PEGGY SUE GOT MARRIED
An Original Screenplay
by
Jerry Leichtling and Arlene Sarner
REHEARSAL DRAFT - These changes are August 14, 1985
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