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Diner Movie Script

Writer(s) : Barry Levinson

Genres : Comedy, Drama

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                                  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