONTINUED:
- B0EIE -- -
I was just hoping it would shrink
back out.
(he puts his hand
up to her cheek and
lovingly touches it)
Come, on, let's go back inside.
As they go through the doors we hear Troy say:
TROY (V.0.)
I want. to kiss you here in front
of God and evcryone.
CUT TO:
EXT. CREST THEATER - NIGHT
Shrevi? and Beth exit the theater.
SHREVIE - --
What was the guy's name? The
actor?
BETH
Troy Donahue.
SERE VIE
What kind of a name is Troy?
BET:
He's gorgeous.
SHREVIE
(m•,.:mbling to himself)
Troy.
Fenwick and Eddie approach.
SHRE TIE
(CONTINUING)
Ever hear of a guy named Troy?
FEN ICX
(SARCASTICALLY)
Yeah, Troy Swartz=an from Towanda.
SHREVIE
Cute.
(CONI INLED)
CO TINLED:
Booszie and Carol exit the theater.
BOOGIE
(as he passes the
GROUP)
See you guys at the diner. Bring
some tens.
Boogie cockily walks on-with-his arm around her waist'.
BETH
Ten whats?
SHREVIL
Have no idea.
EDDIE
(looking at Carol
as she walks away)
Death.
(TO FENWICK)
I'd give up your life if I could
have her.
Billy exits the theater and starts toward the crowd. Out
of the corner of his eye, he spots someone exiting through
( 1 ' another door. He watches the guy for a beat, then quickly
moves toward him. He taps the guy on the shoulder. As
the guy tins, Billy punches him in the face. The guy
goes down.
-A crowd quickly- forms. Confusion takes over as everyone
moves to see what has happened.- Shrevie, Fenwick, and
Eddie move in for a better lock.
I
The gu_y sits on the ground holding his bleeding nose. He
looks up at Billy.
BILLY
We're even.
He turns and moves away.--- -Eddie, Fenwick, and Shrevie ncve
to catch up with Billy. Beth trails along.
EDDIE
I'll be.dar ed. Willard Broxtonl
F ENWI CK
Long time ccn_n', huh, Billy?
(CONTINUED)
CONTINUED :
BILLY
-- (EXCITED)
I couldn't belieye it! There he
was i I- didn't wait to hit hi=,
but I had to, you know.
SHREVI E
(PATTING BILLY'S
BACK) '
Outstanding! See you guys later.
Come on, Beth.
BETH
Are we going to eat?
SHREVIE
Nah, not-in the mood.
Shrevie heads toward his Hudson. Be_h fol.Lows.
- - - -- - -BET -
Who's Willard Broxton?
SHREVIE
It was the 11th... no 10th grade.
Billy was playing ball against one
of the high school fraternities.
I think they were ULP. Billy came
sliding into second base-to break
up a double play. - The second baseman
s Billy, thinking he was out to
hurt"hJm Billy punches the guy
and the whole ULP team -j=-?.d him.
r Beat the shit out of him.
They approach the Hudson. Shrevie goes around to the driver's
side and opens the door and ge:S inside. He then opens the
door for Beth to get in.
INIT. SHREVI= ' S CAR - NIGHT
BETH
He's been after them all these
years? That was forever ago.
SHFEVIE
Y He swore he'd get them. Broxton
makes eight.
(CONT_N ED)
CONTIN'UED':
Emi is tha car-nd lla-a??av: -
11
SHREV:IE
(-CONTINUING)
.." or seven. No, eight. There's
one guy left. -
CUT TO:
EXT. BACK ALLEY - NIGHT
Billy, Eddie, and Fenwick walk away from the theatre toward
their cars.
FENWICX
I'm so pissed I mis.:ed the puncl-a
I was watching out for the
Grippe t-.
BILLY -
.even years. Seven years to get
him.
- EDDIE
Who's t1he last? Donald Tucker?
B ILLY
No, I get Tucker in a bath=ocr;
at Chestnut Ridge. :Mon Shaw.
EDDIE
Moon Shaw.
(af ter a beat)
Who's Moon Shaw?
---Billy gets in his car,
B ILLY
If you ever see hi.:., you'll
remember.
EDDIE
Going to the diner?
(CONTINUED)
CON:, NLED:
In a while. I'm going to see
Barbara.
EDDIE
Thought you were supposed to
have a data.
BILLY
She had to work. I'm going to
stop by the TV station and see
her for a hit.
He starts his car and pulls away.
FE i i C+{
:Jasn't Moon Shaw the 'toast' who
used to data Elaine?
- EDDIE
h T at was my cousin, Denny. You
calling hin an asshole?
T-R-
F Z 'I" 1,
(knowing he said
the wrong thing)
Oh... not Elaine. Her name was
Ellen. I'm thinking a whale
other guy.
Fen::ick tiptoes away from Eddie, playing like he dceJn0 t
want to get hic.
CUT TO:
I , r':.E'viS IvY S'I Ate? Ord - CCR_:=DCR .ditsr. T
Billy and BA?.B? walk dowr the hallway quickly. Barbara
is a tall, thin brunette with classical features. She
was never a girl. Born a woman. She moves dot.n the hall-
way with great purpose. Billy keeps pace.
B ARE ABA
There's not u.uch time before the
news.
(CO:NTINUED)
CONTINUED:
I tried to call.
BARBA
Switchboard closes down at ten.
BILLY
I was just getting the feeling
you were avoiding me, Barb.
BARBARA
That's -.lot true, Willy.
They enter the control room.
INT. CONTROL ROOM - NIGdT
The control room overlooks the studio floor. Technicians
are setting up the cameras, microphones, lights. -over-
the control room a bank of monitors hang down from a metal
shelf. The TEC:=`iICAI. DI? CTOR is talking over a headset,
balancing video levels. Barbara slips cis a headset and
shuffles through some papers.
BA_R.QARA
(INTO HEADSET)
Telecine, you want to. run down
the file. chains for me?
Silly takes in all the activity. He is. cverwhelmed. His
eye catches the OLD GOLD dancing boxes on one of the
race r: l ~'o r s .
BARBARA
(CONTINUING; GETTING
infor=a_ion)
Governor's press conference is
on Three? There's a B roil to
that. Four? Okay. Goodwill
Charity Christmas Party? Three
also? And :h-s slides? One?
Barbara looks up at the clock. It reads: 10:58. h T e
Director rushes into the booth with the news script. He
quickly sits and puts on his headset.
(CONTINUED)
CONTINUED:
DIRECTOR
-
Stand by -for cold -tease-_
I PH
BARBARA
- Ten seconds.
Billy steps forward to get a better view of the activity
on the floor. The Director becomes aware of his presence.
'DIRECTOR
Who's the visitor?
BARBARA
Friend of mine. Five seconds.
DIRECTOR
And one, mike, cues
NEWSCASTER
President Eisenhower returns from
W„rld Peace Trur. Steel dispute
continues . " These and other stories
next.
DIRECTOR
Roll three. Three and track.
A cor ercial cones up on the air mot i car .
BARBARA
Willy, after this I still have a
lot of work to do. Why don't you
call in the morning?
DIRECTOR
Where's the news opening?
BARBARA'
On six.
BILLY
What's good?
BARB A RA
Church services are at ten, ei jht-
thirty, nine.
DIRECTOR
Punch I.D. and announce.
A slide of the television station's call letters comes uo.
The Alti'NOUNCZR in a glass booth off to the right speaks:
ANNOUNCER
This is Wi?'4R TV 2 in Baltimore,
wishing all our viewers a Merry
G<_ Christrias and a Happy New Year.
CUT TO:
EXT. CHURCH GRCU 'TDS - NIGHT
The Nativity scene is set up "on the grounds . Wonderfully _
e..acora e, a out?-?alf L±i scale. The figures are made
frcm clay and painted in fine detail. CA:-ZRA PANS over to
Fenvick who is parked nearby. He leans on his Triumph
holding a half pint of whiskey. He takes a big swig and
shivers slightly. The air is cold and his breath comes
out in white puffs.
CUT TO
E:71. DINER - NIGHT
Eddie and Shrevic lean against a car parked in front of the
hangout. The diner's. blue neon sign above reflects off
the cars bathing the guys in a cold blue light.
EDDIE
Two days till the test. If she
passes, t7.ro more days to the thing
tae marriage.
-
SHREVIE
Where you going? Puerto Rico?
E'DDIE
Cuba.
SHRF. VIE
My parents' friends, the Copelands,
go every year. Nice.
There is a long, pause.
EDDIE-
Shrevie, you happy with your d
rtar- _a ge , or what?
S'R'REVIE
To be honest, I dcn't kncw.
You kncw. . How can you not know?
It's not like you're trying to
figure out the difference between
Pepsi. Cola and Rcyal Crown, for
Chris' s.tke .
S FR-t viE
Beth is te -ific and everything,
but I don't know.
Eddie locks off, not happy with the answer.
(CONTINUED)
4 0.
C 0 NT IN-E D
(CONTINUING)
You know the big part of the problem?
when we were dd4i ng we spent mo_s t of
our ti=e talking about sex. Whv
couldn't I do it? where coule we do
it? Were her parents going to be
out so we could do it. Talking about
being alcne for a weekend. A whole
night. You know. Everything was
T talking about gettin' sex or planning
our wedding. Then when you're m::r:ied.
It's crazy. You can have it whenever
you want. You wake u She's there.
p.
You come home from work. She's there.
Sc, all the sex-planning talk is
over. And the wedding-planning talk.
We can sit up here and bullshit the
night away, but I can't hav. a five
minute conversation with Beth. But,
I'm not putting the blame on her.
-We've just got nothing to talk about.
Eddie lights a Fall Mall.
EDDIE
Well, that's okay. We've got the
diner.
CL TO:
EXT. CAROL rE_. ROW'S PAR PARENTS HOUSE - NIGHT
The house is a pleasant two -s tcry wccd s t=cc r_,d e . A
yellcw porch light is on. Bocgie and Carol walk ut the
steps to the front door. Carol opens the door with the
key. She back toward Boogie.
BOOGIE
(SOFTLY)
I love ycu.
He gently kisses her forehead, then looks her 'in the eyes.
Carol throws her arts around his neck and kisses him
passionately.
CAROL
Do you want to come inside?
IR BOOGIE
-Are your. parent:. around?
(CONTINUED)
I
CONTINUED :
They're probably in the basement
watching TV.
BOOGIE
I'd lave to, but I really should
hit the law books. Okay?
Carol nods. He st=okes her cheek.
BOOGIE
(CONTINUING)
i wish t could stay.
CAROL °
Talk to you. Soon?
Boogie nods and walks away. Carol watches hi= with great
affection. then t-trns and enters the hc.use.
CUT TO:
EXT. DINER - NIGHT
Fenwick pulls over to the curb across the street from the
diner. He exits the car. Eddie, Shrevie, Modell, and a
group of others are all hanging out. A VOICE calls Cu:,
A so. t, but yerz authoritative voice.
VOICE
Whaddya say, Jim?
F enwick tur::s . The Grippe= is s an ding by his ca--.
FEN ICK
Whaddya say, Gripper?
GRIPPER
Not much Jim.
He moves toward hi_- ever so slowly.
F E; A4, I C K
Oh no, you're not going to put
the grip or. me,
I
GRIPPER
Where do you get that idea, Jim?
Fenwick backs up, then suddenly rips the a ntenr.a of his
i car and waves it like a sword.
(C0^1TINL?JI
CCN:INLT :
--- -
Not Stay away! I'm not going to
get gipped! You're not going to
get me to walk on my tiptoes in
pain. Oh, no.
GRIP FER
(even more softly)
Jim, I'm not going to grip you.
FE WI CK
(waving the antenna)
Yes, you are.
The guys across the street are loving what is happening.
GRIPPER
To be honest, I was. But not now.
I like. a guy who stands up to the
Gripper. I like that, Jim.
- - - ---• .FE`TWiCK - -
You're not going to grip me?
GR_''PER
No, I just want to snake your hand.
F::ti?;ICK
You're settin' me up for a grip.
GRIPPER
Untrue, Jim.
FE-.1 iCK
Sure?
GRIPF_R
I want to shake the hand of the
an who stood uo to the Gr'_oper..
„NWICK --
No grip?
GRIPPER
That's right, Jim.
Fenwick drops the antenna. He moves toward the Gripper,
slowly. The Gripper extends his hand. Fenwick extends
his hand. They shake. No grip. Fenwick is relieved.
GRIPPER
(CONTINUING)
Let's go-see the guys. The scan
who stood up to the Gripper.
CCGNTINL D)
CCNTINLED :
Fenwick, feeling very proud, -walks with the Gripper across
the - s e e t - Iowa d--t le - S u d d "il lalfway ac, fls 5 ??'.$T
street, the Gripper puts one of the greatest grips in his
career on Fenwick. He squeezes Fern«ick's forea right
through his winter coat. Fenwick feels the pain. The
famous grip is on.
GRIPPER
(CONTINUINZ}
Up on your toes, j
FEN''NICK
Oh no, grip.
Grippes puts a little more pressure on and Fenwick is up
on his toes. The guys cheer Gripper.
GRIPPER
Jim, never doubt the Gripper.
When I say I want to shake your
hand, believe what I say. Never
doubt, Jim.
r ;TW`rC?
Never doubt. Right.
The Gripper turns Fer.wick around and leads him away from
the guys back to the other side of the street. Fenwick
up on his toes. The guys are eating it up. Then they
head back to the guys. C.41'E PANS to Boogie's ca_ as
it pulls into the parking lot or. the left side of the
building. He starts to pass Bagel who is about to drive
out. Bagel BEEPS HIS HORN and rolls down the window.
Bcogie.ralls his down.
BAGEL
Did you hear? T F-y on by
fourteen.
BOCCIE
Fourteen'. Shit. They weren't
supposed to roll up that big a
score.
BAGEL
Lis ten to me next time.
He pulls out. Boogie pulls forward and parks. He slams his
fist into the steering wheel. Again and again. Then he
leans back in his car seat.
CUT TO:
I
INT. DINER - NIGHT (LATER)
-Earl-;''.ale t- sits i? a th ? cn His r.;I
taking about one whole side. He finishes off one section
of a club sandwich and very politely wipes his mouth with.
a napkin. Before him' then a are five deluxe sandwiches
waiting for his hungry mouth. He the financial
page and picks up another sandwich.
Eddie, Billy and Modell are turned around in their booth
watching Maget. Boogie; Fenwick, and Shrevie are dis-
cussing the pecker in the popcorn bet.
EDDIE
(WATCHING EARL)
Where's he-now?
MODELL
(LOOKING OVER
THE MENU)
He's on the Pimli:o.
(he then surveys
THE TABLE)
That's the George's Deluxe. The
Garrison, the Avalon and The Junction.
EDDIE
(AMAZED)
The whole left side of the menu.
What.a triumph if he pulls it off.
Modell starts counting the sandwiches on the left' side
of the menu. We catch snatches of Boogie, Fenwick, and
Shr ev=e argu inz
FEN IC:{
The bet was touch your pecker.
Not pecker hidden in pc-acorn.
SHR.VIE
It was pecker touching without
intention.
BOOGIE
Lis ten to this .
Modell looks up from the menu.
MODELL
Fifteen.. or sixteen more. If
you include the Maryland Fried
Chicken dinner.
EDDIE
I think he's just talking deluxe
sandwiches.
(CONIINIJZD)
CONTINUED :
.i
(YELLING OVER)
Earl! That include the Fried
Chicken dinner?-
EARL
Yes .
EDDIE
(TRULY AMAZED)
Twenty-two deluxe sandwiches and
the Fried Chicken dinner.
-BILLY
And no bets.
EDDIE
Nope. Just a personal goal.
Another private triumph. i"his' lI
top the eighty white Tower
hamburgers.
BILLY
He ate eighty White Tower
hamburgers?
EDDIE.
Oh yeah, you didn't know?
Thanksgiving night. Eighty-six
he ate. Saw him later and said,
'Earl, your goal was eighty. Why
eighty-sic?' He looked at me and
said, 'I got hungry.'
Billy laughs,
MO DELL
Truth,
They slide back down in tale booth.
• Sr?. VIE.
(TO BOOGIE)
But it was a trick. I don't
BUY IT
EDDIE
(joining back in the
CONVERSATION)
Me either. I want it an the up
and up. Default.
BOOGIE
Let it all ride. Tell you what.
(CONT NL:E0)
CO`'T-INUED :
Boogie stirs his french fry in the gravy for a long beat.
T e ? 's $gerzy??aa:.z :=s :cposai. - -
BC OGLE
(ccn tin uing) -
I bet I ball Ca_ of Heathrow or, the
net date.
FENWICK
Now you're nuts.
BOOGIE -
Fifty bucks a guy.
EDD;E
Fifty?
$HREVIE
It's like stealing money from
you, Boog.
BOOGIE
The guys all take the bet e:cepc Billy.
BOOGIE
(CONTINUING)
?nd I'll take all the action I can
get.
FEN I ^1
We need validation.
ECOGI??
I'Il arrange it. You want to
be there to Validate?
FE NWI CK
Sure.
here's a slight sense o -anxit?Cy in Boogie's at;.d?e e.
Billy picks u- on it.
CU -6 TO:
EXT. DINER - NIGh T
The first rays of mar-,i::g light reflect in the diner's front
r windows . Earl rLaget exits. The guys following behind
applauding as he goes.
(CONTI` TRD)
7
CONTINUED:
L J Maget calmly crosses the parking lot and gets in his lithe
veFlaw ;,ssile-t?apclitan anc ?rivesE- --
SHREVIE
You all want to meet here and go
to the game in my car?
BOOGIE
Yeah, that's good..
SHREVIi:.
(GETTING INTO
HIS CAR)
Meet here at twelve.
EDDIE
Make it quarter to. Don't want
to miss any of the pre-game shit.
SHREVIE
Why don't you go now. Then you'll
be sure not to miss anything.
He starts his car.
EDDIE
We're talking the championship
game. Quarter to.
Shrevie nods. The guys all exchange "See ya's," get in
their cars and drive off. The diner parking lot is now
empty except for Fenwick's Triumph.
CUT TO:
EXT. COUNTRYSIDE - DAY
The morning sun is now uo. A very attractive GIRL in full
rising gear gallops along or, a chestn•it stallion. She
rides expertly, seemingly unaffected by the cold morning air.
CuNEZt PULLS BACK until we'-see Boogie's cherry and white
DeSoto keeping pace on the road close by.
INT. CAR - DAY
BOOGIE
I've got to meet this girl. She
IS DEATHL
R
(CONTINUED)
.JJ
CCZ I TIi'UED:
Very nice.
BOOGIE
I'm in love.
EXT. COUNTRYSIDE - DAY
Boogie's car continues to trail alongside the Girl on the
horse. Boogie rolls dom the window.
BOOGIE
(YELLING OUT)
T Miss! Miss! Woo! Miss!
The Girl pulls upon the reins and stops. Boogie quickly
steps out of the car and approaches.
GIRL
Yes.
Boogie is amazed.-- She's more beautiful up close. Long
black hair and deep blue eyes. Elegant.
BOOGIE
I was admiring your horse .
(CONTIN ED)
A1
CDNTINLC??D :
-GIRL`---
(VERY RESERVED)
Were you?
BOOGIE
Do you ride Wester. style as well?
Fenwick gets out of the car and leans against the door.
GIRL
I do, but I prefer English.
There's a finer sense or control.
BOOGIE
What's your name?
GIRL
Anti Chisholm.
(as Boogie star-s)
As in the Chisholm Trail.
--She gallops away. Boogie watches her go for a beat, then ----
tur-:s to Fenwick.
BOOGIE
What fuckin' Chisholm Trai? ?
He walks back to the car and gets inside. F enwick does
the same.
INT. CAR - DAY
ry.
C irY _C{
You get the feeling there's
something- acing on that we don't
know about?
BOOGIE
You get the fee! ing she gav` me a
- false name?
(starting the car up)
Wan: to drive scme more?
FENWICK
Naw, let's call it a night.
EXT. COUNTRYSIDE - DAY
Boogie's Desoto drives off. The white picket fences framing
the car as -it heads down the road. We hear the SOUND OF
CHURCH BELLS .
CUI 7 0:
t.:?1-1 . ST. AGNE5 CHURCH - JAY
The BELLS in the tower RING. Billy sits in his car wait-
acs--Bar-b-a=a:?
egaticna1-members wa?K 3cw-;:? tie
path passing the Nativi ty scene off to the left.
Billy watches for Barbara. The crowd thins, we exits his
car and walks toward the church, looking arcunu, thi nking s
he may have missed her somehow.
He peeks inside the church. Unsure whether to enter. A
C U CH 1E DER exi is .
BILLY
Is there anyone inside?
CHURCH ?EMB E R
I didn't notice.
BILLY
Is it all right to go in?
CHURCH I'EMBER
Of course.
Billy enters.
CUT TO
INT . C?:L'cZC:i - DAY
Billy stands at the back and looks around. the Lang stone
st=,-uct.:re.
He sees Barbara still sitting. All alone.
He quietly goes down the aisle and Joins her in the pew.
BILLY
Aryt .ins wrong, Barb?
BAR3IRA
No.
(LONG PAUSE)
Yes. I think I't< pr .a
BILLY
(LONG PAUSE)
Me?
BARBARRA
Yes. Our one day in New York
last month. SLY years of a
plt,toric relations Lh , then one
nig^t of sex... and this happens.
h T ey sit silently in the church.
/ 9T
{COIN I,Wc.J}
I
CONTINUED:
BILLY-
Maybe it's for the best.
BARBARA
No... I don't think so. Do you
wan: to marry me?
BILLY
Yes.
BARBARA
Is that why you came back a few
dayz. early? To ask?
BILLY
I thought after New York, you know.
Seven weeks is a long time when
you miss someone.
BARBARA
New York was a mistake.
BILLY
Maybe it wasn't as romantic as we'd
like it to be, but I think it will
happen. It's not perfect, yet,
but... I love you, Barb.
BARBARA
You're confusing a friendship with
a woman and love. It's not the
SAR E
They sit. Saying nothing.
EXT. 'MORIAL STADIUM - DAY
__ .RTAL VIEW MCVING toward the main tower of the stadiu
We hear the CROWD YELL "C!!! 0! ! !" We MOVE CLOSER to
the tower. The crowd roard "L!!! T!!!" We KEEP MOVING
CLOSER. "S! W' " We PASS OVER the tower and ENTER the
s cad ium. A deafening crowd ROAR is heard ."COLTS! ! ! "
CUT TG:
A COLT DEFENSIVE LINEMAN
smashes into the Giant's quarterback, knocking him to the
ground with a thud. The Colts are fired up. The Champion-
ship is within their grasp.
THE SCOREBOARD
reads: "GIANTS 16 - COLTS 31."
ANGLE,
Eddie, Billy, Shrevie, Boogie and Fenwick are or, their
feet. Victory is minutes away.'
EDDIE
(YELLI NG)
Cino! Gino!
(TO BILLY)
He's incredible. They should build
.astarue, a monument to him.
- Something, you know.
Shrevie takes the binoculars from Boogie, and looks through
them.
SHREVIE
W rich one?
- SOOGIE
Second from the right.
S'HRL• VIE' S POV THi OUCH THE B1I:000.ARS
We see a cheerleader, then it PANS TO another cheerleader.
BOOGIE (O.S.)
See her?
SHREVIE ,(O.S.)
Yeah. How can you tell she's not
wearing panties?
BACK TO SCENE
Shrevie puts the binoculars down.
BOOGI
You have to wait nor her to ju p .
S`r.EVIE
And when she jumped you saw?
BOOGIE
I see everything.
Shrevie puts the glasses to his eyes again.
(CONTINUED)
CONT.INU,ED :
Si ;.REV I
Come on! Jump!
Boogie stiles at Fenwick.' Fenwick holds back a laugh.
FENWICK
I think there's a jump coming up.
The Colts take possession of the ball and start to run the
clock down.
`EDDIE
Moe points! Johnny, the bomb!
BILLY
Ed, we've got it wrapped up.
EDDIE
I don't want just a win. I want
humiliation. Goddarn New "fork
teams, think they're hot shit.
(yelling out).
-;h-ailzation! - Joh,.ny, ht iliaticn!
The cheerleaders give a big cheer.
FEIR'WICK
Quick, Shrevie. She's going to
j ump .
Shrevip cuickly starts to bring the binoculars u:), but
Boogie has his arm through the scrap.
BOOGIE
Cops. Wait a record.
Shrevie ties to untangle Boogie's a=.
FE.? ' ICs
Too lace.
__--- Shreve stares at Bccgie a beat, t en. _aaliz_s he'.s .been
Very good. Very good.
The scoreboard clock ticks down. The crowd counts down
the seconds. "5 .. 4. 3 . 2 . 1. " FAM4DLMOJILT,.1. The
guys go crazy, grabbing and hugging one another.
Some of the crowd starts to swarm onto the field. The
guys follow.
(CONTINUED)
CONTIMT1 D :
T e_ late a`tet-soon sun Ii as dropped be-Low -the `t ends-_-ThE
lights.are on. A gray-golden haze envelops the field.
Fans are trying to tear down: the goal post. Billy, Eddie,
Shrevie, Boogie and Fenwick, hang from the goal post sing-
ing the Baltimore Colt fight song. There may be happier
days ahead for the guys but this one will be hard to beat.
The goal post finally comes apart and the guys fall to
the ground in a heap laughing happily.
CUT TO:
_IN:.. FZl-WICK'.S AP_\R1"'1,MNT - DAY
Fenwick sits watching the GE College Bowl. The quiz
show that pits one college against another. It's a real
game of intellectual skill. CA?M-RA PANS the apartment.
I. It is imaginatively decorated in pink and turquoise
colors. Five pink flamingos, four feet high, are placed
around the room.
- - - -
QUIZ ?!ASTER
Socrates was probably the greatest
philosopher of the ancient world.
Plato was his student. For sixty
points, who was the ocher famous
student?
FENWICII:
Xenophon.
(CO:i d INNL ED )
A BUZZER RINGS.
TV QUIZ MAS'TE'R
Yale.
YALE TE M LEADER
Xenophon.
Right for sixt points.
XENWICK
'Bout , -e, Yale.
TV MAMER
That makes thescore Z Pr inceton 345.
Yale 290. The hundred
POINT TOSS-
up. This eoration was sp oken to
these who died fighting Sparta. Who
said this and when? '0ur government
is not copied from our neig hbors...'
FE W, I CK
(screaming the answer out)
Percles, 413.. .
TV QUIZ FASTER
'Our cons tztutian is named a
democracy...
FE:t?i I CK
Cor_ection. Pericles 431.
The BUZZER RINGS.
TV QUIZ MASTER
Prince ton.
PRINCETON T.rAM LEADER
(STILL DISCUSSING
with te ' -_ ":.ates)a
- - That
was the Peloponeslan War...
'i J QUIZ EASTE
I n ga wag to
need an answer.
PRINCETON TEAM LEADER
Aristotle.
sorry. Yale? TV QUIZ MASTER
(NO ANSWER)
Pericles 431 B.C.
IT
(CONTINUED)
;c.
CONTINT:LD :
r E:?
(HE CHEERS)
Fenwick takes the lead again.
CUT TO -
INT. FENWICK'S BEDROOM - DAY
The room is black. rcra pink flamingos are present. SoogiE
is talking on the phone. Through the wall we hear the
GE College Bowl and Fenwick's answers.
BOOGIE
Yeah, Ma, I know I owe two
thousand dollars. Guess what? I
heard it before you. What an I
going to do? I'm choice. Got to
find a way to pay it off. Me?
I've got fifty-s ix dollars t. my
name. Yes, I know I'm in trouble.
Then they `ll kill me.__ 'What can -I -- -
tell you? No, not tonight. No
dinner. I know what you're :laving.
It's Sunday. Take-out Chinese. I'm
a mind reader. All right, I'm a
wise guy. Fenwick did not corrip t
me. I cc=zap t ed hi Or we go t
outside help.
FENWICK (0.S.)
(through the wall)
Darwin. Origin of the Species.
1859.
CUT B.kCK TO:
INT. LIV?NG ROOM - DAY
TV QUIZ MASTER
That's all the time we have this
Sunday. Next week uaryland vs
UCLA.
FE:T6 7CK
i I'll wipe them out.
Boogie comes into the living room and grabs his winter
coat off a chair. The show's closing theme begins.
BOOGIE.
Talked to Shrive. He's going to
lend me to hundred.
(CO: TINi,ED)
J 2.
CONTINUED :
Going over now?
BOOGIE
YEAH
FE ICX
I'm going to drop in an my brother.
Might be able to get some bucks
from the to-!st.
BOOGIE
Howard? Really?
Fenwick shrugs his shoulders.
BOOGIE
(CONTINUING; REAL
SINCERITY)
I appreciate that, Fen. I know
ho°.r you guys feel about one another.
Ferwick waves him off. He doesn't like any fcr of praise.
Boogie starts for the door.
BOOGIE
(CONTINUING)
With the Heathrow bet and all, I
should be close. See ya.
He exits.
CUT TO:
IN'T. SH?EVIE AND BET-.-.' S HOUSE
A 43 record drops down the sL_;.d'e. The tone ar comes
forward and gently rests on the record. A ROCK AND ROLL
SONG STARTS TO PLAY.
Shrevie is look'ng through his extremely large reccrd rac:t.
Something is bothering him. He pulls out one record,
then another.
SERE VIE
Beth! Betht
Beth is in another room.
BETH (O.S.)
-What?
(CCNTIN ED)
s0.
CONTINUED :
COME HEREL
SETH (0. S.)
I'm working on a crossword puzzle.
SHREVIE
COME HEREL
Beth sticks her head in from the other room.
BETH
What?
SHREVIE
Have you been playing my records?
BETH
Yeah. So?
SHREVIE
Didn`t I tell you the -procedure?
BETH
(CBVIOUSLY HAVING
heard this dis-
cuss_on before)
Yes. You told me all about it,
Shrevie. They have co be in
alphabetical order. -
SHREVI
(like a teacher
to a student)
And what else?
BETH
They have to be ?_le according to
year as well. Alphabetically and
according to year. Okay?`
SHREVIE
And what else?
Bet;thinks .
SHREVIE
(CONTINUING)
And what else?
BETH
(confused, then angry)
I don't know l
t.
(C0INTT VzD)
L??
CON'TIN JED :
I- - - -_ - S HREVIF - _- - ---
Let me give you a hint. I found
James Brown filed under the is
instead of the $s, but to ton it
off you rut him in the rock and
roll section! Instead of the R and
B section! How could you do that?!
BETH
It's too complicated! Every time
I pull out a record there's a whole
procedure to go thrcugh. I just
want to hear music, that's all! °
SHREVIE
Is it too much to keep records in
a category? R and B, with R and
B. Rock and roll with Rock and roll,
You wouldn't put Charlie ga: ktr with
rock and rill, would you?
Beth says nothing.
SI:REVIE
(CONTINUING)
Would you?!!!
BETH
I don't know! Who's Charlie Parker?
Shrevie almost goes out of his mind.
SriREJI.,
Jaz,!!!! Jazz!!!! Ja??it! ! ! !
i+ T H
What are you getting so crazy about.
It's only Music. It's not chat big
a deal.
- S'r'.FE VI
It - -s! Don't you understand that!!?
It's important to me!
They stare at one another. Shreve trying to control his
temper. Beth's eyes become watery. Holding back tears.
BETH
Why do you yell at me? I never
see you yell at your friends.
SHREVIE
Pick a record. Any record.
(CONTIN ED)
I
_ BETE._
W"na t ?
SH REVIE
Pick a record!
Beth moves over to the record rack and pulls out a recoil
She holds on to it, not sure what Shrevie wants.
SHREVIE
(CANTINU-NG)
What's the hit side?
BZT??I
'Dream.' The Everly Brothers.
SHREVIE
Ask me what's on the flip side?
BETH
Why?
SE E
Ask me what's on the flip side.
BETH
What's on the flip side?•
SHREVI
Bird Dog. 1951. You don't ask me
things like that. Do you? Never!
BETH L??
Because 1 don't give a shit!
cares about the flit side? i
SHRED
=E
I do I
He gen t
1y th=bs through a han d _u1 ezP records
SH .EVIE
/. (co\i Linuin c.)
Every one of these means something.
The label. The producer. The year
they were made. Who was copying
whose style or expanding on it.
hear these and they bring back
certain times in my life.
(he stares at
HER COLDLY)
Dcn't ever touch these again. Ever.
He starts cut of the room. He turns back to Beth.
(CC 7IN ED)
63.
CONTINLc.D:
S
I first met you at Modell's
sister's high school graduation
party.- 1955. .'Ain't That a
Shame' was playing as I walked in
the door.
He exits and slams the door shut.
CUT TO:
E27. RESIDENTIAL STREET - DAY
Boogie drives down the quiet street and pulls over in
front of Shrevie's modest duplex. He quietly exits his
Desoto and walks up to the front door. He rings the door-
bell and waits. Beth opens the door. She holds some
Kleenex in her hand.
BETH
-Oh, hi. Boogie.
He notices she looks upset, but says nothing.
BOOGIE
Shrevie here?
BETH
No.
BOOGIE
Is he coming back soon? I talked
with hi a littl_ while azo. Said
he'd be in.
BET
I don't kno:a .
She starts to cry. Boogie puts his a= --.s around her and
-holds her close. -
BOOGIE
What's wrong, babe?
BETH
He ever yell at you?
BOOGIE
Uh a t?
(CONSI:NJEO)
64.
CONi INT cD
(CHOKING BACK
HER TEARS)
I don't know wn'at to do. We've
got a real problem.
BOOGIE
(stroking her hair)
Go on, cry. Just - cry, babe.
They stand in the doorway. Beth. crying uncontrollably.
.Boogie holding. her. Comforting her.
CUT TO:
E=. FENWICK' S BROTHER'S FiCUSE - NIGHT
Fenwick and his olc:er brother FOWARD stand in the driveway
arguing. It is dark, the main source of light coning
from a wrought iron lamp post ca the property. The house
- in design. -THROUGH T? -?ICTL - - --- -
is large, very modern
WINDOW we see small rhi? dzen at play in the living room.
FZ1 WI C'c?
He's in trouble. Don't you know
about friendship, Howard?
HOWARD
Five hundred dollars?
FZNWICX
Four hundred, three hundred. at
ever you can afford.
HOWARD
Maybe this is a lesson for yoi2. If
you worked, you would have some
money to lend him.
- FEV JICX - -
Yeah, I know. I'm irresponsible.
Dropped out of college. Won't work
in the family business. I'm a
disgrace. That's a good reason
for keeping me out of your house,
God knows.
HOWARD
You're a bad example.
F 41 C.<
Far be it from me to disagree.
(i?ORE)
(CONTINUED)
CONS: UED
FENWICK (COIN' D)
Give me s cme money , 7,oward . -
HOWARD
You ever read a book?
FENWICK
Huh?
HOWARD
Read. Do you ever read?
??YWICK
Never.
HOWARD
You should read Dale Carnegie's
'How to Win Friends and Influence
People.'
FENWI CK
I have it or. ny night table. It's
right under 'Hew to Wax Your Car.'
Give me some money, Howard.
HOWARD
Where did you get this attitude?
r.ti^WI C 1
I borrowed it. Have-to have it
back by midnighr. Howard.
Fenwick sta. ?s to pace the driveway. His anger is build-
ing .
H OWA RD
I should talk to Daddy about
stopping your trust fund. It s
killing your initiative.
FE YWIC'?.
BI
¦. g trust -%:nd. One ht.dred dollars
a month until I'm twenty-ch_ee.
Granddad was a real Rockefeller.
Suddenly Fenwic'k lunges at his brogher, grabbing his over-
coat by the lapels, pushing him up against the la,.;p post.
FEN'WIC
(CONTINUING)
Howard, it's important.
(MORE)
(CO;?°TI `b?D)
C0NTINU-D .
FRNWICK (CONT'D)
-come--0-the7Wi--s-e -dc1Z
like to see you, so you know it's
FL-
very important..
HOWARD
Get of?.
FE;WICK
I despise you and 'yet I'm here.
HOWARD
Get off.
Fenwick lets go of him and starts toward his care
FENWICK
Funny. As a little kid I always
wanted a brother. I told that to
Mom once. She said, 'You have a
?rother. ' I said, 'Ch, thaws
who the asshole in the other bed
Fenwick gets in his Tri=ph and pulls away, Howard shakes
his head in disgust.
D
r Cu TO:
EXT. MOV t.E Tr.?T - NIG'T
Eddie and Billy walk toward the theatre. he marquee reads:
"La Dolce Vita."
F.?D;
So, what are you going to do?
B ILLY
It's up to her.
Her? Ycu've got a big decision
to make. We could make it a double
wedding.
They reach the box office and hand over a dollar apiece
and get t-.;o tickets in return.
CU TO:
I
Iti'T. LOBBY - NIGHT
V
11 i EGUi?_;0?`?L`?s there t o CA dV -C L::L?r. No popcorn,
and only coffee is served as abeverage,
EDDIE
What the hell's going on here?
Nothing to eat.
BILLY
It's an art theatre.
EDDIE
(THROWING BILLY
A LOOK)
Puck art. They oughta get some
popcorn in here.
They head into the theatre.
CUT TO:
I NT . THEATRE - -NIGHT
'r"hle fiLr is in progress. A statue of Christ is being
fl(,w-n across Rome, dangling from wires as a helicopter
carries it.
Eddie upon seeing this turns to Bi11y.
EDDIE
h W at arnnl I watching? It just
started and I dcn' t k:.cw what's
HAPPENING
BILLY
It's syrbol_c.
EDDIE
Yeah?
He gives Billy the -"jerk -of"' me icn,-
CUT TO:
EXT. NATIVE`? SCE'TE - NIGHT
The CAMERA PANS the faces of the three wise men, then cores
to rest on Fenwick's face. After a beat his half pint
comes into view and he takes a swig. He shakes his head
in disgust.
As we MOVE BACK we -see that the Eby Jesus is gone.
Fenwick is very bothered by this.
(CJ "rI`;L=D)
CONTIm.J)
- --- __ E=` i - - -
Kids . Kids did this. A sacrilege
for Chris'saka..
He sits down on the hay next to one of r.he sheen. He
- takes another sprig on the bottle.
CUT TO :
INT. S':?REVIZ'S CAR - NIGHT
Shrevie drives along, still coming down from his fight with
Beth. As he moves alozig we see St. Agnes an the right up
ahead. The Nativity display cannot be seen clearly. We
MOVE CLOSER. CLOSER..
Shrevie notices something unusual. Out of curiosity he
paya clcser attention.
We see the Nativity scene more clearly now. Everything is
zhe same except F enw-ick has replaced the Baby Jesus. - He
Iles there next to the figure of Mary in his jockey shorts.
Because of the scale ofrthe display, Fer.wick locks like
an enormous baby.
Shreve slams on his brakes and pulls over to the curb.
He quickly gets out c16 the Hudson and walks uo the slope
toward the manger.
CUT. TO:
INT. MO v IE THEA- - NI CHT
Eddie is bored to death. He sits in the chair his eyes
drooping, fighting to stay awake. Billy is con Le ely
involved. Suddenly a Light flashes on them. They turn,
toward the source.
An zSH=R stands holding a flashlight Shrevie is rh
him.
S H EVIE
(to the usher)
That's t'e guys .
(tU Billy and Eddie)
Come on[ Emergency!
B ILLY
What is it?
(C0NTINV D)
COLT INIJ D :
SHREVIE
Come on!!
The guys quickly get u
EDDIE
What's wrong?
SHRE VIE
Fenwick' s in the manger.
As they head down the aisle:
B ILLY
What?
SHREVIE
He's in the manger and he won't
leave.
EDDIE
The manger?
_ _ - - -
SH :E VIE
I've never seen him like this.
They e-%--;t through the swinging doer to the lobby.
CUT TO
EX 77. ST. AGNZS CHURCH - NIGHT
Fenwick happily lies in the manger sprawled out in the hay.
Alt :cuzh he is almost naked, he seems i..?;:.•ne to the chid
night air, However, his battle certainly helps as a
warmer. He h=s "Little Town of Bet.-lehem."
The guys core across the church ground. Fen-,rick sees them
and smiles.
E NWI CK
Come, three more wise men You've
heard of the m
EDDIE
Let's go, Fen.
FE. TI; CK
You must have traveled far, Rest
your weary feet.
(CO:VTINLED)
CCNTIN IED :
BILLY
T:.e price will be-here.
Somebody's going to spot you.
FENWICK
This is a big smile. Don't you
t`_: ink?
SHREVIE
Yeah, come on. -
The guys prod him on. Fenwick will have none of it.
Billy reaches down to help Fer:wick up. Fenwick pushes
hi= awa•-.
FENWI CK
NOT
Eddie and Shrevie try to help out. Fenwick struggles with
them. He grabs hold of a wise man. 3illy tries to pull
him off it. The wise man topples over. The guys co itimue
to struggle with him. Billy is knocked b.ckward and part
,of the s t=uctur-e rails down. -
CL-' T0:
12N7. FOLI CE CAR - NIGHT
Two men drive along, patroling the street. Off to the
right they see what is happening in the NaLiv ty display.
It looks like a riot-has broken out in the manger. A
sheep suddenly sails through the air. The SI .E WAILS.
EXT. CHURCH GROUND - NIGHT
h T e guys are still struggl
ing with Fenwick. Everything
is a mess. They hear the SIREN and the activity quickly
comes to a halt.
As the police apprcac:h-, the guys stand very still. rhe
three guys are standing side by side. Ferur_ck is i= the
hay. In an odd way it looks like a new version of the
Nativity.
EDDIE
(out of the side
of his mouth)
What do we do?
F BILLY
Cho ice.
CUT TO :
IiTr. LOCK-UP - NI(=
r enrrick is in a call alone. Eddie and Shrev__ are in the
calm moo-him- Billy ZS l?acrosssfro ?h -
locked up with another guy. The lights are low. Fenwick
and Shrevie are asleep. Billy and Eddie stand by the
bars talking to one another.
EDDIE
I added a cou
ple killer questions
to the test. Tomorrow night's the
showdown.
BILLY
She studying hard?
EDDIE
Better be. Otherwise she's off
to Cuba alone.
BILLY
Wish I knew what to do about
Darbara.
The CELL MATE stars pu rirg his - 6ing ers in Bil iy' s - ha{ r .-.-
Billy pushes him away. He tries to ignore him.
LDDIE
Get married. Take her back to
school. Get a part time job.
By the time the kid arrives you'll
have your Masters and all's well.
BILLY
And what about her job?
EDDIE,
Her job? I give you an answer
and you confuse it by bringing
her into the problem.
Billy pushes the guy away again.
B ILLY
(to the csllr.ate)
Take a walk.
O EDDIA)
Ed, she's in this thing. There's
two or US. She loves her work and...
and she doesn't want to marry me.
That's the bottom line.
EDDIE
C
-You're dealing with an irrational
girl.
(:LORE)
(CONTINUED)
CCN'TINT ED :
EDDZ -MCPN-T )
4 That's your problem.
Billy pushes the guy away, from h; again.
B ILLY
Listen, find somewhere else to
stand, buddy.
GUY
What's wrong, cutie? Am I
bothering you?
EDDIE
You heard him, back off.
The guy grabs at Billy. Billy pushes h iLm off.
GUY
You going to do something about it?
(he grabs at
-bdm again)..
Huh?
EDDIE
(YELLING)
Back off him, sa:uck!
GUY
(TO BILLY)
You. going to do some th_rg about it?
Huh? Huh? Huh?
Billy pushes the s-uy back against the 'ha' 1, than noes
into a boxing stance.
B ILLY
(VERY CALMLY)
You want to fight? That what you
want? Cane on. Come on, you son-
of-a-bitch,. I'll hit you so hard
I'll kill your whole ` _ amil
;r.
Billy stands there waiting. The guy doesn't know what to
make of this threat. He could be dealing with a real
tough kid. He looks at Billy, unsure wheth.:r to tes` hi^.
Billy stands ready. Eddie watches. After a few seconds
the guy sits down or. the cot. Billy sneaks Eddie a look
and smiles.
T
I POLICE STATION - NIGHT
Billy, :dd=e, Shrevie and their FA7r_'RS walk dcwn the
police corridor.
EDDIE' S FA :=R
We cared Jimmy's father, but he
said he wouldn't post bail until
the morning. He wants to teach
him a lesson.
CAY-71RA PANS TO Billy and his Father.
BILLY'S FATHER
We get back from Florida, open
the door aid the p-olice call.
T
BILLY
That's what I call gcod ti .ing.
How's M.om?
BILLY'S FATHER
She's fine. I thought you were
going to .come _dowa for a __few days--_
after the school break.
BILL Y
Things came up.
THE
y round a cor::er. . CAS RA HOLDS on the empty co id.c r .
CLRI TO
? TYSALna1 _ r v L.z, ru• ..? g y n
Boogie is finishing putting rollers in a middle4.ge
WOMAN' S hair.
W OREL
One of these days I ray try another
hairstyle, not yet.
BOCCI
Whenever you're ready.
Boogie notices Beth enter the store. She looks around,
then approaches Boogie.
BETH
Hi, Bocg.
BOOGIE
(with a hairpin
in his mouth)
Beth.
(CO.1TIN )
R
CONTINUED
BETH
-Is t . 'Sc?iTHw??- -
BOOGIE
He'll be back. He went down the
street for some donuts and coffee.
What's up?
He puts the last curler in place.
BETH
Well, you know, we're all getting
our hair done for the wedding.
Boogie leads the Woman toward the hair dryers. Beth follows.
BETH
(CONTINUING)
The bridesmaids, the whole group.
And I'm i.i charge of making sure
that Mr. Sol can handle us.
Without any problems. . Maybe have
-- ?:ccra cperat=s cr -somethi:.g.
Boogie sits the Wort dcwnr under the dryer and turns it on.
he hands her a magazine.
BOOGIE
(to the Woman)
Here's the Saturday Evening Post.
(TO -BETH)
I don't knew what.he's planned.
BET:D
You're not working t at day, are
you?
A stocky set GUY, enters the salon. Bccgie notices.
BOOGIE
No. So, I guess he's got scWet hi.ng
arranged; - - - -
i::= Guy motions for Beo,gie to come over.
BOOGIE
(CONTINUING)
He'll be back. Wait around.
Bcogie walks to the front of the store where the Guy waits.
(CON TIN B)
75.
CONTINUED:
ID
(CONTINUING)
How you doing, Tank?
Tank nods for Boogie to follow. They exit the beauty
salon.
CUT TO:
EXT. BEAUTY SALON - DAY
Tank and Boogie come out of the shop and walk around the
side of the building that leads into a small alley.
TANK
You had a payment to make.
BOOGIE
Yeah, I'll have it tonight.
TANK
Suppose to have it last night.
No one in the office.got a call.
BOOGIE
It was a mistake. Forgot. Tonight.
I've got some bets that I've called
in. I'll have it.
Tank looks Bookie straight in the eye.
T.-L K
Don't bullshit me, Boogie.
BOOGIE
S?caight. I'll have it.
Tank starts to turn away. He quickly tu=-ns back and punches
Boogie with a hard fist to the stomach. Bccgie doubles up.
His breathing comes hard and fast.
ir-no do you think you're fucking
with? You think this is kids
stuff?
He pushes the now helpless Bocgie against the wall.
TANK
(CONTINUING)
You think this is fun and games?
Little game that kids play, huh?
(CONTINUED)
75A.
CONTINUED:
H-e -s' ?? ar ouz d--t:re head-
TANK
( TON:INUI-NG)
'Cause, I'm not amused. Tonight,
Boogie. No if-ands-or-buts.
Tank walks away. Boogie slowly straightens up, takes in
a few breaths and feels. his stomach.
CUT TO:
INT. BEAUTY -SALON - DAY (NIINUTES LASER)
Boogie enters the shop.
BEAUTICIAN
Boogie, there's a call for you.
Boogie having gotten himself together now walks over to
phone and answers it-
BOOGIE.
Hello? C=-701? Just -tilinking
about you. What? The flu?
Are you sure? 102, yeah, that
doesn't sound good. Okay, babe.
Take care. I'll call and check
up on you. Feel better. 'Bye.
(C0NbIbvi.ED)
CONTINUED:
So-o h: ",,s- up -bra
- He's in deep trouble. He looks across the room at Beth
who sits in a chair reading a magazine. He watches her.
Thoughts race across his .ind. He walks over to her and
sirs down.
BOOC:E
(CONTINUING)
Feeling better today?
BETH
I'm not crying. That's about
the only improvement. Thanks
for last night. I needed someone
to just be there.
BOOGIE
Felt like old times, you kZow.
Standing Li, the doorway.
(a small laugh)
Like I was dating you main.
BETH
Boog,,,when we were dating, cfid
YOU care fcr me?
B00GI=
Sure I did.
BETH
11o: because you could do things
to me, but because you cared?
BOOGIE
Of curse, Beth. There were
plenty of girls for that, you
know, if a guy wanted a pop.
But I got to tell you, you were
real good.
was ?
BCOGIZ
Believe me.
BETH
How would I rate?
BOOGIE
Right up there. We had some good
nights. Still think about those
times, and that's long ago.
CC:V'TINL ED
Beth locks away. Her eyes start to tear up. She is on the
edge of-breaking dawn.
BETH
I don't have any sense what I'm
like any-.ore. Don't ?--,ow what
I am. If what I wear is nice.
If I look pretty... just lost all
sense of me.
BOOGIE
I don't know what Shrevie doesn't
tell ya, but you have nothing to
worry about. Yo•i're a definite
looker. A sexy lady.
(A BEAT)
We should get together sometime.
They sit in the chairs, looking off in opposite directions.
BOOGIE
(CONTINUING)
Shrevie going over to Eddie's for
Elyse's football test?
BETH
Yeah? • Are you going?
BOOGIE
No.
BE H
Can we get together tonight, Bcog?
Boogie has accomplished what he warts. Bu= he's not happy
about it.
BOOGIE
Yes.
CUT TO:
1'.'7L. TELE ]rS ION STATION - NI(7r.T
Billy and Barbara walk dowr. the corridcr. Billy is angry.
BILLY
It's mine as well. I have something
to say in this as well. Don't I?
(COI; 1 NTJE )
I
1
CONTINUED
(SPEAKING QUIETLY)
I'm not talking about doing anything
drastic, an abor pion or anything
like that.
BILLY
Well, I get the feeling I'm not
even included.
BARBARA
Keep your voice down.
BILLY
I'm half responsible for this
MESS T
BARBARA
Plea--e. Don't be so loud.
She sees a door and opei:s it.
BAP3APA
(CONTINUING)
In here.
r Billy enters. She closes the door bei.ind.
CUT TO
INT . ANNOLNCBR' S BOOTH - DAY
i'. ROUGH THE, GLASS PARTITION we see the control roc= and
the Stu io floor belc-w. There is some acti•Ti`y gci g on
in preparation for. the rRd-day newscast.
B ILLY
Have you been to the doctor yet?
- BIA?3A ..A.
BILLY
Why not?
BAZBAPA
I'm afraid to. Ccnfi-. your worst
fears, as they say.
CUT TO.
'6R
IN-77- CONTROL BOO -LE, - DAY
J S t e c.--". I C an e c ing o u t equ;pmentprio. to a tie
In the b.g., THROUGH THE-GLASS PARTITION, we see Barbara
and Billy talking in the s:=all announcer's booth.
On the monitors above we see the daily soap operas. The
audio to one of them is on. The audio an asks for voice
checks on the floor microphones.
CUT BACK TO:
INT. ANNOUNCER'S BOOTH
B ILLY
What do we do? Don't you think
we should explore the situation?
Barbara sits on the desk. A small light is d;rectly behind
her. At prese.it it is not on.
BARBARA
- I can't believe' this' happened.
I'm hardly the adventurous type.
Some:.ow i:. Just dcesn' t see= fair.
CUT BACK TO:
TNT. CONTROL BOOTH,
The audio man completes his audio check. Directly behind
him we see Billy and Barbara IN THE GLASS BOOT;:. 'ie picks
up a paper and puts his feet up on the audio c:, nscle.
Accidentally, he kicks on a switch.
CU BA Ci, bO:
I' T . A.?N:1OL'NC:.R' S BOOT'ri
The li?^z behind Barbara turns red.
BARBARA
And that makes iL very difficult.
CU i BACK TO
INT. CONTROL ROOM - DAY
h T e soap opera continues. We hear the AUDIO TO T::L SHOW.
A couple is- having l=ch in a restaurant.
(CONTI-NUED)
COh"TINL D :
T L
a ?L -t.&ar??l y_an .?i-r•aab r -S- '• U41 to '-?trtra .::sV h
but very low key.
SOAP OPERA MAN
He's very, very ill
SOAP OPERA WOMAN
You were there?
BARBARA'S VOICE
I have a great affection for you,
Willy. You're my closest friend.
SOAP OPERA WOMAN
If he dies, what will we do?
CAMERA HOLDS an the soap opera ncnicvrs, the audio man who
reads the paper, and Billy and Barbara in the b . g .
BARBARjA ' S VOICE
I won't marry you, not out of
-_convetaence. - - - -- -- -
SOar OPERA M..NL
I th_nk we should wait.
BARBARA'S VOICE
Not because it's the thing to do.
God, I sound disgustingly brave.
CUT TO:
LAT. IDDIE' S CLUB CELLAR - t?IG?iT
F.d?;ie's
We are LOOKING UP a flight of ste;.s. A door ovens.
Father stands there.
EDDIE' S F Ai :ER
(YELLING DOWN)
----How's she doing?
S}iPEJiE (O.S.)
Elyse has about a 72 so far, but
she's hitting a bad streak.
Eddie's Father comes down the steps. We see Shrevie, Fen-
wick, Modell, and Billy gathered. The basemen has a bar
with neon lights around it, so as to set it off as a show-
piece in the room. The walls are knotty pine.
- (CJa;1: tJED)
T
T
CCNTTNUED :
Eddie and Elvse_are _not-in the rocn:_ They _a-e_j
lat:ndry room. The door is partial l.y open. We hear:
EDDIE (O.S.)
Before the Cleveland Browns Joined
the NTL they were in another league.
what was it .-abed?
'ELYSE (O.S.)
Another league?
EDDIE (O.S.)
Yes.
Lo n g pause. The guys eagerly await the answer.
ELYSE (O.S.)
I don't know.
Shrevie shakes his head and makes a mark on a piece of
paper.
BILLY
What's it now?
SH?,r VIE
I don't know an more. Maybe
about a 67.
BILLY
Passing is 65?
SE E VIE
Yep.
EDDIE (0.S.)
Buddy Young played for a team
't a.t no longer exists. what was
the name of that tea=?
All the guys lock at one ano then . A very tough gtpesticn.
EDDIES FA%:ER
Anybody know that?
Ncr.e of the guys have the faintest idea.
ELYSE (O.S.)
The New York Yankees football
team.
INUED)
CONTINUO :
EDDIE . (0 . S . )
TU-9
MODELL
The New York Yankees footba?l
team?
EDDIE'S r1iHER
They were also in the American
Conference. I contributed that
question.
EDDIE (O.S.)
h T at was the lrngest run from
scrimnaga by a rookie in his
first game?
S HREVIE
Alan Ameche.
EDDIE (0.S.)
We heard that in here. I'm
disqualifying that question.-
ELYSE (O.S.)
I knew that. 79 yard run. Opening
day 1955.
EDDIE (O.S.)
Sorry, Elyse.
BILLY
You blew that, Shrevie.
S E "IIE
Sorry. I got exc.ted. It's one
of the few questions I k-:et-:.
BILLY
How many more?
I don't knew. I've Lest count.
The door to the ton of the stairs opens. EDDIE' S O N THE?
stands there. +
EDDIE' S MOTHER
Elyse's mother is on the phone.
How's she doing?
EDDIE'S rA'?HER
The guys think it could go either
way.
(CONTI`TUED)
CONTINUED :
EDDIE' S MCTILR
E t_ er way. ay. -
Shecloses the door.-
EDDIE (U.S.)
The Colts siged him. A Heisma-n
trophy winner who decided to play
in Canada. Now, however, he plays
for the team. What's his name.
The CA?ZRI A PANS the faces of the guys.
-ErlYSE (C.S.)
Heis=an trophy winner. L.G. Dupre.
EDDIE (O.S.)
No. Billy Vessels.
Er.YSE (U.S.)
I should have known tha
- EDDIE (0:?.?
'Should ofs' don't count.
FZ'YWI CK
Vessels. Out of Oklahoma.
MODELL
She could of racked up points on
that one.
, : : VIE
I have no idea what the score is
now.
MCDE`- T.
Want to bet she goes do,.-n, for the
count?
aDL (0.5.)
-T ast question.
The guys and Eddie's Father c ghc:2n up. Tension fibs the
room.
EDDI: (O.S.)
(CONTINUING)
The Colts had a team here, lost
the franchise, then got one from
Dallas. What were the colors of
the original Colt team?
CO:tT HUED)
CONTINL`ED :
Woo. A ball buster.
MODELL
( :.soling to himself)
The original colors?
EDDIE'S FAT:R
Also my question.
ELYSE (O.S.)
Original colors? Green and gray.
-EDDIE (0. S - )
Right.
B ILLY
(Jumping up and
APP LAUDING)
A real scrapper! Tough question
and she pulls it out of a hat.
The other guys don't share his excitement.
BILLY
(CONTINUING)
Come on, guys. Green and gray.
Any of ycu guys know that? Cone
on. -Give her credit.
n T I I9
We hear EDDIE'S. VOICE. The guys quickly "shhhs doom.
SHRE IZ
Tct<,l's coming up.
EDDIE (O.S.)
True and false. 72. Multiv?e
choice. 58.
MODELL
__- _ Killer choices. Conf::sing.
EDDIE (C.5.)
Short answer. 64.
Eddie totals. The guys wait.
BILLY
What do you think?
MO DELL
Pick 'em. .
( C 0 NT INLED)
I
CCH' INUED :
Eddie' 5-Father walks the war
EDDIE (0.S.)
The tocal is... 63.
I
ELYSE (O.S.)
OH NOT
r E WI CK
A cliff hanger.
.BILLY
Two points.
S HREVIE
What do you think he'll do?
EDDIE' S FATHER
He'll give it to her. Good
sportsmanship is worth two points.
The door -to the ? aundry room -opens. Eddie steps into the -
room. He looks at the guys and his Father.
EDDIE
The marriage is off.
CUT TO:
INT. BOOGIE'S CAR - NIGHT
He sits in the car and waits. Beth comes out of the house
and dc--m the walk. She gets in the, car-and s la:.s the dcc m
shut. She is excited. She leans over and kisses Bccgia
on the cheek.
BETH
W' ere are we going?
- BOOGIE - -
Ferwick' s apa_ amen t .
He hands her a long blonde wig.
BOOGIE
(CONTINUING)
Here, put this on.
BE TRY
What's that for?
(C0INTINJZD)
CONTIN=M :
- BOORI° __
Case someone sees us. 'They might
.think you're Carol Heathrow, or
somebody like that.
She slips the wig on her head and straightens it out,
BETH
How's it look?
BOOGIE
Fine. Jus t fine.
'they 'drive away.
CUT TO
EXT. \EDDIE' S HOUSE - NIGHT
Fenwick and Shrevie walk out the front door. From inside
we hear YELLING AND SC3E.L NG between- Eddie and -his _-parents
SHREVIE
You going up to the direr?
FENWI C+.
No, got to validate the Heathrow
bet.
SHREVI?
Christ, yeah, of course.
They approach their cars.
(CONTINUING)
fen, you mind if I came along?
Fenwick thinks about it.
SII; VIE
(CCNTINSI_NG)
I won't matp a so=d.
FF_.T i I CX
It's a small closet. Gotta be
will.
SHRVIE
Great.
,:
They get into Fenwick's car and dr.-;e off.
CUT TO :
-EXT . S T REZE T - NIGHT
Boogie drives his Desoto along. Beth, wearing the blonde
-" Grp; s shy a.s si4e.
CUT TO:
EXT. S TR Z T - MIGHT
Fenwick's Triumph turns.a corner and heads down another
street.
CUT TO :
INIT. CAR - NIGHT
FENWI CK
The flip side of Donna?
SHREVIF.
Easy. La Bamba.
CUT TO :
INT. BCCGIE' S CAR - NIGHT
Boogie is uncomfortable. Knowing what he is about to do
is wrong. Beth is silent. -
CUT TO:
F
INT . F =ti'WICK' S AFAR TNT - NIGH„
Fenwick and Shrevie enter the dark acar t=enc. Fenwi ck
doesn:' t t•.:,-m on the lights. They nog c toward the bedroom.
CUT TO:
--- INT.--BEDROOM - NIGHT -.
The room is 'dark.' A shaft of light corning through a win-
dow offers the only source of illumination. Fen-wick opens
the closet door. Shrevie steps inside.
F-NWICK 1
You crouch. I'll stand.
Shrevie kneels down. Fenwick enters and closes the door.
It. retains about four inches open.
CUT TO:
SHREVIE (O. S . )
Fine with me. Good view.
CUT TO:
EXT . r EN'WI C:X' S APARTMENT - NIGHT
Boogie and Beth are walking toward the apar O_r.: building.
BOOGIE
You've got to be real quiet inside.
No talking.
BETH
I think you're a little paranoid.
The walls are very, very thin.
Promise?
BET;I
Sure.
They approach the door. Boogie unlocks it. He starts co
open the doer, then closes it. He's changed his mind.
BOOGIE
Let's go.
He takes her by the a= and leads her away. Beth is ccn-
fused.
BOOGIE
(CONTINUING)
It's a mistake, Beth. Bet or no
--BET-
BETH
What?
They approach the car. Bocgie opens the door. Beth gets
inside.
BE'? :-i
(CONTINUING)
What are you talking about?
Boogie closes the door and goes around to his side. He gets
in, starts the engine and pulls away.
CUT 70
INT. BEDROOM - ANG't ON r-: SLIGHTLY OPENED CLOSET DOOR -
NIGHT
FENW1C{ (O.S.)
They should be here now.
SH VIE (C..S.)
Let's wait.
C. T TO
INT. CAR - NIGHT
Boogie is very urser, with hi=self. Beth is calm.
SHE HOLDS
the blonde wi'g in tier lap.
BETH
I was suppose to be Carol Heathrow?
BOOGIE
That's right. Sick thing to do.
I'm real sorry.
They drive i.^. silence. Beth plays with the blonde hairs
of the wig.
BET:
Thank you.,
BOOGIE
For what?
BETH
At least you had enough respect
for me to call it Off. That
says a lot.
A beat.
BOOGIE
Shreve and you should work out
ya t t:.i_^.g
B;.-r-:
T wish I k=ew what to do.
300GIE
I'm not real good at talking to
girls when there's problems and
all. With me, if I have a hassle
with a girl, I just split. But
you guys should try something.
-It would be worth it.
CUT TO:
EXT. SHREVI AND BETH'S HOUSE - NIGHT
Bowie's car is culled over. -Beth's door is openand she
stands on the curb talking to Boogie inside the car.
BETH
What are you going to do about
the money?
Boogie szugs his shoulders and smiles at her,
BOOGIE
Take care, babe.
Beth closes the door: Boogie drives his Desoto away.
Btth watches him as he disappears down the street.
CUT TO:
TNT. STRIP JOINT - NIG'iT
-Bil Ly and Eddie are in one of the clubs on Baltimore's
famous Block. In the b.g. a bored STRIPPER goes through.
the mo tions. The' drier thz.:. -?ps out a monotonous beat
and a saxophonist drones away,- A few sailors and some
other customers sit at cables around the stage area. All
t h e tables have wooden =a? lets . When the Stripper does
something they especially like they pound the table with
tr.Le mallets.
Billy and Eddie both have beers and chasers in front of
then. Billy sips the chaser and his body actually shakes
from it for a few seconds.
BILLY
There is no reason to actually
like this, you know that.
EDDIE
An acquired taste
BILLY
No matter-how long -I drink- whiskey
I still don't like it.
He takes another sip, and once again shakes. Then he sips
the beer.
BILLY
(CONTINUING)
Now beer's another story.
(CONT INUED)
91.
CONTINUED
Eccie watches t::e Stri pa= zn owing a few bps an g in s.
EDDIE
You know something?
BILLY
What?
EDDIE
I don't Iike strippers. I mean,
so they show a little here and
there. So what? But, give me
a coc. rle of ranoosas in a pink
sweater.., look out?
BILLY
Remember the first time we became
aware of breasts on girls?
EDDIE
Arlene Stowe.
BILL Y
Showed up for the new school year
and there they were.
EDDIE
Seventh grade.
BILLY
We gave little Joel Cher--I a nickel
-apiece to find cut is they were
real. Told him to be slnbcle. He
walked over, reached uc and grabbed.
T::rned to us and yelled, 'They're
real!'
EDDIE
The whole thing with girls is
painfu?. And it keeps getting
acre painful... instead of easier.
Billy downs his beer and orders tT,o more.
BILLY
Remember 'copping a feel'? Boogie
was the first. Said it was great.
So, when I tcck out Ruth Ray I
figured I had to do it.
EDDIE
Ruth Ray, eighth grade.
CC
CONTINUED:
Right. Sat on the couch in her
club cellar for hours, trying to
figure out a way to get my arm
arc:,tzid her. Finally, I learned
the 'move.' I yawned and put my
arm around her shoulder.
He demonstrates on Eddie.-
BILLY
(CONTINUING)
I
Then came the big task of getting
my hand down to her-breast. By
the time I worked un the nerve
to move down, I realized my arm
was asleep. Figured out there
wasn't enough time to take it back,
ge6 the feeling again, acid start
over. Had to be in by eleven.
Time was running out. So, I move
toward- the breast -with my arm - -----
asleep. My first copping a feel
was like this. -
He bangs his limp arm against Eddie's chest. He bps it
again.
BILLY
(CONTINUING)
Next time I saw the guys they
said, 'Did you cop a feel?' I
said, 'Yeah.' 'How was it?'
'Great.'
Eddie laughs and Billy joins in.
CJ1 TO:
---EXT. -DINER - NIGHT
R
Bocgie pulls into te diner parking lot. Fenwick and
Shrevie race over to the car. Boogie opens the door.
17;
Bong, you should get outta here.
Tank's Inside.
Boogie gets out of the car and slams the door shut. He
looks coward the diner and thinks a moment.
(CONTINUED)
CONTINUED:
S HR VIE
tiny Con ycu wait until he splits?
BOOGIE
He'll just keep looking for me.
He starts toward the diner.
BOOGIE
(CONTINUING)
Hand's dealt. Might as well
play the cards.
The guys hang behind? Boogie continufts on. Inside the
diner we see Tank moving along the aisle toward the door,
Boogie heads for the door. Just as he reaches it, Tank
steps outside. -
TANK
Boag..
BOOGIE'
Tank. --
TANK
Lucky can.
BOOGIE
That so.
TA K
Yeah. The Bagel just raid off
your debt.
Boogie looks at him, trying to size up the situation.
Wcnderirg if he's r=ning a nurbey for scale reason.
B COG I E
We're even? Straight?
TA K
T'hat's the story.
Tank starts past Boogie.
BOOGIE
TANKS
Tank tu :s. Boogie slams his fist into his stcWach. Tank
drops to one knee in pain.
(CC'TTINL' C)
94.
CONTINUED:
OUGIE
(CONTINUING)
I still owed you that.
He enters the diner. Fenwick and Shrevie are amazed by
what just happened.
CUT TO:
INT. DINER - NIGHT
Boogia approaches Bagel wL_o sits at a booth alone. He
JOINS HI--
BOOGIE
Thanks, Bagel.
BAGEL
Your mother called. She was
frantic. So, out of respect for
your -f at:.er. - - -
He sips his coffee. Then h,.i picks up a toasted bagel and
butters it.
BAGEL
(CONTINUING)
Your mother feels you're just
wasting your t4---e in law school
it's not for you.
BCOGIE
Probably right.
BAGEL
Ccee to work for me. There's a
lot of money to be made in the
home improvement business. You'd
be very good at it.
Boogie thinks about it. Bagel chews on his bagel.
BOOGIE
Well, I was only really using law
as a come=on for the girls. They
like that. But, what the hell.
(HE SMILES)
I can always lie.
The waitress passes..
(CCNTIB3UED)
95.
CONTINUED
VVGIH
(CONTINUING)
Enid, some french fries and gravy.
BAGEL
Call the two thousand an advance.
BOOGIE
I'll work for you... for awhile.
Then, I'll have to move on to
bigger things.
,.BAGEL
Always a dreamer, eh, Boog?
BOOGIE
If you don't have good dreams,
Bagel, you've got nightmares.
He flashes him a smile.
CUT -TO
tNT. STRIP JOINT - NIGHT
Billy and' Eddie are still dri^king at the bar. They are
not drunk, just ve-cy happy.
EDDIE
I'll tell you one chinz that
happens when you get mcrried.
You have to give up your old
friends.
Billy listens to the music, slapping his thighs, crying be
get the band to pick up the beat.
EDDIE
(CENT INUING )
idle wi Fe wants you to get new
friends. 'Cause me and you have
secrets she'll never know. And
new friends can never be as good,
'cause we've got a history.
BILLY
It won't change, only if we let
it.
Billy keeps ,slapping his thighs, but the dr.:mmer and the
saxophonist continue on, unaware of Billy's private urgings.
(CONTINUED')
C0N.II'LcD :
BITT Y
f nti- Yirg?
This is getting me crazy.
Billy goes toward the small stage.
BILLY (O.S.)
(CONTINUING)
Come on, guyst Pick up the beat!
They don't respond. Eddie sits at the bar amused. Billy
claps his hands to a strong rhythm, but of course, the
guys pay no attention.
Billy goes up on the stage and pulls a cover off a small
piano in the corner. He sits down and runs his fingers
down the keyboard, then starts to play. It bas a nice,
pleasant sound to it. The dr er and the saxophonist
stop, not knowing what to do. The Stripper also stops.
The club bouncer at the front door turns toward the stage,
notices something is wrong and makes his way forward.
Billy's "piano playing becomes more intense. Stronger. He
drives the keys hard. Full tilt rock ane roll. The sound
becomes infectious. The sailors and other customers pick
up the beat. One after another they start to pound the
tables with the wooden mallets.
Eddie moves toward the stage banging empty beer battles
together .
The saxophonist joins Billy. Then the dry--?e,. The
Stripper stands by the side of the stage watching. The
music builds.
Billy's fingers pound the piano. Eddie jL ps up on the
stage and starts dancing around. He grabs the Stripper
and they jitterbug.
The sailors and other customers are cn their feet, banging
.the mallets Cr. the tables for all they are worth. A room
full of dr-=..e,s. The Lemon heightens.
Billy kicks back the stool a la Jerry Lee Lewis. The crowd
cheers. The bouncer cheers along.
The saxophonist struts the stage playing his heart out.
The dr'er drives the bass dr.:.m with his foot. His hands
sweep back and forth across the skins.
Eddie's feet are flying. Enthusiasm over grace. The Scrip
per is a whirlwind of motion and sexuality. The tempo is
fierce.
(COVTI:TLZJ)
F
C0NTTNLED:
Ril i" _lMI IkC tZtT ?' ??rt ,,..-,p n ? ca vnn?+nn r?
The .sc builds, and bu=lds, and t.,en altogether they
s u.. WW&A. e place e:cplodes in cheer and applause,
CUT TO:
EXT. TFZ BLOCK - NIGHT
Billy and Eddie walk with their arms around the Stripper.
They are enjoying one another.
EDDIE
. let's see.
STRIPPER
First joke you remember.
RDDIE
Ah, let's see. Filth ?rade. Junior
Scholastic Magazine. Hic' tory
hickory, doc._. _.The mouse ran . up the..,-
clock. The clock struck one.,, and
the other taro escaped with minor
injuries.'
Billy and the Stripper boo. Eddie Laughs.
STRIPPER
That's terrible.
_ EDDIE
Fifth grade huWcr.
S TRIPPER
Since then your hu o has moved
up to the sixth grade, is that
it?
Eddie laughs. He enjoys the put-down.
_..._
EDDIE -
You're all right.
STRIPPER
You guys have made my night. You
should come dewy, and hang out
more often.
EDDIE
Don't think I can. Getting ma--- ' ed.
Billy looks- at him. - Eddie smiles.
(COii T INLTED)
EDDIE
(CONTINUING; TO
BILLY)
Figured she would have gotten the
Alan Aaeche question that Shrevie
screwed up.
BILLY
Benefit of the doubt.
EDDIE
Exactly.
STRIPPER
I love weddings. Just never found
the time to settle... or wanted to.
(TO BILLY)
And you?
BILLY
No marriage.
STRIPPER
Got a girl?
BILLY
Not really. Just in love.
STRIP?ER
Does the girl know?
BILLY
Yeah, I told her about it.
STRIPPER
Told her? Did you show her?
Billy thinks about that as they enter an all-ciaht cootee
shop.
CUT TO:
EXT. COFFEE SHOP - NIGHT
Billy, Eddie, and the Stripper sit in q.booth by the win-
dow, eating, drinking and laeeahing.
The CA?'RA SLOWLY .PULLS BACK. The first rays of morning
light are breaking behind the building. The CA:"'RA KEEPS
PULLING BACK.
CUT TO:
E cr. COUNTRYSIDE - DAY
,'vN Cc?ISHOL' rides her horse across the gently rolling
hills . The ho
L se and her-"are one; Grace and bra
She rides OUT OF F: 'E. Seconds later Boogie rides a
horse INTO FR.'%lE. He pulls up on the horse and cc .es to
a stop. He watches Ann ride, then pulls up his collar on
his wool overcoat and rides off.
Boogie rides after Ann. Although he is not a goad rider,
he pushes to pick up ground.. Finally, he pulls alongside.
Ann slows her horse and Boogie does the same.
BOCCIE
Nice morning.
ANN
Yes, it is.
BOOGIE
Mornings I've always felt are a
good time to ride.
- Ann doesn't- respond. -
BOOGIE
(CONTINUING)
(f You live around here?
ANN
Not around here. Here.
Boogie looks around what seems like endless ccun yside.
He's over,whelmed.
LNN
(CONTINUING)
Which means you are trespassing.
Boogie looks her in the eye and flashes his smile.
BOOGIE
-- '---I was wait ng for an invite.
Ann studies him.
ANN
Let's ride.
She kicks her horse and gallops off. Boogie follows As
they ride AWAY FROM CAMERA.
ANN
(CONTINUING)
What's your name?
(COIN TIL =))
CONTINL D:
BO CI '
Boogie. As in Bobby Shef tel..
They ride over a crest and disappear from sight.
CUT TO:
INT. BANQUET HALL - WEDDING ROOM - NIGHT
The "Wedding Rcom" has been elaborately decorated. Potted
blue and white flowers in stands line the aisle to the blue
and white flower-d altar. The room is a festival of blue.
and white.
The guests sit in fold;.ng chairs eagerly waiting for, the
wedding procession to begin.
The MUSIC BEGINS. However, it is not the traditional
wedding math but rather the Baltimore Colts'Fight Song.
Even though the organist has softened it, there is still
_a _"rah-rah" quality to it. The flower girl comes down the---
aisle throwing white flowers on the blue aisle.
Modell with his GIRLFRIEND.
GIRL RIEND
What is that music?
MO DELL
Colt Marching Song. Sounds good,
huh?
The ushers come for4ar3. Boogie and Fenwick, followed by
Shrevie, who walks alone. They are all smartly dressed
in black tuxedos.
The bridesmaids come forward. Beth and another girl. Fol-
lowed by tao more girls. Followed by two more girls.
Billy and Eddie start down- the aisle. Behind them is
Eddie's Mother and Father. They walk on either side of
his grandmother.
The COLT ING SONG CONTINUES ON.
Eddie sees someone sitting one seat in from the aisle. He
whispers to Billy.
BILLY
Moon Shaw? Where?
(CONTINUED)
CONT ?NUZD :
td t rh? -:td. B:L117 1K5 otter.
BILLY
(C ONTINUING)
You're right?
As they start to -pass, Billy leans into the row and grabs
Moon Shaw by the shirt. He pulls back his fist. Jxoor is-
shocked. -
BILLY
(CONTINUING)
Hi, Moon. °
He smiles, lets him go and rejoins Eddie, having missed
only a few steps. No one is quite sure what has happened.
Quickly the attention is back to the wedding procession.
LONG SHOT -. THE HALL
--as Elyse and her -mother and --father-come down -the-ai-s7le.-
CIJT TO:
INT. WEDDING ROOM. - TIGHT SHOT - EDDIE'S .-AC NIGHT
IAB3I (O.S.)
Do you, Edward, take this woman,
Elyse, to be your lawful wedded
wife?' For better or worse, in
sickness and in health,. until
death do you part?
EDDIE
I do .
RABBI (O.S.)
Do you, Elyse...
TIGH SHOT - FENWIC{' S FACE
CBI (O.S.)
take this man, Edward, to
be...
TIGHT SHOT - BOOGIE'S FACE
RABBI (O.S.)
your lawful wedded husband.
t For better or worse...
TIGHT SHOT - BILLY'S FACE
R4_3BI -(O.S.)
in sickness aril in health,
till death do you part?
TIGHT SHOT - EDDIL' S FACE
ELYSE (O,S.)
I do.
Eddie smiles.
RABBI (O.S.)
I now proncui ce yot an and wife.
CUT TO
INT . BANQUET MALL - NIGHT
-The hall is also decorated in blue and white. The table
clothes, th_e napkins, ribbons, flowers, the bandstand, - -. - - - __ - ---.-
the band.
The six-piece band plays a nice, perky, dance t ne. Some
women dance with women. Mothers dance with sons, fathers
and daughters and some husbands with wives.
Shrevie dances with Beth and they seem to be enjoying
themselves.
C.?NaRA PANS TO Fenwick and the eleventh grader, Diane.
DIANE
Why not travel the United States?
Fr`IW CK
It's been done. Europe. Europe
looks like a smile.
Cr=1 'RA PA NS TO Boogie and Ann C'._sho'.m. He is staetieg
Co walk coward the buffet table.
ANN
Bobby, I think I will have a few
more of.
(holding up an
HORS D'OEUV-E)
, whatever this hors d'oeu' e
is.
CAA PA PAN'S TO a banner on the back wall that reads:
EDDIE AND ELYSE. FOR THE 60'S AND FOREVER.
CUT TO
INT. BANQUET HALL - NIGHT (SLIGHTLY LATER)
A SLOW SONG IS PLAYING. Billy- and Barbara dance.
BARBARA
I made arrangemefits with my boss.
He said not to worry. The job
was mine.
BILLY
That was nice of him.
BARBARA
So, I'll work and care for the
child. It can be done. I'll
just have to put up with those
who want to think badly of me.
BILLY
That's not going to be easy.
BARBARA
I know
The baby is ours, Billy. We can
both celebrate that. You can
love him just as much, spend time
with him or her.
Boogie and Ann pass then Boogie kisses Ann lightly on
the cheek.
BILLY
You know what I realized just
yesterday? I've been intimidated
by you. I always liked you because
you were strong, independent, and
all. But I've been intimidated
by that as well. I've always held
-.back with you.- When we kissed, I
held back. The same when we made
Luve in New York. I keep thinking
I have to be special, like normal
passion wasn't proper... as if it
were just too ordinary and we were
beyond that.
Barbara pulls away from him slightly so she can see his
face. There's a sad look in his eyes.
(CONTIN ED)
CONTINUED :
BARBARA
If that's the case,
think that's a hard thing to
CORRECT;
She kisses him, they hold each other tightly,
BARBARA
(CONTINUING)
We've got plenty of time to find
out about one another. Plenty
of time.
_He .kisses her. They stand still on tha dance _floor nsothers dance around them.
CUT TO:
INT. BANQUET HALL - NIGHT (LATER)
Elyse stands with her BACK TO THE Holding the
bouquet up toward -the eagerl - await
SJ
She tosses the bouquet from the stage.
Seated at the table
They look down at the bouquet, then at Boogie,
There is a faint smile on their faces.
THE END
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