ALPHA MALES
By John Faber
FADE IN
BLACK SCREEN
LENNY
(ADULT V.O.)
Most stories set in Nevada aren't
about Nevadans. They're about
people who come to Nevada to screw
up. After all, what happens here
stays here, right? Yeah, but if
you're a Nevadan, you stay here
with it. All the glitz, all the
sleaze, all the degradation, all
the time. Especially when you're a
kid. We had twenty four/seven
exposure to filth long before the
internet came along. That's what
made us different from other kids.
We wanted the same things as
everybody else, but we had to climb
out of a pit just to get to a level
playing field. Some of us never
made it out of the pit, and none of
us came out unscathed. This is our
story.
INT. CATHOLIC CHURCH RENO, NEVADA DAY 1978
A PRIEST dips his thumb into a chalice filled with ashes.
With his blackened thumb, he paints crosses on the foreheads
of parishioners who have lined up to receive the Ash
Wednesday sacrament. With each cross, he delivers an
admonition.
PRIEST
Remember, man, that you are dust,
and unto dust you shall return.
Remember ...
TOM LOFTIN is fourth or fifth in line. Tom is eighteen years
old. He wears a varsity letterman's jacket with the letter
"P" sewn on the breast, a lunging panther on one shoulder,
and the number "78" on the other.
As he shuffles forward in line, Tom stares hungrily at the
butt of the girl in front of him. She is MARCIE BASTIAN, the
Homecoming Queen.
Like Tom, Marcie is a high school senior. Unlike Tom, she's
college bound and popular.
Tom's stare doesn't waiver even after Marcie makes the sign
of the cross and turns away toward her pew. He knows it's his
turn and instinctively steps into position to receive the
sacrament, but his head is turned because his eyes are glued
to her backside.
The Priest, with his dirty thumb suspended in mid air,
tolerates Tom's leering for a moment, but the altar boys
begin to snigger and he has to impose a little decorum.
PRIEST
Remember!
The shout snaps Tom, the altar boys, and most of the first
row to attention.
PRIEST
Man that you are dust and unto dust
you shall return.
The Priest hastily slaps a cross on Tom's forehead, which
already has turned crimson. Tom crosses himself and walks
stiffly back to his pew.
Tom reaches his pew and crowds in next to his brothers and
sisters (two of each). He kneels and pretends to pray.
Soon, however, he resumes ogling Marcie, who kneels across
the aisle with her well-heeled parents. She feels someone
staring at her, turns, and catches Tom in the act.
Tom jerks eyes front, but it's too late. Or was it? He tries
to resist, but he's got to know whether he's been busted
leering at the Homecoming Queen in church.
His eyes move first, then drag the rest of the head around
until - she catches him again. That's it, he's mortified. But
if he had the guts to hold her gaze, he'd see that she seems
to appreciate the attention.
EXT. CHURCH STEPS DAY
The Priest chats with parishioners as they exit the church.
Marcie's family approaches. After exchanging pleasantries
with her parents, the Priest turns to Marcie.
PRIEST
Pepperdine? You can't be going to
Pepperdine.
He holds out his hand at the height of an eight year old.
PRIEST
You just made your First Communion
last week.
MRS.BASTIAN
That's what it seems like to us,
too.
PRIEST
Aren't you excited?
MARCIE
And nervous.
PRIEST
Oh, you'll be fine, Marcie. You've
always been a good girl.
MARCIE
Thanks, Father. See you Sunday.
Marcie's family exits. Tom's family steps up next. The Priest
shakes hands warmly with Tom's father, FRANK LOFTIN.
Frank is a robust 42. His muscles are thick and his skin is
red from a lifetime of construction work.
PRIEST
Mister Loftin. I'm surprised to see
you here on a Wednesday afternoon.
Did you give up work for Lent?
Frank snorts at the Priest's joke.
FRANK
One of these days. Nah, I had to
bid a couple jobs this afternoon. I
already had my good clothes on, so
I figured what the hell.
PRIEST
Economy's bad, Frank. How do you
stay so busy?
FRANK
Plain old fashioned hustle.
He motions with his head toward Tom, who's busy watching
Marcie get into her dad's Mercedes.
FRANK
And good help.
PRIEST
I thought you worked at the movie
theater, Thomas.
Frank nudges Tom out of his Marcie trance.
TOM
Huh? I do.
FRANK
He still helps his old man out on
weekends, though. Plus, June's
coming. He'll be full time then.
Tom scowls slightly at that prospect.
PRIEST
Well, Thomas, don't quit the
theater yet. I've been meaning to
get by there and take in a show.
Tom grins and shrugs.
TOM
Come by any time, Father. I'll
sneak ya in.
INT. MOVIE THEATER LOBBY NIGHT
It's closing time. Tom's ash cross is now just a smudge. He
vacuums the dingy carpet, while KYLE MACY leans on the candy
counter with his head in his hands.
Kyle is the same age as Tom, but he's much better looking - a
real face man.
KYLE
Man, turn that thing off.
TOM
(complying)
What's the matter?
KYLE
Headache. Little souvenir from
Lucero's Fat Tuesday party.
TOM
That's why you called in sick last
night, I guess. Wilson was pissed.
He had to work the box himself.
KYLE
Just be cool about it. Here he
comes.
WILSON MBOYA, the theater manager, emerges from his office.
Wilson is about 50, and speaks with a West African accent.
WILSON
Kyle, did the box receipts balance
tonight?
Kyle slides the box office report down the counter to him.
KYLE
To the penny.
WILSON
Ha. A miracle. Or maybe you studied
mathematics while you were sick in
bed last night?
KYLE
Yeah, I need to talk to you about
that, Wilson. I was-
Wilson cuts him off, smiling and shaking his head. He's on to
Kyle, but he likes him and lets him off the hook as usual.
WILSON
I only want to know one thing,
Kyle. Does The Streak live?
TOM
What streak?
WILSON
Kyle never misses with a girl.
Every time he goes out he gets
laid. He's had a perfect streak
going since he was a - freshman?
KYLE
(with false modesty)
Sophomore.
WILSON
Sophomore. Kyle is the only one I
know who gets as much pussy as I
do.
Tom winces disgustedly.
TOM
Oh, Jesus.
WILSON
Well?
KYLE
The Streak lives, man.
Wilson and Kyle laugh, as Wilson tosses Kyle a set of keys
and heads for the door. He issues orders over his shoulder.
WILSON
Finish in here and lock up on your
way out. I'm going to work on my
own streak.
INT. MOVIE THEATER LOBBY LATER
Tom and Kyle finish closing the theater. As Tom wraps up the
vacuum cord, they hear a SHORT, MUFFLED SCREAM and the sound
of a STRUGGLE mixed with GIGGLING in the women's restroom.
The startled boys stare at each other for a second, then
creep toward the women's room door. Tom reaches for the
handle, but the door flies open before he can touch it and
two teenage girls spill out onto the floor, laughing.
They are TRINA JONES and VICKI SCHAEFER, two notorious party
girls. Both girls look a little sluttish with their skin
tight jeans and heavy metal ringlets, but Trina at least has
some meat on her bones. Vicki is frail.
Vicki looks up first and sees the all-business Tom glowering
down at her. She holds up a pack of cigarettes and offers:
VICKI
She threw my cigarettes in the
trash.
TOM
We're closed.
TRINA
We're not.
She grabs for the cigarette pack.
TRINA
And they're mine. I paid for 'em.
The playful struggle for the cigarettes resumes until Kyle
pipes up.
KYLE
(O.S.)
No smoking in here, anyway.
Both girls look up and simultaneously recognize Kyle, who now
leans cavalierly on the pinball machine.
TRINA VICKI
Hey Kyle Macy! Kyyyle!
They jump up and push past Tom to give Kyle squealing,
bombastic teenage-girl hugs. Tom sticks his head into the
women's room to make sure everything is copasetic.
KYLE
Hello Trina. Hi Vicki.
TRINA
I didn't know you worked here.
KYLE
Well, it's only been since
September. My dad decided some work
experience would look good on my
college applications.
TRINA
(scoffing)
Oh from a movie theater?
Kyle pretends to be stung and points to his name tag.
KYLE
Hey! I'm the assistant manager.
Which reminds me - how did you guys
get in here? I didn't sell you a
ticket.
VICKI
We bought our tickets.
TRINA
To the two o'clock show.
The girls laugh at their gotcha. Kyle chuckles a little. Tom
does not. Kyle jingles the keys Wilson tossed him.
KYLE
Well, guys, I've got to lock up.
Good seein' ya.
TRINA
Then what are you gonna do?
Off Kyle's quizzical look, Trina points at Tom with her chin.
TRINA
Why don't you and mister strong,
silent type come out with us?
Kyle sighs, flips a hand toward Tom, and grudgingly
introduces him.
KYLE
Oh, sorry. Trina Jones. Vicki
Schaefer. This is Tom Loftin. He
works here, too. But he doesn't
hang out much.
The girls look to Tom for a response. He's already opened his
mouth to decline, but Kyle's dismissive tone irritates him
and he changes his mind.
TOM
Sure, I'll go. Just let me go tell
my ride.
Tom grabs his jacket off the candy counter and jogs out the
door into the parking lot.
VICKI
Who's his ride?
KYLE
Some Rustic. I think he's a bagger
at Skelly's.
EXT. STRIP MALL PARKING LOT NIGHT
LENNY HURD paces next to his 1971 Chevy Vega, smoking a
cigarette. He has just finished his shift at "SKELLY'S FOOD
AND DRUG STORE". Its sign glows in the background. Skelly's
and the theater are the only viable tenants in this sad strip
mall.
Lenny is Grunge in the time of Disco. He's skinny and
slouchy, with stringy hair and peach fuzz sideburns.
As he paces, he removes a clip-on tie and stuffs it in the
pocket of his thin coat. He has left his grocery bagger's
apron on for warmth, and it hangs out below the coat goofily.
He hears Tom jogging up behind him, flicks away the
cigarette, and turns to open the car door. Tom halts him with
a subdued "stop" gesture, and they talk across the top of the
car.
TOM
Hey, Lenny.
LENNY
Hey.
TOM
I just came out to tell you to go
ahead without me. I'll catch a ride
home with Macy.
LENNY
You workin' late? I'll hang around.
TOM
Nah, we're goin' out.
LENNY
You're going out with Kyle Macy?
The king of the fuckin' Gentry?
What for?
Tom jerks his head toward the theater, where Kyle, Trina and
Vicki are locking the door behind themselves.
TOM
That's what for.
Lenny glances at the trio, then squints to make sure his eyes
aren't deceiving him.
LENNY
Whoa. Do you know who that is?
That's. . .
LENNY TOM
The Havoc Twins! The Havoc
Twins.
I know, I know.
LENNY
You better watch it. Those chicks
are crazy. I heard last summer they
were both doin' some tourist guy at
the same time, and the guy had a
heart attack and died.
TOM
What? That's bullshit.
He says it disdainfully, but looks back over his shoulder
rather doubtfully.
LENNY
Well, just take it easy. I'll see
you tomorrow.
TOM
Okay, man.
Lenny whisper-shouts after his departing friend.
LENNY
And I want details.
INT. KYLE'S CHEROKEE NIGHT
Tom slides into the back seat of Kyle's late model Jeep
Cherokee, next to Vicki. Kyle stops gazing at himself in the
rear view mirror, and bends it back into position as he
prepares to take off.
TOM
Well, where are we going?
TRINA
Downtown. So you'll have to leave
the letterman's jacket in the car.
TOM
(embarrassed)
Okay, but-I don't get paid until
Friday, and I don't really gamble.
TRINA
Don't whine. You don't need any
money, 'cause we're not going to
gamble. We're going to drink.
EXT. DOWNTOWN SIDEWALK NIGHT
Tom, Kyle and the girls walk down a side street toward the
main drag (Virginia Street). They turn the corner onto
Virginia Street and pass under the Reno Arch, squinting at
the glare of downtown's brightest block.
This is not Las Vegas, with glittering monoliths separated by
acres of parking and six lane highways. This is Reno. The
town is old, the streets are narrow, and the neon is in your
face.
Likewise, these casinos are not Bellagio. They are 1950's
relics with no frills, but plenty of naugahyde and ugly wall
paper.
EXT./INT. CASINO ENTRANCE NIGHT
The kids enter the first casino on the strip. Trina leads.
INT. CASINO FLOOR
Trina scans hastily for the most neglected row of slot
machines in the place. She finds it and makes a beeline for
it. The others follow in single file, stone-faced.
The PIT BOSS, who resembles a pit bull, spots them
immediately.
INT. NARROW ROW OF SLOT MACHINES LATER
The kids hustle down a cramped row of slots littered with
empty cocktails and full ashtrays. At the midpoint, Trina
huddles them up and calls the play like a quarterback.
TRINA
Now, if anyone asks, we're the
young brides and you're the young
grooms. We got married today at the
Silver Dollar Chapel. We're on our
honeymoons and you big studs are
showing us the town.
She extends a palm with four quarters in it toward the boys.
TRINA
Each of you drop one of these
quarters in a machine, and a
cocktail waitress will magically
appear.
Sure enough, seconds after Tom and Kyle pull the handles on
their slots, a COCKTAIL WAITRESS comes around the end of the
row. She is in her mid twenties, and looks leggy and sexy in
her uniform miniskirt.
Vicki recognizes the Cocktail Waitress instantly and averts
her face, afraid of being recognized herself. She is
surprised when the waitress registers nothing. Tom notices
this.
COCKTAIL WAITRESS
Hi. What can I get you folks?
Trina pushes Tom to the front.
TRINA
Go ahead, Tom.
TOM
I'd like a-uh-Manhattan.
The others are momentarily stunned by Tom's asinine attempt
at sophistication. Trina recovers first.
TRINA
I'll have a beer, please.
VICKI
Beer.
KYLE
Beer.
The Cocktail Waitress leaves and Tom is sheepish as the
others berate him about his drink order.
INT. CASINO FLOOR
The Pit Boss watches the Cocktail Waitress carry the kids'
drinks back to their row of slots. He leans over and whispers
something to a LACKEY.
INT. SAME ROW OF SLOTS
COCKTAIL WAITRESS
Here you go. Three beers and a
Manhattan. Can I get you anything
else?
Kyle shakes his head and makes a show of depositing the two
remaining quarters on her tray.
KYLE
No, just come back often.
COCKTAIL WAITRESS
Oh, okay. Thanks.
The waitress leaves. Trina raises her beer in a
congratulatory toast.
TRINA
See? Four drinks for a buck. The
best deal in town.
KYLE
And the oldest trick in the book.
As the kids settle in, a confused OLD LADY wanders into the
end of the row, juggling a coin cup, a cocktail and a
cigarette. Kyle takes that as his opening to ambush Tom in
the adolescent mating struggle.
KYLE
Hey Loftin, your grandma's here.
Ask her if she wants a Manhattan,
too.
Kyle and Trina laugh harshly, driving the Old Lady away, but
Tom doesn't take the bait. Instead, he turns toward Vicki,
takes a large swallow of his drink, and winces painfully.
TOM
I should've gone for the beer.
She nods with a mixture of sympathy and amusement.
VICKI
Here.
She licks her thumb and rubs the ashes off of Tom's forehead.
VICKI
I went to a couple football games
this year. How come I never saw
you?
TOM
Well, backup tight ends don't see
much playing time for the mighty
Parr Panthers. And when we do, we
don't get the ball too often.
VICKI
You're a tight end?
Tom nods.
VICKI
(nudging Trina)
He's a tight end.
The girls giggle and reach for Tom's butt with their hands
snapping like pincers.
TRINA
We'll be the judge of that.
Tom grins and twists away like a matador. Kyle looks annoyed.
INT. CASINO SECURITY BOOTH
The Pit Boss' Lackey conspires with the SECURITY CHIEF.
INT. SAME ROW OF SLOTS
Trina relishes the last swig of her beer.
TRINA
Who's ready for another?
The others assent and (except for Tom) drain their drinks.
TRINA
Okay guys, drop two more quarters.
The boys pull the handles. Kyle, Trina and Vicki look
expectantly for the Cocktail Waitress, but not Tom. He stares
in horror at his machine as the reels register one, two,
three cherries in a row.
The machine erupts. Lights FLASH, bells CLANG, and quarters
GUSH into the hopper.
Tom backs away slowly, as if he's just killed someone. The
girls shriek in delight, dive toward the hopper, and stuff
handfuls of quarters into pockets and purses. Kyle just
laughs and curses.
Seconds into this feeding frenzy, the Security Chief rounds
the corner of the row of slots, opposite the end used by the
Cocktail Waitress.
SECURITY CHIEF
Kids, step away from the machine.
Kyle and the girls spring away from the Security Chief,
yelling and pushing Tom in front of them. Swept up in the
torrent, Tom runs out in front.
He hits full speed by the end of the row, where a SECOND
SECURITY GUARD is just rounding the corner to hem the kids
in. Tom instinctively lowers his shoulder and crushes the
unsuspecting guard, sending him sprawling.
Neither Tom nor any of the other kids even break stride. They
sprint for the door, dodging gamblers and knocking over
stools along the way.
EXT./INT. CHEROKEE NIGHT
The kids make it to the car, breathing hard. Kyle twists
around the interior and lifts all the locks, while the others
hold onto their door handles and hop around impatiently.
They jump in and prepare for blast off, but even under hot
pursuit Kyle takes a second to check himself out in the rear
view mirror. Tom pounds the top of Kyle's seat.
TOM
Go, God damn it!
Kyle races up the street for half a block, then cuts down an
alley away from the casino. Tom and Vicki look out the rear
window for pursuers.
EXT. STREET NIGHT
The security guards, who have obviously lost them, mill
around on the street.
INT. CHEROKEE
Tom starts to turn around and relax until he sees Vicki still
staring intently out the back. He follows her gaze and sees
the Cocktail Waitress through a plate glass window in the
casino.
EXT. STREET
Behind the plate glass, the Pit Boss and his Lackey are
scapegoating the Cocktail Waitress for serving the minors.
They snarl and jab their fingers at her. She snaps back at
them, but they intensify their assault and she wilts. The
Lackey grabs her elbow and leads her away.
INT. CHEROKEE MOVING
Amid excited jabbering and war whoops from Kyle and Trina,
Vicki fights back tears, composes herself and starts digging
into her pockets.
VICKI
How much did we get?
EXT. LAKE TAHOE NIGHT
The Cherokee crawls up an old logging road high above the
lake. The moon is bright and the snow is deep, so the lake
looks like a diamond in a silver setting. Kyle parks in a
scenic spot.
INT. CHEROKEE NIGHT
Trina tosses quarters onto a coat spread on her lap.
TRINA
Twenty five, fifty, seventy five,
forty. Twenty five, fifty, seventy
five, forty one. Twenty five,
fifty, seventy five. Forty one
seventy five!
VICKI
God, that must've been a hundred
dollar jackpot. I wish we'd gotten
it all.
TRINA
Doesn't matter. We got just enough
to buy this.
Trina pulls a baggie full of pot out of her purse.
TOM
What's that?
TRINA
A half ounce of the best Sense
you'll ever smoke.
Without waiting for anyone else's opinion, Trina dumps all of
the quarters into her purse and pulls out a well worn pot
pipe. She expertly loads and lights the pipe.
KYLE
Jesus, Trina. What are you, a
dealer now?
TRINA
No, I just sell a few bags for my
boyfriend.
The kids hit the pipe, pass it and reload it, as necessary,
getting progressively sillier. Tom gets a contemplative look
after his first hit.
TOM
A few bags. Well, how much have you
got in there?
TRINA
I dunno. About three ounces.
Tom and Kyle nearly faint.
KYLE
God damn it, Trina. You could've
sent us to prison.
TRINA
Nah, my boyfriend says they never
do that on your first offense.
KYLE
Oh, he's a lawyer and a
businessman. Who is this boyfriend
anyway?
TRINA
Carl Roselli.
KYLE
Roselli? I thought he was at U.C.
Davis.
VICKI
He was. He dropped out.
Trina shoots a reproachful look at Vicki and repeats the
official party line.
TRINA
He's taking a couple semesters off.
KYLE
Yeah but, wasn't he on scholarship
or something?
Trina shakes her head.
TRINA
Work study. They made him a janitor
in the library after hours.
TOM
So he quit?
TRINA
It wasn't just the job. It was the
whole freshman scene. I mean, frat
parties, football games. It was
basically the same as high school.
Carl's way too mature for that
shit. He's a brilliant person, you
know. Very deep.
Kyle rolls his eyes at that nonsense. Tom barely suppresses a
smirk.
TOM
Don't forget, he's a poet, too.
KYLE
Oh my God, that's right. Tell the
story. Tell it.
TOM
Well, Macy and I had English with
Roselli last year. One month we had
to do creative writing - poetry. We
all had to write a poem, then stand
up and read it in front of the
whole class.
Kyle cringes at the memory and the girls shudder in sympathy.
TOM
Exactly. It was horrible. All the
poems sucked and everybody hated
it.
KYLE
Yeah, everybody except Roselli. He
couldn't wait to get up there and
read his masterpiece. What was it,
again? Something about how he was
the king or some shit.
Tom frowns in stoned concentration but brightens as he
remembers the poem.
TOM
Wait. I've got it, I've got it.
He draws himself up into a snobbish pose and recites.
TOM
She proclaimed that I was regal,
then she demanded my regalia.
Kyle exhales a monster hit as he responds.
KYLE
But since I'm just a janitor, she
got my janitalia!
Hilarity ensues. The kind that can only be induced by good
pot and a bad pun. Trina makes a halfhearted attempt to stick
up for poor Carl-
TRINA
Stop it, you guys. You guys are
assholes.
-But, she gives up and howls along with the rest.
As the laughing fit subsides, Vicki reaches for the door
handle.
VICKI
Air. I need some air.
TOM
Me, too.
EXT. LAKE TAHOE NIGHT
Tom zips up his jacket and ploughs through the snow to the
front of the Cherokee. He leans against the brush guard on
the grille, with his arms folded for warmth.
Vicki lights a cigarette and leans close to him.
VICKI
F-f-freezing.
Tom nods as she squeezes in even closer. They gaze out across
the lake until Tom works up the courage to ask the question
that's been bothering him.
TOM
You knew that cocktail waitress,
didn't you?
VICKI
Dee Dee Herrera. She was my big
sister's best friend when I was
like ten or eleven. They were the
coolest girls in town. Cooler than
Marcia Brady and Laurie Partridge
put together. I even had to quit
Brownies 'cause when my troop would
come over, we just blew off our
projects and pretended we were
them.
Tears well up in her eyes.
VICKI
Now we got her fired from her
shitty job. And compared to my
sister, she's doing great.
Vicki begins to cry softly and buries her face in his chest.
VICKI
Oh, what's gonna happen to us?
Mildly surprised, Tom wraps his arms around her and murmurs
gently.
TOM
We'll be all right.
Vicki raises her lips to his and they kiss.
INT. CHEROKEE
Trina and Kyle sit in the cargo compartment in the back
sharing the last couple of hits on the pipe. Trina suddenly
convulses with coughs and shakes burning embers everywhere.
Kyle slaps and flaps to put the embers out.
KYLE
C'mon Trina!
TRINA
(hacking and giggling)
I think I've got a seed in my
throat. See if you can see it.
She leans back on her elbows and opens her mouth seductively.
Kyle rocks forward to look inside and plants a kiss on her.
INT. CHEROKEE LATER
Tom and Vicki flop onto the back seat, liplocked. Tom pulls
the door shut with his foot. He's about to go for something
more than smooching when they hear protests from the back.
TRINA
No Kyle, stop it. Kyle, I'm not
doing that. Kyle, stop!
Kyle sits up and roars in frustration. His hair is tousled
and his shirt is open. Breathing hard, he stares hatefully
down at Trina, then notices Tom and Vicki peering at him over
the seat.
KYLE
What!?
EXT. PARR HIGH SCHOOL DAY
A decrepit pickup pulls into a parking space in front of a
huge boulder sitting on a frosty lawn. A plaque bolted to the
boulder reads:
BERNARD C. PARR SENIOR HIGH SCHOOL-EST. 1966
Tom and his TEENAGE SISTER climb out of the pickup and walk
across the lawn toward the school. His sister peels off to
her class.
TOM
Three fifteen this time okay? Not
three thirty or three forty five.
TEENAGE SISTER
Whatever. If I miss you I'll just
take the bus.
EXT. QUAD DAY
Parr High School is a cluster of squat buildings arranged
around a large quad and connected by covered sidewalks. The
quad features a statue of the same lunging panther as the one
on Tom's jacket.
In the quad, the Gentry sun themselves and display the latest
in fashionable skiwear. The Rustics lurk under the covered
sidewalks like cave dwellers.
A group of the Gentry (including Kyle Macy and Marcie
Bastian) sips coffee and gabs near the panther statue. A
preoccupied FRESHMAN BOY hurries by the group.
A huge hand darts out of the group and seizes the Freshman
Boy by the collar. Abject terror fills the boy's face when he
twists around and sees that the meat hook belongs to GARY
LUCERO.
Lucero is the self appointed sergeant-at-arms for the
enforcement of school spirit. He's big, ugly, mean and, worst
of all, smart.
EXT. COVERED SIDEWALK DAY
Tom pauses in his march to class and looks a little puzzled
when he sees Lenny Hurd jump off one of the dozens of
arriving school buses. Lenny catches up and they fall into
step with each other.
TOM
Where's the Vega?
LENNY
My mom's got it.
TOM
I thought she was driving her
boyfriend's Z.
LENNY
She was. Til he got drunk and
wrecked it last night. She took our
car to the hospital at three
o'clock this morning.
TOM
Well - is he all right?
LENNY
He's fine. He was so drunk he just
bounced around in there like a
ball. Shit, he's probably home
already.
TOM
You don't sound too happy about
that.
LENNY
He's a douche bag.
TOM
Yeah, but, wasn't this guy supposed
to be different? You know, letting
her use the car, kicking in for
rent, good job dealing blackjack?
LENNY
(testily)
He was coming back from his other
girlfriend's place okay? So he's a
douche bag. Just like all her other
douche bag boyfriends.
TOM
Sorry.
LENNY
Not your fault. Anyway, screw that.
I want to know what you did last
night.
EXT. QUAD DAY
Lucero has hoisted the Freshman Boy up by grabbing his collar
with one hand and squeezing the kid's knees together with the
giant biceps of his other arm. He shoves the boy's head and
shoulders into the mouth of a filthy garbage can that Kyle
and SEAN BANKS have tilted forward to receive him.
The kid struggles furiously, because he knows that every
trash can at Parr doubles as a spittoon. In fact, a couple of
the Gentry step forward and spit steaming streams of tobacco
juice into the can, to make sure the filth is fresh.
Disgusted, Marcie and a couple of the other girls distance
themselves from the spectacle. Most of the crowd eggs Lucero
on, though, and the cruel light in his eyes shows how much he
loves putting these losers in their place.
Just as the boy's fingers start to slip off the grimy rim of
the can, a shout comes from outside the quad.
MR. V.
(O.S.)
Put the boy down, Mr. Lucero.
Lucero jerks his head up to see who dares to challenge him.
EXT. COVERED SIDEWALK DAY
The killjoy is the mild mannered, corduroy-clad MR. V., who,
along with the FOOTBALL COACH, has drawn guard duty this
morning.
MR. V.
Let him go on his way.
EXT. QUAD
Seeing it's only Mr. V. and the Coach, Lucero resumes the
insertion and scolds Mr. V. for forgetting the basics.
LUCERO
No way, Mr. V. He walked right
under the panther's snout. You
cross the panther, you get bit.
That's the rule.
EXT. COVERED SIDEWALK
Mr. V. throws up his hands and looks imploringly to the
Football Coach. The Coach steps forward to bark at Lucero.
FOOTBALL COACH
Put him down, Lucero!
EXT. QUAD
LUCERO
But, Coach he-
FOOTBALL COACH
(O.S.)
Now, Gary.
EXT. COVERED SIDEWALK
FOOTBALL COACH
Or should I call your new coaches
at Washington and tell them their
scholarship linebacker's been
kicked out of school?
EXT. QUAD
That does the trick, and Lucero eases the quaking Freshman
Boy down. The kid bends to collect his books, but Lucero
jerks him back by the arm and whispers to him menacingly.
LUCERO
You got lucky, prick. But don't
ever let me catch you without Coach
Dickhead around, you understand me?
The boy nods vigorously and tries to get away, but Lucero
jerks him back again.
LUCERO
Now, gimme a Parr Panther Pride.
The sniveling kid croaks the cheer out feebly.
FRESHMAN BOY
Parr Panther Pride.
LUCERO
A real one. Come on.
The kid starts screaming the cheer as if he's crying uncle.
FRESHMAN BOY
Parr Panther Pride! Parr Panther
Pride!
LUCERO
Yeah.
A few girls in the crowd throw the "Parr Panther Pride" cheer
moves to further humiliate the boy. Lucero stands with his
hands on his hips, satisfied with his morning's work.
The first period bell RINGS and ends the impromptu pep rally.
The Freshman Boy scoops up his books and runs like hell,
scattering a sheaf of papers. Most of the other students
trudge off reluctantly.
EXT. COVERED SIDEWALK DAY
Tom and Lenny arrive at the edge of the quad in time to see
the Freshman Boy run away. They join up with MIKE GRADY, who
witnessed the whole scene.
GRADY
Gentlemen.
TOM
Grady. What's going on, man?
GRADY
The Gentry. Torturing some kid.
This is so commonplace that Tom and Lenny just grunt and give
ho-hum shrugs. The three boys join the noisy throng heading
to class, but stop in their tracks when they hear an
unwelcome call.
LUCERO
(O.S.)
Loftin. Hey Loftin!
Tom turns around slowly, frowning.
EXT. QUAD DAY
Lucero insistently waves Tom into the quad.
EXT. COVERED SIDEWALK
A summons from Lucero can only mean doom, so other kids give
Tom a wide berth to avoid being associated with the dead man.
LENNY
Oh, no. What does he want?
Lenny assumes his bad ass posture (such as it is) and follows
Tom toward the quad, ready for trouble. Grady doesn't move.
Tom blocks Lenny with an outstretched arm.
TOM
It's all right. You guys stay here.
Lenny backs off, reluctantly. Grady still hasn't moved.
EXT. QUAD
Tom approaches Lucero and the knot of Gentry who have ignored
the bell. He's not afraid, but after four years of watching
Lucero demolish opponents and teammates alike, he's wary.
TOM
Loose.
LUCERO
Loftin. How you doin'?
TOM
All right.
LUCERO
Macy here says you're doin' pretty
damn well. He's been feeding us
some crap about you and the Havoc
Twins. Now, we know he's full of
it, so I want you to tell us what
really happened.
Even on this cold morning, Tom seems about to break a sweat.
All eyes are on him. Marcie bites her lip and seems to be
rooting for him. Kyle's look is both a threat and a plea.
Tom's face is strained as he calculates the safest response.
Finally, he relaxes and grins slightly.
TOM
What can I say? The Streak lives.
The crowd roars its approval of the answer and closes in
around Tom to soak up the details. Kyle is visibly relieved.
EXT. COVERED SIDEWALK
Lenny watches the crowd envelop Tom. He progresses from
amazement to resignation when he realizes that Tom isn't
coming back. He finally rejoins Grady in the march to class,
with one or two backward glances.
EXT. QUAD
Marcie sits on a concrete bench with her girlfriend, MICHELLE
DEWARS. They watch Tom entertain the group with his story.
ANGLE ON TOM:
Lined up in front of Kyle and executing the motions of a
textbook football block.
TOM
It was the greatest block I ever
made. Knees bent, back straight,
shoulders square, head up and Boom!
He was on his ass.
Kyle pretends to fly backwards ala the Second Security Guard.
The jocks hoot and slap fives.
ANGLE ON MARCIE
AND MICHELLE:
MARCIE
What do you think of Tom Loftin?
MICHELLE
He's cute. (crinkling her nose)
Kind of a Rustic.
MARCIE
No, I think he just needs a woman's
touch.
The tardy bell RINGS and dislodges most of the remaining kids
from the quad. Tom grabs his books and starts to go.
KYLE
Where you goin'?
TOM
Class. Tardy bell.
KYLE
Nah, hang out, man. You're a
senior.
Tom starts to shake his head, but Marcie swoops in and
answers for him.
MARCIE
He's late. He's gotta go.
She touches Tom lightly on the elbow to lead him away.
MARCIE
Come on.
EXT. COVERED SIDEWALK DAY
Tom and Marcie walk together. She's cool. He's apprehensive,
waiting to be blasted for ogling her in church.
MARCIE
That was a nice thing you did back
there.
That's not what he expected at all.
TOM
Huh?
MARCIE
Backing up Kyle on his bullshit
Streak. Think he'd do the same for
you?
TOM
Why not?
She just cuts her eyes at him in response.
TOM
And besides, why do you think The
Streak is bullshit?
MARCIE
Because Michelle Dewars-you know,
Kyle's girlfriend-is my best
friend. So whenever Kyle starts
bragging to his buddies it's my job
to make sure The Streak still is
bullshit.
She stops and reads his eyes.
MARCIE
And now I'm sure.
TOM
Oh.
MARCIE
Anyway, I think it was a nice
thing, and I think you're a nice
guy.
TOM
Well, can I walk you to class?
MARCIE
No.
She grins slyly and points to the sign on the door next to
them. It reads:
GIRLS' LOCKERS
MARCIE
Cause I'm going to Gym. But, you
can call me.
INT. MOVIE THEATER LOBBY NIGHT
Tom works the door, standing at a podium taking tickets. As
he tears each ticket he mumbles (as if it's all one word):
TOM
Thankyouenjoytheshow.
His main occupation, however, is fondling and studying a
scrap of paper. The paper says "Marcie B." in looping,
girlish cursive, and gives her phone number.
During a lull, Kyle sidles up to the podium. He reaches
casually for the scrap, but Tom slaps his palm down to cover
it.
KYLE
I'm not gonna take it. It's in the
book, anyway.
TOM
I know. This is better.
KYLE
Okay, you got her number. Now what?
You're not actually going to call
her are you?
Tom only stares in response.
EXT. STRIP MALL PARKING LOT NIGHT
Tom's truck and Kyle's Cherokee are parked side by side. The
doors are open and Kyle's stereo is playing. Each boy leans
on his own vehicle.
TOM
Look, she gave me her number. That
means she wants me to call.
KYLE
Lots of guys call her. Hell, I call
her. You want to get way past
calling.
Tom acknowledges the obvious with a nod and a shrug.
KYLE
Then you've got to be ready when
you do call. I mean, you can't just
dial her up, make some small talk
and ask her out.
He waves derisively at Tom's truck.
KYLE
In what, this chariot? To a free
movie with a pass you get from
Wilson?
Tom lowers his head, because that was his plan precisely.
KYLE
No way, man. She's used to more and
she expects more. Shit, she hasn't
had a boyfriend her own age since
sixth grade. Build yourself up in
her eyes. Hang out with her
friends. Hang out with me. Do what
we do. Show her you're not a total-
TOM
Rustic?
KYLE
Whatever. That way, when you do
take her out and you fuck up, which
- no offense - you will, she might
still give you a second date.
Tom is skeptical, so Kyle resorts to a visual aid. He grabs a
tape out of a shoebox filled with 8 tracks on Tom's truck
seat, and pops the cassette tape out of his own car stereo.
He holds the tapes up side by side.
KYLE
Look (shaking the 8 track). This is
you. And this (shaking the
cassette) is Marcie.
Kyle clacks the tapes together.
KYLE
Get it?
Lenny wanders up, looking a little whipped after work. He
nods a greeting to Tom, but conspicuously ignores Kyle.
LENNY
What's going on?
TOM
Kyle says I'm an eight track and
Marcie's a cassette.
Lenny considers the metaphor for a moment.
LENNY
Do you play the same music?
Tom laughs. Kyle scowls.
KYLE
Shut up, Leonard.
Tom and Lenny pile into the truck for the ride home. Lenny
tries to pull the door shut, but Kyle steps in front of it.
KYLE
Shotgun! (then, off their baffled
stares) I'm coming with. If I go
home too early my Dad will be
standing there with a bunch of UCLA
housing brochures.
Lenny shoots Tom a look that says "Well, la-dee-da," and
mouths "U-C-L-A." Tom chuckles, but motions with his head for
Kyle to climb in. Lenny curses under his breath and slides
over.
EXT. GRAVEL ROAD NIGHT
Tom's pickup crunches to a halt in front of a rusty mailbox
that says "HURD" in reflective tape. A sandy track leads from
the mailbox to Lenny's place.
It's high desert squalor. A trailer with attached carport and
a nice, but empty, horse barn. Out here, the stables are
better built and maintained than the human dwellings. A
dangling lamp barely illuminates the Vega in the carport.
INT. TOM'S PICKUP NIGHT
Lenny eyes his home miserably, heaves a sigh, and reaches for
the door handle. Kyle blocks Lenny's reach.
KYLE
Man, it's only 11:00. I can't go
home yet. We've got to stay out for
a while.
TOM
No way am I going out tonight. I've
got to work tomorrow.
KYLE
What work? You're not on the
schedule.
TOM
With my Dad. I have to help him at
least one day a weekend. So I can't
go home wasted at two in the
morning. I almost got my ass kicked
for the other night.
KYLE
Well, let's just hang out here,
then. (to Lenny) Is your mom here?
Get her to make us some food.
The suggestion appalls Lenny. He lunges for the door again,
this time to hold it shut.
LENNY
No fuckin' way! Somebody might be -
she might have company.
Kyle grins lewdly.
KYLE
Company? Well, that's all right.
She can entertain her - company -
and you can give us more of your
expert advice on how Tom should get
Marcie. Who you've never spoken to
in your life, by the way.
Tom cranes his neck away from the bickering fools and spots a
coyote knocking over trash cans in front of the next shack up
the road.
KYLE
Come on. Just a sandwich.
LENNY
A shit sandwich, maybe. You're not
coming in, Macy.
TOM
And I'm not going out.
Tom carefully pulls an 8 track out of the shoebox next to him
on the seat.
LENNY
So you better find something to do
around here.
KYLE
Yeah, like what?
TOM
Found something.
He clicks the tape into a prehistoric boom box lashed to the
seat supports with bungee cords and takes off after the
coyote, throwing Lenny on top of Kyle.
EXT NIGHT
As soon as the headlights shine in its eyes, the coyote bolts
straight down the road. The truck steadily gains on the
coyote until, just as it is about to be run over, it darts
off the road into the sagebrush. Tom slams on the brakes and
cuts the wheel in the direction the coyote ran.
SERIES OF SHOTS:
The truck bounces wildly through the brush. Kyle and Lenny
hold on to anything they can find, because they don't wear
seatbelts. It's the 70's, nobody does.
Lenny takes his turn at the wheel, joyously chasing coyotes
and jackrabbits through the desert. They're too quick, he
never hits any.
Kyle crunches over sagebrush, spins doughnuts, and generally
kicks up a ton of dust.
INT. TOM'S PICKUP
Kyle chases a jackrabbit up an overgrown track. It dead ends
at a large mound of sand and gravel with a dilapidated
barrier lying face down in front of it. The rabbit disappears
over the mound.
Tom and Lenny scream at Kyle to stop, and Lenny grabs for the
steering wheel. Kyle hits the brakes and comes to rest in
front of the old barrier. He swipes at Lenny's arms.
KYLE
What the hell's your problem?
LENNY
Tailings.
KYLE
What?
TOM
This is a tailing pile from one of
the old Comstock mines. The mine
shafts are all over the place up
here.
KYLE
I don't see anything.
TOM
It's not some bullshit doorway in
the side of a mountain like you see
on TV. These are real mine shafts.
Lenny nods solemnly.
LENNY
Straight down.
KYLE
You guys are full of shit.
LENNY
No, we're not. My uncle and his
buddies used to ride dirt bikes up
here. One time a friend of his went
to do a jump off a tailing mound
and jumped right into the mine.
They never found him, just pieces
of the bike.
Kyle listens intently at first, but decides they're putting
him on. He floors it.
LENNY
It was in the paperrrr!
The truck races over the mound without incident, but Kyle
holds the "I told you so," because Tom and Lenny are staring
in fascination out the windshield.
Below them is the small ghost town of Silver Gorge. From this
height it's just a collection of grey roofs lining both sides
of a dirt road. The road leads more or less directly to a
distant highway, where tiny headlights occasionally stream
by.
TOM
Whoa. That's Silver Gorge.
LENNY
This must be the back way in. (then
to Kyle, pedantically) This is an
old mining town. It's called Sil-
KYLE
I know what it is. I came up here
once with my dad to look for old
coins.
Kyle points toward the distant highway.
KYLE
This road goes straight out to the
highway. That way (left) is
Virginia City and that way (right)
is the Serendipity whore house,
then Reno.
He leans forward on the steering wheel, pondering.
KYLE
I haven't thought about this place
in years.
EXT. STRIP MALL PARKING LOT NIGHT
Tom's pickup, covered with dust from their adventure, pulls
up next to Kyle's Jeep.
INT. TOM'S PICKUP
Kyle jumps out of the truck but sticks his head back in.
TOM
I told you Lenny was all right.
KYLE
Yeah. If you want to spend your
Friday nights chasing jackrabbits.
But you're chasing Marcie Bastian.
And if you want to have a hope in
hell of catching her, you better
follow my lead.
Kyle withdraws and slams the door.
EXT. JOBSITE DAY
Tom and Frank work hard on a cinder block building on the
edge of the desert. They both wear dusty brown coveralls to
keep out the cold, but the wind howling off the eastern slope
of the Sierra still stings their faces.
Frank sits on some scaffolding, building the wall. Tom grunts
as he shovels fresh mortar up to a pallet that's almost over
his head on the scaffold, then heads off for another load.
Frank deftly scoops the mortar with a brick trowel, slaps it
onto the wall, and lays another block in place. He quickly
scrapes away the excess mud with the trowel, leaving a
perfect joint.
Tom returns with a wheelbarrow full of block, which he begins
to stack on the scaffold ahead of his dad. Frank notices a
break in the rhythmic clunking of the blocks and turns to
look down at Tom.
Tom has dug Marcie's number out of his pocket and stands
there admiring it. Suddenly, the wind blows it out of his
hand.
Tom chases the windblown scrap desperately, stabbing at it
with his toe. He finally pins it.
Frank watches with a twinkle in his eye and a barely
suppressed grin as Tom, sullen and embarrassed, walks back to
the wheelbarrow. Tom stuffs the scrap extra deep into his
pocket.
INT. LOFTIN HOUSE NIGHT
Supper is over and the Loftins have scattered around the
kitchen and family room of their modest home. Tom paces back
and forth in the kitchen, glowering occasionally at the
household's only phone as if it's taunting him.
Sufficiently psyched up, he abruptly stops pacing, seizes the
phone, and stretches it as far away from the others as the
cord allows. He pulls the scrap out of his pocket and dials
Marcie's number.
As the phone RINGS in his ear, Tom surveys the family circus
roiling around him, with increasing alarm.
His two BROTHERS wrestle violently on the family room floor.
They roll over his BABY SISTER, who's trying to watch TV. She
starts wailing and the boys start blaming each other.
Frank drops his newspaper and jumps up from the kitchen table
to knock heads, but his back hitches half way up and he
stands at an unnatural angle, cursing and groaning. MRS.
LOFTIN drops what she's doing and rushes to unlock Frank's
back with a combination hip check/bear hug.
And all the while his Teenage Sister stands not five feet
away from him, glaring because she's expecting some life or
death call from one of her pubescent friends.
By the time he hears Marcie's placid voice on the line-
MARCIE
(filtered)
Hello?
- He can't stand it. He claps the receiver onto the hook,
shoves the phone into his sister's chest, and stalks off
through the mayhem to his room.
EXT. COVERED SIDEWALK DAY
Mike Grady loafs on the edge of the sidewalk, outside the
stream of students headed for the cafeteria. Lenny joins him,
and Grady starts to lumber into the line.
LENNY
Wait up for Tom.
GRADY
Loftin brought his lunch today,
man. He's eatin' with the Gentry.
Lenny scans the quad skeptically, then stares in disbelief.
EXT. QUAD DAY
Tom parks it on a concrete bench next to Kyle and digs into
his lunch bag. Everyone notices but no one comments on this
shift in the settled order. Michelle leaves her seat and
motions for Tom to take her spot next to Marcie.
MICHELLE
I wanna sit with my boyfriend.
Tom moves.
INT. MALL DAY
Tom and Kyle emerge from a fashionable hair dresser's shop.
Tom has shed his longish, feathered, middle parted hairdo in
favor of a shorter, side parted look.
They stop to check their reflections in a store window. Kyle
engages in his usual self adoration and Tom pats his head
gingerly, getting familiar with his new 'do. He looks a
little stunned.
TOM
I've never paid that much for a
haircut in my life.
Kyle's snort and sidelong glance convey "Obviously".
INT. HIGH SCHOOL GYM NIGHT
The Parr Panthers play a fierce basketball game against a
hated rival. The gym is packed and the crowd is boisterous.
Tom makes his way down the sideline, scanning the crowd for
Kyle. He spots him sitting with Michelle and Marcie and
bounds up the bleacher steps to join them.
As Tom squeezes past the kids to his seat, Kyle shouts over
the crowd into his ear.
KYLE
What did you tell Wilson?
TOM
Sick!
KYLE
Shit! I told him you were my ride
and your truck broke down.
Tom shakes his head worriedly as he tiptoes past the girls.
INT. MOVIE THEATER NIGHT
A long line of grumbling moviegoers stretches away from the
box office. Wilson shakes with fury as he works the box and
the door, simultaneously selling and tearing tickets
A rattled TEEN WORKER steps into the box to give the candy
counter report, and an ANGRY PATRON keeps tapping on the
glass.
TEEN WORKER
We're out of Coke syrup and the
butter dispensers keep clogging
again.
ANGRY PATRON
Hey! The movie's out of frame in
Theater Two.
INT. HIGH SCHOOL GYM
The gym is rocking. Some of the kids are into the game. The
rest vie for attention from the popular kids.
Sean Banks isn't watching the game or playing "notice me."
He's watching the band line up next to the bleachers to take
the court at halftime.
He sticks his arm through the railing and snatches the TUBA
PLAYER's hat. He pretends to puke in the hat, then tosses it
behind him.
The Tuba Player watches in anguish as his hat bounces around
the crowd like a beach ball at a rock concert. Lucero grabs
it and tries to punch the crown out. Another kid, TONY
VERONA, spits chew in it. When it lands in Kyle's lap he
pretends to pee in it, then tosses it like a full bucket to
Tom.
Tom snags the hat and makes a perfect no-look pass to the
Tuba Player. Most of the kids boo and hiss, and the ingrate
Tuba Player glares at him as if he started it, but Marcie
looks at him approvingly.
Tom just wants to deflect attention from himself, and yells
at the top of his lungs.
TOM
C'mon Panthers!
EXT. LAKE TAHOE DAY
Kyle and Marcie ride a ski lift with the lake shimmering in
the background.
MARCIE
I mean, I've given him every hint
there is short of jumping on him.
Doesn't he like me? He never does
anything.
Kyle throws his hands up to say "I'm innocent."
KYLE
Hey, I told him the minute you gave
him your number. You've got to call
her immediately. You can't keep a
girl like Marcie waiting; she's got
every guy in school after her.
MARCIE
Well, either he's not as smart as I
think he is or he just doesn't like
me.
KYLE
Or, maybe he's just got no class.
I'm serious, Marcie. I like Tom and
everything, but he's a major league
Rustic. They don't act like we do.
I think he's waiting for the chance
to club you over the head and drag
you back to his cave.
Marcie laughs, but Kyle watches her closely to see if his
words have the intended effect.
KYLE
Maybe it's time to move on to
someone you've got more in common
with.
INT. WILSON'S OFFICE NIGHT
Kyle sits at Wilson's desk filling out the theater's monthly
work schedule. Tom enters, pinning on his name tag.
TOM
What's going on?
KYLE
Filling out the schedule.
Tom walks around the desk and reads over Kyle's shoulder.
TOM
Jesus, man. You've got me down
every weekend night this month.
KYLE
So?
TOM
So when am I supposed to take
Marcie out?
KYLE
Hey. Thanks to me you're with her
every day.
TOM
Yeah, at lunch. At games. In
crowds. But never alone. I need to
fix that, so gimme a break on the
schedule.
KYLE
Tell Wilson to give you a break. He
makes up the schedule. I just write
it down.
Wilson walks in, pointing to his watch.
WILSON
Tom, didn't your shift start
fifteen minutes ago?
Wilson's tone tells Tom that now is not the time to argue
about the schedule, so he just nods sullenly.
WILSON
Then get behind the candy counter.
The evening rush is starting.
Tom leaves. Wilson picks up the schedule and looks it over.
WILSON
No, Kyle. This will not do at all.
You have scheduled Tom Loftin for
too many weekend nights. Rearrange
it.
He drops the schedule back on the desk.
KYLE
C'mon, Wilson. I'll have to start
all over.
WILSON
Kyle, you are in charge of making
the schedule. I gave you that job
because you know if and when these
children will show up for work. You
know their social lives.
KYLE
Right. And Loftin has no social
life and no chance of getting one.
I guarantee it.
WILSON
Tom is beginning to develop your
work habits, Kyle. I cannot afford
two of you. Please rearrange the
schedule.
Kyle exhales noisily and starts erasing, more vigorously than
necessary.
INT. HIGH SCHOOL GYM DAY
The Seniors and Juniors gather for an assembly. The gym
echoes as they plod up the wooden bleachers to their seats.
Judging by their glum expressions, attendance is mandatory.
A podium stands in the center of the basketball court with
the seal of the University of Nevada-Reno fastened to the
front. Folding chairs flank the podium and "WOLF PACK" and
"UNR" banners hang behind it.
Bleacher position reflects social standing. The Gentry
Seniors are front and center. Directly above them are the
Rustics who are jocks or good connections for dope. Then
comes the general Rustic population. The total outcasts perch
at the top.
Tom arrives late and places himself on the border between the
Gentry and the Rustics. Lenny shoulders and squeezes in next
to Tom, although he belongs several rows up.
From his vantage point, Tom has a clear view of Marcie, Kyle,
and the gang. He watches them longingly.
Lenny nudges Tom until he gets his attention, then pulls
three triangular paper footballs from his coat pocket.
LENNY
Brought extras this time.
Lenny scoots away from Tom to create a small playing surface
between them, and sets up for the kickoff. Tom can't be
bothered. He waves Lenny off impatiently and resumes his
surveillance.
The PRINCIPAL steps up to the podium and adjusts the
microphone.
PRINCIPAL
Good afternoon, everyone. As most
of you know, each spring semester
we take a few minutes to introduce
Parr upperclassmen to an invaluable
educational resource right in their
own back yard. I'm speaking, of
course, about the University of
Nevada-Reno. This year we are
privileged to have Ms. Rose
Thacker, Assistant Dean of
Admissions at the University, who
will explain how you can continue
your education at UNR.
His aspect becomes menacing.
PRINCIPAL
I am sure you will all show Ms.
Thacker the attention and respect
that she deserves. However -
The Gentry begin to stir. They've been waiting for this.
PRINCIPAL
- as in past years, those of you
Seniors who have been admitted to
another college -
Most of the Gentry Seniors are now moving out, but the
Principal stops them briefly with a raised palm.
PRINCIPAL
- and who have accepted your
admission -
A few of them plop back down in their seats, deflated.
PRINCIPAL
- may be excused.
The stampede begins in earnest, drowning out the Principal's
formal introduction of Ms. Thacker. As she approaches the
podium, several of the passing kids eye her haughtily.
Tom grows increasingly frantic as Marcie, Kyle and the others
leave him behind. When Marcie looks back at him sadly on her
way out the door, he loses it.
He jumps up, pounds down the bleachers through the hole left
by the college bound kids, and speed walks after them with
his eyes fixed on the hardwood floor. Lenny stares after him,
dumbfounded.
The Football Coach rises out of his seat to stop Tom, but Mr.
V restrains him with a hand on his arm because Ms. Thacker is
beginning her speech. The door SLAMS loudly behind Tom.
MS. THACKER
Well. He must have just decided to
accept.
A little uncomfortable laughter. The Principal and the
Football Coach exchange angry looks.
MS. THACKER
I am indeed here to tell you how
you can further your education
right here at home. But, before I
get started, who can tell me what
the Ox-bow Incident, the Spanish
Civil War, and the development of
sign language in primates have in
common? That's right-UNR.
EXT. SCHOOL PARKING LOT DAY
The Gentry fan out to their cars. They shout instructions to
one another to implement a plan.
TOM
Kyle, wait up.
Kyle, Marcie and some others turn in surprise as Tom hustles
up to them. Kyle looks displeased.
MARCIE
Tom, what are you doing? You're
gonna get in trouble.
TOM
You told me this morning we don't
see enough of each other.
KYLE
(to Marcie)
You'll be able to see plenty of him
if you just stop by the detention
hall.
That only distresses her, so he tries to make it right by
inviting Tom along.
KYLE
Come on. Lucero's folks are in
Hawaii and we're gonna have an
afternoon luau at his place. You're
driving.
INT. HIGH SCHOOL GYM
Lenny rests his elbows on his knees and his chin in his hands
as Ms. Thacker drones on.
EXT. LIQUOR STORE PARKING LOT DAY
Tom, Kyle, Sean Banks and Tony Verona sit on the rim of Tom's
pickup bed, with their feet inside the bed. Verona frets
about the broken glass strewn all over the lot.
VERONA
Christ, I hope I don't get a flat
in here.
BANKS
Relax, Tony. The party can't start
without the beer.
KYLE
He's not worried about the party.
He's worried about tonight's
appointment at the Ranch.
Banks grunts in agreement, as Tom looks at Kyle quizzically.
KYLE
The Serendipity Guest Ranch? Ever
heard of it? Verona's their biggest
customer. I think he gets coupons
or green stamps or something.
BANKS
Yeah, he spent his whole Christmas
vacation there.
VERONA
Hey, man, I'm a good host.
He tries to explain to Tom, who's giving him a disapproving
look.
VERONA
My cousin was here from Chicago
with his family. I took him once,
on his first night here. After
that, he didn't want to ski, he
didn't want to hang out, he didn't
want to do anything except visit
the Ranch. What was I supposed to
do?
Verona chuckles at the memory.
VERONA
By the end of the week he was
lifting twenties out of his dad's
wallet to see his new girlfriend at
the Ranch. Every morning my uncle
would open his wallet and be like
(a stiff, deep-voiced impression)
'Gee, I guess the one-armed bandits
took me for more than I thought
last night.'
Seeing that Tom is not bowled over by the humor, Verona leans
toward him and continues.
VERONA
Look, instead of wasting all my
time and money trying to get in the
Homecoming Queen's pants, I go for
the sure thing, and I'm a much
happier man. You should try it.
Tom can't decide whether it was an insult or just friendly
advice, so he only sputters.
TOM
Yeah - well - I...
KYLE
What he means is, he'll keep it in
mind if he's ever as hard up as
you.
VERONA
Oh, fuck you, Macy. Like you've
never been to the Ranch.
KYLE
Not since your mom quit.
This crowd lives for mother jokes, so everyone (except
Verona) brays. The laughter turns to groans and curses,
however, when Lucero and ANOTHER BEER BUYER round the corner
of the liquor store shaking their heads and giving the thumbs
down sign.
INT. HIGH SCHOOL GYM
The speech is over, and Ms. Thacker sits at a table covered
with course catalogs and other literature about UNR. She
looks up hopefully at any student who passes by, but she gets
very few bites.
EXT. SECOND LIQUOR STORE DAY
This time, Tom and the boys have congregated near the
overflowing trash dumpster to wait for the beer buyers.
Lucero is incensed when Banks and Verona come back empty
handed.
LUCERO
Banks, you babyface. I knew we
shouldn't have sent you in there.
Shit, we're striking out here, man.
The boys brood on this troubling development. Even in Reno,
almost nobody will sell alcohol to minors in broad daylight.
They toss out store names, but Lucero rejects them all.
Finally, he comes up with one himself.
LUCERO
I know. Let's go to Long's down on
Fourth Street. If you don't know
how to get there, follow me.
INT. HIGH SCHOOL GYM
Lenny, rudderless without Tom, strays up to Ms. Thacker's
table. He plays with the corner of a pamphlet with a photo of
smiling coeds on a sunny lawn in front of a Victorian
mansion.
MS. THACKER
(O.S.)
Hello, there.
Her greeting startles him.
LENNY
Hi.
MS. THACKER
Thinking about going to college?
LENNY
I don't think I'm really college
material.
MS. THACKER
Oh, come on. Did you take your ACT?
He shrugs.
LENNY
We all did.
MS THACKER
How'd you do?
LENNY
I never looked.
She realizes that she's going to have to drag this out of
him, so she tries a different approach.
MS. THACKER
Well, what do you like to do?
The question makes him squirm, so she quickly revises it.
MS. THACKER
What are you good at?
LENNY
Baggin' groceries.
MS. THACKER
Really? Where do you work?
LENNY
Skelly's.
Her eyes show "Aha"!
MS. THACKER
See? Now that gives us something to
work with. Sit down.
He sits. She peels books and papers from each stack and piles
them in front of him.
EXT. LONG'S LIQUOR STORE DAY
Tom's pickup is flanked by the others' sexier rides. The
driver's side door is open, and Tom rummages around for
something behind the seat. Lucero gives a pep talk.
LUCERO
All right, you guys are up. We're
out of the usual places, but I've
got the world's biggest-titted
freshman waiting for me at my
house. So don't screw up. Now, who
wants the wad?
He holds out the mashed up wad of cash the boys have
collected for the beer run.
KYLE
I'll take it.
TOM
(O.S.)
No.
Tom stops digging and pulls his dirty brown coveralls from
behind the seat.
TOM
I'll take it.
He slips into the coveralls nimbly, then rubs some dust onto
his hands and face to complete the effect.
The other boys avert their eyes or shift in discomfort as Tom
transforms from classmate to construction worker, but Kyle
and Lucero smirk at the beauty of the plan. Lucero slaps the
cash into Tom's hand.
INT. LONG'S LIQUOR STORE DAY
Tom walks up to the counter with a six pack of beer. The
thin, haggard CLERK, who is in his fifties, barely takes
notice of him as he rings it up.
CLERK
That it?
TOM
No. Just a second.
Tom turns and shouts toward the back of the store, acting
perturbed for the Clerk's benefit.
TOM
Let's go, Macy!
Kyle emerges from one of the aisles, struggling under the
weight of four flat cases of beer. That grabs the Clerk's
attention.
He eyes Tom suspiciously as Kyle rests the corner of the
bottom case on the counter, trying not to breathe too hard.
Tom explains casually.
TOM
Friday afternoon. Everyone's
thirsty.
The Clerk isn't quite satisfied with the explanation, but he
rings it up anyway.
CLERK
Uh huh. Forty three forty five.
INT. HIGH SCHOOL OFFICE DAY
Lenny addresses the chubby, short-haired MATRON behind the
front desk.
LENNY
I need to get a copy of my
transcript.
MATRON
Name?
LENNY
Len Hurd. H-U-R-D. Leonard.
MATRON
It'll take a few minutes. Have a
seat.
Lenny plops into one of the plastic chairs against the wall.
INT. LUCERO'S HOUSE DAY
The Gentry have assumed their party positions. Two
electronics guys monopolize the stereo, handling the vinyl
LPs like plutonium and quibbling over the proper setting for
the graphic equalizer.
Some kids snoop around the spacious house. Others peruse the
photo gallery showing the disturbing metamorphosis of little
Lucero into big Lucero. Still others take advantage of the
numerous nooks and crannies perfect for intimate pot parties.
Marcie and Michelle sit on one of the overstuffed couches,
laughing and talking. They both jump when the front door
BANGS open and Lucero strides into the room.
LUCERO
Hail the conquering heroes!
The crowd hails as Banks, Verona and the other boys march in,
lugging the cases.
Tom and Kyle enter last, and saunter over to the girls. Kyle
swings a six pack in one hand. They plop down next to the
girls and Kyle passes out the beers.
MARCIE
(to Kyle)
You're even more smug than usual.
Kyle whips a folded piece of paper out of his back pocket and
displays it to the girls.
KYLE
I should be.
Michelle snatches the paper from his hand.
MICHELLE
What's that?
She unfolds the paper and, as she reads it, grows more and
more excited. Finally, she tosses it into Marcie's lap and
throws her arms around Kyle.
MICHELLE
Oh my God!
Marcie picks up the paper and reads aloud.
MARCIE
You and a guest are hereby invited
to attend the 1978 All School
Social -
She abruptly stops reading, slaps the invitation back down in
her lap, and mocks her friend's excitement.
MARCIE
Oh my God! The annual gathering of
Alpha Males.
KYLE
Go ahead and laugh. (indicating
Tom) He got one, too. For services
rendered.
ANGLE ON:
The WORLD'S BIGGEST-TITTED FRESHMAN, gulping beer while
Lucero moves in for the grope.
ANGLE ON:
Marcie, who has stowed the sarcasm.
MARCIE
Hey, I'm impressed you guys got
invited. I just think the All
School Social is a bunch of crap,
okay?
Tom furrows his brow, so she enlightens him.
MARCIE
It used to be a school sanctioned
event. Back in the sixties after
Parr and some of the other new
schools were built, the School
Board thought we were losing that
small town feel and too many kids
were being separated from the
friends they grew up with. So, they
had a party at the end of the
school year and invited the seniors
from all the schools.
She leans in and gets gossipy.
MARCIE
Well, there were so many fights
they almost cancelled it after the
first one. But, they tried it
again. And the second year, there
were just as many fights, plus the
football bleachers at Reno High got
burned down. So they dropped it.
TOM
I don't get it. How come-
KYLE
Just listen. She's been to every
one since we were freshmen.
MARCIE
The next year's seniors didn't want
to miss their last chance to preen
in front of the whole town, and
neither has any class since. So,
they've kept it going without
school approval. The name is the
same, but they don't invite
everyone anymore. Now it's just the
coolest jocks and Gentry from each
school.
TOM
The Alpha Males.
She points at him to let him know he's on the nose.
MARCIE
They even have it at a secret
location to keep out the riff raff.
KYLE
We know. We came up with the place.
Michelle hauls Kyle off the couch by the hand. Marcie
protests.
MARCIE
Where are you going?
MICHELLE
Hot tub. Our Biology film strips
say the Alpha Males always get the
prime females.
Kyle's gaze lights involuntarily on Marcie at the mention of
"prime females." Michelle drags him down the hall.
MARCIE
Wait. What about my lesson?
Michelle doesn't look back.
MICHELLE
Later.
Marcie clicks her tongue, put out at being ditched.
TOM
What lesson?
MARCIE
My dad bought me a new B210 for
college, but it's a stick shift and
I don't know how to drive it.
Michelle was supposed to let me
practice with her car.
TOM
My truck's a stick.
INT. TOM'S PICKUP DAY
Marcie sits behind the wheel and Tom plays driving
instructor.
TOM
You know the pedals, right? (off
her nod) Okay. Step on the clutch.
MARCIE
I can't wait to pick it up. I'm not
really supposed to have a car my
first year, but my dad's gonna
store it off campus for me. Just,
you know, in case.
TOM
I think in your car you'll start
out in first gear.
Marcie immediately shifts the truck into first, and revs the
engine over the rest of Tom's instructions.
TOM
But first is the granny gear in
this truck, so you need to -
She pops the clutch. The gears GRIND horribly as the truck
lurches forward a few yards and dies. Marcie cringes.
MARCIE
Sorry.
TOM
It's all right. Try it again. But
start in second this time. Just
pull straight back.
EXT./INT. SERIES
OF SHOTS:
Marcie apologizes through another failed attempt to get the
truck going.
Marcie forces the stick shift in every direction but the
correct one.
Tom grimaces and plugs his ears to block out the grinding of
the gears.
Marcie suppresses giggles as Tom soberly explains the
fragility of a manual transmission.
A last, violent heave punctuated by an excruciating GRIND
leaves Tom with his hands braced against the dashboard and
his eyes wide.
TOM
Let's try something else.
INT. TOM'S PICKUP MOVING
Now, Tom is behind the wheel and Marcie sits snugly beside
him. While he steers and works the pedals, she shifts.
TOM
Okay, now what?
MARCIE
Clutch and. . .shift.
TOM
Good. Now fourth.
MARCIE
Cutch and shift.
TOM
Perfect.
EXT. TOM'S PICKUP
Tom drapes his right arm across Marcie's shoulders as the
truck cruises out of town.
EXT. QUILLEN RANCH DAY
Tom's pickup comes to a stop in front of a barbed wire gate
blocking a dirt road. A faded plywood sign, full of bullet
holes, stands behind the barbed wire fence. It reads:
FOR SALE-QUILLEN RANCH-60+/- ACRES-(702) 555-8791
The gate stands on a small knoll, which forms the eastern
edge of a valley of sagebrush and wildflowers. The snowy
slope of the Sierra forms the western boundary.
INT. TOM'S PICKUP
Tom and Marcie admire the view. He rolls down the window and
takes a deep breath.
TOM
Smell that?
MARCIE
Sagebrush. I love that smell.
That's all I could smell for the
first year after we moved here. It
was like living in a giant bowl of
potpourri. Now I'm used to it. I
don't smell it at all except-
TOM
In the springtime. I know. And this
is the best place for it in the
whole valley. That's why I'm gonna
buy this place in a few years.
She gives him a puzzled look.
TOM
Some guys in my dad's union just
got back from working in the Middle
East for these giant construction
companies. They said there's plenty
of work over there for skilled
construction workers, especially in
Saudi Arabia.
They love Americans and the pay is
incredible. One guy said a halfway
decent mason can get $50,000 a
year. Plus, there's nothing to do
over there so you have to save all
the money.
MARCIE
So, college is definitely out?
TOM
Can't afford it and I don't need
it. After graduation I'll work with
my dad for a little while to polish
up my skills, then I'll start
applying with these big companies.
I figure after three years I'll
have enough to come back and talk
to Mr. Quillen about this place.
Then I'll be able to sit on the
porch every spring and smell the
potpourri.
She smiles, caught up in the pipe dream.
TOM
Maybe you can come and visit after
you get out of school. What are you
going to do after college, anyway?
MARCIE
God, I haven't even thought about
that. I've been trying so hard just
to get in. But (turning to him) you
make this sound real nice.
They kiss. And more.
Things get pretty steamy in the cab, but Marcie keeps her
head. She pushes Tom halfway off of her and he rests his
sweaty forehead on the seat next to her cheek.
TOM
When?
MARCIE
Soon.
He pops his head up playfully.
TOM
Okay, how about now?
She giggles and pushes him further off.
MARCIE
Pretty soon.
EXT. STRIP MALL PARKING LOT NIGHT
Lenny exits Skelly's after work, folding up his clip-on and
reaching for his cigarettes. He scans the parking lot for
Tom's pickup and his face drops when he doesn't see it. He
does see Wilson locking up the movie theater, and hustles
over to head him off.
LENNY
Excuse me!
Wilson slows, but keeps moving.
LENNY
Excuse me. Have you seen Tom
Loftin? He's supposed to give me a
ride home from work.
Wilson smoulders.
WILSON
I see he is just as reliable a
friend as he is an employee. When
you see him, tell him his excuses
are wearing thin, and so is my
patience.
LENNY
Well, can you give me-
Wilson waves him off and hurries toward his car.
WILSON
Sorry. I can't help you.
Lenny watches Wilson drive away, then sighs, stuffs his hands
in his coat pockets, and plods off toward the road.
INT. PARR HIGH SCHOOL DAY
Tom sits in the detention hall looking out of place amid a
smattering of burnouts. Mr. V works at a desk at the front of
the hall.
Tom catches movement out of the corner of his eye and turns
to see Marcie staring at him through the glass in the door
like a sympathetic angel. He opens his three ring binder to a
clean page and begins to write in big strokes.
When finished, he stands the binder on the table like a
sandwich board. He has written: IT WAS WORTH IT.
She smiles at the message and they exchange tender looks
until somebody yanks Marcie out of the doorway. Kyle and the
boys take her place, sneering and gesturing at Tom while they
playfully drag Marcie away on their mission of the moment.
Tom slams his binder shut.
EXT. JOBSITE DAY
Tom and Frank hitch their portable cement mixer to the bumper
of Frank's truck and climb in the cab.
INT. FRANK'S PICKUP MOVING
As they get underway, Tom yawns loudly and slumps against the
passenger door with his head on the window.
FRANK
Tired? You ought to be plenty well
rested after the way you've been
letting things slide lately.
Tom lifts his head off the glass to fire back.
TOM
Like what?
FRANK
Well, for starters, what's wrong
with your truck? Every time you
shift it sounds like somebody's
hitting it with a hammer.
TOM
Clutch, tranny, drive shaft, who
knows? I've got to take it to Uncle
Rick's.
FRANK
I'll see if he can do it next
Sunday night.
TOM
I can't do it then. I've got dinner
with the Bastians.
Frank shakes his head in disappointment.
TOM
What, you want me to cancel?
FRANK
No. I don't want you treating them
like you treat Lenny.
Tom pushes off the door and sits up straight.
TOM
What's his problem, now? He's been -
FRANK
I don't like your mom getting phone
calls from crazy women at two in
the morning, Tom. Lenny's mom
called last night crying about how
he's had to walk home from work all
week because you haven't picked him
up.
TOM
Maybe she should pick him up
herself instead of using their car
to chase after every asshole in
town.
FRANK
She does the best she can with what
little sense she's got. She keeps
chasing these jerks cause she
thinks she'll find Lenny a dad to
help him grow up. She doesn't see
that Lenny's already a man.
Tom scoffs.
TOM
Yeah. Mister pimples and peach
fuzz.
FRANK
You're damned right. And it was
your responsibility to pick him up.
Tom slumps back into his original position.
TOM
Yeah, well, I've got new
responsibilities, now.
FRANK
Tom, you're eighteen years old. You
don't swap out your
responsibilities anymore. You keep
the ones you've got and you just
get more. You stop adding 'em when
you die. And if you're a man you
handle yours. Without lying,
cheating or stealing.
He takes his eyes off the road to look Tom over critically.
FRANK
Lenny's handling his.
INT. BASTIAN HOUSE NIGHT
Tom, Marcie, and her parents settle down to a sumptuous
dinner in the Bastians' well appointed dining room. Tom chews
heartily and points to his plate with his fork.
TOM
This is real good, Mrs. Bastian.
Thanks.
MRS. BASTIAN
You're welcome, Tom. I'm glad you
like it. Tell us, what are your
plans after graduation?
TOM
I'll probably start working with my
dad full time.
Marcie is desperate for him to make a good impression, so she
prompts him.
MARCIE
Til you go overseas, right?
Mr. Bastian, who has barely looked up from his plate until
now, suddenly gets interested.
MR. BASTIAN
Military?
TOM
No. I'm gonna go to work for a big
construction company in the Middle
East. Probably Saudi Arabia.
MR. BASTIAN
That mean you're not going to
college?
Tom shakes his head.
MR. BASTIAN
Not even J.C.?
TOM
Don't think so.
MR. BASTIAN
How are you going to get an
education?
TOM
I'll have to learn from my
mistakes, I guess.
Mr. Bastian scowls at that answer.
MR. BASTIAN
In college you learn from other
peoples' mistakes. Five thousand
years worth of them. Seems to me
that's the better approach.
He again becomes more interested in his food than in Tom
until his wife asks a question.
MRS. BASTIAN
Which companies are you applying
to, Tom?
TOM
I don't really remember the names.
I need to talk to some guys at the
Union Hall.
MR. BASTIAN
Bechtel? Brown and Root?
Tom has no answer and Marcie grows anxious.
MR.BASTIAN
Well, do you know where they're
based?
From the way Tom squirms, it's clear he doesn't know
anything. Mr. Bastian is now convinced he's a moron.
MR. BASTIAN
How are you going to send them a
resume? Do you even have a resume?
Marcie angrily ends the interrogation.
MARCIE
Daddy!
Tom reddens as Mr. Bastian calmly returns to his meal. Mrs.
Bastian plays the diplomat.
MRS. BASTIAN
Well, I think it's a wonderful idea
for a young man to get out and see
the world. But, how will you two
keep in touch?
She shoots Mr. Bastian a look that tells him this is the real
point.
MRS. BASTIAN
After all, Saudi Arabia is a long
way from Malibu.
Mr. Bastian reads her but the kids don't, so Marcie replies
earnestly while Tom nods in confirmation.
MARCIE
Oh, we can call and write. Tom's an
excellent writer. He wrote an essay
about football practice that was so
funny. Even Mr. V was cracking up.
Mr. Bastian jumps on the football comment to show his wife
that he's lightened up.
MR. BASTIAN
Hey, you guys had a heck of a
season this year, huh?(holding up a
thumb and forefinger in a near
pinch) This close to State. You
know, I've told the coach for four
years that he should throw to his
tight ends more. . .
EXT. BASTIAN HOUSE NIGHT
Tom and Marcie step out under the porch light. Mrs. Bastian
closes the front door most of the way behind them.
TOM
Goodnight. Thanks again.
MRS. BASTIAN
(O.S.)
You're welcome, dear. Goodnight.
Tom turns to Marcie with an expression that says "Whew."
TOM
Kinda rough in there.
MARCIE
No, that's pretty much their usual
third degree. You did fine.
TOM
So, we're still on for the All
School next Saturday?
She presses in close and looks in his eyes.
MARCIE
Oh, we're on all right. We're on
all the way.
While they kiss goodnight as fervently as they dare on her
front porch, the phone rings faintly inside the Bastian
house.
MRS. BASTIAN
(O.S.)
Marcie, it's Michelle. Come pick up
the phone, honey.
Marcie disengages briefly.
MARCIE
Okay, Mom.
But, she immediately resumes smooching until Mrs. Bastian
becomes insistent.
MRS. BASTIAN
(O.S.)
Marcie, please. She sounds really
upset.
Marcie breaks off impatiently.
MARCIE
All right, Mother!
TOM
You'd better go. I'll see you
tomorrow.
She nods and gives him one more little buss, then goes in.
INT. TOM'S PICKUP NIGHT MOVING
Tom speeds home through the cold desert night with the