DINER by 7 Barry Levinson SeDINER ba —- ‘ 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 winter coats hang from hooks on the wall. In the b.g., there {S constant traffic o£ pecple coming and going from the rest rooms. From above we hear the MUFFLED SOUND OF THE ROCK AND ROLL BAND. Femwick is in his early 20s and dressed in the "JOE Estisesw arple of the late fifties. Sports jackac, 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 outvard anger, he punches his fist through a. window pane. Seconds later he breaks another window with is fist. Fenwick, picking up the music beat from above, struts to _ the sound as he approaches another bank of windows. He calmly breaks anotner window pane with his fis A GUY coming out of the ba ‘ Jactions and then heads up com in the b.g. sees Fervick's steps. cuT TO: iT INT. DANCE HALL - The crowd is gathered around the bandstand listening to the local group, the SHAKERS, playing theiz popular hit | HOT NUTS. “The song ts played toward the end cf the even- ing because of its risque iyrics. BAND LEADER Hot nuts, hot nuts, get from the peanut man. : . (MORE) (CONTINUED)7 CONTINUED: BAND EADER (CONT'D) jh tow nuts Thot nuts, get Yea 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 scuething of a "Dandy," flash: in dress than others 5 hough he isn't particularly good looking there is something about his attitude that is very appealing to girls. Boogie azter hearing the Guy heads downstairs. INT. BASEMENT - NIGHT Fenwick casually breaks another window with his fise. His hand is bleeding. Boogie approaches. BOOGTE Wwaat's up, Fen? TICK -~ Just breaking windows, Boog. ecto BOOGTE - What for? FENWICH It's a smile. He breaks another window wh his fisc. BOOGIE C'mon, don't be a scuck. FENWICK I know that glass is cade sand, but how come you can see ough it? er window. Boogie grabs hin. BOOGIE Leave the windows alone. What's the matter wich you? FENWICK, It's a smile, that's all. BOOGIE I'm cracking up.CONTINUED: ——Fenvick struggles_toget_free BOOGIE (continuing) I's 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 i Gave her away. BOOGIE What? Gave her away. Glazer said tee —. She was death. So, I said if you like the way she locks, take her. BOOGIE Waat are you, the Salvation Arny? FENWICK Charged him five bucks. BOOGIE C'mon, upstairs. (as Fenwick stares at C'son. They walk away -FROM CAMERA. BOOGIE (coneinuing) You really are nuts, you know that? FENWICK Me? What about he: She didn't have to go. I'm nuts. Get that. BOOGLE That's what you get from dating eleventh graders, Brains developed. FENWICK Buc hez cits were,CONTINUED: 7 __ BOOGTE eee doo Gare erareiereucres cence f(T Vora es i FENWICK They were? BOOGIE First hand info. FENWICK Shit, then what am I pissed about? They disappear up the steps. INT. DANCE HALL - NIGHT (SLIGHTLY LaTER) The band is on a break. A FRANK SINATRA RECORD is PLAYING. CAMERA 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 cakes Sinatra very. seriously. aa SHAE approaches Eddie. SHREVIE, Waere's Elyse? : EDDIE Talking with your wife about the fucking wedding plans. SHREVIE cold feet? Gettin EDDIE They've never been warn Boogie is talking wi that Fenwick had che attractive petice ¢: DIANE, the young eleven Lling out with. She i: with large breases. BoociE How can you take Glazer over the Fen? DIANE "Cause. BOOGIE “ Diane, did you know that Glazer bought you for five bucks? That's che kinda guy he is. (CONTINUED)CONTINUED; a ~ DIANE: ——~ : He did? BOOGLE Do you want to leave with Glazer? DIANE Not really, but Fenwick scares me. Why don't you take me home? BOOGIE Diane, I'm in law school at nights, Ihave 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 eee -- + =--+ I do during the day. - a = (he puts his hand up and strokes her cheek) Diane, go with Fen. For me, okay? CUT TO: EXT. COUNTRY ROAD - NIGHT Fenvick’s TR3 speeds by, Diane is in the car. F. Ke is telling her something and sie laughs. Boogie and MODELL follow, Behind them, Shrevie and his wile BETH follow in 2 1950 Hudson Hornec. Fenwick floors his car and disappears around a bend. The other cars do not keep pace. INT. Si E'S CAR BETH Elyse feels that Eddie is gecting very sensitive abouc the wedding. SHREVIE We were talking about it. (CONTINUED)CONTINUED: fee aeeu eR ELLs EEE @ thinks thac since he never talked it over with Billy beforehand, ic kind of bothers him even more. SHREVIE The closest of the close. You know 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 dida'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. i sua BETE an Elyse's mother is very upset with Eddie. They picked out a vellow : and white mocif for the wedding. ea You know, like we did, tablecloth, fae napkins, mzids-of-honor. Anyway, Eddie objected, He wanted blue and white because that's The Colts’ colors, Refused to give in. SHRE Yeah, sc? SETH Well, you know how stubborn is. ’ SHREVIE Could be worse. It could be black and gold. Steélers' colors. Shrevie notices Boo: "s taillights come en. He slows down. Something is wrong up ahead. ' EXT. ROADSIDE ~ NIGHT Fenwick's car is turned over. The headlights of the car e brightly against a tree. ‘i : (CONTINUED)CONTINUED: It's difficult to see exactly what has happened in the darkness of the road. Boogie, Modell, Snrevie and Bech exit the cars and walk toward the accident. As they approach we see Fenw: car covered in blood. FE halfway out of the me cannot be seen, SEREVIE (to Beth) Stay here. The three guys move apprehensively toward the car. Fenwick's face is covered in blood, so auch so that it-can hardly be recognized. MODELL (veaeting to the sight of Fenwick's face) Oh Jesus. Boogie keels next to F explodes with laughter fek. After a beat, Fenwick BOOGTE You son-of-a-bitcal Fenwick screazs in laughter. BOOGIE ing) (cor You asshol. e laughs. The rest of ne is noc acused. Fenwick craw: FENWICK I really got you guys, 4 Didn't 1?) Been carcying a katch bottle around for weeks. Diane steps cut of the woods. She lau nervously. DIANE Lhid in the woods. Didn't wane any ketchup on me. othe right (CONTINUED)CONTINUED: You got te. MODELL ene tees Christ, I thoughe you Bought it. FENWICK Real hard holding back the laughs. Real hard. BOOGIE You outdid yourself. BETH That's very mature, Fenwick. Fuck mature. Hey! Sorry, Beth. FENWICK SHREVIE FENWICK BOOGIE, Turned the car over yourself? FENWICK Yeah, give me a hand. No way. Boogie sti pleads wit! atused, de Bae oe Es (witht of a Fenwick, you You must put You need seme disc: life. C'mon, guys. it over ‘cause of the angle. hogecting ic up. bead BOOGIE, FENW BOOGIE the authericy ol teacher) turned that car over. ict upright yourself Tine in your FENWICK It was easy push. Tefil (CONT:CONTINUED: Boost and Modell get in the car. Shrevie and his wife get in the Rudson. i wT MODELL Have you tried? You haven't tried. WICK (desperate) I'm buying at the diner. chout missing a beat, Boogie and Modell exit the car. BOOCTE od Shmick, another five seconds ani you'd have us for free. They laugh. Shrevie starts his aar. Peete INT. s REVIE'S CARL : = Hate Ea Hs BETH 7 You guys really are sick, you know thar? SHREVIE That's ‘cause you got no sense of buzor, He pulls away. EVIE (continuing; yelling ‘out the window) See you guys Later at the diner. rs] cur TO: aerate "> EXT. D Ro + NIGHT The diner is one of che typical L structures. Almost deco in desig: front, including Shrevie's Kudson to a car parked over in a corner, TABACK has his open, filled with pants, A few guys are going through the goods as Taback tries to wheel-and- eal. metal and glass are parked in CAMERA PANS (CONT =D)CONTINUED: Baa secsec eae ABACK acuscatastcieg (to one of the guys) Seven bucks. All wool. Yeu can't beat it. : The GUY holds it up. GUY The crotch locks too short. Don't care for chat. ‘TABACK What aze you afraid iz's gonna got” canght in the crack between your lags? The other guys “Whooo" in reaction to Taback's put-down. cur You sure are hot shit since you've faken over your father's business ere. He throws the pants back and walks away CUT TO: INT, DINER - NIGET Tae di ight hangout... bag aAFound one side, the alc: => guys ih their 30s and 40s. Some there’cn the weekends, and the Boogie-Shrevie gays in their early tyenties.) One thi: apparent. Taat is the unspoken rule. NO DA’ Eddie, Shrevie and Modell sit in a booth. They all eat french fries and gravy. EDDIE You can't compare Ma Sinatra. No way. ‘ SHREVIE They're bech great singer: EDDIE Yeah, but you can't compare them. Sinatra is the lord. He's big in movies, everything. (CONTINUED)CONTINUED: SHREVIE - rf Macl is wasn't a blue, he'd be a big movie star. MODELL That's true. There's hardly any blues in movies. Just sidekicks. EDDIE C'mon, they could've put Mathis in ‘From Here to Eternity." They had blues in the war. i SHREVIE Mathis didn't come around until after that movie. EDDIE : Ave you telling we Mathis could've played Maggio? Is that what I'm earing? MODELL. Who do you make-out to? Sinatra or Mathis? EDDIE For that, Mathis. SHREVIE I'a married. We don’ They laugh. Ferwick enters and heads tow. Passes the Waicress. the guys' booth. He FENWICK Enid. French fries and gravy, and a cherzy coke. He sits down and joins che guys. SHREVIE How'd it go? FENWICK Pretty good. Said she nevez wanted to see me again. MODEL] Cnaraed her, huh? (CONTINUED)CONTIN fod ——~ All -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. FEVWICK Kidding. Said she wanted to see te again. Liked me, sort of. EDDIE. Emis? Fenwick nods, He sticks out his pinky. Eddie grabs ic { with his pinky. Therefore it’s the truth. : ANGLE ON THE ALUMINUM SIDING GUYS’ BOOTH BAGEL is holding court with his guys. BACEL The guy's canvassing the neighborhood, and I notice he's stopping at the brick houses. He's gto sell aluminum siding to the brick house owners. Ee (he laughs) Sure enough, he comes back to the car. He's gota lead. Fools rush in, right? To the guys, this type of story is fascinating. Bcogi cones cut of the rest room in the b.g. As he starts to pass 3agel stops hin. Boog, come here. Boogie approaches. BAGEL (contunuing) You lay down a bet with Barnett? BCO Don't remember. (CONTINUED)_ __BAGEL__ ae Creee, nobody becs eo thousand and forgets. BOOGIE Okay, so? What's the point, Bagel? BAGEL Where you getting two thousand? You haven't got a pot to piss in. ‘BOOGIE Game's a lock. BAGEL Nothing's a lock. You want me to gall 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. You call thac an honest buck? Boogie approaches the guys and sits dom. BOG: Bagel heard about my baskecball, bec. - | wUELL" . I'm down for £4! BOOGIE Woo, big spender. I'a tell They're shaving points on tt This is no bullshic tip. Gee in, guys. EDDIE I'll think abouc it. Lister do you pick? Sinatra or Ma ng you. game.CONTINUED: ——. BOOGIE -—_-- — Presley. EDDIE cesley. You're ck. BOOGIE, Did I tell you guys I'm taking out Carol Heatrow tomorrow night? FENWICK You're taking out Carol Heatrow? BOOGIE (sarcastically) No, you're taking her out. EDDIE She is death. BOOGIE Only go for the best. SHREVTE Cold. BOOGIE Waat's the bet she goes for my pecker on the firsc date? FENWICK The only hand on your schlong is gonna be yours. BOOGIE Bet me twenty. FENWICK You got it. EDDIE I'm in. MODELL Me, too. SHREVIE I’a in, but we need validation. BOOGIE All right. I'll arrange it. CUT TO:EXT. AIRPORT RUNWAY - NIGHT P—--- -—---a four engine prop “comes into view 2 : approach. The plane sails inches then touches dow. ‘i 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 ad wears the i typical button-down’ shixt, 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 _ eae eeCaeeceee eae Billy exits the building carrying a suitcase. We hear a HORM BEEPING. The sound attracts his attention. de ‘ 4 smiles. ANOTHER ANGLE cael to include Shrevie's Hudson Hornet, as it backs up, coving toward Billy. As it approaches, the back door opens. BILLY (throwing his bag inside) You guys are too much. know I'was comin’ in this ae: BOOGIE (0.S.) C'non, get in. Billy climbs in and slams the door shut. _ away. dson pulls CUT TO: 3 EXT, COUNTRY ROAD - NIGHT The Hornet speeds down the quiet two lane road. CUT TOINT. CAR - NIGHT ~— —_—Shrevie drives..Boogie sits shotgun. Fenwick and Billy ._ re sit in the back seat. ¥ BOOGIE He's crazy is what he is. With the Shrevie here it was jusc nuts, but Eddie? That's lumacy. REVIE Marriage is alright. I'm not complaining. BOOGIE : Not complaining. Ummm, sounds good. FENWICK "Course it isn't a huadred percent sure yet, BULLY What? He's getting marsied on -.. . New Year's Eve. BOOG: i Not until she takes the test. : r BILLY . Boog, what are you talking about? FENWICK Eddie's going ta eve Eylse a football test. If she fails, the ! ma: . iage is BILLY | Are you shitting me? BOOGIE You know Eddie and the Colts. Very sericus, The test has someching like a hundred and forty ques True and false, multiple choice, short answer. ns . FENWICK Oral test. He doesn’t wane any sheatiug. BILLY What happens if si going to call it of ' what I hear? fails? He's 2 Is that (CONTINSHREVIE +> aaa ee He Suedrs to it. The test was supposed to be two months ago. Elyse keens delaying. Heavy pressure, FENWICK Her plan could be, though, to stall until the last minute. Then if she fails, it doesn't matter. It's a fait accompli. Knot's tied. BOOGTE Fait accompli, my ass. He walks. BILLY I doubt it, I cell you, it was a real surprise. No call. Just a note. Why do you figure, all of a sudden? BOOGIE Bottom line? Elyse turns into Iceland and Eddie's noc the type to lock elsenhere. Eddie goes for the marriage, and Elyse ts back to being the Bahamas again. SHREVIE You dpn't know that for sure, Boog. BOOGIE I’m a goed judge of human nature cur TO: EXT. HILLTOP DINER - NIGAT The Hudson is parked out beginning to break. THROU WiNOOW we can see the - geys sitting in a booth eating. They are obviously having evie takes a sip of coffee. Billy says Shrevie his hand to his mouth. C his fingers and down a. The morning light is just CUT TO:ENT. DLNER ~ NiGRT BILLY. at and that was-nothing -compared 9 —— > shat Bappened in Hiss Nathan's class. { SHREVIE This is great. I was there. BILLY Had her for art class. Third floor, She catches me talking. Tells me to see her after class. I jumped up f2om my seat and started ; screaving 'I can't take it any spore! You're always picking on mel Ican't stand it!" Then, I ran to the window, opened it and jumped cut. She freaks and faints dead away, She forgot the gym roof was six feet below. SHREVIE eae 7 Her eyes closed. She swayed for a sonent and then, toppled right over her high heels. Out co Iwas hysterical, ¢ BILLY The copper was the Principal. Donley comes in and sees Hiss Nathan on the floor. He doesn’t know what to make of it. SHREVIE Then Sherhan, renember hin? Norzally a shouck, bet ne stands up ard says 'sbkhhhh, she’s sleeping, Donley.’ Then he Sees Billy in the BILLY I said, 'I'm sorry I'm lace, sir, - © but my'bus broke down. Is t Nathan up yet?" All che guys Laugh. BOOGIE u're missing the action now, Billy. Half the guys are az U. of B. night school. A lot of fucking laughs. (CONTINUED)CONTINUED; FENWICK : nome a UtoBilly) ~ % A Masters in Business. That's i 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. FE é ~ -Clif#,-the Mouse. SHREY Youssei. BOOGL Thrown out. SHREVIE Yeah? BOOGIE Accidentally scole sone from one of the teach BILLY U. of B.'s busy at night, hun? BOOGTE and then there's me. BILLY Yeah? You at law scheol? BOOGIE : Thought I'd cake a pop with the law.” Although I’m still working the beauty salon. an Cor TO;20. ‘EXT. RESIDENTIAL AREA = DAY The Hudson slowly drives down the quiet tree-lined street, All ts quiet, the morning’ having yet to begin. The neighborhood is well cared for. A pleasant, uiddle- -¢lass area. The car pulls up in front of a’ chree-scory white shingled house. Billy exits the caz with his suitcase. BILLY See you guys at the diner tonight. He slaus the door shut. The car pulls away. ° Billy watke 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 ee ~"~"his parents' door is open and peeks inside. The bed is made. No one is there. He tums toward his sister's room. CAMERA 7ANS. The bed is also made. He goes up the stairs to the third floor. v ANGLE ON A BLACK DOOR A sign reads "No Admittance." Billy enters, CUT To: INT. BILLY'S ROOM - DAY y lies cn the bed in his shores SLOWLY PANS the room. corner. Then we see magazine p es cf various base- ball scars tacked on the wall. CAMERA PANS to pennants the Balcinore Orioles and the Baleinore Colts. CAvERA TS over to centerfold girls of Playboy, Then we see a photograph of Billy and a bunch of the guys Lea against a railing in Atlantic City taken dusing the h school years. noking a cigarette. ight plano is in a cur TO: EXT. BILLY'S HOUSE - DAY Silly walks avay from his house, crosses che street and up - the steps of another house. He rings che doorbell.CONTINUED: Seconds later the heavyset woman, stands there. URS. STMMONS (pleased) Billy, you're in tow already? ’ BILLY Yeah, thought I'd spend the holidays here. Lot of parties, T hear. He enters, INT. SIMMONS' HOUSE Billy and Mrs. Simmons walk down the hallway. MRS. STIMONS Did you know your parents are out of town? e BILLY Gi xo. MRS. STM“ONS They're in Florida. Be back for Ed BILLY He still sleeping? MRS. ST:MONS What else? It's only tvo-thi Wake him, Billy starts up che steps. MRS. STIOONS (coneinuing) I'll be happy when he's cut of the house. floor opens. MRS. SIMMONS, a short, CUT TO:INT, EDDIE'S ROOM - DAY te _. _1t_4s_a_total_mess. Clothes, unders »_and shoes are Foon. Billy Eds EDD Whaddya say, Bill? BILLY Still the early riser, huh? Eddie reaches over to the night table and lights a Pall Mall. ELOIE Nothin’ changes, BILLY Except you getting married. EDDIE, Yeah, ain't that a kick. ~ He gets out of bed, picks up a pair of pants off the Floor and steps into then. Thought you weren't coming in until New Year's Eve. BILLY Nothing's happening around cazpus, $0 Eddie puts a shir take knot around hi S Shame. In chat p ture you sent, looked like she had ak knockers, BILLY Yeah. i (conHea s the floor at that a: sail HOt che sames Sanaa t EDDIE I figured New Year's Eve would be good. Get ma: Party through the night. You know. puts the socks on. They have holes in the heels. BILLY I was pissed off, Ed, figured you would call, or something. Lec me know you were planning iz. EDDIE Yeah, I know. But you're ny best man. He walks into the bathramm, CAMERA FOLLOWS. He sylashes some water on his face and wipes it with a wash rag. Peete a BILLY Boogie and the guys picked me up ac the é cakes a dr. toilet seac Then EDDIE (wich a mouthful ef paste) BILLY Surprise, I guess. EDDIE How'd they know? BILLY a Keller told Bar EDDIE You keep in touch, huh? BILLY Yeah, a (CONTINUED)CONTINUED: EDDTI You"re still nail you, you son-of-a-bitch. Eddie spits the toothpaste out and sticks his mouth under the faucet to rinse, caking 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. EDDIE (continuing) Waac else would you be doing with her all these years? BILLY Talking. ANOTHER ANGLE as they stazt down the stairs. EDDIE Talking? Shit, if you want to talk there's always the guys at the diner. Yor don't need a gizl if you want to talk. BILLY » you'll never Ht Hi EE EDDIE cur To ‘ INT. SIMMONS' KITCHEN - DAY Mrs. Simmons is cleaning the refrigerator as Eddie and Billy encer. : . (CONTINUED)CONTINUED: — —— - EDDIE.— ~ ue Ma, what's for breakfast? MRS. SIMMONS ! The kitchen is closed. : iH Eddie sits down at the table. Billy sits down on a chair over by the wall. EDDIE I'm hungry here. MRS. SIMMONS (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 -- -.--shic, A fried baloney sandwich will be good. Mes. Simmons turns arcund angrily. YRS. STMVONS Get out ef the house! Billy, take hin out of here! tage EDDIE A fried baloney sandwich is nor a lot te ask for, for Christsake! Mrz. Simmons picks up a buscher ka: off and waves it at Eddie.“ MRS. SIMMONS Eddie, you're giving me a heada Take a walk, Eddie rises from his chaiz. EDDIE You wane to stab me? Come on! Come on! He brings his fist up and assumes a boxing position. Mrs. Simmons moves toward Eddie welding che knife. Eddie backs around the table. Billy watches this scene without ex- 2 Bression. (CONTINUED)CONTINUED: = 4s. -s Tt0ns You miserable creature, EDDIE Take your bese shot. Then I’a going to punch your lights cur, ia. MRS.“ STEKONS (stalking him) Who do you think you arél EDDIE : Gome on! Come on! 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. This is apparently an ongofng oveurrence TRS, SIMONS - How did you curn-into’ such a thing! EDDIE. I've got fists of granite. You're going down, tes. Simons t Ss away. I'm not go on you. “It's not wi Eddie turns to Billy and sx BILLY (quiecly) So whac's new, Mes, Siznons opens the vefrigeratoz. Eat a sandwi re me some peace. Bill>,’you want something? BILLY No thanks. MRS, SIMMONS You sure? Ic's no trouble. : BILLY No, really, ~ CUT TO:INT. APPLIANCE STORE - I - Tv SCREEN - DAY _MWho Re You Trust?" wis! Johnny Carson as the emcee ts on. CUSTOMER (0.S.) Is this show in color or is there somerhing wrong with the set? 3 Vv (0.8.) This is a black and white Sect, but I don't think that show is in color, anyway. ANOTHER ANGLE - SHREVIE AND THE CUSTOMER standing in an aisle filled with rows of televisions. CUSTOMER I don't like color television. Don't like. that color for nothin’. Saw 'Bonanza’ at my in-laws, it's not fot me. The Ponderosa looked fake, Hardly recognized Little “Joe. See eee SHREVIE It might have needed sone tuning. CUSTOMER Ie's not for me. You got an Emerson? Hear they're real good. evie and the Custemer move down the aisle. Fe: enters the store. He looks like he is slightly drunk, SHREVIE Here's an Emerson, This is portable, Customer stares at it. Shrevie notices Fenwick up act the onc of the store, He nods to hiz. custo You got that 21-i cabinet type. SEREVIE The console nodel. (yelling fato the back’ Kenny! We get some of the Enerscn consoles in?! (CONTINUED)Shzevie senses that F — KENNY -(0.5.9) Lat me check out in the warehouse! SHREVIE Be right back. That'll take a minute or two for him co check. The Customer nods and Shrevie walks up to Fenwick, FENWICK I talked to Boog. He's going to take Carol to the Crest tonight. SHREVIE So what do you want to do? FENWICK I figure I'll be there. Sit a few Seats away. SHREVIE | > Think I'Li-be there -too.-- Don! -~ a wane any judgenent calls. FENWICK Boog’s got about'a hundred dollars riding on this thing now. Making bets lefc and right. 5 SHREVIE Jesus, hundred bucks, already? FENWICK Lot of psople beccin’ for Caz SHREVIE you been doing? ing alrea What the hel You been dr FENWICK Yeah? I guess so. SHREVIE What for? Ic's too early. FENWICK I don't know... I don’: kt Gettin’ antsy or somethin: Can't figure out what know.ie CONTINUED: He tury sand starts to head ovt_of the store, FENWICK (continuing) See you at the Crest. SHREVIE Fen, sure you're okay? Fenwick turns back and smiles at Shrevie. FENWICK Hey... yeah. . He turns back and exits. EXT, STREET - DAY Eddie parks his Scudebaxer and he and 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. Colt Championship is tomezrow. Want me to get you a ticket for the game? BILLY Can you get one this Late? Yeah. You can't be in 8 and not see the Colts w: Championsh: It would sacrilegiou They enter the pool hall. CUT TO: INT. POGL HALL ~ DAY . Billy and Eddie come down the steps into the pcol room. The place is old and dirty looking. Caney wrappers and cigarettes licter the floor, KNOCKO, a gray-haired man in his 60's, sits behind the cash register reading che 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)CONTINUED: As the guys approach, Knocko looks up and smiles. : KROCKO Billy, Billy, Billy. : BILLY How you doing, Knecko? 7 KNOCKO Eat, sleep, you know. Never see you and the guys anymore. BILLY a You know how it is, Time to move on, I guess. KNOCKO Eddie's the only one who still pops in. Still loves the game. (very seriously) ; You doing okay, Silly? _ -- (CONTINUED) —_. --CONTINUED: : dP reg scent ecece Going for ay Masters. ROCKO Wonderful, All your crowd tuned out fine, Take sev It's got anew felc, EDDIE Eight's better. NOCKO Take eight, The pool maven here. They walk toward the tables. The place is quiet. Afcer- moons are not the action time. CUT TO: INT, POOL HALL - TIGHT SHOT - A POOL BALL - DAY (SLIGHTLY ~ LATER) __ After a beat, Eddie's head comes INTO FRAME behind the ball. He closes one eye as he lines up a shot. DDIE less, to tell you I'm scared s' the truth. BILLY (0.S.) You know anybody who's not? EDDIE, If I had a choice, I'd just da Elyse all oy Li Just date and the hell rest. like dating. ANGLE, oe e@ backs off the shot and starts to move around che Billy sips an orange soda. BILLY What are you doing it for? Eddie approaches Billy, reaches for the bottle and takes a sip. (CONTINUED)CONTINUED: EDDIE What -am I-doing-ic for]—ttve- been dating Elyse for five years. What am I... I have no choice. It gets toa 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. Re shoots and sinks a ball. EDDIE 2 (continuing) She's the only one I care about. ti —— - --I-don‘t go looking for gizls to date or anything like that. And, it seems like the time and all... so. At least she's not a ballbreaker. Christ, if she w a ballbreaker there'd be no way, Billy feels 2 cextain sadness for Eddie, but he doesn’: low what to say. » several years METHAN Jd, T want to be where you Where the air is tare, and nobody can touch me. What about ay sister, Harry? Billy has no idea what is go METHAN (continuing) I -never couched your sister. Whac are you saying? n! »‘e CONTINUED: Miata Dies vem oe eeeee sere ere eeereg dere rergecoereereeeerereetetrera! EDDIE (to Billy) Methan's favorite movie. ‘Sweet Smell of Success," BILLY He mercrized the whole movie? Eddie lines up ancther shot, EDDIE The 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 THEATER - NIG: There is a lot of The marquee reads Place. INT. CRE Shrevie stands tive girl. (almose ap for bringing Bech: Beth heard the sovie was precty good. i BETH Eddie, where's Elyse? She's heme scudying fcr the foocball test. (CONTINCes CONTINUED: 2 BET *. — is You're kidding. Fe Seen the Boog yet? SHREVIE 1cK Not yer. EARL MAGET, an enorscusly fat guy, enters with a FRIEND. The Friend stops at the candy counter. Boogie enters with CAROL HEATHROW, She is a b: shapely blonde, Boogie locxs o and walks to the candy coumcer Fenwick The G: FRIEND Eari, want some candy? No, don't care for sweets. weiful, zat the group, neds, .. __ with Carol. BETH Is that Carol Heathrow? SHREVIE Where? BETH BETA I'm surprised she’s with hin. wat I've heard about her, 9 _. i ie wouldn't seen kez type. 1 Carol looks. She is death. s Reon. spots the ORI walking toward the Me pper stands abou 6'4" and is all muscle. (CONTINUED)“and Beth stare in. see FENWICK Dasa! The Gripper'’s here SHREVIE Where? Fenwick nods toward the Men's Room, SHREVE (continuing) Chrisc, the Grip's still growing, I think. FENWICK 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-tees. = Where's Billy? REVIE EDDIE Comin’ with thac Barbara Keller chick, T think. Boogie gets a large box of poycom and a Coke and starts into the theater with Carol, Just before he enters he ives a saile cto the guys. FENWICK Guess I might as well get a seat. (to Eddie) Comin’? Eddie nods and they s¢. a beat, Shrevie Lee's sit in Why? I'm tized of ‘down close with the guys all. Just as they go into the theater, Billy enters alone.tching the sc The box of pop ————corn_sascing—in his lap, Boogie!s_eves-keep -snenk: at Carol, then his hand slowly moves down to fly and he quietly unzips ic. ANGLE TO INCLUDE FENWICK looking over from his vantage point three seats away. Boogie squiras around ever-so-slightly and then places the box cf popcorn back cn his lap. Evidently he has stuck his penis into the boctom of the popcorn box. Fen- wick nudges Eddie and then whispers something.into his ear. Eddie smiles. Carol's hand dips into the popcorn bex on Boogie's lap and takes out a handful of popcorn. Shrevie, seated in the back, is restless, wondering what is happening. Beth is mesc2rized by Troy Donahu2. Billy sits on an aisle, maware of che quiet intrigue chat is taking place. ee att ee ec sc eseegaeage arol's hand again reaches into the bex and takes out @ few ke: Ecogie's eyes glance toward Fenwick. Fenwick his head and mouths "Sec's off, Not fair." Boogie nods "Yes." Troy and Sandra walk the beach. The romantic score sw The young audience is caught up in this screen love a Carol reaches into the popcera box once ag: @ screacs, She bolts up from h aisle, The audience is alive has happened. Suddenly seat and races up Boogie turn te Fe and smiles, Then he heads up arol, BETH paar (as she watches Boogie racing up the aisle after Carol) What's going on? SHREVIE (playing dumb) I don't know. I don’ know.-— INT. LOBBY - NIGHT Boogi@ catches up to Carol just before she was abour co enter the 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 4n accident! She starts into the Ladies’ Room. Boogie Waitt Carol! Seriously, it was an accident. Swear to Genuaa eats code : CARO’, An accident. Your thing just got into a box of popcorn? ECOGIE, Dam near that. Can I be strai, with you? Carol tries te settle dow CAROL Boogie... BOCGIE There's a good reason, but it's a little embarrassing co ce. So Eaybe you don't want to hear ic, T'il underscand, A long beat. CAROL, Go on. Let me hear this, BOOGIE I don't like to tell this to girls, but you really are a Hockout, really Ms holds her arn. (CONTINWy CONTE BOOGIE (CONT'D) ads eh Just Sitting Text to you ——— t i, _ a few seconds ar somzone comes ch in there got me crazy. I got a hard on. “I don'c like to adait it, but I did. You don'c 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. 4m I embarrassing you? CAROL (intrigued) Go on, The "Sumer Place Theme" can be heard softly through the theater doors. BOOGIE Well, it was killing me, So vo stop tha pain, it was digging into my pants and all, I opened ~ omy fly. “Loosen everything up. — Give it a little air, you know, And it worked. Everything settied down and I got caught up in the picture. Forgot all about Then when I sav Sandra wea: the bathing suic 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 starz The beaut: ac him, wondering if be is telling 1 "Sumier Place Love Theme” Grows bows for the candy ¢ CAROL Ie just pushed the flap open? BOOGT: ley's, I cell ya, and T couidn'e move the box oc you would have seen it, ere CAROL, That's true, (CONTINUED)CONTINUED: t G B00GTE —-————... —.. — I was just hoping it would shrink dack out. : (he puts his hand up te her cheek and lovingly touches iz) 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 everyone. CUT TO: EXT. CREST THEATER - NIGHT Shrevit and Beth exit the theater. eee # SHREVIE Whar was the guy's name? The actor? fe BETH Troy Donahue, s REVIE What kind of a name is Troy? BETA He's gorgeous. Troy, Fenwick and Eddie approach. ee s (continuing) Ever hear of a guy naned Troy? cx (sarcastically) Yeah, Troy Swaztzzan’ from Towanda. SHREVIE ci (CONTINUED)theate: BOOGIE (as he passes the group) See you guys at the dinex. some tens, ng Boogie cockily walks on with his arm around her waist. BETH Ten whats? SHREVIE Have no idea, EDDIE (ooking 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 corne> of his eye, he spots scmeone exiting through ia another door, He watches the guy for a beat, then quickly moves toward him. He taps the guy on the shoulder. As the guy tums, Billy punches in the face. The guy ‘ goes dow, : A crowd quickly forns. moves to see what Eddie move in for as everyone ick, and The guy sits on the looks up at Billy. nose, We're even. He turns and moves away, Eddie, Fenwick to catch up with Billy, Sech craits ali OLE Willard B: MICK Long time comin’, huh, Billy? I'LL be damned. tee: (CONTINUED)CONTINUED: ai ___ BELLY" (excited) I couldn't believe it! There he was! I didn’ want to hit hin, but I had to, you know. SREVIE (patting Billy's back) Outstanding! See you guys later. Come on, Beth. BETH Age we going to eat? SHREVIE Nak, not in the mood. Shrevie heads toward his Hudson. Bezh fol.ows. They approach the Hudson. Su: Who's Willard Broxton? SHREVIE Ie was the llth... no 10th grade, Billy was playing ball against one of the high school fraternities. L think they were ULP, Billy came sliding inco second base to break up a.double play second baseman jumps Billy, ch he was out to hure ‘hin Silly punches the guy the whole ULP teaz jumpid hia. Beac che shit out of wie goes azound to the drive: side and opens the door and gets inside, He then opens the door for Beth to get in. INT. SHREVIE'S CaR - NIGHT BETH He's been after them all these years? That was forever ago. SHREVIE He swore he'd get them, Broxton takes eight.CONTINUED: 4_____He_stazts-the car_and-pulls-atiay SHREVIE (continuing) s+. OF seven. No, eight. There's one guy left. CUT TO: EXT, BACK ALLEY - NIGHT - Billy, Eddie, and Fenwick walk away from the theatre toward 7 their cars. FENWICK I'm so pissed I miszed the punct Twas watching out for the Gripper. BILLY Seven years. Seven years to get pan hin. EDDIE Who's the lasc? Donald Tucker? BILLY No, I get Tucker in a bathroom ac Chestnut Ridge. Moon Shaw. EDDIE i Meon Shaw, ‘ (aicer a beat) Who's Moen Shaw? See “Billy gets in his car. BILLY you ever see him, you'll renenber. EDD Going to the diner? a e . (CONTINUED)CONTINUED: Serf secac vere pn cee egr gen ees i In awhile. I'm going to see Barbara. : EDDIE Thought you were supposed to have a date. 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. lod wasn't Moon Shaw the ‘toast’ who used to date 2 a EDDIE That was ny cousin, Denny. You an asshole? WICK =m he said the wrong thing) i Her name was king a whole INT. Billy and BARSARA wa. e hallway quickly. is a call, n bruni classical feacures. was never a gizl. Born a woman, She moves down the hall~ way with great purpose. Billy keeps pace. BARBARA "s not much time before the (CONTINUED)CONTINUED: - BILE soe I tried to call. BARBARA Switchboard closes down at ten. BILLY I was jusc getting the feeling vou were avoiding me, Barb. BARBARA That's uot true, Willy. They enter the control room. INT. CONTROL ROOM - NIGdT The control room overlocks the studio floor. Technicians are set up the cameras, microphones, lights. Over" ~~ the con: room a bank of monitors hang down from a aetal shel. The TECHNICAL DIRFCTOR is balancing video levels, Bar’ ugh some paper: lking cver a headset, a slips ou a headset and BARBARA (into headset) Telecine, you wane to rum down the filn'chains for me? illy takes in all the activity. He is eve hes the OLD GOLD dancing boxes on one of ed. His BARBARA ing: getting ~ Govésnoz's press ¢ ce on Three? There's Il to that, Four? Okay. Goodwill Charity Christzas Party? Three alsc? And the slides? One? Barbara locks up at the clock. Tc reads: 10:58 shes inco the booth with the news scr - (CONTINUED)CONTINUED: DIRECTOR Stand by ‘fer ‘cold tease BARBARA - Ten seconds. Billy steps forward to get a better view of the activity on the flcor. The Director beccmes aware of his presence, DIRECTOR Who's the visitor? BARBARA Friend of mine. Five seconds. DIRECTOR And one, mike, cue! NEWSCASTER President Eisenhower returns from World Peace Tour. Steel dispute continues. These and other stories next. DIRECTOR eae Roll three. Three and track. A comercial cones up on the air mopicor, BARBARA Willy, after this I scill have a lot of work to do. Why don't you call in the morning? ; DIRECTOR Where's the news open: ce On six. What's good? BARBARA services are at ten, @ nine. Puneh I,D, and an A slide of the television station's call letters cones up. The ANNOUNCER in a glass bocth off to the right speaks: ANNOUN This is WAR TV 2 in Baltimore, wishing all our viewers a Merzy “a, Christnas and a Happy New Year. : CUT TO:EXT, CHURCH GROUNDS - NIGHT The N ity scene is set ‘on the grounds. Wondergull. @iaborate, yout hal. from clay'and painced Fenwick holding shivers “séalé. The figures are made ne detail. CAMERA PANS over to ed nearby. He leans on his Triumph key. He takes a big swig and The air is cold and his breath comes CUT TO: EXT, DINER - NIGHT Edie and Shrevie 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, two more days to the ching . the marriage. ane fee eee eG ME Ce fee eee eer aa Where you going? Puerto Rico? EDDIE Cuba. s My parents' friends, the Copelands, go every year. Nice. is a long pause. To be honest, I don't knew, Gevlniatotere eruatstoeeteeieien P)-13-3 Sayaeaeeeeeeeetoa 7 Pepsi Cola and Roval Chris’ Bech is te buc I don't Eddie looks off, not happy with the answer. (CONT:ws wha 40. CONTINUED: SARE (continuing) You know the big part of the problen? When we were doting we spent most of g abour sex, Why £2 Where could we do it? Were her parents going to be out so we could do it. Talking ebour being alone for a weekend. A whole night. You know. Everything was talking about gettin’ sex or planning our wedding. Then when you're married. It's crazy. You can have it whenever you want. You wake up. She's there. You come home from work. She's there. So, all the sex-planning talk is ever. And the wedding-planning talk. We can sit up here and bullshit the night away, but I can't have a five minute conversation with Beth, But, @ not putting the blame on her. We've Just got nothing to talk about. - Eddie lights a Pall Mall. EDDIE Well, that's ckay. We've got the diner. EXT. CAROL TEROW'S P NTS HOU: The house is a pleasant two fee yellow porch light is on. up Steps to th key. She cu: ont door. C, $s back toward Boo: ,opens the door with che BOOGIE (softly) I love yeu, He gen kisses her forehead, then looks her in the eyes. Carol throws her arms around his neck and kisses hin passionately. CAROL Do you want tc come inside? BOOGIE ~Are your. parents around?ne basemenc BOOGIE I'd léve to, but I zea hit the law books. Okay? should arol neds. He strokes her cheek, BOOGIE (continuing) Lwisn i could stay. CAROL Talk to you, Soon? Boogie nods and walks away. Carol watches him with great affection then tirns and enters the heuse. cur To: EXT, DINER - NIGHT Fenwick pulls over to the curb across the street from the cr diner. He exits the car, Eddie, Shrevi: » Modell, and a group of others are all hanging uc. A VOICE calis our. A soit, but very authoritative voice. Oh no, you're not g the grip on me. mg to put ‘ GRIPPER Where do you gec tha idea, Jin? Fenwick backs up, rips the antenna off his car and waves it 1CONTINUED: eee FEN CK, Nol Stay away! I'm nor going to get gripped! You're not get Me to walk on ay pain. Oh, no. GR: (even more sof Jim, I'm not goi oes in FENWICK (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 lika a guy who stands up to the Gripper. I like that, Jim, FENWICK gto grip GRIPPER No, I juse want to shake your hi You're not go You're sec Untrue, Jim. Sure? That's right, Fenwick drops the antenna, He moves toward the or slowly. The Gripper extends his hand. Fenwick extends his hand. They shake. No grip. Fenwick is relieved. a GR a 4 (continuing) * Let's go see the guys. The man. who stood up to the Gripper. R (CONTINby irs ———~ the street toward CONTINUED: Fenwick, feeling very proud, walks with the Gripp je guys --Suddenty, haltway-ai street, the Gripper puts one of the test grips in his career on Fenwick, He squeezes Fenvick's forearm right through his wincer coat. Fenwick feels the pain. The famous grip is on. Gal Up on your toes, Jin. (cone: z) FENWICK Oh no, grip. Gripper puts a little more pressure on and Fenwick is up on Ais toes. The guys cheer Gripper. GRIPPER Jim, never doubt the Gripper. When L say I want to shake your hand, believe wnat I say, Never doubt, Jim. FENWICK acer . Never doubt. Right. The Grippec turns Fenwick around and leads him aw: the guys back to the other side cf the street. Fe up on his toes. The guys are eating it up. y head back co the guys. CAMERA PANS co Bcogie's car as it pulls into the parking lot on the left side of the building. He scarts to pass Bagel who is about to drive out. Bagel 8 HIS HORN and rolls down the win Boogie rolls his dcwn. id you hear? They won by fourteen. BOCGIE Shit. time. He pulls out. Boogie pulls forvard and parks. He slams his fist into the steering wheel. Again and aga Then he leans back in his car seac. CUT TO:INT. DINER - NI -fari-Maget-sits + taking about one whole side. ef a club sandwich and very politely wi a napkin. Before him there waiting for his hungry mo page and picks up another sandwich. Eddie, BE watching cussing the pecker in the popcom bet. EDDIE (watching Earl) Where's he now? MODELL (locking 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 June ly and Modell are tt EDDIE (amazed) The whole left side of the menu Woat.a triutph if he pulls it off. Modell starts counting the san: We catch snatches of Boogie, Fem FENW Tae bet was touch your pecker Not pecker h: It was inctenc: MODELL Fifceen... or sixteen more. If include the Maryland Fried : Chicken dinner, EDDIE I think he's just talking deluxe sandwiches. hes on the lef! ody one section is mouth with sandwiches financial ed around in their booth - faget. Boogie, Fenwick, and Shrevie are dis- side » and (CONTINUED)eee ——MODELL. (yelling over Earl! That include the Fried Chicken dinner?’ EARL Yes. EDDIE (truly amazed) Twenty-two deluxe sandwiches and the Fried Chicken dinner, an BILLY And no bets. EDDIE Nope. Just a personal goal. Another private triumph. This'LL top the eighty White Tower hamburgers. BILLY He ate eighty White Tower hanburgers? EDDIE . Oh yeah, you didn't know? Thanksgiving nighe. he ate. Saw him lacer and said, ‘Earl, your goal was eighty, Why y7six?'” He looked at me and T got bungry.! said, Billy laughs. MODELL, Truth, They slide back down in the booth. SHREVIE (to Boogie) But it was a trick. I don’t buy it EDDIE (Joining back in the conversation) her. T want it on the up Defaule. BOOGIE Lec ic all ride. Tell you whac. (CONT?CONTINUED: Boogie stirs his french fry inthe gravy for a long beat. At ‘the “guys eagerly-ewait his proposal ——— — — —_—_ wn : BOOGIE (con =) : I bet I bali Carol Heathrow on the next date. FENWICK Now you're nuts. BOOGIE Fifty bucks a guy. EDDIE Fifty? SHREVIE It's like stealing money from you, Boog. BOOGIE wee nt - The guys all take the bec except Billy. a BOOGIE (concinuing) And I'L] cake all the action I can get. We need validation Bcoct I'L arrange it be there t3 va EXT, DINER - NIGHT Tae f morni ‘ window Maget ex ia, applauding as he goes. reflect in the guys foll dayellow tach tet CONTINUE! Maget calmly crosses ¢! FOpO1Et: parking lot and gets in his 1 and drives OFF. SHREVIE You sll want to meet here and go to the game in my car? BOOGIE Yeah, that's good. SHREVIE ‘ (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 scazts his We're talking the championship game. Quarter te. 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 up. A very attractive GIRL in full riding gear gallops along on a chestnvit stallion. She ides expertly, seeningly unaffected by the cold morn CAMERA PULLS until we see Soogie's cherry DeSoto keeping pace on the road close by. INT. CAR - DAY BOOGIE I've got to meet this girl. She is Death! (CONTINUED)sa, CONTINUED: FENWICK ____ very BGOGIE I'm in love, EXT. COUNTRYSIDE - DaY Bocgie's car continues to crail alongside the Girl on the horse. Boogie rolls dow the window. BOOGLE (yelling our) Miss! Miss! Woo! Miss! The Girl pulls up.on the reins and stops. Boogie quickly steps out of the car and approaches. GIRL Yes. Boogie is amazed" She's more beautiful up éloge. Long black hair and deep blue eyes. Elegant. BOOGIE Iwas admiring your horse. (CONTINUED)CONTINUED: i STR (very reserved) Were you? BO0GT! Do you ride Western style as well? Fenwick gets out of the car and leans against the door. GIRL Ido, but I prefer English. There's a finer sense of control. BOOGLE Waac's your name? GIRL Ann Chishola. (as Boogie stars) As in the Chisholm Trail. Boogie watches her go for a beat, then —-~ BOOGIE " Chisholm Trail? wick does He walks back to the car and gets in: the same. INT, CAR - DaY You get the fe let's call it a nighe. EXT. COUNTRYSIDE - DAY 's Desoto drives off, The white picket fences £ as it heads down the road. We hear the SOUND OF BELLS. cut To:ere eece eee ST. AGNES cH > DAY The BELLS in che tower RING for-Barbara—Cengregat Path passing the Nativity se Billy sits i Billy watches for Barbarz. The crowd ¢! car and walks toward the ch he may have tissed her somehow Ss. He exits t » looking arcune, th: He peeks inside the church. Unsure whether to enter, A CHURCH MEMBER exits. ¥ Is there anyone inside? RCH MEMBER idn't notice. BILLY Is 4e all right to go in? CRURCH MEMBER O£ course, Billy enters. BILLY (eng pause) Me? BARBARA Yes. Our one day in New York last month. Six years of a relacionshis, then one s happens. They sit silencly in the chureh. / (CONTINUED)56. . CONTINUED: pha Seeate Maybe it's for the best. BARBARA No... I don't think so. Do you want to marry me? BILLY Yes. : BARBARA Is that why you came back a few day: early? “To ask? BILLY I thought after New York, you know. Seven weeks is a long time’ when you miss someone. BARBARA York was a mistake. BILLY Maybe it wasn : as romantic as we'd like ic to be, but I think it will happen. Ic's not perfecr, yet, but... I love you, Barb. BARBARA You're confusing a friendship with a woran and love. It's not the same. Saying necking. EXT, MEMORIAL STADIUM - DAY ~-AERIAL VIEW MCVING cow: the main tower o the stadiuz, We hear the CROND YELL "CI!! O!!!" We MOVE CLOSER to the tower. The crowd roard "LIT! TI!I" MOVING CLOSER. "SII!" We PAS OVER che tower and EN stadium. A deafening crowd ROAR is heard A COLT DEFENSIVE LINEMAN smashes into the Giant's quarterback, knock ground wich a thud. The Colts are fired up ship is within their grasp. g him to the The Chanpicn~SCOREBOARD reads: ANTS 16 - COLTS 3) ANGLE: Eddie, Bisly, Shrevie, Boogie and Fenwick are on their feet,’ Victory is minutes away. EDDIE (yelling) Gino! Gino! (to Billy) He's incredible. They should build, a statue, a monument co him. Something, you know. Shrevie takes the binoculars from Boogie, and looks through then. SHREVIE, Wrich one? sees as : BOOGIE Second from the SHREVIE'S POV OUGH THE BINOCUMARS We see a cheerleader, then it PANS TO another cheerleader. BOOGIE (0.8.) See her? si (0.8.) How can you tell she’s not ng panties? BACK TO SCENE Shrevie puts the binoculars dow. BOOGIE You have to And when she jumped you saw? BOOGIE I see everything. Shrevie puts the glasses to his eyes again v : (CONTINUED)CONTINUED : Come on! Jump! Boogie smiles at Fenwick.’ F fick 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 More points! Johnny, the bomb! = * BILLY Ed, we've got it wrapped up. EDDIE I don't want just a win. I want humiliation. Goddamn New fork teams, think they're hot shit. (yelling out) ~———4iuniliation! -Jobnay; humilia The cheerleaders give a big cheer. FENWICK revie. She's going to Quick, $i jump. Shrevie quickly stares to bring the binoculars up,” but Boogie has his arm through the strap. BOOGIE Gops. Wait 2 recond. Shrevie tries to uncangle Boogie's am FENWICK Too lai Shrevie s hustled. "s been es at Boogie a bear, SHREVIE Very good. Very good The scoreboard clock ticks down. The crowd counts down the seconds. "S... 4... 3... 2... 1." PANDEMONIUM. The guys go crazy, grabbing and hugging one another. Some of the crowd starts to swarm onto the fiel¢. The guys follow.CONTINUED: late_afternoon_sun_has_dropped below the ghts are on. A gray-gold stands. The . haze envelops the field. to tear down the goal post. Billy, Eddi s, hang from the goal post ing the Baltimore Cole fight song. There may be happier days ahead for the guys but this one will be hard to beac. The goal post finally comes apart and the guys fall to ~ the ground in a heap’ laughing happily. cuT To: -IND, FENWICK'S APARTMENT - 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. CAMERA PANS the apartmenc. Tt is imaginatively decorated in pink and turquoise colors. Five pina flamingos, four feet high, are placed around the room. ~-“TV QUIZ MASTER ces was probably the greatest philcsopher of the ancient world. was his student. For sixty who was the other farous FE! ck Xenophon.R RINGS. eeeeeeeee TV QUIZ MASTER Yale. : YALE TEAM LEADER Xenophon. TV QUIZ Mas ER . Right for sixty poines. FENWICK, Yale. TV QUIZ MASTER That makes the score Princeton 345, Yale 290. The hundred point tosa- up. This oration wes spoken to those who died fighting Sparta. Who said this and when? ‘dur governmene is not copied from our neighbors. "Bout ¢ (screaming the answer out) Pericles, 413... TV QUIZ MASTER [Our consticution is named a . democracy... MASTER, PRINCETON TEAM (still discussing h teammates) Peloponesian - That was ¢! TV QUIZ Mas I'm going to nead an answ PRING: IN TEAM LEADER totle, TV QUIZ MASTER Yale? (no_answer: icles 431 B.c, (CONTINUED)30, CONTINUED: v2 FENWICE ee (he cheers) Fenwick takes the lead again. CUT TO: INT, FENWICK'S BEDROOM - DAY The rceom is black. mor2 pink flamingos are present. Scogic is talking on the phone. “Through the wall we hear the GE College Zowl and Fenwick's answers. BOOGIE Yeah, Ma, I know I we two thousand dollars. Guess what? = heard it before you, What am 1 going to do? I'm choice. Got to find a way to pay it off. Me? I've got fifcy-six dollars ts ay name. Yes, I know I'm in trouble. ~~ - "> Then they'll kill ae. What can I-— —~ ee tell you? No, not tonight. No dinner, I know what you're naving. Ir's Sunday, Take-out Chinese. I'm amind reader. All right, I'ma wise guy. Fenwick did not corrupt pted hin. Or we got outside help, WWICK (0.$.) the wall) Darvin. of the Species. 1859. iG ROCM - DAY Gane —-- TV QUIZ MASTER =< -- That's all the time we have ¢: Sunday, Next week Maryland vs. UCLA. WICK I'll wipe them ouc. Boogie comes into the living room and grabs his winter coat off a chair. The show's closing theme begins. BOOGIE Talked to $ lend te He's going to (CONTINUED)oy. 2 .. —— ERNWEEE Going over now? BOOGIE, Yeah on ay br. be able to get some bucks from the tors 7 BOOGIE, Howard? Really? Fenwick shrugs his shoulders. BOOGIE (continuing; real sincerity) I appreciate that, Fen. I know how you guys feel’ about one another. Fenwick waves him o He doesn't like any form of praise. Boogie starts for th door, BOOGIE (continuing) With the Heathrow bec and all, I should be close. See ya. He exits. INT, SHREVIE AND BETH'S HOU: A 43 record drops down the sp forward and gently rests cn the SONG STARTS TO PLAY. Shrevie is look: Som is both then another. Beth! Beth! Beth is in another room, eae BETH (0.S.) What? (CONTINUED)60. CONTINUED: —— BREVIS? > Come herel BETH (0.S.) I'm working on a crossword puzzle, SERE’ Come here! Bech sticks her head in from the other roon. BETH What? SHREVIE Have you been playing my records? BETH Yeah. So? SHREVIE “ToT “Didnte I tell you the procedure? “~~~ > pviewsiy havi (obviously having be heard this dis- mn before) “ Yes. You told me all abou it, Shrev: They have to be in alphabetical Order. SHREVI (like a teach to a student) else? And wi They have to be £ year as well. ac: And what else? Beth thinks. IREV (continuing) and what else? , : BETH (confused, then angry) I don't know!CONTINUE ——_-—- SHREVIE ~~ Lec me give you a hint. I found Janes Brown filed under the Js instead of the Bs, but to top it off you cut him in the rock and roll section! Instead of the R and B section! How could you do that?! BETH It's toc complicated! Every time I pull out a record there's a whole Procedure to go through. I just want to hear music, that’s all! - SHREVIE Is it too much to keep records in a category? Rand B, with R and B. Rock and roll with Rock and roll, You weulin't put Charlie Parker with rock and roll, would you? Beth says nothing. ee (eer Would yout!!! I don't know! Wao rlie Parker? Shravie alnost goes out of his mind. SHREVIE Zazzit!! J: BETH What are you getting so crazy about. Ie's only music. It's noc chaz big a deal. Don't Sportant They stare at one another, temper. Beth's eyes becone BETH Why do you yell at me? I never e SHREVIE Pick a record. Any record,CONTINUED: Pick a record! Beth moves over to the record rack and pulls our e record. She holds on to it, not sure what Shrevie wants. ° SHREVIE (continuing) What's the hit side? BET "Dream.' The Everly Brothers. . SHREVIE : Ask me what's on the flip side? 3 BETH Way? a cae i SHREVIE, eae Ask me what's on the flip side. oa BETH What's on the flip side?: SHREV: 1957. You don't ask me like that. Bo you? Never! Bet! Because I den'c gi cares abcut the fl Sa a Every cne of these means Tne label. The producer. hey were made, Who was whose style or expanding hear these and they bring back certain times in my life. (he stares at aoe ex coldly) = Den't ever touch these again. Ever. He starts cut ef the room. He turns back to Beth. (CONTL:63, : CONTINUED: ~TSHREVIE ~~~ -— a ‘ t met you at Modell's z's high school graduation party. 1955. in't That a Shame’ was playing as I walked in the door, He exits and slams the door shut. CUT TO: EXT. RESIDENTIAL STREET - DAY Boogie drives down the quiet street and pulls over in front of Shrevie's modest duplex. Hr 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 :ays nothi BOOGIE Shrevie here? BETH No. BoaG’ Is he coming back scon? with hin a Lictl: while he'd be in, BETH I don't know, to czy. Boogie puts his around her and close. - BooGts What's wrong, bade? He ever yell at you? ee BOOGIE what? (CONT:64. con ——— -ig large, very modern in des ~ — ——8ETH (choking back her tears) I don't know what to do. We've got a real problem. BOOGIE (stroking her hair) Go on, cry. Just'czy, babe. They stand in the doorway. Beth crying uncontzollably. Boogie holding her. Couto CUT TO: EXT. NWICK'S BROTHER'S HOUSE - NIGHT Fenwick and his olcer brother PIWARD stand in the driveway arguing. It is dark, the main source of light coming Tom a wrought iron lamp post on the property. The house mi. SHROUGH THE PICTURE... the living room. WINDOW we see’ small ¢! about fri. HOWARD Five hundred dollars? Four hundred, ¢! ever you Gan afford. EOWARD Maybe this is a le: you worked, you w money to lénd hi a for you. Ié 1d have some - F Yeah, I know. ? Dropped out of college. Won't work in the family business. L'a a disgrace. That's a good reason for keeping me out of your house, HOWARD You're a bad example. NWICK, tc disagree. ORE) (CONTIN:le CONTIN NWICK (CONT'D) Cive we Seas Goney, Howard. HOWARD You ever read a book? FENWICK Huh? HOWARD Read. Do you ever vead? FENWICK Never. HOWARD You should read Dale Carnegie's "How to Win Friends and Influence People." FENWICK L have it on ay night cable. It's “Eight under ‘Hew to Wax Your Car." - Give me some money, Howard. HOWARD Where did you get this attitude? FE! I borrowed it. Have back by have it idnight. Howard. ck starts to pace the driveway, His anges is build- HOWAR ng your ng your init a ponth ut Granddad was a real Rockefel y Fenwick lunges at hi coat by the lapels, pushing FENWICK (continuing) Howard, it's important. (MORE)CONTE FENWICK (CONT'D) PEeeepe renee ete —_———i-wouldn's come-otheswise—I-don't like co see you, so you know it's r very important. HOWARD Get of FENWICK I despise you and yet I'm here, HOWARD Get off. Fenwick lets go of hin and starts toward his car. FENWICK Funny, As a little kid I always wanted a brother. I told that to Mom once, She said, ‘You have a ‘othe: I said, ‘oh, that’s no the asshole in the other bed How: r cur To: The marquee reads: BILLY It's up to her. EDD You've gota big decision We could make it a dout Hex? seading, They reach the box office and hand over a dollar apiece and get two tickets cur To:INT, LOBBY - NIGHT 7_Ne-popesea, ——— as a beverage, : DIE nat the hell's going on here? Nothing co eat. BILLY Ie's an art theatre. EDD: (throwing a look) Fuck art. They oug: popcorn in here. Taey head into the theatre. CUT TO: INT. THEATRE - NIGHT — Ff Im is in progzess tue of Carist fs being ss Rome, dang’ m wires as a helicop Ga > Eddie upon seeing this urns to Billy, = Weat am I watching? It just started and I don"t know whac's EDDIE Yeah? He gives Billy the "jerk off" mocica oo TO: EXT, NATIVITY SCENE - NIGHT The CAMERA PANS the faces of the chree wise men, to rest on Fenwick's face. ez a beat his hal comes into view and he takes a swig. He shakes his 1 in disgust, comes As we MOVE BACK we see that the Baby Jesus is gone. Fenwick is very bothered by this. (CONTINUED)for Chris'sake. He sits down on the hay next to one of the sheep. He ‘takes another swig on the bottle. cur To: INT. SHREVIE'S CAR - NIGET Shrevie drives along, still coming dow from’his fight with Beth. As he moves aloug we see St. Agnes on the right up ahead. The Nativity display cannct be seen clearly. We MOVE CLOSER. CLOSER. Shrevie notices something unusual. Out of curiosity he pays cleser attention. We see the Nativity scene more clearly now. Everything is ne same except Fenwick has replaced the Baby Jesus, He es there next to the figure of Mary in his jockey shorts. Because of the scale of the display, Fenwick locks like an encrncus baby. Shrevie slams on his @ pulls over to the curd. He y gets out ef the Hudson and walks up the slope toward the manger. cur To An USHER stands hold: hin. (to illy and Eddie) Emergency ! BILLY What is ic? (CONTINUED)yi SHREVE Come on!! “The guys quickly get up. EDD: What's wrong? Fenwick's in th As they head down the aisle: BILLY What? SHREVIE He's in the manger and he won't leave. EDDIE The manger? s: I've never seen hin They exit through the swinging doer to the lobby. cur to: EXT. ST. AGNES cHUR + NIGHT k happily lies in the manger sprawled out ugh he is alzost naked, ght aiz. However, Ris bo y helps warner. He hums "Little Town of Bethlehem.” The YS come across the c’ ch ground. Fenwick sees then You" ve~~ You must have tr aveled far, Rest your weary feet. (CONTINUED:fe “of the s CONTINUED: BILLY The police will be hére- Somebody's going to spot you. FENWICK Don't you Yeah, come on. The guys prod him on. Fenwick will have none of it. Billy reaches down to help Ferwick up. Fenwick pushes him avar. FENWICK Nol Eddie and Shravie try to help out. Fenwick struggles with them. He grabs hold of a wise man. Silly tries to pull hin off it. The wise man topples over, The guys continue to struggle with hin. Billy is knocked backward and part re"Falls down’ - INT. FOLICE CAR - NIGHT Two men drive along, patzo right they see what is hap’ It looks like a riot has sheep suddenly sails th ng the street ing in the Nativi an out in the The $ MT. CHURCH GROUND - NIGHT The guys are still struzg is a mess. They hear eotes tc a hale. “As the police , the guys stand three guys are st side by side. In an odd way it locks like a EDOIE (out of the side of his mouth) What do we do? BILLY CUT To:INT. LOCK-UP - NIGHT Cus Fenwick ts in a cell alone. -Ed (:4 cel next x0 his —Billyts tis: locked up with anocher guy and Shrevie aze asleep. Bi bars talking to one anoth Fenwick DDIE I added a couple Killer questions to the tes omotrow 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 Jarbara. TE starts—putting bi shim away, Het: fingers in Bill s to ignore him. y's hat EDDIE Get martied. 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? EDDLE Hee and her i he's . There's two of us. She loves her work and... and she doesn't want to marry me. That's the bottom Line. la EDDIE + Mou're dealing with an irrational ; girl. RE) (CONTINUED)tee CONTINUED; EDDIE _(cONT 2). That's your problem. Billy pushes the guy away from hin again. BILLY Listen, find somewh: stand, buddy. re else to quy What's wrong, cutie? An I bothering you? EDDIE You heard him, back off. The guy grabs at Billy. Billy pushes him off. cuY You going to do something about it? (he grabs at : Ee eee him again)... +. = -- F EDDIE (yelling) Back off hia, shm Guy (to Billy) You going to do’ something about it? Ht A? Huh? Billy pushes the guy back against the into a bexing stance. That what you Come on, you 5: TL hi: b Billy stands there ng. The guy doesn't make of this threat. He could be deal tough kid. He looks at Billy, unsure Billy stands ready. Eddie watches, After a £ the guy sits down on the cot. Billy sneaks and smiles. , then goes nether to test his. seconds ea look3. INT. POLICE STATICN - NIGHT _ Billy, Eddi police cor: s oz. EDDIE'S FAI We called Jisny's father d he woul the morning. He wants to teach him a lesson. CAMERA PANS TO Billy and his Fach BILLY'S FATHER We get back from Florida, open the door aud the police call. BILLY That's what I cail geod timing, How's Mom? BILLY'S FATHER She's fine, I thought you were to come down afew days the school break. HF BILLY ings came up, They round a commer. CAMERA HO) DS on the expty corrider. cur Tt ng rollers in a middle. WOMAN ese days I ney try ane ; Rot yet. ever you Boogie notices Beth enter the stor then approaches Boogie. She looks around, BETH Boog. BOOGIE (with a hairp in his south) Bech.CONT: BETH <= t5-Nes Sob -tnere? — — He'll be back. down the street for some donuts and coffee. Waac’s up? He puts the last curler in place. BETH Well, you know, we're all getting Guz 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 4a charge of making sure that Mr. Sol can handle us. Without any problems. Maybe have "extra operators or -someth: . He Boogie sits the Womy He hands her a cagaz: (to Here's the (to Bech) I don'¢ know wh re net < day, are you A stecky sex GUY enters the salon, Boogie notices. Boot No. So, I guess he's got sonet! Ha-- —--artanged. - — oo Tha Guy mocions for Boogie to come over. BOOGIE (continuing) He'll be back, Wait around. Boogie walks to the front of the stoze where the Guy waits. (CONTINUED)CONTINUED: (continu: Kow you doing, 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 thay leads into a small alley. TANK You had a payment to make. BOOGIE Yeah, I'll have it tonight. TANK Bete = at Suppose to have it last night. No one in the office got a cail. BOOSIE It was a mistake. Forgot. Tonight. I've got some bets that I've called T'll have it. Tank looks Boogie straight in the eye. Den't bullshit me, Boogie. BOOGIE I'll have ic, way. He quickly turns back and punch the stomach. Boogie doubles up nd fast. Who do you think you're fucking with? You think this is kids stufi? He pushes the now hi st the wall. Ipless Bocgie ag, 1 (continuing) You think this is fun and games? Liccle game that kids play, huh? (CONTINUED)73a. CONTINU! He-sbeps-Sougie grouné-the head= an mg) 7 ‘cause, I'm not amused. Tonighr, Boogie! No if-ands-or-buts. Tank walks away. Boogie slowly s a few breaths and feels his stomach. ightens up, cakes in cUT To: INT. BEAUTY SALON - DAY (MINUTES LATER) Boogie enters the shop. BEAUTICIAN Boogie, there's a cal’ for you. Boogie having gotten himself together now walks over to ---—_fhe phone and answers. it. ° BOOGIE Just ‘tl at? The flu’ anit Are you sure? 102, yeah, that doesn't sound good. Okay, babe. LLL call and'check ~ upon you, Feel beccer. ‘Bye.CONTIN > Boogie hangs-up-the-phone and—leans-back egeinetthe wali — He's in deep trouble. who sits in a ch: looks across the room ac B, anagazine, He watches her. Thoughts race across his mind. He walks over to her and sits down, g Feeling better today? BETH That's about the only improvement. Thanks for last night. I needed someone to just be there, BOOGIE Felt like old times, you know. Standing in the doorway, (a small laugh) Like I was dating you again. I'm not ¢: BETH Boog,,when we were dating, did you cace fcr me? BOOGIE Sure I ¢ BE Yor because you could do things to me, but because you cared? know, "if a guy wa But i gee to tell you, you were real good. - BETH. see eat oe BOOGIE, BETH How would I race? BOOGIE Right up there. We had seme good nights, Still chink about those tines, and that's long ago.CONTINUED: Beth locks away. Her eyes sta “edge of breaking gow, “~~ BETH I don't have any sense what I’ like anymore. Don't know what Tam. If what I wear is nice I€ T look pretty... jusc lost sense of me. BOOGTE I don't know what Shrevie doesn't tell ya, but you have nothing to - worry about. You're a definice locker. A sexy lady. (a beat) We should get together sometime. They sit in the chairs, looking off in epposite directions. BOOGIE (continuing) Shrevie going cver to Eddie's for - -—~ Elyse's football test? BETH Yeah? “Are you going? BOOGIE No. BETH Can we get togech: it, Boog? = ton. Boogie has accorplished what he wants. But he's not happy bout it. BOOGIE Yes, CUT TO: INT. TON TION = NIGHT Billy and Barbara walk down the corridor, Billy is angry. BILLY Ie's mine as well. I have somethin to say in this as well. Don't I? (CONTINUED)CONTINUED: BARBARA, ae (speaking quietly) I'm not tall rf drastic, an abor Like thac, <7 BILLY Well, I get the feeling I'm not even included. BARBARA Keep your voice down. BILLY I'm half responsible for this mess! BARSARA Please. Don't be so loud. She sees a door and opeus ir. BARBARA (continuing) In here. Billy enters. She closes the door beh. INT, ANNOLNCER'S BOOTH - DAY THROUGH an on Have you been = your worst fears, as they say, cuT To:~~ INT, CONTROL BOOTH - DAY Our équipm = tine. GLASS PARTI we see Barbara “8: and Billy talking in the scall announcez's booth. Cn the monitors above we see the daily soap operas. The audio to one of ther is on. The audio man asks checks on the floor microphones. CUD BACK TO: INT, ANNOUNCER'S BOOTH BILLY What do we de? Don't you chink we should explore the situation? Barbara sits on the desk. A small light is directly behind her, Ac preseat ic is now on. BARBARA Tcan't believe this ‘happened. i I'm har ne adventurous type. Someliow if juss deesn't seen CUT BACK TO: INT. CONTROL BOOTH The audio man compl hin we see Bi puts his feet up on ally, he kicks on a s CUT EACK 70; ind Barbara ty red, BARBARA ss. And that makes ic very ¢: CUT BACK TO: INT. CONTROL ROOM - DAY AUDIO TO Ce The soap opera continues, We hear ch SHOW. A couple is having lunch in a restai (CONTINUED)CONTINUED: We also-hear-Billy but very low key. SOAP OPERA MAN He's very, very il! SOaP OPERA WOMAN You were there? BARBARA'S VOICE L have a great affection for you, Willy. You're ay closest friend. SOAP OPERA WOMAN Ig he dies, what will we do? CAMERA HOLDS on the soap opera met , the audio man who reads the paper, and Billy and Barbara in the b.g. BARBARA'S VOLCE I won't marry you, not out of convenience, .-. SOAP OPERA MAN we shouid waic. Not because hy God, I sound disgus INT, £00) S$ CLUB CELLAR - NIGIT We are LOOXING UP a fl. Father stands there. of steps. A door ED (yelling dow) 1g F. ee How's she doing? SHREVIZ (0.S.) Elyse hes about a 72 so far she's hitting a bad streak. bue Eddie's Father comes down the steps. We see Shrevie, Fen- wick, Modell, and Billy gathered. The basex has a bar with neon 1: ‘ts around ic, so as to set it ©. i: room. The wails are knotty pine. (corCONTIN laundzy Eddie and Elyse 2 motlin_the room, They_are in ph: door is partially open. We hear EDDIE (0.S.) Before the Cleveland Browns joined the NFL they were in another league. What was it called? ELYSE (0,.S.) Another League? EDDIE (0.S.) roca, Yes. Long pause. The guys eagerly await the answer, Shrevie paper, ALL the Nore of ELYSE (0.S.) I don't know. shakes his head and makes a mark on a piece of BILLY sree What's ict new? I don't knew a Maybe about a 67, BILLY Passing is 65? = “ EDDIE (0.S.) ty Young played for at t no longer exi naw guys lock at ene ancther. A very cou; que: Anybody know that? the guys have the faintest idea. ELYSE (0.S.) The New York Yankees football team.CONTINUED: MODELL The New York Yankees football team? They were also in the American Conk: I contributed 1 ques EDDIE (0.8.) What was the lengese run sczimmage by a rookie in his first game? SHREVIE Alan Ameche. ee (0.8, We heard that in neces te disqualifying that question>— ELYSE (0.S.) p I knew . 79 yard run. Opening day 1955. (0.S.) y, Elyse. You blew thac The door to stands there, @ top of the stai EDDIE'S MOTHER x is on the phone. Elyse’s moth How's she doing? {> EDDIE'S FATHER The guys think it could go e way.CONTINUED: EDDIE'S HOT ELtneE Way, Okay. dir She closes the door, The Colts trophy who decided to play in Canada. Now, however, he plays for the team. What's his name. ‘The CAMERA PANS the faces of the guys. EVYSE (C.S.) Heiszan trophy winner, L.G. Dupre. EDDIE (0.S.) No. Billy Vessels. ELYSE (u.S.) I should have known tha.. as EDDIE (0-S.) "Should ofs' don'r count, | FENWICK Vessels, Our of Oklahoma, MODELL She could of racked up points on that one. SHREVIE I have no idea what the score is now, - MODELL Want to bet she goes dow for che count? Last quest and Eddie's Father tighten up. Te: EDDIE (0.S.) (continuing) The Colts had a team here, lost the franchise, then got one from Dallas, What’ were che colors of ; the original Colt tean?CONTINUED: a — NWECK ame Woo, A ball buster. MODELL (mumbling to hinse The original colors? EDDIE'S FATHER Also ay question. ELYSz (0.S.) Original colors? Green and gray. EDDIE (0.S.) Right. BILLY (jucping up and applauding) A real scrapp Tough questi and she pulls it out of a hat. ‘ zy § excitement. : BILLY a : (continuing) - Come cn, guys. Green and gray. Any of you guys know thac? Cone on. -Give her credit. We hear EDDIE'S. VOICE. The guys quickly "shhhsh hin” dow. Total's coning up. EDD , True and false. choice. 58. MODELL + -..Killer choices, Con we ee Short answer, Eddie tocals. The guys wait. What do you th ic Pick ‘en,a2. CONTINUED: ~-~ The door-to the Laund: Eddie's Father-wa lkxs tothe baz -ané-pour EDDIE (0.S.) The tocal is... 63. ELYSE (0.S.) Oh nol FENWICK A clifé hanger. BILLY ‘Iwo points. - SHREVIE What do you think he'll do? EDDIE'S FATHER He'll give it to her, Good sportsmanship is worth twe points. room opens. Eddie steps into the @ guys and his Father. EDDIE The uarriage is off. room, He looks at INT. BOOGIE'S Caz - NIGET fe sits in the car and waits, Beth and down, walk, She gets in the c. shus, She is excited, She leans ovez and kisses Bcogie on the cheek. BCOGIE ck's apartment. He hands her a long blonde wig. (continuing) ere, put this on. BETH What's that for?CONTING: s 7 BOOGIE a Ps Case someone sees us. They might think you're Carol Heathrew, 0: somebody like that. She slips the wig on her head and straightens it out. BETH How's it cok? BOOGIE, Fine, Just fine, CUT TO: EXT, \EDDIE'S HOUSE - NIGHT Fenwick and Shrevie walk out the front door, From i we hear YELLING AND SCREAMING becveen Eddie and his ‘parents. Ht SHREVIE You going up to the dizer? AIK No, got to va! bet. Christ, yeah, of course. ney approach their cars. Fen, you mind if I come along? Fenwick ks abour it, ing) Iwon't make a sound. It's a small closet. Gocta be sill. SHREVIE, Ve, Great, 7 They get into Fenwick's cat and drive off,> NIGHT an Boogie drives his Desoto along. g the blonde wig, sits by his side, ————— CUT TO: EXT, STREET - NIGHT Fenwick's Triumph turns a corner and heads down another cur TO: INT. CAR - NIGHT z FENWICK The flip side of Donna? Gea eeee aes a UR TO INT, BCOGIE'S CAR - NIGHT Boogie is unconfortable, Knowing what he is about to do is wrong. Beth is silenc. ; CUT TO: Int, X'S APAR - NIGHT Fenwick and Shrevie enter the dark apa! doesa‘t turn on the lights. They mov ment, toward the bedroom. CUT TO: ROM = NIGHT = -- a aoe The room is'dark. A sh: dow offers the only source of the closet door, Shrevie steps inside, NWICK You esouch, I'll stand. ugh a nwick opens Shrevie kneels down. Fenwick enters and closes the door. +Te recains about four inches open. CUT To:CUT TO: EXT, FENWICK'S APARTYENT - NIGHT Boogie and Bech are walking toward the apartment building. BOOGIE You've got to be real quiet inside. No talking. BETH I think you're a little paranoid. — - BOOGIE = a- The walls are very, very thin. Promise? BETH Sure. They approach the door, Boogie unlocks it. He starts to open the docz, then closes it. He's change mind. BOOGIE Let's go. He takes her by the ara and leads her away, Beth is ccn- fused. BOOGIE (continuing) Is's a mistake, Beth. Bet or no BETH Wha? i y ach the car, Boogie opens door, Beth gets inside. BETH (continuing) What are you talking abour? Boogie closes the door and goes around to his in, starts the engine and pulls away, He gets CUT TOINT. BEDROOM - OPENED CLOSET Door - WICK (0.S.) They should be here now, VIE (¢.8.) Let's wait. CUT TO: INT. CAR - NIGHT Boogie is very the blonde wig set with himself. Beth is calm, She holds her lap, BETH Iwas suppose to be Carol Heatirow? BOOGIE That's right. Sick thing to do. I'm real sorzy. th the blonde hairs “They ie Wi silence. deck plays of the Thank you. For whac? At least you had enough respect for me to call Thac says a lor, A beac. ‘ BOOGIE and you should work out Be 5 Ee Eee eee ELEC aE I'm aot real goud at talking to gizls when there's problems end all, With me, if I have a hassle ! zl, f just splic, Bue ys should try something, t would be worch ic. 4 CUT To:EXT, SHREVIE AND BETH'S HOUSE - NIGH : Boogie's car is pulled over. - is open_an. 7 stands on the c nside the c = BETH ng to do about es ac her. Take care, babe. Beth closes the dcor, Boogie drives his Desoto away. Beth watches him as he disappears dow the street. cuz To: INT, STRIP JOINT - NIGHT Billy and Eddie are in one of the clubs on Baltinore’s —.. .. famous Block. In the b.g, a bored STRIPPER goes through the motions, ‘The drummer thumps our a monotonous beat and a saxophonist drones away, A few sailors and sone ar customers sit at cables around che stage area, ALL fe nallets. When the Stripper does G ng they especially like they pound the table with Billy and Eddie both have beers and chasers in front of chen, Billy sips the chaser and his body actually shakes from ic for 2 few seconds. eee BILLY There is no reason ¢ like this, you know EDDIE An acquired taste. cea Beas BILLY ee He takes another sip, and once again shakes. Then he sips the beer, BILLY (continuing) Now beer's another scoryol. watches the Pe EDD w something? Zowing a few bumps and grinds. BILLY Whac? EDDIE I don't like strippers. I mean, so they show a little here and there. So what? But, give me @ couple of mamcosas in a pink sweater.., Lock out! BILLY Remember the first time we became aware of breasts on gicls? EDDIE BILLY ne new school year y were, EDDIE Seventh grade. We gave li apiece to £ e2zl. Told him to be subtle. lked over, reached up and grabbed. Turned te us and yelled, ‘They're real!' DIE wich girls ts keeas ge . tastead o feel’? Boogie was the firs ic was greac. So, when I tcek out Ruth Ray T figured I had to do it. EDDIE grade. Ruth Ray, eigh (CONTINUED)CONTINUED: BILLY ; ' Right. Sat on the couch in her giub cellar for hours, tz to igure out a way to gét my azz arcimd her. ally, I learned the ‘move.’ I yawned and put my azn around her shoulder, Ni , He demonstrates on Eddie. BILLY : (continuing) ; Then came the big task of getting ay hand down to her breast. By the time I worked up the nerve to move down, I realized my arm was asleep. ‘Figured out there wasn't enough time to take it back, gee the feeling again, and start over. Had to be in by eleven. Time was ruaning out. So, I move eae ~——-- toward. the breast with ay arm om asleep. My first copping a feel was like this. He bangs his licp arm against Eddie's chesc. He bumps it again, = BILLY (continuing) Next time I saw the guys they said, 'Did you cop a feel?’ 1 said, ‘Yeah.’ ‘How was ic?! ‘Great.’ Eddie laughs and Billy joins in. cur To: EXT, DINER + GH. poe - ee Boogie pulls into the parking lot. Fenwick and Shrevie zace over co the car, Boogie opens the door, WICK geet outta here. Boog, you shot: Tank's inside, Boogie gets out of the car and slans the door shut. ‘ looks toward the diner and thinks a moment, (CONTINUED)CONTINUED: oo wpm ye SREY eee Way don't you 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 continues 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 Boogy “Tank: Seca ee reSeecece TANK Lucky man. BOOGIE That so. Te Yeah, The Bagel ust P. your debt. Boogie looks at to size up th number for seme re. TE We're even? ghe? TANK Thac's the ste Tank starts past Boogie. BOOGIE ie slams his £ drops to one knee in pain. t into his stomach, Tank (CONTINUED)94, CONTINUED: “ at BOOGIE et (continuing) I still owed you that. He enters the diner. Fem what just happened. and Shrevie are azazed by cur TO: INT, DINER - NIGHT reaches Bagel who sits at a booth alone. He BOOGIE. Thanks, Bagel. BAGEL Your mother called, She was So, out of respect for _ He sips his c buccers it, BAGEL (continuing) Your mother feels you're just g your time in law school it's noe for you. was BOOGIE Probably right. BAGEL Come to work for me. There's a lot of meney to be made in the hone ovement business. You'd be very good at it. our i. Bag BOOGIE Well, I was only really using law as a cone-on for the gizls. They like that, Buc, what the hell. (he smiles) I can always lie. : The waitress passes. te, (CONTINUED)95. CONTINUED: BOOGTS sis (continuing) Enid, soue french fries and gravy. BAGEL Call the two thousand an advance. BOOGIE I'll work for you... for awhile. Then, I'll have to Gove on to bigger things. BAGEL Always a dreamer, eh, 300g? BOOGIE I£ you don't have good dreams, Bagel, you've got nightuares. He flashes him a smile. cur TO: . INT, STRIP JOINT - NIGHT and Eddie are still dr: nk, just very haspy. ing at the bar. They are I'll cell you happens when you get ms: You have to g! friends. @ me and you secrets she'll never know, And tends can never be as good, "cause we've got a history. Br It won't change, only ic. Billy keeps. slanpi saxophonise contin (CONTI» = notices somet! eae eee CONTINUED: - Billy goes toward the small stage. BILLY (0.8.) (continuing) Come on, guys! 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 stares to play. It has a nice, pleasant sound to'it. The drumer and the saxophonist stop, not knowing what to do. The Stripper also stops. The club bouncer at the front door turns toward the stage, 8 wrong and makes his way forward, Billy's piano playing becomes gore int! drives the keys hard. Full cilt rock an¢ roll. becomes infectious, The sailors and ether custa up the beat. One after anot tables wich the wooden mallecs. pick they start to pound che Eddie moves toward the stage banging ty beer bocrles together, The saxophonist joins Billy, Then the dzumer. The Stripper scands by the side of the stage watching. The music builds. ngers pound ch stage and starts dan and they 4 eg. e sailors and other custocers are cn thei e mallets o: es for all L of drume hei, jusps up on the Ee grabs Serippes tee 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 drummer drives the bass drum with his foot. His hands sweep back and forth across the skins, Eddie's feet flying. Enthusiasm over grace. The Strip-~ Ber is a whirlwind of motion and sexuality. The cempo is ierce, (CONTIN =D)CONTINUED: Billy gives alook to the drimmez an saxaghontst. The Gusic builds, and builds, and then altogether they shut down. The place explodes in cheer and applause. CUT TO: EXT, THE BLOCK ~ NIGHT Billy and Eddie walk with their arms around the Stcippez. They are enjoying one another, EDDIE ae. let's see. STRIPPER First joke you zemenber. =DDIZ ah, let's see. F. de. Junior Scholastic Magazine. "Hickory doc.. The mouse ran.up the The Clock s € Billy and STRIP’ Since then your hi up to the sixth grade, is chat Eddie laughs. He enjoys the puc-down. ~~ -EDDT: You're all right. STRIPPER You guys have made my night. You should come down and hang out more often, DIE Don't think I car Gecting na: Billy looks at him. - Eddie smiles,Billy) Figured she would have gotten the Alan Aneche question that Shrevie screwed up, SILLY Benefit of the doubc, EDDIE Exactly. STRIZPER I love weddings, Just never found the time to settle... or wanted to, (to Billy) and you? BILLY No marriage. Roreaeie ”” STRIPPER fee eee eee eee Got a gi: BILLY Not really. Just in love. STRIPPER Does the girl know BILLY Yeah, I told her about it. STRIPPER Told her? Did you show hy ‘Ks about that as they enter an all-night co. CUT To: SHOP - NIGHT Billy, Eddie, and the Stripper sit in a booth by the win- » eating, drinking and lavghing. The CAMERA SLOWLY PULLS BACK, The first rays of morn: light are breaking behind the buil, The CAMERA PULLING BACK. fade CUT TO:EXT. COUN’ SIDE - DAY ANN CHISHOLM rides her horse across the gently rollin, @ her are oné;—Grace and beauty, She rides OUT OF FRAME. Seconds later Boogie rides a horse INTO FRAME, He pulls up on the horse and comes to a stop. He watches Ann ride, then pulls up his collar on his wool overcoat and rides o. Boogie tides after an: he is not a good rider, he pushes to pick up ally, he pulls alongside. Ann slows her horse and Boogie dces the same. BOOGIE Nice morning. ANN Yes, it is. BOOGIE Mornings I've always felt are a good time to ride. ~ ann doesn't respond. - ee 3, You live around here? any Not around here, Here. ike endless countryside, ANN (continu: Boogie locks her in the T was waieing for es hia, ANY Let's ride. She kicks her bk gallops off. Bocgie follows As they ride 4 : ANT (coneinuing) Waac's your name?CONTINUE (- ‘BOOGIE: — Boogie, As in Bobby Shefcel. They ride over a crest and disappear from sight. CUT TO: INT. BANQUET HALL - WEDDING ROOM - NIGHT The “Wedding Reon" has been elaborately decorated. Potted blue and white flowers in stands line the aisle to the blue and white flower-d alt. The room is a festival of blue and white, The guests sit in folding chairs eagerly waiting for the wedding procession to begin. The MUSIC BEGINS. However, ic is net the tradicicnal wedding march but cather the Baltimore Colts~Fight Song. Even though the organist has softened it, there is still a"zah-rah" quality to it. The flower girl comes down the — aisle throwing white flowers on the blue aisle. Modell with his RIEND. GIRLFRIEND What is that music? MODELL Colr Marching Song. Sounds good, huh? ers come forvard, Boogie and Fenwick, followed by , who walks alone. They are all smartly dressed o dos, desmaids come forva tuo nore gizls. Beth and another girl, Fol- Followed by two more gizls. ie start down the aisle, Behind them is -.-.—- and Father. They walk on either side of The COLT MARCHING SONG CONTINUES ON, Eddie sees someone sitting one seat in from the aisle. Ee whispers to Billy. BILLY Moon Shaw? Where? (CONTINU:CONTIN "Eddie indteares witha mods Billy looks over, aes (conedx You're right? As they start to pass, Billy leans into the row and gz: Moon Shaw by the shirt. He pulls back his fist. Moot shocked. BILLY (continuing) HL, Moon. He smiles, lets him go and rejoins Eddie, having missed only a few steps. No one is quite sure what has happene Quickly the attention is back to the wedding procession. LONG SHOT - THE HALL ~~ -~as Elyse and her mother and-father-come down the-aisle.-—— CUT To: WEDDING ROOM - TIGHT SHOT - EDDIE'S FACE = NIGHT RABBI (0,S.) Do you, Edward, take thi$ woman, Elyse, to be your lawful wedded wite?’ For better or worse, i sickness and in healch, until death do you part? I do. Do you, Elyse.. TIGHT SHOT - FENWICK'S fF. RABBI_(0.S.) «.. take this man, Edward, to be... TIGHT SHOT - BOOGIE'’S FACE & : RABBI (0.S.) + your lawful wedded husband, ‘ For better or worse...na € RABBI -(0.S.) sickness and in health, elit death do you part? TIGHE SHOT - EDDIE'S FACE EL (0.8.) I do. smiles, RABBI (0.3.) I now pronounce you man and wife, CUT TO: INT. BANQUET HALL - NIGHT The hail is also decorated in blue and white. The table ——hothes, the napkins, ribbens, flowers, the bandstand, the band. sae The six-piece band plays a nice, perky, dance tune. Sone women dance with women, Mothers dance with sons, fathers and daughters and some husbands with wives, Sarevie dances with Beth and they seem to be enjoying themselves, CAMERA PANS TO Fenwick and the eleventh grader, Diane. DIANE Way not cravel the United States? FENWICK It's been done. looks like a smi SERA PANS TO Boogie the buiiet cable, ANN Bobby, Ic Twill have a few more of, (holding hozs d’ y+ whatever this hors d’oeuvre is. PaNS TO a banner on ¢! AND FOR TH. @ back wall that reads: $_AND_FO CUT TO:INT. BANQUET HALL - § ~~ They move aérdss the Floor, “Billy holds her % Boogie and Ann pass then. Zoogie kisses ann 1 the cheek. Barbara pulls away from hin sl GHD (SLIGHTLY LA: ) A SLOW SONG IS PLAYING. Billy and Barbara dance. * BARBARA I made arrangements with ay 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'1L 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. BARBARA (con The baby is ours, Willy. We can both celebrate that, You can love him just as mich, spend tine with hin or her BILLY You know what I re you because indent, and by that as well back with you. held back. The same when + love in New York. I keep I have to be special, like n passion wasn't proper.., as ££ it were just too ordinary and we w bayond that, Rely se she can see his eyes. There's a sad look in hi (CONTINUED)‘€ @ SARA think that's a hard thing to correct; She kisses hin, they hold each other tightly, BARBARA i (continuing) We've got plenty of time co find eut about one another, Plenty of time. He kisses her. They stand still on the dance floor cs ethers dance around then. CUT To: INT, BANQUEL HALL ~ NiouT (LATER) Elyse stands with her BACK To THE ‘CAMERA, Holding the Reusuet up toward the eagerly awaiting osoud oe gL: ghe tosses the bouquec from the stages The gisis jump for i Te bounces off several extended ams and lands on a table. Seated at the table are Bi Peete They look down at the bouques, th There is a faine smile on their face: . » and Bocgie, CAMERA, "TE thae’s the ca e, T woulda ‘Lenés 7