"AMERICAN GRAFFITI" Screenplay by George Lucas Gloria Katz ...

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John looks at her. She looks at him. Oh, no--No. Hey-- CAROL It's past my curfew. I'm going to tell him how old I am, my parents don't know I'm out and you tried to rape me. Boy, are you up a creek. JOHN Hey--ah, really--don't say anything. CAROL If you say "I was a dirty bird. Carol's not grungy, she's bitchin'." The cop is tapping at John's window. John wipes his face. CAROL Say it--I'll tell him. JOHN (quietly) I was a dirty bird, Carol's not grungy, she's bitchin.' CAROL Okay--I'll think about it. "The Great Imposter" can be heard on the passing car radios. John rolls down his window. He looks at the surly cop. HOLSTEIN Where you going, Milner? JOHN I'm going home--sir. HOLSTEIN Where you been, Milner? JOHN Ah--at the movies--sir. HOLSTEIN Milner, you weren't around the 12th and G streets at about 8:30, were you? JOHN No, I wa at the movies--like I said-- sir. Holstein looks at him, then steps back, looks at the car. Holstein's only a couple years older than John, but the uniform separates them <strong>by</strong> light years. HOLSTEIN
Uh-huh. Milner, the reason I stopped you was because the light on your license plate is out. (opening his ticket book) I'm gonna have to cite you for that. And Milner, the front end of this... this... this thing you're driving looks a little low. JOHN Oh, no sir. It's twelve and a half inches. Regulation size. Now, it's been checked several times. You can check it if you like, sir. Holstein just glares at him and then leans in close through the window. HOLSTEIN Look, Milner. Yes, sir. JOHN HOLSTEIN You can't fool with the law. Yes, sir. JOHN HOLSTEIN We know that was you tonight. We have an excellent description of this car. I could run you in right now and I could make it stick. But I'm not gonna do that, Milner, you know why? John shakes his head no. HOLSTEIN Because I want to catch you in the act. And when I do, I'm gonna nail you, but good. Happy Birthday, Milner. Holstein drops the ticket through the window onto John's lap. He starts back to his patrol car. When he's out of earshot John answers. JOHN Thank you--asshole. CAROL (looking over at him) You're a regular J.D. JOHN Here, file that under C.S. over there. Carol takes the ticket and opens the glove compartment.
Page 1 and 2: RADIO "AMERICAN GRAFFITI" Screenpla
Page 3 and 4: Lodge has given out. Oh yeah, he sa
Page 5 and 6: off. JOHN Not too good, huh? CURT W
Page 7 and 8: LAURIE You mean dating other people
Page 9 and 10: What's wrong, he's crying! There is
Page 11 and 12: Curt goes over and stands by the wi
Page 13 and 14: JOHN Yeah. All right, thanks. John
Page 15 and 16: LAURIE We're not going to spend the
Page 17 and 18: JOHN (grinning) Yeah, sure, Judy--h
Page 19 and 20: waterfall curl as the Wolfman dedic
Page 21 and 22: BOY'S LAVATORY Laurie, I know it's
Page 23 and 24: LAURIE Get your cooties off me-- Ed
Page 25 and 26: all the next day. CURT (grinning) C
Page 27: She takes a pressurized can of shav
Page 31 and 32: the road. GIRLFRIEND (giving anothe
Page 33 and 34: DEBBIE Wow--bitchin' tuck and roll.
Page 35 and 36: He moans. remember? STEVE What do y
Page 37 and 38: Okay. CURT They go off toward the V
Page 39 and 40: I'm going to join the Marines. DEBB
Page 41 and 42: DEBBIE Tiger happens to be very int
Page 43 and 44: anyway? CURT I don't know, but I'm
Page 45 and 46: Wendy turns and leans forward, laug
Page 47 and 48: MEL'S DRIVE-IN Isn't it great, the
Page 49 and 50: Terry pulls into the parking lot an
Page 51 and 52: couple of flashlight batteries and
Page 53 and 54: get? All the ding-a-lings get it so
Page 55 and 56: guy. Soon he realizes that he is be
Page 57 and 58: at him, shaking his head. JOE This
Page 59 and 60: he's a Negro, I think... anyway, he
Page 61 and 62: Cadillac full of girls laughing at
Page 63 and 64: wheels... and a jeep. I also have a
Page 65 and 66: compound. CURT Hey, terrific, I lov
Page 67 and 68: CURT Ah, he means, we're all done h
Page 69 and 70: Debbie comes up and watches Terry l
Page 71 and 72: I'm sorry. STEVE LAURIE Get out! It
Page 73 and 74: TERRY Where'd you go, anyway? Over
Page 75 and 76: John sighs, wondering if he'll ever
Page 77 and 78: Wow! He's really fast, isn't he? JO
Page 79 and 80:
Steve goes off and Debbie looks at
Page 81 and 82:
cars pass with their radios blaring
Page 83 and 84:
fearfully. JOHN All night you've be
Page 85 and 86:
stops and watches Steve and Budda.
Page 87 and 88:
MEL'S DRIVE-IN is reflected across
Page 89 and 90:
He watches her stop at the screen d
Page 91 and 92:
OLD WOMAN Staying on his hands and
Page 93 and 94:
Stop it, stop it, stop it! Help! Po
Page 95 and 96:
ack, then you let him have it. Terr
Page 97 and 98:
Ow. Goodnight. See ya. DEBBIE TERRY
Page 99 and 100:
MANAGER No, man. I'm not the Wolfma
Page 101 and 102:
Curt nods and stands. The manager s
Page 103 and 104:
DALE Yeah. Figured something was up
Page 105 and 106:
LAURIE I said I didn't--you lousy g
Page 107 and 108:
Jesus, what a night. He climbs in t
Page 109 and 110:
LAURIE 'Bye 'bye, Curt. Curt goes t
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"AMERICAN GRAFFITI" Screenplay by George Lucas Gloria Katz ...

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