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

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the squad car. THe red lights start flashing and the siren wails. The patrol car shifts into gear and leaps forward. Suddenly, there's a horrendous metallic screech, the patrol car hurtles up and out, airborne for a moment--then noses down and bounces along the pavement, sending out sparks as it slides to a stop. The driver is stunned and frozen to the wheel. Holstein manages to remove his dark glasses and looks back. There, sitting quietly in the middle of the parking lot, is their trans-axle and two rear wheels. The patrol car sits on the ground at a twenty degree angle, while its engine whines impotently at top speed. On the radio, the all-seeing Wolfman gives an evil laugh-- WOLFMAN (V.O.) Oh, I can't believe it. Feels so good 'cause you're sweet sixteen. And Johnny Burnette takes his cue and croons into "You're Sixteen." A DARK ROAD OUTSIDE TOWN--DEUCE COUPE John has glided off the main drag and into a residential area. Everything is dark and quiet as the adult population sleeps through the night. John pulls the coupe to the curb and turns off the engine. He turns out the lights. Inside the car, there's silence. Only the clock ticking. Carol looks over at John a little nervously. CAROL Why are we stopping here? John looks at her and his arm slides along the back of the seat above her. She notices his arm and the fact that he's moving slowly toward her. JOHN (in a husky voice) Carol... What? CAROL JOHN I--I don't think that I can control myself any longer. You can't? CAROL JOHN No... Carol, I've got to have you. Me? CAROL He touches her hair and she slouches back into her corner
fearfully. JOHN All night you've been sitting there and you've been so sexy and it's been so hot--and I can't wait any more... CAROL Well--well, a lot of that's an act, you know. Like... like my crying. It was just an act. JOHN Well, it's been building up inside of me like a volcano, all night. Maybe if I knew where you lived I could fight it--I could take you home--but since you won't tell me, and since here we are--I've got to have you. It's too late-- CAROL It's not too late! It's never too late! 231 Ramona--two three one-- JOHN (smiling) Two three one-- CAROL I'll show you! It's easy to find. John starts the car engine. Carol looks very relieved. The yellow deuce coupe roars off down the dark street. MEL'S DRIVE-IN Steve sits in the almost empty cafe section of Burger City. He stirs a coffee and mulls over the night's events in his mind. A door opens and Budda Macrae comes in. She watches him a moment, then takes off her little Bell Boy Cap and gets a cup of coffee for herself. Steve looks up as she comes over on her roller skates. BUDDA Hi. You mind if I sit down? STEVE Hi Budda. No, have a seat. BUDDA I got five minutes outa the rat race, and I saw you all alone. For a change. She drinks her coffee and he looks out the window thinking about something else. BUDDA Where's Laurie?
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RADIO "AMERICAN GRAFFITI" Screenpla
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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
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LAURIE We're not going to spend the
Page 17 and 18:
JOHN (grinning) Yeah, sure, Judy--h
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waterfall curl as the Wolfman dedic
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BOY'S LAVATORY Laurie, I know it's
Page 23 and 24:
LAURIE Get your cooties off me-- Ed
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all the next day. CURT (grinning) C
Page 27 and 28:
She takes a pressurized can of shav
Page 29 and 30:
Uh-huh. Milner, the reason I stoppe
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: cars pass with their radios blaring
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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