Peggy Sue Got Married (1986) by Jerry Leichtling and Arlene Sarner. More info about this movie on imdb.com
Over BLACK, we HEAR the sounds of an old TAPE RECORDING.
Young VOICES are filtered amid a noticeable hum, hiss and
crackle. We HEAR giggling and then someone named Charlie
making vows of love to someone named Peggy Sue.
CHARLIE (0.S).
Hi this is Charlie and...
Come on, say your name.
PEGGY (O.S.)
Peggy Sue.
CHARLIE (O.S.)
And we're here on the couch...
PEGGY (0.S.)
Don't say that...
EXT. PEGGY'S NEIGHBORHOOD ?DAY
A split—level house on a slight grade of lawn. A red Honda
the driveway.
CHARLIE (O.S.)
We're here on the sofa bed...
PEGGY (0.S.)
Charlie...
CHARLIE (O.S.)
...to record how much we love each
other. Sitting beside me is the
cutest majorette in the history of
the world. And she would Like to
say something.
A real estate agent, a WOMAN, carries a "For Sale" sign to
the center of the lawn and begins driving it in with a
hammer.
CHARLIE (O.S.)
Come on Peggy. Say what we
rehearsed.
PEGGY (O.S.)
I can't. I'm too embarrassed.
INT. BODELL HOUSE
MOVING VIEW, revealing the empty house. We HEAR the RECORDING
LOUDER.
CHARLIE (O.S.)
But you love me don't you?
PEGGY (0.S.)
Yeah. Come on Charlie, turn it off.
CHARLIE (O.S.)
And nothing will ever change that.
Charlie starts giggling. We HEAR fumbling and tickling.
CLOSE VIEW INTO THE KITCHEN - First we see a woman's hand, on
the floor. It is partially covered with flour.
MOVING VIEW reveals PEGGY BODELL, in her early 40's, fainted
from heartbreak while baking a cake. Flour is scattered on
the floor. She recovers from her faint. Confused, she
steadies herself and brushes the flour from her dress.
INT. GARAGE -- DAY
Peggy's son, SCOTT, 16, is playing an old reel to reel tape
recorder. There are stacks of boxes filled with personal
things and records. His sister, BETH, 23, is packing.
SCOTT
Boy, have they changed. Who gets
it?
BETH
I don't know, just put it back.
CHARLIE (O.S.)
Oh, gotta go. Here's a little
make—out music.
A record starts: "You Belong to Me" by the Duprees.
INT. CHARLIE'S APARTMENT
CHARLIE BODELL, early 40's, singing the same song. He can't
hit a high note, turns off the water and steps out of the
shower. JANET, his young, buxom girlfriend is in the bedroom.
CHARLIE
Goddamnit, I just can't hit those
high notes anymore.
JANET
You know Charlie, if you're serious
about this, I know a great vocal
coach.
Charlie's perplexed reaction.
EXT. BODELL HOUSE - DAY
"Crazy Charlie's Discount Appliances" truck has parked in
front of the house. WORKMEN are loading boxes of records,
tapes, etc. Charlie pulls up, waves to workmen.
INT. KITCHEN/HALLWAY
Peggy is loading the odd—shaped cakes into boxes. We note the
grandfather clock tolling nine.
VIEW IN HALLWAY
Beth meets her father at the door.
BETH
Hi Dad, can I have 100 dollars for
a brake job?
CHARLIE
Did I hear 70 dollars? What do you
need 50 dollars for? How's your
Mom?
Peggy comes out of the kitchen. Charlie has stopped
conspicuously at the threshold. A workman comes from behind
Peggy.
WORKER
Coming through.
CHARLIE
Frank, watch the clock.
Peggy looks outside.
EXT. HOUSE ?PEGGY'S POV
Janet is seated in Charlie's car.
INT. HOUSE
PEGGY
There's something pathetic parked
in front of my house.
CHARLIE
Come off it, Peggy. And what do you
mean your house? This is my house.
I paid for it, I'm still paying for
it.
PEGGY
I'm still waiting for the mortgage
check.
CHARLIE
I mailed it to you on Wednesday.
PEGGY
Well, today's Saturday and it's
still not here.
CHARLIE
Jesus, Peggy. Take it easy. I'm not
used to that stuff. You always did
the bills. Blame the damn post
office.
A workman approaches carrying an old mono record player:
black and white, a real fifties artifact. For a moment their
mutual resentment melts, as they look at each other.
PEGGY
That stays.
The workman looks to Charlie for approval. Charlie nods. The
workman shrugs, and heads back to the basement.
CHARLIE
You got a Tab?
PEGGY
I don't buy them anymore. You were
the only one who drank them.
INT. REC ROOM
Peggy leads the way. At the far end, she flips a light switch
that turns on a wall sculpture of lava lamps.
CHARLIE
You don't want them? They're going
to make a big comeback any minute.
Mark my words, these lamps are
going to...
PEGGY
I know. Put Scott through college.
CHARLIE
I'll think of a way to sell, them.
(beat)
One day.
Peggy opens a box filled with records. She closes it and
moves to another. Charlie checks the contents of another box
on the other side of the room.
PEGGY
Are you taking Janet to the reunion
tonight?
CHARLIE
I'm not going.
Scott calls from the top of the stairs.
SCOTT
Come on Dad!
CHARLIE
Be right there. I'll go through the
rest of this stuff next weekend.
SCOTT
Bye Mom.
PEGGY
Bye sweetheart.
Peggy and Charlie look at each other as Scott leaves.
CHARLIE
(with real, regret)
I never thought it would go
this far.
Charlie exits. Peggy looks around. She slaps the flap of a
box down, to close it, but it jumps back up.
DISSOLVE:
EXT. PEGGY'S DRIVEWAY
Peggy and Beth carry the cake boxes into the car A NEIGHBOR
trimming the hedge watches them lasciviously.
Peggy and Beth drive off.
EXT. STREET
Peggy's car rounds a corner into the business section of
town.
EXT. LOVIN' OVEN BAKE SHOP
Peggy pulls up to the front door of The Lovin' Oven, her bake
shop. Bags of bread and rolls lean against the door. Beth
jumps out and opens the door of the shop. Peggy stacks the
boxes in Beth's arms and opens the door for her.
PEGGY
If the pastries aren't here by nine
thirty, call Monica and threaten
her life.
Peggy gets into the car, and blows a kiss to Beth.
PEGGY
I'll be back by noon.
Peggy drives off as MONICA drives up. She exits her car and
begins to unpack cake boxes.
BETH
Hi Monica. You just missed Mom.
MONICA
Sorry I'm late. My Bobo's back in
town.
EXT. KRISTIN'S COIFFURES HAIR SALON
INSERT: Sign: KRISTIN'S COIFFURES
Peggy exits with a fifties flip. From a distance she looks
like a fifties teenager. She nervously looks at her
reflection. Maybe this was a mistake. Too late now.
INT. PEGGY'S CAR ?DRIVING
Peggy is driving. On her car radio, we HEAR a local PHONE—IN
TALK SHOW.
WOMAN'S VOICE (V.O.)
Hi. I'm Dolores Dodge. We're taking
calls today on surrogate mothers.
Wombs for rent. I want to know how
you feel..
PEGGY
Oh, Dolores.
Peggy switches stations until she finds the news.
EXT. STREET CORNER
Peggy stops for a red light. Her eye is caught by a Mercedes
stopped next to her. Behind the wheel is a striking woman of
her age, CAROL HEATH. They stare curiously for a beat, then:
PEGGY
Carol!
CAROL
Peggy Sue!
They pull over to the side of the road.
EXT. SIDE OF ROAD
Exiting the cars, they hug.
CAROL
I haven't seen you in years. In all
that time, haven't you at least
tried another hair style?
Peggy tries to laugh off her embarrassment.
PEGGY
1 just did it for the reunion. I
thought it would be fun.
CAROL
You're probably the only one who
could carry it off.
INT. LOVIN' OVEN ?DAY
Peggy and Carol enter as Beth finishes up with a customer.
Peggy walks behind the counter as the customer exits.
BETH
Where were you? You said you'd be
back at twelve.
PEGGY
This is my old friend Carol.. I
told you about her.
Beth and Carol exchange hellos.
BETH
r was worried about you You didn't
even call. You're always on my case
if I don't call..
PEGGY
How do you like my hair?
BETH
It looks great. Don't change the
subject. You know how busy
Saturdays are. And I can't do the
icing. I always mess up the roses.
You're not being very responsible.
Peggy takes over the work of decorating the large pennant
shaped cake in silver icing: 25th Reunion ?Buchanan High.'
CAROL
Who's the mother around here?
BETH
Sometimes I wonder.
INT. TELEVISION STUDIO
A television studio set made up of platforms covered with
black cloth. Placed around the platforms on different levels
are projection TVs, regular TVs, microwave ovens and other
expensive, futuristic appliances. Charlie sits at one of them
(or a table) as a CHINESE WAITER rushes in and puts a tray of
fortune cookies down.
WAITER
Here Charlie, extra fortune
cookies. Good luck.
CHARLIE
Thanks.
Charlie grabs a cookie and puts it on the table in front of
him, smashing it with his fist. He picks up and reads the
fortune:
CHARLIE
(manic)
Next week you'll be selling Sanyo
remote control VCRs for three
hundred and ninety—nine dollars? Oh
no!
(sings)
Crazy Charlie...
He grabs and smashes another fortune cookie.
CHARLIE
You'll give away Mitsubishi giant
screen TVs for twelve hundred and
ninety—five dollars! Oh no! I'll go
broke!
(sings)
Crazy Charlie...
He grabs and smashes another cookie.
CHARLIE
You won't be undersold on stereos,
videos, microwaves or blenders!
(sings)
Crazy Charlie, Crazy Charlie,
I'm not breaking cookies,
I'm smashing prices.
(rolling his eyes like
Fabian)
Crazy Charlie, he insane.
The waiter hits a big gong.
Beth laughs.
PEGGY (0.S.)
Turn that off.
INT. PEGGY'S BEDROOM ?NIGHT
CAMERA PULLS BACK from the TV into Peggy's bedroom. Beth gets
up from the bed and turns off the TV. Peggy enters from the
adjoining bathroom, wearing a robe, and bobby socks with
saddle shoes. She picks up a gold Locket from the dresser,
and puts it on.
BETS
When are you going to stop being so
mad at Dad? How do you think that
makes me feel?
PEGGY
I have a lot of unresolved feelings
about him. I don't trust him.
Besides, I hate those commercials.
BETH
I'm sorry I asked. We don't have
time for another heart—to?heart.
Here, try on the dress.
Peggy tries on the fifties dress lying on the bed.
PEGGY
But I want you and Scott to
understand.
(beat)
Do you think he loves Janet? Maybe
he's smashed too many fortune
cookies.
BETH
Come on Mom. Give him a break. He's
missing the reunion because of you.
You know he wants to go.
PEGGY
Then we'd both have a miserable
time. What do you think?
She looks exactly like a sixties teenager.
BETH
Hey, you're a hip chick. You look
like you stepped right out of Life
magazine. Any time you want to
borrow it again, just ask.
PEGGY
Borrow?! This was my dress.
(beat)
Maybe it's a mistake. What if I'm
the only one? I don't even want to
go. Everybody's just going to
say...
(imitating commercial)
Hi.. Where's Crazy Charlie?
BETH
Mom, lots of people are separated
and divorced.
PEGGY
Not from the guy with the
lowest prices in town.
EXT. HIGH SCHOOL ENTRANCE - NIGHT
Couples are walking up the stairs into the school. Peggy and
Beth are at the bottom of the stairs, staring at the banner
hung across the entrance.. It reads: WELCOME CLASS OF '60.
PEGGY
I feel ridiculous. Maybe I should
go home and change.
BETH
Why are you so nervous? What is the
matter with you today?
PEGGY
I don't know. Reunions do funny
things to people.
At that moment they're joined by MADDY.(Madeline) and ARTHUR
NAGLE, coming up behind them. A typical polyester couple.
Hellos all around and hugs. Arthur puts his arms around Beth
and Peggy and leads them up the stairs.
MADDY
You two look like that soap
commercial. Which one's the
daughter and which one's the
mother?
ARTHUR
You took this seriously. You're a
real blast from the past.
PEGGY
It was Beth's idea.
MADDY
I wish I had the nerve. And the
figure.
ARTHUR
You always were a crazy little gal,
Peg.
PEGGY
Arthur, please don't call me Peg.
INT. SCHOOL HALLWAY ?NIGHT
A large table in the lobby holds plastic nametags. A sign
reads: LADIES IF YOU CAN'T FIND TOUR TAG, LOOK UNDER YOUR
MAIDEN NAME. Several people are bending over the table
looking for their tags. A HOSTESS is sitting behind the
table. Peggy, Beth, Maddy and Arthur enter. Hellos all
around.
PEGGY
Beth's boyfriend is playing in the
band.
MADDY
It must run in the family.
BETH
What does?
ARTHUR
You and your mother both seem to
fall for musicians.
Maddy and Arthur laugh. Peggy is not amused. The hostess
hands them their name tags and turns to welcome new arrivals.
As they proceed down the hallway, Peggy SEES a distinguished
man enter, RICHARD NORVIK. With him is his pregnant wife
SHARON. Richard smiles at Peggy. She can't place him. Peggy
turns back to her group and continues down the hall. The
fifties MUSIC GETS LOUDER AND LOUDER.
INT. GYM
The gym is packed with people dancing, chatting, greeting
lost friends. A bar is set up at one end. On the walls are
black and white blow—ups of the 1960 yearbook. On a table is
a buffet and Peggy' s cake. The BAND is PLAYING and SINGING
old rock and roll songs. Couples slow dance, jive and stroll.
Peggy, Beth, Maddy and Arthur enter. Beth leaves the group.
ARTHUR
Hey, there's Terry and Leon.
MADDY
Peggy, would you find a table?
We'll see you in a little while.
PEGGY
Okay.
They walk away into the crowd, leaving Peggy alone.
INT. GYM NEAR WALL
CL0SE VIEW ?A photo of the majorettes. Peggy is in the
middle, twirling her baton.
Her reverie is interrupted by:
RICHARD (0.S.)
Are you Peggy Sue Kelcher?
PEGGY
I was once. Richard!? Richard
Norvik? I didn't recognize you.
RICHARD
You look exactly the same.
PEGGY
I just did it for tonight. I don't
normally dress like this.
SHARON
It's adorable.
RICHARD
Oh, I'm sorry.. Peggy Sue Kelcher,
my wife Sharon.
PEGGY
Hello. Nice to meet you. Please
call me Peggy. I'm Peggy Bodell
now.
RICHARD
Where's Charlie? I was in town
about a year ago and caught one of
his commercials. Really made me
laugh.
PEGGY
He's not here. We're getting
divorced.
RICHARD
Gee. I'm sorry to hear that.
NEW VIEW ?A large, beefy HAND is THRUST INTO FRAME.
MAN'S VOICE (0.S.)
Mr. Norvik.
CAMERA PULLS BACK TO INCLUDE DOUG SNELL, a paunchy,
overbearing man, shaking Richard's hand.
DOUG
Or, uhh, Richard? David Snell,
Merrill Lynch. I read about the
Cordex deal in Business Week.
Congratulations.
RICHARD
Thank you, Doug.
DOUG
Hi Peggy. How are you? How's
Char1ie?
INT. GYM
VIEWS ON Carol and Walter. They play a standoffish game, each
noticing the other, but pretending not to.
We HEAR and SEE bits of conversations:
SANDY
(gleeful)
I can't believe how she let herself
go. She was so beautiful in high
school.
CAROL
Everyone's got a gold Rolex. I had
this one specially made in
platinum.
Richard is standing with three men. They hang on his every
word. Beside them, a very DRUNK MAN overhears:
RICHARD
...fifth generation core capacities
are going to cause another
shake—out in the smaller companies.
DRUNK MAN
(to Richard)
Your damn computers put me out of
business. You're a billionaire, and
I'm a goddamn failure.
Another man gently restrains the drunk and leads him away.
Richard is shaken.
NEW VIEW
Carol and Peggy.
CAROL
(chuckling)
Welcome to the singles scene.
PEGGY
I don't know how you do it. I've
never even dated anybody but
Charlie.
CAROL
You just have to remember... men
are like houses and trade
upwards... I thought you had a
pretty good marriage.
PEGGY
We did for a long time. We just got
married too young, and ended up
blaming each other for missing out
on things.
CAROL
So he started having affairs, and
you got depressed.
Peggy nods.
CAROL (CONT'D.)
You should have left here years
ago, like I did.
PEGGY
It's not the place. I don't buy
that.
(melodramatic)
Trapped in the same town forever.
The price she would pay for her
teenage lust.
CAROL
After you got knocked up, my mother
didn't want me to talk to you. She
thought it was contagious.
PEGGY
Oh, it's not so bad. I have two
wonderful kids, my own business.
(beat)
Still, knowing what I know now, if
I had the chance to do it all over
again, I'd sure do things a lot
differently.
CAROL
Wouldn't we all.
INT. GYM OFFICE (ADJACENT TO GYM)
DOLORES DODGE is about to interview Maddy and Arthur; she
turns on the tape machine and holds up the microphone.
DOLORES
Madeline Hutton and Arthur Nagle
were high school sweethearts.
Married right after graduation,
they're still together. In this day
and age, that's remarkable...
Maddy, Arthur, how does it feel to
have missed the sexual revolution?
MADDY
(incensed)
What kind of question is that? It
has nothing to do with the reunion.
ARTHUR
(thoughtfully ?into mike)
I'm glad you asked, Dolores. Four
years ago Maddy and I found
Jesus...
DOLORES
Spiritual renewal.. That's what
reunions are all about. Familiar
faces, forgotten memories, ancient
dance steps and music...the great
time machine.
INT. GYM
CAMERA PANS the gym and FINDS:
Carol dancing with WALTER GETZ, slim, handsome, with a big
toothy grin. Carol's old high school boyfriend, he's now a
dentist and a fabulous dancer. They make a great team.
Couples dancing around them react appreciatively.
CAROL
I never could keep up with you.
WALTER
(with a quick tap step)
Just call me Walter the dancing
dentist. Taps and caps. My
specialty.
INT. GYM ?ANOTHER AREA
PEGGY'S TABLE.
Peggy sits with Richard, Sharon, and two other couples, TERRY
and LISA and LEON and SANDY.
A hand gently touches Peggy on the shoulder. Peggy turns
around and sees ROSALIE TESTA, a small woman with close
cropped hair. She's in a wheelchair. She wears a plastic
badge: REUNION COMMITTEE.
ROSALIE
I remember that dress.
PEGGY
Rosalie Testa!
'HELLOS' all, around. Peggy helps Rosalie position her
wheelchair at the table.
ROSALIE
I remember when you got that
locket, too. You were so excited
I think you showed it to the whole
school.
PEGGY
You have an incredible memory.
SHARON
It's beautiful. Does it open?
PEGGY
Yes. These are my children. But
they're not babies anymore.
INSERT - LOCKET
Inside are photos of Beth and Scott as babies.
ROSALIE
(laughing)
I think you got married when you
were three.
INT. GYM OFFICE
Dolores interviewing Walter and Carol.
DOLORES
Carol Pritchard Heath and Walter
Getz were high school steadies who
went their separate ways. After
twenty years and four divorces
between them, they meet again ?
Walter a successful dentist, Carol
a mature career woman. Carol, why
did you really come back for this
reunion?
CAROL
Curiosity mostly. I heard you
finally found a man of your own.
Too bad he's married.
WALTER
(cracking up)
Whoa! Cat fight! Purse war!
INT. GYM ?PEGGY'S TABLE
THEIR POV:
Dolores walks resolutely towards their table.
Maddy and. Arthur leave the table as Dolores approaches,
putting her tape machine on the table. She ignores everyone,
focusing on Richard.
DOLORES
Hello everyone. Richard Norvik? I'm
Dolores Dodge with KARP Radio.
Could I have a minute of your time?
RICHARD
Sure. I remember you.
INT. GYM ?SERIES OF SHOTS
The BAND is PLAYING and SINGING the SONG "GOOD OLD ROCK AND
ROLL." Peggy and Sharon walk through the gym looking at the
photo blowups on the wall. Peggy is stopped and hugged by
several people. Maddy and Arthur are dancing. Despite the
frantic beat, they are slow dancing. Seth is hanging around
the stage, bringing a drink to the guitar player. Walter is
dancing with Rosalie in her wheelchair.
OVERWEIGHT, BEARDED MAN
Turns out I love business. Every
morning I wake up, thank God I'm
alive, and say Who am I gonna screw
today?
LEON
Let's play "Rate the Moment". I
give tonight an eighty—seven.
Better than sex, not as good as
racquetball.
INT. GYM OFFICE
Dolores has left. Walter lays out lines of cocaine on the
back of the clipboard, as Carol watches.
WALTER
The best thing about being a
dentist. Pure pharmaceutical grade.
A couple of lines of this, I can
drill my own teeth...
(looks at her for a
moment)
Hi.
CAROL
Hi.
INT. GYM ?INTERCUT - SERIES OF SHOTS
SERIOUS MAN
(to his wife)
Joe would have enjoyed this. God, I
still miss him.
MADDY
(to Carol)
Peggy was a mess right after they
separated, but I think she's coming
out of it... It seems to be pretty
friendly now..
CAROL
Sometimes it's easier when you hate
them.
GREASY DRUNK CREEP
I can't remember. Did I make it
with you in high school?
LISA
Doesn't it feel like it was
yesterday?
TERRY
Youth is like an amputated leg.
Long after it's gone, you still
feel it.
SAME BEARDED MAN
My wife's a cow, my son has shit
for brains, and my daughter's in
India with Mother Teresa.
WOMAN
My husband's a pig. But my son's in
social work and my daughter, God
bless her, is in India with Mother
Teresa.
LEON
For the fitness generation, we've
sure got a lot of porkers.
SANDY
I don't remember anything about the
seventies.
LISA
Breaking up was horrible. I said we
had a very special attachment, he
said, so does a Hoover.
LEON
I don't know why I came back. I
hated high school.
The group around him all answer "So did I" or "Me too."
ROSALIE
I enjoyed it.
INT. GYM NEAR WALL
Peggy (loose, holding a drink) and Sharon stand in front of a
PHOTO of the 1960 Cross Country Team.
VIEW ON PHOTO - off to one side stands MICHAEL FITZSIMMONS.
His hair is longer, his gaze intense and non—smiling.
SHARON
Who's the one with the hair?
PEGGY
Michael Fitzsimmons. I had such a
crush on him.
Carol and Maddy join them, still panting from dancing.
CAROL
Hi, Peggy. God, that Walter Getz can
still dance.
PEGGY
Your first boyfriend. What do
you think? Any sparks left?
CAROL
Who knows. Remember...
(a beat)
Whatever Walter wants...
CAROL, PEGGY AND MADDY
(laughing)
Walter Getz.
PEGGY
Sharon Norvik this is Carol Heath,
and Maddy Nagle. My oldest and
dearest friends. Sharon's married
to Richard.
CAROL
Lucky lady. Hi.
MADDY
(looking at the photo)
Michael Fitzsimmons! Is he here?
PEGGY
No. I asked Rosalie. She couldn't
track him down.
CAROL.
Too bad.
SHARON
He must have been quite a guy.
PEGGY
He was the only one in high school
I wished I'd gone to bed with.
CAROL
The only one?
PEGGY
Well, besides Charlie, of course.
We HOLD on the photo of Michael and...
DISSOLVE:
INT. GYM ?LATER
The BAND is PLAYING AND SINGING the SONG, "JUST BECAUSE."
Couples axe slow dancing. Dolores is still interviewing
Richard. Peggy, Sharon and Carol walk back to their table.
SHARON
Peggy, would you please rescue
Richard? Ask him to dance.
RICHARD
Are we through Dolores? Good.
DOLORES
Well...
Richard stands and helps Sharon to a chair.
RICHARD
(to Sharon)
You'll be okay?
SHARON
Yes. You go ahead.
Peggy and Richard head onto the crowded floor, and begin to
dance.
RICHARD
The only time people like Dolores
used to pay any attention to me was
to laugh at me or insult me. That
guy, Doug Snell, who shook my hand
when we walked in, he used to call
me a four—eyed worm.
PEGGY
Well, you showed them. You're rich
and famous and successful. And you
have a beautiful wife.
RICHARD
You were always friendly to me. I
appreciated that.
(beat)
You know, this used to be a fantasy
of mine.
PEGGY
What was?
RICHARD
Dancing with you.
PEGGY
You're a sweet man, Richard.
RICHARD
I guess part of us never really
leaves high school.
PEGGY
You know, I never told anybody
this, but I always had a feeling
that when you die, before you go to
heaven, you get a chance to fly
around high school for a while.
CAMERA PULLS BACK SLOWLY as Peggy and Richard become part of
the sea of dancers, all Lost in nostalgic reverie.
BY DOOR
Charlie enters and stands by the door. He's tentative,
looking around for his friends. Almost immediately he is
joined by Arthur, Walter, Terry and Leon. They shake hands,
glad to see each other.
TERRY
Here comes the life of the party.
LEON.
I knew you couldn't stay away.
Everyone's happy to see Charlie. His eyes meet Peggy's he
gives her a tentative, sheepish wave. Terry looks at the
band.
TERRY
You know, they could've at least
asked us to sing. We'd refuse, of
course, but they could've asked us.
CLOSE ON PEGGY
Looking at Charlie.
BY STAGE
Arthur walks onstage, placing a hatbox on the amplifier. He's
a Chamber—of—Commerce type.
ARTHUR
(into microphone)
Hello. Can I have your attention,
please.
The BUZZ in the room DIMS, Peggy and Richard head back to
their table.
ARTHUR
I know it's getting kind of late,
and some of you have a long drive
home, so the reunion committee
decided it was time for the moment
you've all been waiting for. You
don't know what you've been waiting
for because we didn't tell you, but
the committee has selected a King
and Queen. Now don't worry, I took
care of it so the band's gonna keep
playing for at least another hour,
and my old pal Judge Crystal said
that the bar can stay open as long
as we want.
Everyone applauds.
VIEW ON PEGGY AND CHARLIE
At opposite ends of the reunion, but aware of each other.
ARTHUR (CONT'D.)
And while you're at it, let's have
a nice big hand for the Little Lady
that did such a great job
supervising all the decorations,
Rosalie Testa.
More applause. VIEW on Rosalie in her wheelchair.
ARTHUR
Now back to business. The members
of the committee have given this a
lot of thought and decided on the
two people who best represent the
spirit of Buchanan High's Class of
'60. The king is someone who, in
more ways than one, has come a
long, long way since he left here.
ANGLE - PEGGY'S TABLE
They all look to Richard, knowing he's the obvious choice.
ARTHUR
We're proud to welcome him back,
Richard Norvik! Come on up here,
King Richard!
The band PLAYS a FANFARE and DRUM ROLL. Richard gets up, and
walks to the stage as everyone APPLAUDS. The band PLAYS a
chorus of "Get a Job."
VIEW ON WALTER
WALTER
(kidding)
I demand a recount.
(laughs)
VIEW ON STAGE
Arthur places the gold cardboard crown on Richard's head as
they shake hands.
RICHARD
Sharon and I thank you all for
making us feel so welcome. It's
good to be back.
MORE APPLAUSE as Richard steps back.
ARTHUR
Every king deserves a queen. Now,
we had a Lot at worthwhile
candidates. And I don't want any of
you ladies to feel left out, 'cause
you're all beautiful. But when we
sent out the invitations, we didn't
mention anything about this being a
costume party.
Peggy's embarrassed reaction, realizing everyone's looking at
her.
ARTHUR
Maybe we should have, 'cause just
looking at her brings it all back
for us. Ladies and gentlemen, I
give you our queen, Peggy Sue
Kelcher Bodell. Come on up here,
Peggy Sue.
The band begins the song PEGGY SUE. Peggy looks pained. She
doesn't move.
CAROL
They're waiting. Come on.
PEGGY
(close to tears)
I can't. It's all too much.
CAROL
Go on. You can do it.
Charlie and Beth stand together: Beth is worried about Peggy.
CAMERA TRACKS Peggy as she haltingly makes her way to the
stage. As she does, she notices another blow-up on the wall:
Peggy and Charlie, as King and Queen of the 1960 prom. Arthur
gives the crown to Richard who places it on Peggy's head. He
kisses her cheek and stands back, beaming.
PEGGY
(into mike, overwhelmed)
Thank you.. Thank you very much.
The lights dim, leaving Peggy in the spotlight. Continued
APPLAUSE as the singer steps up to his mike and begins to
SING the song PEGGY SUE.
PEGGY ON STAGE ?INTERCUT WITH HER POV
People starting to clap and sing along. Carol and Carol's
POV: a blow—up on the wall of Carol in the senior play.
Walter and. Walter's POV: a photo of Walter on the basketball
team. People leaving their tables, surging towards the stage,
drawn by the music. Maddy and Maddy's POV: a photo of Maddy
and friends mugging for the camera in the cafeteria. Charlie
talking to Carol.
Peggy begins to cry softly. The images begin to melt
together, pulsing to the music. Peggy is the focus of
everyone's nostalgia. A wave of time washes over them.
She remains onstage, looking past the crowd to the photo of
her and Charlie.
Peggy onstage, eyes closed, swaying to the music. Walter and
Carol join hands, walking towards the stage. Rosalie in her
wheelchair, doing the hand jive, crying.
The entire crowd swaying to the music, looking to Peggy,
repeating the chorus over and over.
Beth notices her mother's state of emotion. Peggy collapses
onstage. We hear SHOUTS and SCREAMS. Richard, Arthur and
several others crowd over Peggy. Beth rushes to the stage,
reaching out to her mother. Charlie too.
MUSIC STOPS.
INT. GYM - ECU A THIN TUBE FILLED WITH BLOOD INSERTED
INTO PEGGY'S ARM - DAY
CAMERA PULLS BACK to INCLUDE Peggy lying on a cot. She wears
the same dress she had on at the reunion. She's terrified.
We NEAR a smattering of background noises: NAMES are CALLED,
NURSES helping, etc. Looking up she sees: The IV.
The NURSE taking the IV out of her arm, and placing a vial of
blood on a tray with several others. Peggy sits up slowly,
dazed and frightened. She looks at the nurse.
NURSE
Would you like your Twinkie now?
Peggy takes the Twinkie, staring at it blankly. Looking
around she SEES students giving blood to the Red Cross.
Several have tubes in their arms. Nurses attend to them.
Carol sits up drinking a cup of juice, waving weakly at
Peggy. Maddy, now a brunette, slowly rolls down her sleeve.
Arthur, Dolores, Walter and several others from the reunion.
Everyone is younger but instantly recognizable..
Charlie walks over to Peggy. He grins at her, revealing wax
vampire fangs in his mouth, hair Brylcreemed to death.
CHARLIE
I vant to suck your blood. I also
vant to suck your Twinkie.
PEGGY
Charlie! Am I dead?
CHARLIE
No. You are the undead. You will
live forever if you give me your
Twinkie.
(normal voice)
Come on, let's have it. You hate
them anyway.
Mechanically, Peggy hands over the Twinkie. Charlie bends
over to nuzzle her neck. The nurse's hand COMES INTO FRAME
and grabs Charlie by the scruff of the neck, pulling him up.
NURSE
Young man, stop that.
The SCHOOL BELL RINGS.
CHARLIE
Hey! I just made a deposit in your
blood bank. Now I want to make a
withdrawal.
NURSE
I think it's time for your next
class -
CHARLIE
I'm changing banks!
Charlie walks away towards Walter and Arthur. Peggy gazes
after him, his body blocking her view of a portion of a
banner hung on the wall. It reads: "Support the Buchanan High
Blood Drive..." As Charlie exits, the final words come into
view:
"Spring 1960." Peggy gasps. She begins to tremble.
NURSE
Lie back down and take a deep
breath.
PEGGY
What's going on? Where am I?
NURSE
You passed out for a moment.
Nothing to worry about.
PEGGY
How did I get here?
Maddy and Carol approach, carrying their books.
NURSE
Why don't you let your friends help
you?
(to Maddy and Carol)
Take her into the washroom and
splash some cold water on her face.
That should perk her up.
MADDY
Yes, ma' am.
They help Peggy up and lead her across the gym.
INT. GIRLS' WASHROOM ?ADJACENT TO GYM
The girls enter. Carol immediately lights up a cigarette.
Peggy crosses to the mirror.
CAROL
(to Peggy)
Wanna smoke?
That's the worst thing for her.
PEGGY
No thanks. I gave them up years
ago.
Maddy and Carol react as Peggy takes a closer look at herself
and the girls' reflections. She places a hand to her throat,
noticing the locket is gone.
PEGGY
Where is it?
CAROL
Were taking you back to the nurse.
PEGGY
Maddy, what did you do to your
hair?
Maddy looks in the mirror.
INT. SCHOOL HALLWAY - NURSE'S OFFICE
Maddy and Carol are waiting. Peggy exits the office,
clutching a note which she hands blankly to Maddy. They walk
towards the exit, Peggy glued to the wall for support.
CAROL
We're going to take you home.
PEGGY
That's okay. I'm sure I'll remember
the way.
EXT. SCHOOL ?SIDE DOOR
The girls walk outside. Peggy looks around at the old cars i~
the parking lot. The most noticeable ?a blue Chevrolet
Impala convertible. Peggy stares at it for a beat, shivering
with recognition, as she follows Carol and Maddy to a 1955
Ford. Maddy helps Peggy into the back seat.
EXT. STREET ?DRIVING
Carol drives and chats with Maddy, while in the back seat
Peggy looks out at the world as it she were on a ride at
Disneyland. She says things like "That's not here anymore".
EXT. SUBURBAN STREET - KELCHER HOUSE
The car pulls up to the curb. Peggy gets out of the car.
Maddy hands her the note and her books; she twirls her finger
next to her head.
CAROL
I'll call you Later.
PEGGY
Yes. Let's stay in touch.
Peggy walks up to the door, a sleepwalker in suspended
animation. She waits a beat and knocks softly.
WOMAN'S VOICE (O.S.)
Who is it?
PEGGY
Peggy.
(shuddering)
Peggy Sue.
WOMAN'S VOICE (0.5.)
Come on in. It's open.
Peggy slowly opens the door.
INT. HALLWAY ?KELCHER HOUSE
Peggy enters and looks down the hallway into the kitchen.
EVELYN KELCHER is a lovely woman in her mid—forties. She
turns around from the sink and approaches Peggy.
PEGGY
(helplessly)
Mom!
MRS. KELCHER
The nurse called and said you'd be
coming home.
Peggy stares blankly at her for a beat, then holds up the
note, as she moves towards her mother.
PEGGY
I have a note.
MRS. KELCHER
How do you feel?
PEGGY
I'm excused.
MRS. KELCHER
Why don't you go lie down for a
while.
PEGGY
Mom!
Peggy embraces her mother, holding on for dear life, inhaling
her scent.
PEGGY
Chanel Number Five. That always
reminds me of home.
MRS. KELCHER
Of course, dear. You're home now.
PEGGY
I'm home now.
INT. PEGGY'S ROOM
Peggy enters warily, looking around, a fifties museum of
teenage artifacts. She walks around the room gently touching
her old belongings including the record player from opening
scene. She looks in the mirror to make sure she's still
there. Suddenly, she turns around.
PEGGY
Okay, I'm alone now. Is anyone
here?
She opens the closet door expectantly, then closes it shaking
her head.
PEGGY
No. This is crazy. Is somebody
going to tell me what's going on?
Why me? What happened? You don't
have to show up. I don't have to
see you. Just send me a sign.
(beat)
Thanks a lot. 1 guess I'm on my
own.
NANCY, Peggy's twelve—year—old sister, peeks in the room.
PEGGY
Nancy! Come here.
Nancy tentatively approaches. Peggy hugs her.
NANCY
What are you doing?
PEGGY
I'm just happy to see you.
NANCY
Come on! Mom said you were sick.
You're never happy to see me.
PEGGY
I'm sorry about that. I really want
us to be closer. I have enough
unresolved relationships in my...
life.
NANCY
Teenagers are weird. And you're the
weirdest.
PEGGY
Let's do something together.. Do
you want to play Monopoly? Or
Careers... Clue... Snakes and
Ladders?
NANCY
(suspicious)
Okay, what do you want? What dumb
favor do you want me to do?
INT. LIVING ROOM
On a small black and white TV, Dick Clark introduces a
spotlight dance. Peggy and Nancy are sitting on the sofa,
watching. Nancy is eating small candies, like M&M's.
PEGGY
It's unbelievable. The man never
ages.
NANCY
Look at Kenny Rossi. Isn't he
dreamy? I wish he'd break up with
Arlene. She thinks she's so great.
PEGGY
Don't eat the red ones.
NANCY
Why not? They're my favorite.
PEGGY
They're bad for you. They
cause...red lips. (red dye *2)
Nancy react, as Peggy stands. CAMERA TRACKS HER to the den.
DEN
Peggy opens the liquor cabinet and takes out a bottle of
Scotch and a glass, noticing the family photos on the wall..
PEGGY
Can't hurt. I'm already dead.
She belts down several drinks.
NANCY (Q.S.)
Peggy Sue! Hurry up. Fabian!
Peggy steadies herself as CAMERA TRACKS her back into the
living room.
LIVING ROOM
Peggy collapses on the naugahyde recliner. Unexpectedly, it
leans back, shooting Peggy's legs up.
MRS. KELCHER
(from the kitchen)
I put your laundry on your beds.
Don't forget to put it away.
NANCY
What's for dinner?
MRS. KELCHER
Meatloaf.
NANCY
Yeech, not again.
Peggy leans forward in the recliner eating the candies.
Bemused, she looks at Nancy watching TV and into the kitchen
where her mother is slapping together meatloaf.
ANGLE - HALLWAY - THE FRONT DOOR OPENS
JACK KELCHER Peggy's father, enters the hallway.
MR. KELCHER
Girls? Evelyn? Who left this thing
outside?
He turns and heads back outside.
MRS. KELCHER
What is it?
Mrs. Kelcher and Nancy follow him outside. Peggy staggers to
the front door and leans against the door jamb looking out at
the family.
EXT. DRIVEWAY
PEGGY'S POV:
The family admires a new red and white Edsel.
MR. KELCHER
What do you think?
MRS KELCHER
(disturbed)
Oh, Jack.
NANCY
Like wow! Wait till I tell Diane.
She's always bragging about her
father's Cadillac.
MR. KELCHER
Peggy Sue, what do you think?
PEGGY
Oh, Daddy. You were always
doing things like that.
(cracking up)
That's funny! That's really funny.
She staggers over to the car and falls against it laughing.
Mr. Kelcher crosses to her and catches a whiff of her breath.
MR. KELCHER
Young lady, you're drunk!
PEGGY
(laughing)
Just a little. I've had a tough
day.
MR. KELCHER
I don't see the humor in this. Go
to your room immediately. You're
grounded.
PEGGY
(tipsy)
Grounded? Ha! The story of my life.
I don't wanna go to my room. I
wanna import Japanese cars. I wanna
go to Liverpool and discover the
Beatles.
MRS. KELCHER
Jack, take it easy. She gave blood
at school today. Maybe she's just a
little light—headed.
MR. KELCHER
This is not giving blood. This is
drunk.
PEGGY
Dad, I never knew you had a sense
of humor.
MR. KELCHER
Evelyn, put her to bed.
INT. PEGGY'S BEDROOM
Peggy lies in bed, her mother tucking her in.
MRS. KELCHER
My little baby. Don't try to grow
up so fast.
PEGGY
Oh Mom, I forgot you were ever so
young.
CLOSE ON PEGGY
She hears her mother walk down the stairs.
MRS. KELCHER (O.S.)
A new car. We can't afford a new
car.
MR. KELCHER (O.S.)
Don't worry, it's just a seasonal
slump.
MRS. KELCHER (O.S.)
You have four seasons, you have
four slumps.
INT. PEGGY'S BEDROOM - MORNING
Peggy emerges from the bathroom wearing a towel.
VIEW FROM BACK
At a full length mirror she drops the towel and happily
appraises her eighteen year old body.
PEGGY
Let's get physical!... Let's get
metaphysical!
Nancy comes in dressed for school.
PEGGY
Good morning.
Nancy goes to Peggy's closet.
NANCY
Can I borrow this sweater?
PEGGY~
Yeah, but take good care of it. I'm
saving it for my daughter.. She
loves this stuff.
INT. KITCHEN - MORNING
Mr. Kelcher and Nancy sit at the table eating breakfast. Mrs.
Kelcher stands at the sink scraping toast. Peggy bounces her
hair in her adult, natural look. "GOOD MORNINGS" all around.
MRS. KELCHER
What happened to your hair? You
have such a pretty face. Why are
you always trying to cover it up?
PEGGY
Oh. I forgot.
Mrs. Kelcher takes an elastic band from around the faucet and
hands it to Peggy as she sits at the table. Peggy makes a
ponytail.
MRS. KELCHER
You're looking pretty chipper this
morning.
PEGGY
I'm still here, aren't I?
I may as well enjoy myself.
I'm going to go to school
today.
(beat)
Dad, I want to apologize for
yesterday. The car is a classic.
Use it in the best of health.
MR. KELCHER
Thank you.. I accept your
apology with the hope that what
went on yesterday will never
happen again.
PEGGY
That would be impossible.
MR. KELCHER
You're so young, this is not the
time to start acquiring bad habits.
PEGGY
Mom, is there any coffee left?
Mrs. Kelcher begins to pour the coffee, then pulls back,
spilling some on Mr. Kelcher.
MRS. KELCHER
When did you start drinking coffee?
PEGGY
Oh. Ah...recently. All the kids
drink it.
MR. KELCHER
If all the kids jumped off a
bridge, would you do that too?
PEGGY
I think I'm way ahead of them.
NANCY
Pass the toast, please.
Peggy passes Nancy the toast.
NANCY
And the butter.
PEGGY
You know, you two are wonderful
parents. I'm really going to try to
behave myself.
MR. KELCHER
Well, at least you stopped calling
me Daddy—O.
NANCY
(correcting him)
DADDY—o.
PEGGY
Mom, sit down for a minute. This is
so nice, all of us being together
again like this.
NANCY
Can I tell Diane that Peggy Sue got
drunk or is that a deep family
secret?
(silence)
Well?
MRS. KELCHER
How does Diane like her braces?
R31.NCY
She hates them. Nobody likes
braces. Thy just call you junkyard
face and Miss Metal Mouth. I gotta
go.
Nancy jumps up, grabbing her lunch on the counter, as she
exits. "GOOD—BYES' all around. We HEAR a HORN HONKING outside
—— a five—note musical phrase —— BE—BOP—A—LU—BOP.
PEGGY
Oh yeah. Charlie. How am I going to
handle him?
MRS. KELCHER
What's the matter? Did you two
have a fight?.
PEGGY
Sort of.
MRS. KELCHER
What about?
PEGGY
The house payments.
EXT. KELCHER HOUSE
Peggy exits the house wincing at the sight of Charlie's car,
the blue Impala she'd seen the day before. Charlie sits, one
arm on the wheel, the other over the back of the seat.
CHARLIE
How do you feel?
PEGGY
Pretty strange.
Peggy hesitates, unsure how to handle her accumulated
ambivalence towards Charlie.
CHARLIE
Come on. Get in. I can take care of
that.
Peggy warily gets in. Charlie leans over to kiss her, but she
pushes him away. No dice.
PEGGY
Not now, Charlie. I've got a
headache. Get used to the word.
Roll it around your tongue for a
years.
CHARLIE
Hey, I can take a hint. You look
great today.
Charlie starts the car, burns rubber and peels out.
PEGGY
You drive like a maniac!
CHARLIE
I call this the staccato.
(does tricks)
INT. CHARLIE'S CAR ?DAY - DRIVING
CHARLIE
(earnest)
Not that I'm glad you were sick,
but I had a chance to do some
thinking last night.
PEGGY
Oh yeah?
CHARLIE
You know. About what we said on
Tuesday. It makes a lot of sense.
PEGGY
Refresh my memory.
CHARLIE
How could you forget? We talk about
seeing other people and you forget?
PEGGY
Maybe I blocked it out.
CHARLIE
I can understand that.. But please
don't start crying again.
EXT. SCHOOL PARKING LOT
Charlie's car pulls up.
CHARLIE
It's not going to be forever. I
figure three years is long enough.
I can see it the music pans out.
(more tentative)
And right after graduation we
should start seeing other people.
Kind of comparison shop before we
settle down and get married. Know
what I mean?
PEGGY
Why wait?
CHARLIE
(surprised)
Well, we got the prom coming up,
all these parties. We shouldn't
upset our parents?
PEGGY
They'll learn to live with it.
Peggy exits the car and heads towards the school. Charlie
sits, stunned.
EXT. HIGH SCHOOL LOT
They are surrounded by friends as they head into school. Near
the door Walter and Leon are having a contest, hoisting
themselves onto the sign pole, trying to get their bodies
parallel to the ground. A crowd urges them on. We SEE taps on
the bottom of Walter's shoes.
INT. SCHOOL HALLWAY
Peggy stands bewildered in the hallway. Charlie walks back,
takes her by the hand and leads her to a locker.
CHARLIE
You're more shook up than you want
to admit. You'll get used to it,
we'll still see each other 2, 3
times a week.
Charlie opens the locker. Peggy watches carefully, memorizing
tho combination. He takes out a few books as Peggy notices
her schedule on the locker door.
CHARLIE
Want me to drive you home later?
PEGGY
Would you?
CHARLIE
(growling)
Would I?!! Why I oughta...
Unaccountably, this cracks Charlie up. He walks away
laughing. Peggy looks completely puzzled. She is surrounded
by a sea of people, who say hello. She can't remember their
names.
INT. CLASSROOM - MORNING
We SEE Peggy, Maddy, Dolores, Arthur and Carol, singing MY
COUNTRY TIS OF THEE. They all mumble, except for Peggy who
delivers a stirring rendition. The class thinks she's crazy.
Peggy's decided to have a good time. Announcements begin over
the PA system. No one pays attention, except Peggy.
MAN'S VOICE (V.0.)
Good morning, students. This is Mr.
Mosey. Our girls diving team is
competing today in the county
finals at Commander Beck High
School.
We know they'll put forth a
splendid effort ?so let's wish
them luck.
PEGGY
Where's Rosalie Testa?
CAROL
Probably at the diving meet.
MAN'S VOICE (V.0.)
Finally, congratulations go to
Richard Norvik for placing first in
the Statewide Math Contest. We're
proud of you, Richard....That's
all, students.
Several students boo Richard's name. The BELL RINGS.
INT. ANOTHER CLASSROOM
Maddy, Dolores and Peggy enter the room. Peggy stands at the
door till most are seated. She sees an empty seat between
Maddy and Dolores and, assuming it's hers, sits down.
DOLORES
Did you study for the test?
PEGGY
(horrified)
Test?
INT. CLASSROOM - TWENTY MINUTES LATER
MR. SNELGROVE, an officious little creep, is standing by his
desk.
SNELGROVE
All right, class. Time's up.
He walks along the aisles collecting the papers. When he gets
to Peggy he picks up her blank sheet.
SNELGROVE
What's the meaning of this, Peggy
Sue?
PEGGY
(patiently)
Mr. Snelgrove, I happen to know
that in the future, I will never
have the slightest use for algebra.
And I speak from experience.
The class gasps, a few students APPLAUD, and Mr. Snelgrove's
jaw drops.
INT. ANOTHER CLASSROOM ?DAY
MR. GILFOND is teaching The Old Man and the Sea. MICHAEL
FITZSIMMONS (from reunion cross—country photo) is speaking.
He always wears black.
MICHAEL
Santiago comes back, with nothing
?there's no meat on the bone. It's
Hemingway's ego defending itself
again; he's trying to prove he can
still perform.
GILFOND
...What Hemingway's saying,
Michael, is that we are alone ?
that when we go out too far we're
vulnerable. The irony, that
Santiago is beaten by the sharks,
doesn't make him less of a hero.
THE BELL RINGS. The class begins to exit.
GILFOND
Over the weekend read the first
four chapters of The Great Gatsbv.
I hope you enjoy it.
Peggy hesitates. She walks up to Gilfond.
PEGGY
Mr. Gilfond, can I talk to you?
GILFOND
Sure, Peggy Sue. What's on your
mind?
PEGGY
I just wanted to tell you how much
I enjoy your class. You taught me a
lot and... you're a very fine
teacher.
GILFOND
That's very kind of you. Thank you.
PEGGY
Thank you. Um, I also think you're
underpaid.
LUNCH AREA
Walter, Charlie and Arthur sit at a long table.
WALTER
Why does your father take inventory
on Sunday night? That's poker
night. You always got out of it
before.
CHARLIE
I've got to string him along for a
while. It's for his own good.
ARTHUR
But you're not going into his
business. When're you going to tell
him?
CHARLIE
Soon. I can't tall everybody
everything all at once.
Peggy, Carol and Maddy walk over and sit down with trays.
Peggy deliberately avoids the empty sear next to Charlie.
They're uneasy with each other. Peggy looks with disgust at
the slop on the tray.
WALTER
Strange rumors are sweeping the
school about you.
PEGGY
(wary)
What do you mean?
WALTER
Prom what I hear, you really gave
it to old Smellgrove.
MADDY
I was there. She told the creep off
right to his face.
ARTHUR
Atta girl, Peg.
PEGGY
Arthur, please don't call me Peg.
ARTHUR
Why I oughta...
Charlie, Walter and Arthur crack up.
PEGGY
I don't get it.
CAROL
That's because you' re not a total
moron like they are.
MADDY
It's some stupid old movie thing
they just started.
WALTER
That's enough out of you, little
lady.
CHARLIE
I'll throw the book at you!
ARTHUR
Why I oughta...
The boys crack up again. The girls think they're hopeless.
Peggy SEES Michael Fitzsimmons, buried in a book. He looks at
Peggy with a penetrating gaze, then back down.
Richard Norvik, also sitting alone, working with a slide
ruler on a book of mathematical puzzles, dressed in early
Nerd.
Peggy gets up from the table. She looks back to Charlie and
the table.
PEGGY
I'll be right back.
CAMERA TRACKS PEGGY TO RICHARD
ANOTHER ANGLE
WALTER
She's not wasting any time. Peggy
Sue and Mr. Square Root?
CHARLIE
He's a nice guy. You know he's
writing a book?
WALTER
Oh, a book... Excuse me for a
second.
(fakes gagging)
ANOTHER ANGLE
Peggy stands over Richard. He looks up nervously, pushing his
glasses up the bridge of his nose, a constant habit.
PEGGY
Congratulations on the math
contest, Richard.
RICHARD
It really wasn't that difficult.
Doug Snell (of Merrill—Lynch, at the reunion) walks past.
DOUG
What're you doing, Peggy Sue?
Fishing for four—eyed worms?
PEGGY
Get lost you macho shmuck.
Doug and Richard react.
PEGGY
I have to talk to you. It's very
important.
RICHARD
I'm not doing any tutoring this
year. I'm too busy.
PEGGY
It's not that. Can we meet after
school? Please?
RICHARD
All right. I'll be in the physics
lab. Make it four—thirty. I have a
rocket club meeting.
INT. CLASSROOM - A FAMILY LIVING CLASS
On the walls are several charts: Basic Food Groups, Tips on
Grooming, and prominently displayed, The Happy Home
Corporation, i.e. husband as president, wife, vice—president,
children, employees, grandparents as board members. MISS OTTO
stands by her desk. Standing in the front of the room is:
MADDY
Therefore, the key to a successful
children's party can be summed up
in one word ?planning.. With
proper planning, a successful,
inexpensive happy birthday party
can be had by all. Including the
mother.
She walks back to her seat.
MISS OTTO
That was very comprehensive,
Madeline. Thank you.. Now...
(beat)
Peggy Sue, your topic was 'How To
Choose A Nursery School.' Are you
prepared?
PEGGY
All.... Okay. Sure.
Peggy walks to the front and faces the class, smiling primly.
PEGGY
Choosing a good nursery school can
be one of the most important
decisions you can make. It will
often determine your child's
attitude towards education and
schooling.
(proud of herself)
Of course, the lessons learned are
primarily social —— sharing, being
considerate of others.
(remembering)
And they're so cute when they're
little. They bring you back their
Little masterpieces every day and
you put 'em on the refrigerator
door. They're so proud, and their
names are all misspelled. Scott
would always print his S backwards,
and Beth would make her sweet
little flowers...
Peggy wipes away a tear. At the stunned reaction of the class
and Miss Otto.
EXT. PLAYING' FIELD
The baseball team practices. Michael Fitzsimmons runs laps
with the track team. One lone boy kicks a soccer ball.
CLOSE - A BATON TWIRLING IN THE AIR
WIDEN to INCLUDE the baton spinning down, falling into the
hands of a uniformed majorette who deftly passes it through
her legs and twirls it back into the air. Another baton ?it
rises, spinning awkwardly and falls through Peggy's hands
onto the ground. Six MAJORETTES in uniform are practicing.
Dolores is one of them.
DOLORES
(to Peggy)
What a girl. What a twirl. You
know, Peg—Leggy, you're gonna get
demoted to hall monitor -
HEAD MAJORETTE
Come on, Peggy Sue.. Try it again.
You haven't been practicing.
Peggy gamely tries it again and manages at least to catch the
baton and continue twirling. She continues, enjoying herself.
Michael runs by, the lonely long distance runner.
EXT. PLAYING FIELD ?LATER
The group of majorettes heads toward the school. Peggy sees
Charlie leaning against the car, waving her over.
CHARLIE
Looking good out there.
PEGGY
Thanks.
CHARLIE
I noticed you were giving me the
silent treatment at lunch. I guess
I deserved it. I've been thinking
about my three year plan and I
think it's unworkable. I must have
been delirious.
PEGGY
I thought it had a lot of merit.
CHARLIE
In the abstract maybe. Get a grip
on yourself! But when I imagine you
going out with other guys, I
feel... ah...
PEGGY
Rejected, worthless, miserable.
CHARLIE
Yeah. Like that.
PEGGY
Good.
Peggy turns, and walks away. Charlie looks miserable.
INT. PHYSICS LAB
Peggy enters and approaches Richard. He is too engrossed
constructing an elaborate kite to notice her.
PEGGY
What a great kite.
RICHARD
I'm writing a book on kite
construction. What did you want to
talk about?
PEGGY
I want to ask you a question.
(beat)
Do you think...time travel is
possible?
RICHARD
Are you doing some kind of science
project?
PEGGY
Sort of.
RICHARD
Well... in a Newtonian framework,
the possibilities were limited, but
with the advent of relativity
theory, the idea of absolute time
can no longer be reasonably
affirmed.
Peggy hasn't understood a word.
RICHARD
And then, there's Richard's
Burrito.
PEGGY
What's that?
RICHARD
That's my own theory based on a
Mexican food called the burrito.
I had it once when my parents took
me to Disneyland.
PEGGY
I know what a burrito is.
RICHARD
Well, I think time is like a
burrito. Sometimes it just folds
over on itself and one part touches
the other.
PEGGY
What's inside?
RICHARD
You can till it with whatever you
want. From illusions to memory,
from experience to innocence, from
happiness to the entire universes
PEGGY
So you think time travel is
possible? For people?
RICHARD
Absolutely. People, dogs,
elephants.
PEGGY
Listen, you've gotta keep this a
secret. You can't tell a soul.
Promise?
RICHARD
Okay. I promise.
PEGGY
This is serious. Nobody can know.
Ah, I've returned from the future.
I traveled back here 25 years.
RICHARD
You probably are crazy. Wait a
minute. Is this some kind of joke?
I know what you all, think of me.
PEGGY.
No. Really. You're the smartest
person I know. It sounds
unbelievable. But I can prove it.
RICHARD
Oh yeah?
PEGGY
You have a blind grandfather. One
day you're going to invent a
machine that reads books for blind
people. I read about it. You're
going to be famous. You're going to
invent a lot of things.
RICHARD
How, did you know about my
grandfather?
PEGGY
Because I'm telling you the truth.
I know what's going to happen.
There's going to be test tube
babies and heart transplants. And
an American named Neil Armstrong is
going to walk on the moon. On July
20, 1969.
RICHARD
Holy Toledo! That's six years
ahead of schedule!
EXT. STREET
Peggy and Richard are walking, carrying their books.
RICHARD
But when did you leave? Are you
here until then? Were you there
until now? What direction are you
going in? Are you a moving point on
an infinite line extending into the
past? Can anyone do it?
PEGGY
I don't know.
Oblivious, Peggy and Richard walk by Shower's Cafe. Inside,
Dolores and Carol see them.
EXT. ANOTHER STREET ?APPROACHING RICHARD'S HOUSE
RICHARD
I'd be very careful if I were you.
You don' t want to fall into the
clutches of some madman with plans
to manipulate your brain.
PEGGY
That's why I was getting a
divorce..
(beat)
What I really think is that I had a
heart attack at the reunion and
died.
EXT. RICHARD'S DRIVEWAY
RICHARD
You look pretty good for a corpse.
PEGGY
Come on, Richard, I'm serious.
RICHARD
You're giving me the creeps.
PEGGY
Am I dead or not?
RICHARD
There's one way to find out.
Richard stops and throws down his books. He steps in front of
Peggy, throwing down her books, dragging her to the curb.
PEGGY
What're you doing?
RICHARD
Confucious says, The way out is
through the door. There's a truck.
There's your door.
A large truck speeds towards them.
RICHARD
Step in front of the truck! If
you're dead, it won't matter. The
truck'll go right through you. Go
ahead! You're dead!
Peggy takes one step off the curb. The truck is getting
closer. The truck BLOWS A LOUD SUSTAINED WAIL.
PEGGY
No! I don't want to die!
INT. RICHARD'S GARAGE
A completely outfitted laboratory, kites decorate the walls.
RICHARD
Okay, you're not dead, but
according to every law of science
what you say happened to you is
impossible.
PEGGY
What if it's beyond science? What
it it's God?
RI CHARD
Einstein said "God doesn't play
dice with the universe." I'm a
scientist. I believe that there's
an order to things. Why would God
bring you back as a high school
girl?
PEGGY
I don't know.
RICHARD
You're a molecule in chaos, a
discontinuent aberration. Maybe
you've just got powers of
precognition. Well, maybe you're
just out of whack.
PEGGY
I told you, I've already lived my
life. I don't know how or why I'm
here, but you have to help me get
back. I want to get back to my real
life!
RICHARD
All right, I'll work on it, I'll,
do some research. But in the
meantime, don't get crazy.
PEGGY
I'm trying. I'll see you tomorrow.
(heads out the door)
RICHARD
What if you're not here tomorrow?
INT. KELCHER HALLWAY
Peggy comes home, enters hallway.
MRS. KELCHER (O.S.)
This necklace is sapphire, it was
my Grandmother's.
Peggy Looks into the living room.
PEGGY'S POV:
Her mother is sitting on the sofa with a strange MAN in a
suit. She's served him tea. There are several, pieces of old
jewelry spread on a cloth on the coffee table. The man is
examining one of the pieces. Mrs. Kelcher seems surprised
that Peggy's home from school.
Peggy moves on into the kitchen.
INT. KELCHER KITCHEN
Peggy hears her mother let the man out. She enters the
kitchen.
PEGGY
Who was that man?
MRS. KELCHER
It was nobody. Ah... he's a poll,
taker. I'm thinking of voting
Democrat this year. But don't
mention it to your father. How was
school today?
PEGGY
It was great to see everybody
again. But it's so boring and
regimented. Most of what they teach
is useless. The worst thing was
lunch.
The TELEPHONE RINGS.
MRS. KELCHER
Would you get that, dear?
PEGGY
Sure, Mom.
(picking up the phone)
Hello.
Peggy gasps. Mrs. Kelcher turns to her.
MRS. KELCHER
Peggy! What's the matter? Who is
it?
PEGGY
(shaken)
It's Grandma. I can't talk to her
now.
(into phone)
I'm sorry, Grandma.
Peggy hands the receiver to her mother and runs out of the
room sobbing. Her first confrontation with mortality.
INT. HALLWAY
Peggy climbs the stairs, in tears.
MRS. KELCHER (O.S.)
Peggy Sue! What is it?
Forcing herself to regain her composure, she sits down at the
top of the landing as Mrs. Kelcher joins her.
MRS. KELCHER
What happened to you?
PEGGY
I had a dream that Grandma died.
MRS. KELCHER
Well, she is getting on, but she's
fine. I told her you weren't
feeling well yesterday. She called
to find out how you are.
PEGGY
She did? I love her so much, and I
haven't seen her in such a long
time. And Grandpa Barney. Is he
all, right?
MRS. KELCHER
Yes, he's fine, too. You saw them
at Easter.
PEGGY
I'm sorry, Mom. I'll call Grandma
back and apologize.
MRS. KELCHER
That's a good girl... I hate to see
you so upset.
(beat)
Tell me, sweetheart. Are you having
problems with Charlie? You
mentioned something this morning.
PEGGY
I'm confused about a lot of things
right now. Charlie's only one of
them.
Two beats.
MRS. KELCHER
Is Charlie pressuring you to do
things you don't think you should
be doing?
PEGGY
What do you mean?
MRS. KELCHER
Peggy, do you know what a penis is?
(Peggy's jaw drops)
Stay away from it.
EXT. KELCHER HOUSE ?NIGHT
Charlie pulls up to the curb, opens the glove compartment,
extracts a can of Old Spice aerosol, sprays the seat; and
exits his car, throwing a kiss to it as he walks up to the
door.
CLOSER VIEW
He's wearing a hideous orange and turquoise sweater.
INT. KELCHER HOUSE ?HALLWAY
Mr. Kelcher opens the door, Charlie enters.
MR. KELCHER
Hello, Charlie.
CHARLIE
Hello, sir. How are things at the
hat store?
MR. KELCHER
Fine, thanks. Come on in. I want to
talk to you.
CAMERA TRACKS Charlie and Mr. Kelcher into the living room.
Mr. Kelcher sits on his recliner, Charlie, nervous, on the
couch. Nancy is on the rug, studying.
MR. KELCHER
You may have noticed that Peggy
Sue's been acting a little strange
lately.
NANCY
She's distorted.
CHARLIE
Yes, sir.
MR. KELCHER
She seems confused, irresponsible,
overemotional. My wife says that's
the way girls act sometimes.
NANCY
She's almost a juvenile delinquent.
Mr. Kelcher gives Nancy a look and points to the door.
Without her father noticing, Nancy creeps up behind him and
makes rabbit ears behind his head. Charlie tries hard not to
laugh. Nancy continues to clown.
CHARLIE
Yes, sir. But that's what I like
about her. She's not like all the
other girls at school.
MR. KELCHER
Charles, in spite of your
adolescent infatuation with music,
we've always regarded you a a fine
young man. We've trusted you with
our daughter.
CHARLIE
Yes, sir. Trust is a two—way
street. In the past two years I've
been pleased to note that you and
Mrs. Kelcher have, uh, fulfilled
your sacred trust of being good
parents to the, uh, woman I plan to
take off your hands.
Mr. Kelcher looks as if he's witnessing the latest attack of
teenage weirdness.
INT. PEGGY'S BEDROOM
Peggy is changing a record. She sees the dress she was
wearing the day before (and at the reunion) slung across a
chair. As Peggy picks it up, a book of matches falls out.
Peggy picks it up, excited.
INSERT: MATCHBOOK which reads: FINISH HIGH SCHOOL IN YOUR
SPARE TIME. Peggy frantically searches the dress pockets and
slowly draws out two joints. She stares at them for a beat.
PEGGY
(worrying)
Oh, Beth.
There's a knock at the door. Peggy quickly hides the joints.
Mrs. Kelcher opens the door.
MRS. KELCHER
Charlie's downstairs. Why aren't
you ready?
PEGGY
For what?
MRS. KELCHER
Maddy's party.
PEGGY
I don't feel very festive.
MRS. KELCHER
You accepted an invitation, Maddy's
one of your best friends, and I
baked the Rice Krispie squares.
Peggy laughs.
MRS. KELCHER
Enjoy yourself! This is the best
time of your life. And the sooner
you learn to handle Charlie the
better. Get dressed.
Mrs. Kelcher closes the door.
INT. LIVING ROOM
MR. KELCHER
We think this party might cheer
her up. Just make sure you know
what's expected of you.
CHARLIE
What would that be, sir?
MR. KELCHER
Show her a good time, but for God's
sake restrain yourself.
CHARLIE
(surprised)
Of course.
ANGLE ON PEGGY
walking downstairs, surprised by Charlie and Dad talking.
EXT. KELCHER HOUSE - NIGHT
Peggy and Charlie exit and walk towards his car. Peggy's
holding a pan of Rice Krispie squares. Charlie slips Peggy's
sweater back on her shoulder. He's trying hard to make up.
PEGGY
Where did you get that sweater?
CHARLIE
Great, isn't it?
PEGGY
It's really Fifties. You sort of
clash with the world.
CHARLIE
Hey! What's the fun of being a
teenager if you can't dress weird?
And we're going to have fun
tonight, right?
PEGGY
Right. I promised my mother.
INT. CHARLIE'S CAR ?NIGHT - DRIVING
CHARLIE
Is this slow enough for you?
PEGGY
(serious)
Charlie, how are you?
CHARLIE
I'm fine Peggy Sue. And how are
you? Are we talking on the phone?
Are we pen pals?
PEGGY
Seriously. What's it like to be
eighteen?
Charlie looks thoughtful, then guns the engine.
CHARLIE
It's great. I cleaned the car, do
you like it? Oh, I got tickets for
Fabian on your birthday, you like
him, right? He's cool. Eighteen is
half of thirty six. It's "Gentlemen
start your engines", vroom, like
I'm gassed up ready for the race.
I've got the girl, I've got the
car, I've got the talent, but I
don't know. Do I date, get married,
join the army, cut a record, go to
college? I got a million choices,
but nobody teaches you how to
choose. But it's different for a
girl. You're Lucky. You just have
to wait for me.
INT. MADDY'S HOUSE ?BASEMENT
Thirty kids are dancing, talking, snacking. One couple makes
out. Walter, Leon, Terry and Doug Snell are crowded around a
TV, watching an old western with Eugene Pallette or Edgar
Buchanan. The boys laugh as Pallette or Buchanan growls a
western cliche.
DOUG
Gol'darnit, dag nab it, dad burn
it, dad blame it.
INT. MADDY'S HOUSE ?HALLWAY TO BASEMENT
Charlie and Peggy are poised at the door.
CHARLIE
Here comes the life of the party.
INT. MADDY'S HOUSE ?BASEMENT
Arthur and a few others stand by the bar, where bottles of
Coke are lined up. Arthur carefully pours rum from a hip
flask directly into the bottles. Peggy and Charlie enter.
LEON
Goes down, smooth. Hey, look what
the cat dragged in.
CHARLIE
Have no fear. Charlie's here.
WALTER
Oh, it's you is it.
TERRY
Jumping Jehosophat!
DOUG
It's a miracle!
PEGGY
Hi, guys.
ARTHUR
Now that's a purty little heifer.
CHARLIE
Why Pete's the best darn cook on
the Panhandle!
PEGGY
Why I oughta!
The boys all crack up.
THE PARTY ?LATER
Walter, Leon, Charlie and Terry crowd around Arthur who has
an open, wide—mouthed bottle of beer in his hand.
CHARLIE
Ready. Set. Go -
Arthur rapidly chug—a—lugs the entire beer and immediately
recites from memory as the boys urge him on:
ARTHUR
(going: for speed)
Hi—Yo Silver! A cloud of dust, a
galloping horse with the speed of
light, a hearty Hi-Yo Silver! The
Lone Ranger! With his faithful
Indian companion Tonto, the daring
and resourceful Masked Rider of the
Plains came to Earth with powers-
and abilities far beyond those of
mortal men.
Return with us now to those
thrilling days of yesteryear - from
out of the...
Arthur lets out a huge belch. Everybody cracks up.
LEON
You doorknob! You threw in
Superman!
CHARLIE
Too bad. Close to a record.
ARTHUR
(foaming at the nose)
I hate it when the beer comes out
my nose.
ANOTHER AREA
Peggy, Carol and Maddy bemusedly watching the boys.
MADDY
Can you believe I want to marry
that dork.
CAROL
Why do guys do such stupid things?
PEGGY
You know, I never could figure that
one out.
INT. BASEMENT - ANOTHER ANGLE
Maddy, Arthur, Walter, Carol, Charlie and Peggy sit on a
couch. Maddy and Carol sit in their boyfriends' laps. Peggy
sits distractedly on the couch arm. They cross talk ?boys to
boys ?girls to girls.
MADDY
I was thinking of four ushers and
four bridesmaids.
WALTER
The Yanks got the hitting but the
Sox got the defense.
CAROL
What are your colors, going to be?
ARTHUR
I'l1 take Kubek and Richardson
over Fox and Aparicio.
MADDY
I'm thinking of pink and green.
ANOTHER ANGLE
Dolores and Terry standing in a corner kissing passionately.
MADDY (CONT'D.)
Look at Dolores. What a tramp.
CHARLIE
Pitching wins pennants. The Tigers
got four potential twenty game
winners.
CAROL
You'd be surprised at how many
girls in school aren't virgins.
WALTER AND ARTHUR
(to Carol)
Like who?
CHARLIE
Don Mossi, Frank Lary, Jim Sunning
and Paul Foytack.
INT. BASEMENT ?LATER
ARTHUR
And now, direct from three weeks of
rehearsal in Walter's garage, four
guys who have dedicated their lives
to becoming the greatest singing
group in the world... (beat)
Charlie, Walter, Leon and Terry.
The Definitions.
Applause as the group enters from the furnace room. They all
wear black pants and iridescent sharkskin jackets. Charlie is
in the center of the group as they position themselves.
CHARLIE
One, two, three-...
The group begins to SING an A CAPELLA version of RAMA LAMA
DING DONG (or I WONDER WHY). Charlie sings lead, backed up by
the other three. Walter dances insane, Temptation—like steps.
The crowd huddles around them, clapping and grooving. Peggy
is on the planet of lost innocence, removed and melancholy.
CAROL
Charlie really has a great voice.
MADDY
Maybe they'll be the next Dion and
the Belmonts.
PEGGY
Don't get your hopes up.
MADDY
Come on, where's your enthusiasm?
Charlie SINGS directly to Peggy, grinning at her. In spite of
herself, she smiles back at him. She's starting to realize
why she fell in love with him. He's irresistible.
PEGGY
He is kind of cute, isn't he?
CAROL
Yeah. You're so lucky. He really
loves you, too. He's always telling
Walter how wonderful you are.
PEGGY
He does?
The group finishes the song. Charlie blows Peggy a kiss. The
crowd APPLAUDS, including Peggy. Dolores joins Peggy, Carol
and Maddy.
DOLORES
Carol and I saw you with that
creep, Richard, today.
PEGGY
First of all, Richard is not a
creep. He happens to be an
exceptional person. If any of you
gave him half a chance, you'd find
that out.
DOLORES
God, Peggy, you're so unformed
you're practically fetal. You're
just taking pity on him 'cause he
has no friends.
PEGGY
Dolores, can't you be a little
kinder to people? You don't even
know the boy. If you weren't so
neurotic and insecure, maybe you'd
shut up for a while and show some
compassion.
DOLORES
Are you for real?
PEGGY
Touchy, touchy!
Dolores storms away.
MADDY
(to Peggy)
I don't know what you said to her,
but I wish I'd said it.
Charlie and Walter walk over and accept "BRAVOS" from the
girls. Walter does his James Dean imitation.
PEGGY
Charlie, what do you think of
Richard Norvik?
CHARLIE
Is he gonna help you with that
physics stuff?
PEGGY
He's trying.
CHARLIE
Hey! Who needs physics when
we've got chemistry?
PEGGY
(charmed)
Come on, let's dance.
WALTER
Put on some make—out music, and
kill the lights.
We HEAR a RECORD SCRATCH. A slow song begins. The lights are
dimmed. Coupler begin to slow dance. Charlie holds Peggy
close, barely moving. Peggy is misty—eyed, moved by being in
Charlie's arms again.
CHARLIE
There isn't a girl in school that
can hold a candle to you..
PEGGY
You're pretty charming when you
want to be.
CHARLIE
Yeah I know. But I don't have to
flatter you. It just feels right.
You're the perfect girl for me. As
in is, was and always will be. I'm
glad dancing was invented. You
know the first dances were rituals.
Like fertility rites.
As they dance Charlie gets embarrassed by an erection, and
moves his hips away from Peggy. She surprises him by
grabbing his tush and pulling him into her.
INT. MADDY'S BASEMENT - LATER
MUSIC FADES INTO the song "PARTY DOLL" by Buddy Knox.
Peggy is doing the Twist, showing Charlie and several others.
Walter gets the hang of it, twisting on one leg. Carol tries
to keep up. Maddy and Arthur are always a beat behind.
DOLORES
Hey Terry, what is that? Did Peggy
make it up? I've never seen that
on Bandstand.
TERRY
What if we're witnessing the end of
touch dancing?
INT. CHARLIE'S CAR - DESERTED LANE - NIGHT
The windows are fogged. Peggy and Charlie kiss tenderly.
PEGGY
Mmm. This is nice. I always loved
the way you kiss. I missed you.
CHARLIE
Your eyes look like silver pools of
moonlight. And the tide rushes in.
PEGGY
You really love me, don't you?
CHARLIE
You know I do. I even wrote you
into my will.
PEGGY
(tentatively)
Charlie, let's make love.
CHARLIE
What?! You mean sex?! Intercourse?
(non—believing)
You want to have intercourse! Last
weekend you said... What time is
it?
PEGGY
A lot's happened since last
weekend.
CHARLIE
But you're the one who wanted to
wait till we got married. And you
were right. We should wait.
PEGGY
(f1ustered)
I probably meant it when I said it.
(beat; coyly)
Doesn't Lucky Chuckie want to come
out?
CHARLIE
Who?
Peggy starts to GIGGLE, realizing the absurdity of the
situation. The more she GIGGLES, the more agitated Charlie
gets. Peggy starts to unbutton Charlie's shirt.
PEGGY
You know. Your love machine... the
throbbing thrill hammer... your
thing!
CHARLIE
You mean my wang? Listen, it's
running real late.
Charlie pushes her away, angry..
CHARLIE
What is this? What the hell is
going on? One week you say, "If you
love me you won't", now you say "If
you love me you will".
(beat)
Excuse me. That's a guy's line!
Peggy realizes she's blown it. Charlie isn't ready for this.
PEGGY
This is a mistake. We better
forget it.
CHARLIE
You're damn right! Jesus! Peggy!
You sure know how to spoil a mood.
Charlie straightens himself up, starts the car and burns out.
EXT. KELCHER HOUSE ?NIGHT
Charlie drops her off.
PEGGY
I'm sorry Charlie.
CHARLIE
Save it.
Peggy watches him go. Looking at her darkened house, she
turns and walks down the street.
EXT. STREET ?SHOWER'S CAFE
Peggy peeks in the window. The kids from the party are eating
and laughing. Rosalie Testa is dancing. Shaken by Rosalie,
she turns away. In the distance she SEES the lights of:
ART'S DONUT HOLE. OPEN 24 HOURS.
INT. ART'S DONUT HOLE
A few people linger over coffee. The waitress serving them is
Monica (the same but younger woman from LOVIN' OVEN).
In a corner, Michael Fitzsimmons, in a red leather jacket,
sits alone, reading. He looks up to check on his motorcycle
parked outside. He's splendid in his isolation.
Peggy enters, taking a seat at the counter, startled to see
Monica, who doesn't know her.
MONICA
What would you like?
PEGGY
Monica? Aren't you Monica Hines?
MONICA
Yes. Who are you?
PEGGY
Ah... never mind. Can I have a
coffee, please? And a cinnamon
cruller.
(sotto)
How's Bobo?
Peggy notices Michael staring at her. Peggy smiles, Michael
doesn't. Monica brings Peggy her coffee and donut.
MONICA
Twenty cents, please.
PEGGY
You're kidding?
Picking up her donut and coffee, she walks over to Michael's
table and sits opposite him.
PEGGY
I was impressed with what you said
in English class today.
MICHAEL
Gilfond's okay, except he thinks
Hemingway's great Literature.
PEGGY
You don't?
MICHAEL
(contemptuously)
He's a fisherman! The most
overrated writer of the century. I
mean, he's the perfect American
author ?fat, violent, drunk...
PEGGY
Maybe you're confusing his life
with his work.
MICHAEL
A writer's life is his work. Jack
Kerouac doesn't have to kill a bull
to have something to write about.
He's out there feeling, burning...
grooving on life!
Michael leans back in his chair. He's said his piece. Peggy
studies him for a beat.
PEGGY
The young man leaned back in his
chair. No bulls would die today.
MICHAEL
What're you doing here anyway?
PEGGY
Coffee and a donut.
MICHAEL
I thought chicks like you traveled
in packs.
PEGGY
Hey, man, I'm a hip chick.
EXT. ART'S DONUT HOLE
Long shot of the brightly lit donut shop. Michael and Peggy
are clearly visible.
INT. CAR
Dolores and Terry are driving by.
DOLORES
Terry, slow down.
TERRY
Okay.
DOLORES
Terry! Slow down.
TERRY
What, why?
EXT. ART'S DONUT HOLE ?DOLORES'S POV:
Peggy and Michael leave the donut shop, get on Michael's
motorcycle.
DOLORES
There's Peggy with Michael
Fitzsimmons.
TERRY
That commie beatnik? What's she
doing with him? Wait'll I tell
Charlie.
DOLORES
First a nerd and then a weirdo.
What a bunch of nose pickers. I'll
tell Charlie.
EXT. STREET - NIGHT ?DRIVING
Peggy on Michael's bike, clasped around him. Her eyes closed,
enjoying the wind blowing in her hair. They head out of town.
EXT. GAS STATION
Michael pumps gas. Peggy walks to the washrooms. Looking
around she waits a beat, then enters the men's.
INT. MEN'S WASHROOM
With all the aplomb of a divorcee, Peggy takes a quarter and
deposits it in a condom machine. She puts the packet in her
skirt pocket, pulls out the joints and stares at them for a
beat. She checks her hair in the mirror and exits.
EXT. GAS STATION
Michael pumps air into the tires, bunched against a building.
Peggy approaches him, holding up a joint, smiling
conspiratorially. She lights it, inhales deeply, then passes
it to him. He smiles back at her, a bit surprised, but still
takes the joint and inhales.
EXT. MOUNTAIN ROAD
They drive up to a mountain top, Peggy wearing the leather
jacket. She directs Michael with one arm.
The motorcycle is parked. Peggy and Michael lie on the grass,
staring down at the town lights below. Michael inhales the
joint, then passes it to Peggy.
MICHAEL
This is great reefer.
PEGGY
Yeah. I'm surprised. It's really
old... (inhales) Travels well
though.
(beat)
You know, the world looks a lot
better from up here.
MICHAEL
The world is fantastic. It's the
ultimate absurd circus. I am shot
from a cannon into the energy.
PEGGY
What are you shooting for?
MICHAEL
Maximum intensity. Yeah. I can't
wait to get out of here. I'm gonna
write. I'm gonna check out of this
bourgeois motel. Push myself away
from the dinner table and say 'No
more Jell—O for me, Mom.'
PEGGY
Don't you get along with your
parents?
MICHAEL
The only thing my father digs is
cold, green money. All my mother
cares about is her standing at the
country club.
PEGGY
They care about you. They're just a
different generation.
MICHAEL
Hey what's with you? I thought you
were cool. You rode my bike. You
blew some pot.
(beat)
What's your scene Miss Majorette?
You gonna marry Mr. Blue Impala and
graze around with all the other
sheep for the rest of your life?
PEGGY
I already did that. I want to be a
dancer, I want to dance.
Peggy takes off her sweater, kicks off her shoes and begins
to dance. Her eyes are closed, her body silhouetted by the
moon. Michael is transfixed. After a few beats, he walks over
to her. He stretches out his arms and places them around her
neck. They sway together for several beats, their bodies
touching. Peggy opens her eyes and sees Michael gazing at her
tenderly.
MICHAEL
You know, I had you pegged all
wrong.
Michael kisses Peggy. She responds passionately.
MICHAEL
A ray of oneness piercing the
solitude. Falling bodies in the
ecstasy of flesh. You'll be a
chapter in my memoirs of desire.
PEGGY
Is that one of your poems?
MICHAEL
No, I just made that up. Do
you want to hear one?
PEGGY
I'd love to.
MICHAEL
(eyes ablaze)
Okay. Here's a new one. It's called
Tenderness.
(beat)
I couldn't sleep so I thought I'd
scream
Betrayed by a kiss, sucking pods of
bitterness.
In the madhouse of Dr. Dread
Razor shreds of rat puke fall
On my bare arms
(sees Peggy grimace; he
calms down)
I'm sorry. I guess I was trying to
impress you.
(kisses her)
Peggy is falling for it. He fumbles with her bra straps.
PEGGY
Michael... you're as good as you
looked.
His other hand reaches to undo her skirt.
MICHAEL
I'll respect you for eternity.
(reciting tenderly)
'When you are old and gray, and
full of sleep, And nodding by the
fire, Take down this book, and
slowly read, And dream of the soft
look your eyes had once."
(beat)
I didn't write that. That's Yeats.
Peggy is moved by the beauty of the poem. She sits up, leans
over Michael, runs her hand through his hair, almost
motherly.
PEGGY
I envy you. You have your whole
life ahead of you and you know
exactly what you want to do.
(beat)
But forget the rat puke; write
something beautiful.
Peggy lies back down on the ground. Michael takes her hand
and kisses it.
PEGGY
You know, this isn't really
happening.
CAMERA PULLS BACK to include the entire, perfect tableau: the
starry night, the motorcycle, the clouds racing across the
moon and the two lovers on the mountaintop.
EXT. STREET ?DAWN
Michael stops at the corner of Peggy's street. She gets off
the bike and kisses Michael goodbye. He takes off.
EXT. KELCHER HOUSE
Peggy walks up the path as the MILKMAN approaches.
MILKMAN
Your parents are waiting up. You
know, I see a lot of this in the
spring. Good luck.
PEGGY
Thanks, Ralph.
INT. KELCHER HOUSE
Peggy enters, trying to be quiet. Mr. Kelcher stands in the
kitchen doorway in his bathrobe waiting for her, steaming.
CAMERA TRACKS Peggy into kitchen. She grabs a cup of coffee
before sitting down.
MRS. KELCHER
Where have you been?
PEGGY
I went for a drive. Up in the
hills.
MR. KELCHER
Damn that Charlie I
PEGGY
It's not Charlie. It's me.
MR. KELCHER
(nervously)
Peggy, let me ask you something.
(beat)
You're not... expecting are you?
PEGGY
At my age? Don't be silly.
MR. KELCHER
Thank God for that.
PEGGY
Dad.. it's not a big deal. Didn't
you ever stay out all night when
you were young?
MR. KELCHER
Yes but I was a boy. And I still
had hell to pay.
PEGGY
Calm down. Just listen for a
minute.. Please.
MR. KELCHER
All right. But this better be good.
PEGGY
I want to help with the family
finances. I want you to buy some
stocks. And gold. By 1980 gold is
going to be worth eight hundred
dollars an ounce. Then you sell.
MR. KELCHER
Do you know how ridiculous you
sound? First of all, it's illegal
for U.S. citizens to buy gold. And
in the second place, the price of
gold is regulated by the
government.
PEGGY
I think they're going to deregulate
it.
MR. KELCHER
That's your problems The more women
think, the more trouble they get
into.
PEGGY
Oh boy, that's another thing that's
going to change. Who's going to
think for us? Our husbands? You
know, you treat Mom like a maid.
It's not entirely your fault. Those
were the attitudes in the fifties,
and that's the way you raised me.
But give Nancy a break, encourage
her to go to art school.
MR. KELCHER
I've heard just about enough of
this lunacy! Go to your room!
PEGGY
Listen Dad, please. Buy IBM, buy
Polaroid, buy Apple Computer. No,
no. Not yet. Buy Xerox!
MR. KELCHER
Evelyn, take her to her room!
Peggy stalks out of the kitchen to the front door.
MRS. KELCHER
I'm not the maid!
PEGGY
Way to go, Mom!
The Kelchers glare at each other~. We HEAR the DOOR SLAM.
INT. SHOWER'S CAFE ?DAY
Peggy and Richard sit in a booth. Richard's kite is hung on a
coat rack.
RICHARD
The way I see it, you have an
unparalleled opportunity to become
the richest woman in the world.
PEGGY
I'm just not the type. Besides, I
want to get out of here.
RICHARD
But you have a vision. Don't you
want to help your parents?
PEGGY
I tried to tell them, but they
wouldn't listen to me.
RICHARD
I'm talking about invention, no
investment. I know what people
think of me. Mr. Spasmatician. Dick
the Square Root. I'll show them.
You said I was going to be a
millionaire. And you're gonna help!
PEGGY
Richard, take it easy.
RICHARD
No offense, but for a person who
says she's lived an extra lifetime,
you certainly are thick. Money is
power.. Money makes people respect
you...
PEGGY
How come you never ask me any
important questions? Don't you
wonder if there's going to be a
nuclear war? Or a cure for cancer?
What about your family? What about
people?
RICHARD
I'm curious, but I don't want to
know. Jeez, I hope you haven't been
telling people what's going to
happen to them.
PEGGY
Give me some credit, will you?
RICHARD
Good. You're discreet. I like that
in a partner.
PEGGY
Wbat're you talking about?
RICHARD
Look it's very simple. You tell me
everything that hasn't been
invented yet, and I'll invent it.
We'll be partners. Fifty—fifty.
PEGGY
Sixty—forty.
RI CHARD
That's not fair.
PEGGY
Okay, find yourself another vision.
RICHARD
You're taking advantage of a minor.
PEGGY
When do we start?
A WAITRESS approaches their table.
WAITRESS
Do you know what you want?
RICHARD
A Ton on a Bun, with fries.
WAITRESS
And you?
PEGGY
Quiche Lorraine, spinach salad and
a Perrier.
EXT. DOWNTOWN STREET
The street is filled with Saturday shoppers. Peggy holds the
kite, Richard takes notes as they windowshop. They stop in
front of a dry cleaners.
PEGGY
Dry cleaners. No real change. Just
higher prices.
They move next door to a shoe store.
PEGGY
Ah. This is a biggie. Forget
sneakers. Running shoes, jogging
shoes, tennis shoes. Fifty to two
hundred dollars a pair.
RICHARD
Come on. You can't be serious.
PEGGY
There are major fortunes to be made
here. Leisure time and life—styles.
RICHARD
Are you talking ~about exercise?
Like gym?
PEGGY
Not for you. Okay, there's lots
more.
They move along to the next window, an appliance store. The
window is filled with old televisions, record players, large
rotisserie—broilers, etc. The store sign reads: BODELL'S TV
AND APPLIANCES. Another sign reads: COME IN AND LISTEN TO
STEREOPHONIC SOUND.
PEGGY
Look at that stuff. It's like the
dark ages. This is more your speed.
And boy, do I know this business.
Peggy peers into the store again and catches a g1impse of
Charlie serving a customer.
EXT. STREET ?BUS STOP
Peggy and Richard sit on the bench next to TWO OLD. LADIES.
Richard reads from his list.
RICHARD
Let's see...
(looking around)
icrowavemays, ocketpay
alculatorcays...
The two ladies react.
PEGGY
You don't have to use pig Latin!
Nobody could possibly know what
we're talking about.
RICHARD
All right. These are the choices:
microwave ovens, pocket
calculators, Walkmans, digital
watches and miniature TV's.
PEGGY
Oh. And huge portable radios.
Everything else gets small, but for
some reason, portable radios get
enormous.
Peggy looks up and sees a lingerie store across the street.
She heads towards it, calling:
PEGGY
I'll be right back.
Peggy enters the Lingerie store. After a beat, Peggy emerges
from the store, excited and empty handed. Dodging traffic,
she hurries back to Richard.
PEGGY
Richard! They don't have any! They
never heard of them! Isn't that
wonderful?
RICHARD
What are you talking about?
PEGGY
The wave of the future! I've
decided on our first fortune! I'll
see you later. You just think high
tech.
RICHARD
High tech. I like the sound of
that.
EXT. APPLIANCE STORE ?DUSK
At the back is a small record department, complete with a
listening booth. Charlie is waiting on a customer. Peggy
enters. CHARLIE'S FATHER is waiting on a buxom YOUNG WOMAN,
his arm around her shoulder. He turns around as she enters.
She has a shock of recognition.
MR. BODELL
(to young woman)
Look at that freezer chest. What
capacity.
(to Peggy, embarrassed)
Hello Peggy Sue.
PEGGY
Woody! How ya doing?
MR. BODELL
Fine, just fine.
Peggy gives him a big hug and a kiss on the cheek.
PEGGY
Nice to see you.
MR. BODELL
Charlie's in the back.
Peggy walks towards the back as Mr. Bodell explains:
MR. BODELL
My future daughter—in—law. Very
affectionate girl.
INT. RECORD DEPT. ?APPLIANCE STORE
Charlie talks to on ELDERLY GENTLEMAN.
GENTLEMAN
I'll just take the Ravel.
CHARLIE
Take the Shostakovich home and
listen to it. Let it grow on you.
Everyone that's bought it has come
back and said, "This is definitive
Shostakovich. Thank you for
encouraging me to investigate it."
GENTLEMAN
Well, I did enjoy the Dvorak you
suggested. Young man, you talked me
into it.
Charlie points Peggy to the listening booth.
CHARLIE
You'll like it. I kid you not.
INT. LISTENING BOOTH
Peggy sits on the chair. A turntable sits on a small desk.
Record covers decorate the walls. Charlie enters and sits on
the desk, his feet resting on Peggy's chair.
PEGGY
What do you know about classical
music?
CHARLIE
Nothing.. Selling is selling.
PEGGY
Charlie. About last nights..
CHARLIE
Forget it. I've been thinking.
Girls must go through that stuff
too. Sometimes when I look at you I
feel like an animal. Maybe my dad's
right. Teenagers are nuts.
PEGGY
But I'm not. I'm a grown woman with
a lifetime of emotional experiences
you couldn't possibly understand.
CHARLIE
Yeah, I know. Girls mature faster
than guys. But last night, I was
the one who put on the brakes. And
you know why?
PEGGY
Why?
Charlie cups her face in his hands, pouring out his heart.
CHARLIE
Because nothing else matters.
That's the great thing about love.
Every time we argue, every time
something goes wrong, and I know
that I'm not perfect either, things
just work out better in the end.
Cause you're my baby and I love
you.
PEGGY
What am I going to do with you?
CHARLIE
Don't be cruel to a heart that's
true.
INT. KELCHER HAT STORE KELCHER'S HATS - LATE AFTERNOON
Alone in the store, Mr. Kelcher is going through some
receipts. Peggy enters carrying a shopping bag.
PEGGY
Hi, Dad.
MR. KELCHER
Doing some shopping?
Peggy reaches into the shopping bag and pulls out a small
wrapped box.
MR. KELCHER
For me?
PEGGY
Open it.
He opens the present. Inside are a pair of miniature golf
ball cufflinks.
MR. KELCHER
Sweetheart, they're beautiful. But
they must've been expensive.
Across the street an ice cream truck pulls up. Mothers,
fathers and children crowd around the back as the driver exit
the cab.
PEGGY
I closed my Christmas club.
MR. KELCHER
Good, you got your money out of
that greedy bank.
PEGGY
I wanted to apologize for this
morning.
MR. KELCHER
It's hard to believe you're going
to be eighteen.
(looks out the window)
Want an eskimo pie? Or a
creamsicle?
I'd come home from the store and
there's little you running up to
me. I'd give you a dime and you'd
promise never to grow up.
PEGGY
Quiet today?
MR. KELCHER
This morning was good.
PEGGY
The hat business is in trouble.
MR. KELCHER
I, that what all that nonsense was
about this morning? You're worried
about my business?
PEGGY
Yes.
MR. KELCHER
That's very thoughtful, honey. It's
just a slump. Things will pick up.
PEGGY
But when John F. Kennedy's elected
President, men'1l stop wearing
hats.
MR. KELCHER
Kennedy's a Catholic. He'll never
win.
PEGGY
(gravely; closing her
eyes)
He'll win.
MR. KELCHER
Richard Nixon's going to be
President. Nixon wears hats.
INT. NANCY'S ROOM
Peggy is helping her sister Nancy with an art project.
NANCY
You think this'll cheer Dad up?
PEGGY
Of course, he'll love it. You're a
terrific artist.
We HEAR Mr. Kelcher arguing loudly from downstairs. The two
girls freeze.
MR. KELCHER (O.S.)
I don't need your charity. I don't
need your grandmother's jewelry or
your parents money -—how could you
do that?
MRS. KELCHER
Please don't shout.
Peggy opens the door, Nancy cautiously behind.
MR. KELCHER (O.S.)
I'm not shouting. Have we ever
starved? Have we ever missed a
mea1?
INT. DOWNSTAIRS ?PEGGY'S POV:
Mrs. Kelcher moves around the room, closing the windows.
MRS. KELCHER
Does everybody have to hear?
MR. KELCHER
I want everybody to hear because I
don't have anything to be ashamed
of.
Mr. Kelcher collapses into his barcalounger, red as a beet.
MRS. KELCHER
Jack, I was just trying to help.
MR. KELCHER
We'll make it, we'll be fine.
INT. NANCY'S ROOM
Nancy is frightened.
NANCY
Does this mean we're going to be
poor?
Peggy leads her back into her room without letting her
parents know they were there.
INT. PEGGY'S ROOM
We HEAR the song "Stranger in Paradise" from Kismet on the
old black and white record player from opening scene. Peggy
sits on the floor, surrounded by stockings, leotards and a
sewing basket. She cuts the legs oft a pair of leotards. In
one hand she holds up the top half of the leotards, in the
other hand, a pair of nylon stockings.
We HEAR a KNOCK on the bedroom door. Peggy pushes everything
under the bed as Maddy and Carol enter.
CAROL
All right. What's the scoop?
PEGGY
On what?
MADDY
How come we're your best friends
and we had to find out about you
and Michael Fitzsimmons from
Dolores?
PEGGY
She's unbelievable. Who needs
satellites when we've got Dolores's
mouth?
CAROL
I hear she does more than talk with
her mouth.
MADDY
That's disgusting!
CAROL
(brushing her hair) )
Oh, Maddy, grow up. It says in LOVE
WITHOUT FEAR that "the tongue kiss
as a means of genital stimulation
is widely practiced and has much to
commend it". Page eighty—six.
PEGGY
Did you memorize the whole book or
only the good parts?
CAROL
Just what you underlined.
PEGGY
You're kidding...? Carol, you have
beautiful hair.
CAROL
Come on. What's with you and
Michael?
MADDY
Yeah. He's so cool and mysterious.
PEGGY
He's very interesting. For all his
pretending to be a tough guy, he's
really got the soul of a poet.
CAROL
I bet Dolores told Charlie.
PEGGY
That loud—mouthed little bitch~
MADDY
Peggy Sue!
CAROL
You better watch out for her. She's
after Charlie.
PEGGY
Cool it kids. He's free to see
other girls, if he wants.
MADDY
But I always thought that you would
marry Charlie, Carol would marry
Walter, and I would marry Arthur.
We'd all live on the same street
and take our kids to the park
together and have barbecues every
Sunday. It'll spoil everything if
you and Charlie break up. That
Michael doesn't look like the
barbecue type.
PEGGY
I'm not going to marry him. I just
went out with him once.
(beat)
I know! Why don't we go to the
movies tonight. Just us girls.
It'll be fun.
CAROL
Don't be silly. It's Saturday. Date
night!
MADDY
Yeah. I've gotta go. Arthur's
picking me up soon.
PEGGY
Okay. But let's have a girls night
soon. Maybe a pajama party.
CAROL
Aren't we a little old for that?
MADDY
Sometimes you're so immature.
INT. KELCHER LIVING ROOM - NIGHT
Peggy turns to face her parents, holding up her home—made
pantyhose with a flourish.
PEGGY
Ta da! Pantyhose! The death of the
garter belt! Of course, once
they're manufactured they'll look
better than this. What do you
think?
MR. KELCHER
This is your great invention?
(to Mrs. Kelcher)
Would you wear those things?
MRS. KELCHER
Would they go over my girdle or
under?
PEGGY
Instead of a girdle. And light as a
feather.
MRS. KELCHER.
Jack, I think she's got something
there.
PEGGY
And we won't just sell them in
department stores. We'll market
them in drug stores and
supermarkets.
MR. KELCHER
That's all well and good, but we
don't have the money to manufacture
them.
PEGGY
You need a partner. There's a
friend of mine at school whose
father makes seat covers for cars,
Mr. Fitzsimmons. I've invited him
and his family over for dinner
tomorrow night.
MRS. KELCHER
Isn't that awfully forward?
PEGGY
We've got to move fast. This is an
idea whose time has come.
MR. KELCHER
You mean to tell me that you
invited this Mr. Fitzsimmons over
to talk about investing his money
in your cockamamie idea?
PEGGY
Wrong, Dad. Your idea.
INT. PEGGY'S BEDROOM ?NIGHT
A breeze blows through the open window Peggy sleeps fitfully,
tossing off the covers. We HEAR NOISES from outside her
window. A figure appears outside and silently climbs into the
bedroom. Peggy mumbles Charlie's name. The man walks over to
her bed as Peggy reaches out for him, tenderly, as if they
were still married.
PEGGY
Charlie. I just had the strangest
dream.
CHARLIE
(whispering)
I have to talk to you..
Through her sleep—clouded eyes, Peggy begins to focus on the
face of the younger Charlie. Suddenly, she remembers.
PEGGY
What are you doing here?
CHARLIE
(angry)
Let's go down to the basement.
INT. BASEMENT
Peggy enters, flicks on the light and leads Charlie in. Peggy
senses Charlie's anger, and steels herself for the inevitable
confrontation.
CHARLIE
I want to know what's going on.
Dolores told me that you and that
scuzzball Michael Fitzsimmons...
PEGGY
I bumped into him after you dropped
me off Last night. I didn't feel
like going home, so we went for a
ride.
CHARLIE
(furious)
Then it's true, dammit! I had a
miserable time tonight 'cause of
you. When the Monotones did "Book
of Love —— Chapter Four you break
up, won't you give it just one more
chance..." I'm thinking Did we
break up? 'Cause if we did, I don't
even know about it!. I thought we
cleared all that up yesterday. Did
that Maynard G. Beatnik give you
what you wanted?
PEGGY
You know I never could stand your
sarcasm.
CHARLIE
You're going to blow it, Peggy Sue.
Nobody treats Charlie Bodell like
this.
PEGGY
And why do you always refer to
yourself in the third person, like
Napoleon? How come it always turns
into an argument with you?
CHARLIE
Look, I've got the hair, got the
eyes, got the teeth, I got the car.
I'm the lead singer, I'm the man.
PEGGY
Charlie,. I've been trying to
postpone this. But what's the
point? It's over.
(crying)
I don't want to hurt you. This is
very hard for me. I'm doing this
for both of us. I really want you
to be happy.
CHARLIE
I will be happy if I have you. I
love you.
PEGGY
That won't make any difference.
We just can't live together. And
you had the nerve to drive up with
that bimbo Janet.
CHARLIE
What are you talking about? Who's
Janet?
PEGGY
I just can't trust you anymore.
CHARLIE
What about everything I said to you
this afternoon...
PEGGY
That's just it. You can always get
to me. There's this window in my
heart and every time I leave it
open, you climb in. Unless I close
it now, nothing's ever going to be
different!
CHARLIE
But what has to be different?
PEGGY
Everything. I have a good head for
business, I should be franchising
the bakery. And I want you to give
me your word that whatever happens,
you'll go to college. And finish.
CHARLIE
What! What about the group and my
singing career? What about me?
PEGGY
I'm trying to save you years of
frustration... waiting for a big
break... no. Waiting for that big
disappointment so you could blame
it all on me.
CHARLIE
You don't know zip! You think I'm
going to end up selling appliances
like my father? Chasing women
around the store. I've got to give
it a shot. Why are you trying to
kill the two things that mean the
most to me? Until yesterday you
loved me and you loved us.
(opening the door) )
What the hell has changed? For two
years I've done nothing but love
you. I'll show you, I'm going to be
just like Fabian!
Charlie exits. Peggy slumps back, drained. Getting up, she
crosses to the mounted swordfish. Standing on a chair she
reaches into the mouth of the fish and pulls out a package of
Pall Malls. She puts a cigarette in her mouth and picks up a
table lighter and flicks it. As it lights, the tiny music box
inside PLAYS SMOKE GETS IN YOUR EYES.
INT. KELCHER KITCHEN - MORNING
We HEAR distant CHURCH BELLS. Peggy sits down to scan the
large Sunday newspaper. Seeing her mother's phone book, she
finds the number she needs and picks up the phone. She dials
slowly.
PEGGY
(very nervous)
Hello, Grandma. It's Peggy Sue.
Much better. How are you? I'm very
sorry about the other day.
EXT. STREET ?APPROACHING RICHARD'S HOUSE
Peggy jogs towards Richard. He is watering the front lawn.
PEGGY
(breathless)
Hi, Richard.
RICHARD
What are you doing?
PEGGY
Jogging. I was running, now I'm
jogging.
RICHARD
That's what you were talking about
yesterday? Everybody does that in
the future?
PEGGY
Yep. It's going to be a law.
(beat)
I broke up with Charlie last night.
RICHARD
That's terrific. You did it. You
really changed the course of your
destiny.
PEGGY
It was an unfair fight. He didn't
have a chance. I'm taking a real
gamble. I loved him for a long,
long time.
RICHARD
Cheer up. Now you can give some
other guy a shot. Make it up to him
later and buy him a yacht.
PEGGY
For God's sake, forget the money!
I'm going crazy! I'm a walking
anachronism. I'm a puddle of deja
I'm worried about my kids, Scott
must be scared to death, I think my
daughter's doing drugs again. I
can't have any fun here, I don't
have that innocence any more. I
can't keep all this in anymore. I
feel Like I'm going to explode.
RICHARD
Look, the best scientific mind in
this country is working on your
case. May I make a suggestion?
PEGGY
Like what?
RICHARD
(excited)
Suggestion! Hypnotic suggestion!
Why didn't I think o~ that before?
PEGGY
What do you know about hypnosis?
RICHARD
Everything. This is perfect. The
subconscious mind remembers all.
You can give me more information on
microchips and then pinpoint what
happened at the reunion. Maybe
that'll give us a clue on how to
get you back.
PEGGY
Look, I'm desperate. I'll try
anything. But what if you can't
snap me out of it?
RICHARD
No offense, but you're pretty out
of it now.
INT. RICHARD'S GARAGE
Peggy sits in an old recliner. Richard holds a small,
battery—operated revolving disc up in front of Peggy's closed
eyes, then puts it down and picks up a notepad and pen.
RICHARD
You are completely relaxed. When I
count to three, you will open your
eyes. One... two... three.
(Peggy's eyes flutter
open)
We'll start with something easy.
What is your name?
PEGGY
(trance—like)
Peggy Sue Kelcher.
(beat)
Or, Peggy Bodell.
(beat)
I'm not sure.
RICHARD
Oh boy. Peggy, what are microchips?
PEGGY
Ah..... they're very tiny... they
look like a fingernail made out of
an erector set...
RICHARD
What will they be made of?
PEGGY
I think it's called silicon.
Charlie told me that.
RICHARD
Silicon is from sand.
PEGGY
We were lying in the sand. It was
my eighteenth birthday... We were
so awkward... I would have married
him anyway...
Peggy starts to shift in the chair. Her shorts hike up, her
legs spread slightly. This is not lost on Richard. Weird,
guttural sounds begin to emanate from his throat.
RICHARD
In the future, will you have to
marry a girl before you have sex
with her?
PEGGY
No. The Pill will change all that.
Then he wouldn't have blamed me. We
were just too young.
RICHARD
You mean you'll give a girl a pill
and she'll want to have sex?
PEGGY
No. The Pill will be for birth
control. But girls do like sex.
Maybe not the first time.
RICHARD
Will you take of f your blouse?
PEGGY
Yes, every day.
(taking her blouse off ?
getting spaced)
Maybe I shouldn't have worn that
dress? I told Beth it was a bad idea.
That's why they made me Queen.
Peggy's meandering makes Richard nervous.
MAN'S VOICE (O.S.)
Richard, are you in there?
Richard frantically tries to put Peggy's blouse back on.
She's limp and unresponsive.
RICHARD
(shouting)
No! Yes! I'll be right out, Dad.
(urgent)
Oh shit! Peggy, I'm going to snap
you out of it.
PEGGY
I couldn't help it —— I loved him.
RICHARD
One... two... three.
(claps twice)
You are now awake.
Richard kneels on top of Peggy as she wakes up, fumbling the
buttons at her breasts. Peggy comes to, as Richard jumps off.
She buttons her blouse, furious.
PEGGY
Richard! You should be ashamed of
yourself.
RICHARD
Me? You went crazy! You started
taking your clothes off. I was
putting them back on for you.
PEGGY
That's just perfect isn't it? Did
it work? Did you find out why I
came back?
RICHARD
I think it has something to do with
your birthday. You were rambling. I
didn't understand the rest.
PEGGY
God dammit! How'm I gonna got out
of here?
Peggy grabs a glass beaker and hurls it against the wall.
RICHARD
Hey! Do you have any idea how much
those beakers cost? I usually
charge for hypnosis.
PEGGY
Oh, go feel up your hamsters! I
hear rodents put out.
Peggy storms out.
INT. KELCHER HOUSE
Mrs. Kelcher stands at the counter preparing a pot roast.
Peggy's making a chocolate mousse.
MRS. KELCHER
You know, dear, I think the
pantyhose is a wonderful idea, but
the next time you come up with
something, please don't stay out
all night. Just tell us. We'll
believe you.
PEGGY
Mom, how about a machine that's
like your blender, only it slices
vegetables, kneads dough, chops
meat and even make fresh pasta?
MRS KELCHER
What's pasta?
INT. KELCHER DINING ROOM
Peggy and Mrs. Kelcher are setting the table, taking the good
china out of the cabinet. A dozen red roses grace the table.
MRS. KELCHER
These roses are beautiful. And so
romantic'. Who is this Michael? Is
he a friend of Charlie's?
She moves the Jell-O mold.
PEGGY
No, just a friend of mine. I don't
think he Likes Jell—O.
MRS. KELCHER
What does Charlie think about that?
PEGGY
You know Mom, it's okay to have
male friends. Besides, it's over
with me and Charlie.
MRS. KELCHER
(shocked)
What? When did it happen? Your dad
and I always expected you two to
get married.
PEGGY
Yeah, I know Peggy Sue gets
married. Case closed. Period. Mom,
if you could live your life over
again, would you do the same thing?
Get married and settle down after
high school?
MRS KELCHER
Of course I loved your Lather.
I remember once being offered a
scholarship to art school. But I
turned it down.
PEGGY
Why?
MRS. KELCHER
All the college girls I knew were
so well, dressed. I was worried
that I wouldn't fit in. I didn't
have the right clothes. I was so
silly. But, I don't have many
regrets, and besides, r don't have
time to worry about the past. But
Charlie. I hope you know what
you're doing.
INT. DINING ROOM ?TWO HOURS LATER
Michael, DORIS and ED FITZSIMMONS sit at the table with the
Kelchers. They have just finished dessert.
MR. FITZSIMMONS
Moose? I never thought I'd have
moose for desert.
The adults laugh. Michael looks bored.
MR. KELCHER
Peggy Sue cooked the whole dinner.
NANCY
But Mom helped.
MR. FITZSIMMONS
You know, you should open a
restaurant.
PEGGY
It's incredibly difficult to make
money in the restaurant business.
You have to get up at five in the
morning to go to the market, you
have problems with spoilage,
employee pilferage, and just try
and collect from the credit card
companies. They take months to pay.
The whole table is astonished.
MR. FITZSIMMONS
How does a young gal like you know
so much about business?
PEGGY
Oh, I just picked it up from my
dad. He's a wonderful businessman.
MR. FITZSIMMONS
Really?
Peggy gives her father a go get him look. Michael's writing
in a pocket notebook.
MR. KELCHER
Ah, Ed, why don't you and I adjourn
to the den for a while?
EXT. KELCHER HOUSE
Peggy~ and Michael stand by Michael's motorcycle, passing a
cigarette.
MICHAEL
That was quite an evening.
Bourgeois, phony, decadent, stupid.
PEGGY
I shouldn't have put you through
that. It must have been agony.
Let's do something.
Michael makes a move towards Peggy, with lust in his eyes.
PEGGY
No. Something else. I'm too full.
Besides, it's a school night.
EXT. GHETTO STREET - NIGHT
Michael and Peggy pull up on the motorcycle in front of
Lena's Lounge, a seedy bar in the town's black ghetto. Half a
dozen blacks are banging around outside. They eye Peggy and
Michael suspiciously.
INT. LENA'S LOUNGE
The room has a bar at one side, booths and tables in the rest
of the room. A stage is at the far end. On stage, an all
black group, The Four—Mations, is performing the song GOOD
TIMIN' The people in the club are dancing the Twist.
Peggy and Michael sit in the last booth. Several people wave
hello to Michael.. Although Peggy and Michael can see the
stage, their booth is not visible from the stage.
MICHAEL
Five more weeks of school. And ten
minutes past graduation I'm gone.
(he raises his glass)
To freedom.
PEGGY
(looking around at the
crowd ?clinking glasses)
For everyone.
MICHAEL
Now listen, this is the plan. As
soon as school is finished we go to
Utah and...
PEGGY
Utah? I thought you'd be going to
New York or Paris. What's in Utah?
MICHAEL
Rita. I met her last summer. She's
cool. You'll really dig her. She's
got this great little cabin in the
hills, just outside of Provo where
she raises chickens. I'll write and
the two of you can take care of the
chickens to support us.
PEGGY
(astounded)
I can't do that.
MICHAEL
Why not? Polygamy's legal in Utah.
PEGGY
I hate chickens.
ANGLE ?THE STAGE
On stage, the Four—Nations have concluded their song.
We HEAR APPLAUSE.
SINGER
Thank you. Now we're happy to
introduce, a friend of ours. He's
one damn fine singer, Mr. Charlie
Dell!
We HEAR the GROVE BEGIN the SONG SEA OF LOVE.
MICHAEL
But what about the other night? We
were like two stars in the same
constellation.
PEGGY
Michael, you and I are light years
apart. You should go, but not with
me.
MICHAEL
But we had heat baby. Passion!
Fire! We owe it to ourselves to
fuse together.
(beat)
At least one more time.
PEGGY
That's a terrific line. You're
going to be a wonderful writer.
MICHAEL
You think so?
PEGGY
Yes. We had a glorious night
together. One day you'll remember
and write about it.
MICHAEL
I can dig that. Bittersweet
perfection. Dogs of lust on leashes
of memory... yeah.
Suddenly distracted by the familiar voice, Peggy looks up to
the stage and sees that the lead singer, Charlie Bell, is in
fact, Charlie Bodell.
PEGGY'S POV: THE STAGE ?CHARLIE SINGING
PEGGY (0.S.)
It's Charlie!
MICHAEL (0.S.)
What a treat.
INTERCUT - CHARLIE SINGING ?WITH REACTIONS OF PEGGY AND
MICHAEL. Michael observes Peggy's intimate reaction to
Charlie's singing.
MICHAEL
Now I get it.
PEGGY
Ssh. He's great.
MICHAEL
Peggy Sue's still stuck on treble
without a cause.
Charlie finishes the song as the audience goes wild. He
beams.
PEGGY
I thought I knew everything about
him.
MICHAEL
Can we split now?
Peggy and Michael unobtrusively slip out of the club. Charlie
leaves the stage. He's met by a greasy looking MAN. They sit
down at a booth to talk.
EXT. KELCHER HOUSE ?NIGHT
Michael and Peggy pull up. Peggy gets off the bike and gives
Michael a good—night kiss.
MICHAEL
I can dig you being uptight about
Rita and Utah. That's cool.
But I've got to warn you about
something.
PEGGY
What?
MICHAEL
My father. He's not just the
ultimate square. He's a total
crook.
INT. KELCHER KITCHEN
Mrs. Kelcher finishes the dishes, with rubber gloves on. Mr.
Kelcher sits, cleaning his pipe. Peggy enters.
PEGGY
How did it go with the pantyhose?
MR. KELCHER
It's the darndest thing. Ed knew
what they were immediately. As a
matter of fact, he said he's got a
product like that in development
right now.
PEGGY
Oh no!
MR. KELCHER
Didn't call, them pantyhose,
though. What was it, Evelyn?
MRS. KELCHER
Sheerotards. Catchy name, isn't it?
Like leotards.
PEGGY
He's a liar! He has no such thing!
It's my own fault. I should have
had it patented first. He's a
crook, damnit.
MR. KELCHER
Peggy Sue, watch your mouth.
MRS. KELCHER
Mr. Fitzsimmons is a very prominent
man.
PEGGY
Oh, you're both so naive.
MR. KELCHER
Look young lady, I grew up through
the depression. I fought in the
second World War. Six days a week I
get up and deal with the public,
the bank and the bill collectors.
And on the seventh day, when God
rests, I don't have to listen to my
daughter calling me a fool!
MRS. KELCHER
You have a point, dear.
INT. PEGGY'S ROOM
(POSS. OMIT THIS SCENE)
Peggy lies in bed in the darkness, her eyes wide open. The
bedside clock reads: 2:47. Peggy gets out of bed.
CAMERA TRACKS Peggy into Nancy's room. Peggy looks down at
Nancy sleeping. Gently pulling back the blankets, Peggy gets
into bed with her.
EXT. CHARLIE'S STREET ?MORNING
Peggy walks down a residential street, much like her
parents'. She stops when she sees Charlie's car parked in a
driveway, and leans against a tree next to his car. Moments
later, Charlie exits his house, a dog trailing behind him.
The dog runs up to Peggy. Charlie is wary and distant.
CHARLIE
What're you doing here?
PEGGY
I wanted to talk to you, and I have
one last thing to take care of at
school. Then I'm going to...
(pats dog)
Good dog, Rusty. Good dog.
CHARLIE
Rusty's dead. That's Ajax
Charlie throws a stick. Ajax chases it, never comes back.
PEGGY
Oh. I guess I always liked Rusty
better.
(beat)
Could you give me a ride to school?
CHARLIE
Sorry, the Blue Thunder's out of
commission for a while.
PEGGY
Well, how about a walk, Charlie
Bell..
CHARLIE
How'd you know about that?
PEGGY
I was at Lena's last night. You
were terrific.
CHARLIE
Not terrific enough. What were you
doing in that part of town? Who
were you with?
PEGGY
What were You doing there? You
never told me you were singing with
an R and B group.
CHARLIE
Hey. I guess there's a lot of
things we don't know about each
other.
Charlie and Peggy walking.
PEGGY
I'd forgotten how much music meant
to you.
CHARLIE
That's real big of you.
PEGGY
Stop being defensive. I want to
help you. I wrote a song for you.
CHARLIE
You're kidding. You wrote a song?
Is it about a guilty girl and a
trusting guy... she wants to hurt
him, and he wonders why?
Peggy takes a piece of paper from her purse.
PEGGY
Not exactly, but with your great
voice, it'll be a huge hit. Honest.
CHARLIE
Fat chance. You know, Lee Wilkins
came to hear me last night. He told
me to forget it. You told me to
forget it. My parents tell me to
forget it.
PEGGY
Just take a look at it.
(hands him the lyric)
CHARLIE
If you took the trouble to write
it, then sure, I'll take a look at
it. But I'm beginning to think that
maybe there's more to life than
music. I wonder if people would
still like me if I stopped being
Mr. Excitement?
INT. SCHOOL HALLWAY
Peggy and Charlie stand by their open locker.
CHARLIE
Does this mean you like me again?
PEGGY
It means I care about you and what
happens to you.
CHARLIE
That's all I wanted to hear. 'Cause
I'm never going to give up on us.
It's easy to fall apart in a
crisis. It's easy to be selfish and
say goodbye and good luck. But this
is more than love. This is a mental
decision. Just wait till tomorrow,
when you see your birthday present.
Then you'll understand.
Charlie walks away as Peggy reaches into the locker for her
books.
CAROL
Peggy, I have to talk to you.
Peggy turns to Carol. They walk down the hallway together.
PEGGY
What's the matter?
CAROL
It's that jerk Walter.
PEGGY
What happened?
CAROL
After Charlie told Walter that he
broke up with you because he wanted
to play the field, Walter decided
he should do the same thing.
PEGGY
Welcome to the singles' scene.
CAROL
What a I going to do for the rest
of my life? I don't have a
boyfriend anymore.
PEGGY
Look, Carol, maybe Walter's done
you a big favor. You always said
you wanted to get out of town. Go
for it. And be happy, goddamnit,
I'm rooting for you.
ANOTHER ANGLE
Walter walks up to Charlie.
WALTER
Hey Charlie, what do you think of
this?
Walter does a totally demented dance step, finishing by
strumming his leg like a guitar. He stands there grinning.
CHARLIE
Walter, maybe you should be a
dentist.
INT. CLASSROOM
Peggy sits at her desk, organizing her books. We hear the end
of the ANNOUNCEMENTS over the P.A. SYSTEM.
MR. MOSEY (V.0.)
And finally, our heartiest
congratulations to our girls diving
team for placing second in the
county finals last Friday. And a
special accolade to Rosalie Testa
who placed first in every one of
her events. We're proud of you,
Rosalie.
Everybody turns toward Rosalie and applauds. Peggy turns to
Rosalie, trembling. The BELL RINGS as the class starts to
leave, still crowded around Rosalie. Peggy stares after her,
frozen in her seat Dolores approaches.
DOLORES
What's the matter, princess? Lost
your prince?
Peggy looks up at Dolores and starts to seethe. She stands up
slowly and faces Dolores.
PEGGY
You know Dolores, there's a lot of
things I could say to you, but
you're not worth the effort.
Peggy reaches down to up her books. On the top of the pile is
an open fountain pen, which she picks up, pul1ing the release
lever, squirting ink all over Dolores's dress. Dolores drops
her books, looks down at her dress, horrified.
PEGGY
Sorry. These fountain pens are so
tricky.
DOLORES
(screams)
Oh! You did that on purpose! I hate
you. Go gargle with razor blades!
PEGGY
I beg your pardon?
DOLORES
Take a long walk on a short pier.
PEGGY
Have a nice day.
INT. GIRLS' LOCKER ROOM
Peggy sits disconsolate on a bench, watching the other girls
changing into their swim suits. Rosalie is in the shower
room, wetting down her suit. She accepts congratulations from
a number of the girls. The BELL RINGS as the girls begin to
exit to the pool.
PEGGY
Rosalie! Wait!
Rosalie turns at the door, smiling. They are alone.
ROSALIE
What's up?
PEGGY
I think you should give up diving.
It's dangerous.
ROSALIE
Don't be silly, I'm the best in
the county.
PEGGY
I know you are, but you have to
stop. I couldn't tell you before,
I didn't know if I should. But you
have to stop before you hurt
yourself.
ROSALIE
I spend three hours a day
practicing. I have trainers, I know
what I'm doing.
PEGGY
But accidents can happen.
ROSALIE
Not to me they don't. I'm going to
win the State, then the. Nationals,
and then I'm going to the Olympics.
PEGGY
Rosalie, please, listen to me! You
have to stop.
ROSALIE
You're sick. You should go to the
nurse. I'm going to tell Miss
Dennis.
Rosalie exits into the pool area. Peggy feels helpless.
INT. HALLWAY
Peggy walks down the hall, a set of double doors, leading to
the pool, just ahead of her through them she sees Rosalie
diving through the air with the careless innocence of youth.
Burdened with the inevitability of it all, she rushes through
the hall, and is stopped by Richard.
RICHARD
What's the matter?
PEGGY
It's all, gone wrong, nothing's
working out.
RICHARD
Not true. I think I'm making real
progress on the microchip.
PEGGY
You were meant to. You're one of
those fortunate people that good
things happen to. I have to get out
of here.
She starts to walk away.
RICHARD
Peggy, I believe you. I believe
everything you told me. It's
wonderful. You're the exception
that proves the rule.
She kisses him on the forehead.
PEGGY
I love you too, Richard. Thanks for
trying.
She continues down the hallway.
EXT. AUDITORIUM - DAY
Peggy heads out the door, sees Charlie.
CHARLIE
Hey, Peggy. Wait a minute.
Peggy stops on the landing. Charlie joins her, so eager. He
doesn't notice how distraught she is.
CHARLIE
I cut shop and did some work on
your song. You know, it's not half
bad for your first try. Of course,
I changed all the "yeahs" to
"oohs". Listen to this.
Charlie begins to sing an R&B version of SHE LOVES YOU.
PEGGY
Forget it, it'll never work.
CHARLIE
Okay. Listen, I cancelled the
tickets for Fabian. I thought it
would be better for your birthday
to eat at a nice restaurant, Chez
Tres.
Walter, Arthur, Maddy and Carol watch as Peggy runs away.
INT./EXT. BUS OR TRAIN - HIGHWAY
INTERCUT the bus, Peggy looking out the window, the rural
scenery: pastures, barns, etc., the other passengers.
EXT. STATION
Peggy's grandparents, ELIZABETH and BARNEY ALVORG , wait in
the front of the station.
INT. BUS
Peggy sees her grandparents waiting for her. She grips the
window rail tightly, trying to hold herself together.
BUS DRIVER
Everybody gettin' off at Dumont.
Here we are.
Peggy stands and reaches above to take down her suitcase.
Nervous, she drops it. A MAN, getting off the bus, helps her,
picking it up.
PEGGY
Thank you.
MAN
No trouble at all.
The man gets off the bus.
EXT. GENERAL STORE
Peggy stands at the door of the bus, hesitant. Elizabeth and
Barney approach the bus, waving and smiling up at her.
BARNEY
Hello, Lilla!
ELIZABETH
Peggy Sue!
Peggy slowly walks down the steps, moved to tears. She
approaches her grandparents and drops her suitcases. She hugs
them tightly. The bus door closes and the bus pulls away
behind them.
INT. CAR ?DRIVING
Barney is behind the wheel of a 1951 Plymouth. Elizabeth is
in front, Peggy curled up in the back, regressing.
BARNEY
Quite a bit more rain than usual
this year. I hope it doesn't spoil
the rhubarb.
ELIZABETH
I've already got some in. I was
thinking of making a pie for dinner
tonight.
(turning around to Peggy)
How would you like that?
PEGGY
(like a little girl)
Fine.
(beat) )
Grandma, would you teach me how to
make strudel?
ELIZABETH
That's a day's work. But if that's
what you want, maybe we can do it
tomorrow for your birthday.
INT. FARMHOUSE/KITCHEN - NIGHT
Peggy and Elizabeth finish up the dishes, chatting.
INT. LIVING ROOM
A fire blazes in the fireplace. A grandfather clock stands
prominently in the room. The clock from Peggy's house.
Peggy sits with Elizabeth, learning how to knit. Barney
laughs at "The Burns and Allen Show" on TV.
Suddenly, Peggy places her hand over her heart and shivers
with fear.
BARNEY
What's the matter, Lilla? Somebody
jump on your grave?
Peggy shivers again and shakes her head.
INT. LIVING ROOM - LATER
Barney reading. Elizabeth enters, carrying a tray with cups
of cocoa. They each take a cup.
ELIZABETH
You know, Peggy Sue, your mother
said you had a dream that I died.
PEGGY
I wish she hadn't.
ELIZABETH
I'm not afraid. I know exactly when
I'm going to die.
Peggy is perplexed by her grandmother's apparent lack of
fear.
BARNEY
What's it going to be, Elizabeth?
Seventy—five? Eighty?
ELIZABETH
I'm not telling.
BARNEY
I've been trying to drag it out of
her for years.
(beat)
You know, dreams are fascinating
business. 'Specially where you see
the future.
PEGGY
Do you believe in all of that?
BARNEY
Well, I like to speculate. This
book I'm reading right now, a woman
in Colorado says she lived in
Ireland a hundred and fifty years
ago. Her name was Bridey Murphy-
and she gives names and dates and
where she lived. She was
hypnotized. Big bestseller.
PEGGY
I remember that book!
(beat)
Grandpa, Grandma, I want to tell
you something.
EXT. FARMHOUSE KITCHEN ?DAY
Peggy and Elizabeth are making strudel.
ELIZABETH
If you believe it, darling, then I
believe. Being young can be just
as confusing as being old. The
things that happened to me fifty
years ago are more on my mind than
what happened yesterday.
PEGGY
But I'm remembering the future.
ELIZABETH
Right now you're just browsing
through time. Choose the things
you'll be proud of. The things that
Last.
PEGGY
My children make me happy. I miss
them so much.
(beat)
Beth. Scott and Beth.
(beat)
I'm going to name my daughter after
you.
EXT. FARMHOUSE DRIVEWAY ?DUSK
Peggy and Barney are washing the car at a standpipe, two
hundred feet from the house.
BARNEY
It's gonna rain again. Every
time I wash the car, it rains.
PEGGY
That never changes.
(beat)
You know, when you and Grandma are
gone, the family's gone. I never
see the cousins anymore.
BARNEY
It's your grandma's strudel that's
kept this family together.
PEGGY
Grandpa, if you had a chance to do
it all again, what would you do?
BARNEY
(jawing)
I'd take better care of my teeth.
INT. LIVING ROOM
Elizabeth is tying Barney's bow tie. Peggy is sitting with a
jacket on.
ELIZABETH
What's Peggy Sue going to do at
your lodge meeting?
BARNEY
It's her 18th birthday, I want to
show her off.
Barney turns and winks at Peggy.
PEGGY
It was my idea, Grandma. I always
wondered what went on at those
lodge meetings.
ELIZABETH
He won't tell me, but I've got my
suspicions. And I don't want any of
that. Don't keep her out late.
BARNEY
Let's go.
PEGGY
(hugging Elizabeth)
Good—bye, Grandma.
ELIZABETH
Have a good time.
Barney and Peggy open the door and exit.
EXT. FARMHOUSE DRIVEWAY
Peggy and Barney approach the car.
PEGGY
What does Grandma think you do at
your meetings?
BARNEY
Stag movies. Smokers.
Peggy chuckles as they get into the car. The car proceeds
along the driveway and turns onto the highway.
INT. CAR ?DRIVING
Barney is at the wheel.
BARNEY
I may be an old fool, but I think
we can help you.
PEGGY
I hope so. At least I got to see
you and Grandma.
(beat)
Has it ever worked before?
BARNEY
The last one was six hundred years
ago. It's about time for another
one.
INT. LODGE - NIGHT
A one—story, pitch—roof building. The sign over the entrance
reads.: THE ORDER OF THE GOLDEN DAWN. Underneath the sign is
a logo of a spreading sunrise. Peggy and Barney pull up to
the front, exit the car and enter the building.
INT. LODGE ?ANTEROOM
Thirty old men are congregating around the cloak room. Most
are already dressed in long, purple robes with the sunrise
logo over their hearts. They either wear or carry tri—corner
hats. Peggy and Barney enter. Several men approach them.
Peggy nervously clings to Barney' s arm.
GEORGE
Welcome, Peggy Sue. It's nice to
have you with us.
PEGGY
Thank you.
HENRY
You know, you're a lucky girl. You
could lay a bear trap in the aisle
of the cathedral and never catch a
better man than your grandfather.
PEGGY
Ah... thank you.
BARNEY
Let me take your jacket, Lilla.
I've got, to get my robe.
Peggy hands him her jacket as he heads over to the cloak,
room.
AL
You know, this is very exciting for
all of us.
GEORGE
We've been waiting a long time for
someone like you.
Barney rejoins them, wearing his hat and robe. The group
begins to enter the main room.
PEGGY
(nervous)
Do you have to wear that hat?
BARNEY
It wouldn't be a lodge without
hats.
Barney takes her hand and squeezes it. They walk slowly
through the doorway.
BARNEY
Don't you worry. I'll be watching
after you.
INT. LODGE ?MAIN ROOM
A large meeting hall. The room is draped, and brightly lit
with fluorescent lights. At one end sits a large, gold?
painted wood throne. On either side are large candle holders,
with lit candles. A small table serves as an altar in front
of the platform. On a footstool is a potted plane with an
artificial bird perched on its top. The throne and altar look
like a set left over from a summer stock "Macbeth".
Peggy and Barney enter. Several men lead Peggy away from
Barney to the throne. One man places a go1den cape around her
shoulders. They lead her up the platform to the throne.
HENRY
Hey, George. Get the lights.
The LIGHTS are DIMMED. The room is lit by the candles.
The men form a semi—circle around Peggy. Old men at the end
of their lives, they are serious and passionate about the
possibilities of life beyond this world. One by one, four men
from either end of the line approach the altar with
offerings: a cup of wine; an egg; a gold coin; and a rose.
The men rejoin the line.
LEO COOPER, a tall, white—haired man, takes two steps
forward. The other men begin to sing a Gregorian chant.
LEO
(to Peggy)
Are you ready, dear?
PEGGY
Yes, sir.
Leo steps back, closes his eyes and spreads his arms.
PEGGY
Fasten your seat belts. Here we go.
LEO
Lord of the Universe, Vast and
Mighty One. Ruler of Light, King
of~ the sun. Creator of earth, air,
fire and water.
(kneeling down)
We adore thee and invoke thee!
Grant thine aid.
Look with favor upon us as we
witness the regeneration of man. We
behold the innocent endeavors of
single—minded men and women. For we
are the company of unbodied souls
and immortal angels. We ask thy
intervention, that this girl may
return to thee on the wings of your
Love.
PEGGY
(sotto)
This is never going to work.
The old men form a circle in front of Peggy. They begin to
circumambulate east to west, intoning together, their heads
bowed. As Barney passes in front of Peggy, he winks at her.
She smiles back.
MEN
Fount of life, Chariot of the
Spirit, Womb of the Mother, reclaim
thy child of light.
We HEAR a clap of distant THUNDER. Peggy trembles. The
artificial bird falls off the plant. Peggy is struck with
amazement. She begins to glow, poised to take off. The men
continue to chant while:
LEO (O.S.)
The name of your love is sacrifice.
We offer up this girl, that her
soul may find its home.
Suddenly a door is opened, a gust of wind pours in and
extinguishes the candles, plunging the hall into darkness.
LEO (0.S.)
Nothing to worry about. Somebody
get the lights.
The LIGHTS are TURNED ON. All the men look to the throne.
Peggy is gone. They are speechless for a couple of beats.
GEORGE
(chipper)
Well, the girl's gone. Let's play
some poker.
CLOSE ON BARNEY ?He smiles, happy that she made it. George
crosses to the wall, reaches behind the drapes and presses a
button. The wall slides open to reveal a fully—equipped card
room. The men shuffle in.
EXT. BEHIND THE LODGE
Charlie carries Peggy off towards his car, one hand covering
her mouth. Peggy struggles. When they reach the car, he puts
her down. She's still wrapped in her golden robe.
PEGGY
What the hell did you do that for?
What are you doing here?
CHARLIE
I was trying to save you. They were
going to vaporize you.
PEGGY
Don't be ridiculous! They're just a
bunch of harmless old men. My
grandfather was in there.
CHARLIE
You're going to listen to me.
Charlie tries to Lead Peggy into the car.
PEGGY
I'm not getting in that blue
monstrosity.
Charlie pushes her inside, Peggy climbs back out. Charlie
takes her hand and drags her up a hill behind the lodge hall.
PEGGY
Let me got! Where are you taking
me?
CHARLIE
Right here. Now sit down.
Charlie sits her down on the ground. She's impatient and
hopping mad.
CHARLIE
Look. I wanna tell you. I forgive
you for everything. I know what
you've been going through. You're
just scared. I was scared, too, but
I'm not anymore.
PEGGY
How could you possibly know what
I've been going through?
Thunder and lightning. It starts to rain.
CHARLIE
Because I love you, damnit! I had a
long talk with your father
yesterday and we decided that the
best thing for us to do is get
married and settle down. Right
away.
Peggy jumps up, exploding to Charlie.
PEGGY
What do you mean you and my father
decided? Who the hell are you to
plan my life? Let's get married and
live happily ever after. Bullshit.
I got knocked up. I had to marry
you. I never had a choice.
CHARLIE
What?
PEGGY
You betrayed me, Charlie. You were
never there for me or the children.
And now you come and tell me,
"Peggy, you're scared." Of course
I'm scared. If you knew what I knew
you'd be scared shitless.
CHARLIE
You're crazy! You're really out of
your mind!
PEGGY
I might be crazy, but I'm not crazy
enough to marry you twice. There's
a lot of things I can't change. I
can't even think about them. I
tried. But I couldn't even help
Rosalie.
(tears start)
I don't want to be bitter. I'm a
naturally optimistic person. But
you took advantage of that.
Charlie bends down to comfort her, in tears. He hugs Peggy
and strokes her hair.
CHARLIE
Oh, Peggy. My poor Peggy. It's all
my fault. I'm so sorry. I won't
bother you anymore. I promise.
Please stop crying. Please.
Peggy starts to compose herself.
PEGGY
Will you take me back to my
grandparents?
CHARLIE
Of course.
Charlie helps her up. Be reaches into his pocket and takes
out a small box, handing it to Peggy.
CHARLIE
It's almost your birthday. I wasn't
sure when you were coming back, so
I brought your present up here.
With a slow, growing remembrance, Peggy opens the box. Inside
is the gold locket Peggy was wearing at the reunion.
PEGGY
(anguished)
Oh, Charlie.
CHARLIE
It opens, too. Look inside.
Peggy opens the locket. She shivers with recognition.
INSERT - LOCKET
Two photos, one of Peggy, one of Charlie, as children.
PEGGY
Scott and Beth. Where did you get
these?
CHARM E
Who's Scott and Beth? Your mother
gave me our picture. That's you and
me.
PEGGY
So are Scott and Beth.
Peggy leans into Charlie, throwing her arms around him,
holding on for dear life. She looks up at him, their
foreheads touching.
CHARLIE
(tenderly)
I love you.
PEGGY
I know.
Charlie kisses her, passionately. The locket drops to the
ground. HOLD on the locket, and...
DISSOLVE:
EXT. ON THE HILL - LATER
Charlie and Peggy are lying on the ground, gazing up. A flash
of lightning streaks across the sky.
CHARLIE
I think we should get out of here.
It's going to rain.
PEGGY
(musing)
Do you think anybody in the Fifties
ever made love on a bed?
CHARLIE
What the hell is that?
Flying high above them is an enormous, glowing, liquid neon
kite. The center of the kite inscribed in lights, flashing
like a marquee: HAPPY BIRTHDAY PEGGY SUE.
The kite begins to descend towards them. Peggy jumps to her
feet and races towards it. She grabs the tail and starts to
sail away with the kite. Charlie chases after her.
CHARLIE
Peggy! Where're you going? Come
back!
PEGGY
I've got to go now.
CHARLIE
But I love you. I'll love you
forever.
PEGGY
I'll love you, too, Charlie. I'll
love you for twenty years.
CHARLIE
Come back to me.
PEGGY
I'm trying.
As Charlie watches helplessly, a huge bolt of lightning
strikes his car. Peggy smiles. The men from the lodge run
outside. They look up and above the blazing car and see Peggy
floating away. Peggy sees her grandfather in the crowd and
blows him a kiss. Charlie begins to run, following the kite
cord to its source. He finds Richard, struggling to restrain
the runaway kite.
CHARLIE
Richard, do something!
RICHARD
I can't! It's out of control!
Suddenly the cord breaks. Peggy floats away.
CHARLIE
Peggy!
Charlie, Richard and the old men behold Peggy, bobbing and
dipping playfully in the sky. We begin to HEAR Charlie's
VOICE singing "Peggy Sue" O.S. Peggy looks down with wonder
at the earth, and then like a comet, soars into the
blackness. In an instant she becomes a star.
FINAL SCENE
DISSOLVE/OPTICAL
HOSPITAL ROOM - DAY
Moving from two to C.U. Peggy, fragments of the reunion, the
cake coming towards her, fragments of words in echo effect:
'Your heart stopped for a while..." Father's voice:
'You're a very lucky young lady...' Doctor: 'A (explain) of
the head...' Mom's voice: 'But you're going to be all right
now, the paramedics got there...' Mom, 'We were so
worried..."
Echoing of, until once voice is left. Charlie. Sitting
opposite her bed, as he has been every minute of her illness.
He looks wan and old, worried sick, but trying to sing 'Peggy
Sue' for her.
CHARLIE
(singing softly).
Peggy Sue, I love you, and I need
you Peggy Sue...
PEGGY
Charlie? Was I dead?
CHARLIE
I thought you were...for a while.
PEGGY
(affectionately)
You look awful, like you haven't
slept in days. And so old.
CHARLIE
But happy. Very happy, Peggy Sue.
PEGGY
Charlie, I thought I knew
everything about you.
CHARLIE
I wanted to apologize. I can't live
without you.
PEGGY
What about Janet?
CHARLIE
That's over. I got tired of
translating everything. She thought
the Big Hopper was a hamburger.
Charlie laughs uncomfortably and Peggy Sue looks around her
hospital room.
PEGGY
Who are all the flowers from?
Charlie pushes himself out of his chair and moves toward the
dresser.
CHARLIE
Everyone. Maddie and Arthur, Carol
and Walter. Richard Norvick. And
here's a book, by that guy from
high school, Michael Fitzsimmons.
He dedicated it to you.
Charlie returns to Peggy's bedside and opens the front cover
of the book.
ANGLE ON BOOK: the front page bears the title "The Pilgrim
Soul" and the dedication reads "to Peggy Sue and a Starry
Night".
Peggy smiles but shakes her head.
PEGGY
It couldn't be me. I hardly knew
him.
CHARLIE
I'll just set it right here.
He places the book on her bedside table as he sits back down.
PEGGY
Charlie, I had a strange
experience. I went back to high
school. And I spent a lot of time
with you. And you and Walter and
Leon were singing "I Wonder Why".
CHARLIE
Oh, God, Dion.
PEGGY
You were terrific. And I kept
trying to push you away but you
wouldn't give up.
CHARLIE
I'll never give up.
PEGGY
Then hold me.
He holds her hand.
CHARLIE
I loved you since the day I met
you, and I haven't stopped.
PEGGY
Don't try to charm me, Charlie
Bodell.
CHARLIE
Listen, I don't expect all the
troubles between us can just vanish
away. But I would do what I can...
PIGGY
Charlie, please, I need some time.
CHARLIE
Well, I'll let you get some
rest...so long.
The VIEW PULLS BACK past the flowers. Charlie starts to exit.
Checks himself in the mirror.
PEGGY
Charlie, I would like to invite you
to dinner at home, on Sunday, with
your kids. I will make a strudel.
He hurries back to her, kisses her again.
They hang on to each other as Beth enters the room.
FADE OUT.
THE END PEGGY AND RICHARD SCENE
To be inserted after Dolores/Peggy scene and to replace the
goodbye to Richard scene.
INT. SCHOOL LIBRARY - DAY
Empty except for Richard who sits alone in a study warren,
surrounded by books. Peggy approaches. Be puts down the book
he's reading. He smiles.
RICHARD
You know, Peggy, there's so many
things to look forward to in the
future.
Peggy leans over and kisses him, sadly, on the forehead.
PEGGY
I came to say goodbye.
RICHARD
Goodbye? Where're you going? What
about our partnership? I'm making
real progress with the microchip.
PEGGY
You were meant to You're one of
those fortunate people that good
things happen to.
RICHARD
So are you. You've got a vision.
PEGGY
(manic)
Vision? I'm a walking anachronism!
I've upset my parents. I miss my
kids. I could be trapped here
forever! And poor Charlie...I got
pregnant on my 18th birthday and we
had to get married. Tomorrow's my
birthday! I've got to get out of
here now.
RICHARD
Did you break up with Charlie?
PEGGY
Yeah, yeah. I'm taking a big
gamble. I've loved him for a long,
long time.
RICHARD
Okay. Why don't we do something
visionary. Change your destiny,
Peggy Sue. Change your destiny and
marry me.
PEGGY
(slamming down book)
No! No! No! Peggy Sue got married!
Case closed. I don't want to marry
anybody. Goodbye Richard.
RICHARD
Wait! I'll go with you!
PEGGY
You can't. You're going to
be Valedictorian.
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