570e10517cfe77fcda4a810650311dd79f3bcedc
movie
http://www.imsdb.com/scripts/St.-Elmo%27s-Fire.html
ST. ELMO S
the undergrad .
 Recent graduates of Georgetown University Alec, girlfriend Leslie, Kevin, Jules, and Kirby are waiting to hear about the conditions of their friends Wendy, a sweet-natured girl devoted to helping others, and Billy, a former frat boy and now reluctant husband and father, after a car accident. At the hospital, Kirby sees a medical student named Dale, with whom he has been infatuated since college.
The group gathers at their favorite college hangout, St. Elmo’s Bar. Billy has been fired from the job Alec helped him secure and his marriage is unstable. At their apartment, Alec pressures Leslie to marry him, but she is convinced they are not ready. Kirby is telling Kevin of his love for Dale when Billy shows up, asking to spend the night as he cannot deal with his wife.
Kevin worries about his romantic life when Jules accuses him of being gay and loving Alec. When he visits Alec and Leslie for dinner, Alec confesses to Kevin that while buying lingerie for Leslie he had sexual intercourse with the saleswoman.
Billy and Wendy get drunk together and Wendy reveals that she is a virgin. She and Billy kiss but Wendy insists they just remain friends, especially since she realizes Billy is taking advantage of her crush on him.
During Halloween at St. Elmo’s Bar, Jules reveals to a disapproving Leslie that she is having an affair with her married boss. Billy sees his wife with another man in the crowd and attacks him. Billy is thrown out of the bar but reconciles with his wife. The girls confront Jules about the affair and her reckless spending but she insists that everything is under control.
Kirby takes a job working for Mr. Kim, a wealthy Korean businessman, and invites Dale to a party he is holding at Mr. Kim’s house. Wendy arrives with Howie, a boy her parents set her up with. Alec announces that he and Leslie are engaged, upsetting Leslie. She confronts him about her suspicions of his infidelity and the two break up. Alec is also angry with Kevin, who he believes confessed everything to Leslie. After the party, Jules gives Billy a ride home. As she is about to confide in him, Billy makes a pass at her. Furious, Jules throws him out of her car.
Still pursuing Dale, Kirby drives to the ski lodge where she is staying but learns she has a boyfriend. His borrowed car becomes stuck in the snow and Dale and her boyfriend invites him to come inside. The next morning, as Kirby prepares to leave Dale’s cottage, Dale tells him she is flattered by his affections. He kisses her, and she does not resist. Kirby then takes a photo with Dale and departs the lodge, happy.
Leslie goes to Kevin’s place to stay the night after the breakup and discovers photographs of her. Kevin confesses his love for her, and the two sleep together but the next morning, Alec comes by to apologize to Kevin for attacking him the night before. Alec is shocked to find Leslie there and the two argue over his infidelity.
Wendy meets her father at a café and announces she wants to be independent from her family and move into her own place. Jules has been fired from her job and fallen behind on her credit card payments; as a result, her possessions have been seized. Jules locks herself in her apartment and opens the windows, intending to freeze to death. The friends attempt to coax her out, but she is unresponsive. Kirby fetches Billy, who landed a job at a gas station courtesy of Kevin, to calm Jules down. Billy convinces Jules to come back out.
Wendy moves into her own place, where Billy visits and informs her that he is getting a divorce and moving to New York City. The two make love as a going away present. At the bus station, the group gathers once more to say goodbye to Billy. Billy urges Alec to make up with Leslie but Leslie declares that she does not want to date anyone for a while. Alec and Kevin make up and the group decides to get brunch. However, they decide not to go to St. Elmo's bar and instead choose Houlihan's because there are "not so many kids" there.
Recent graduates of Georgetown University Alec , girlfriend Leslie , Kevin , Jules , and Kirby are waiting to hear about the conditions of their friends Wendy , a sweet-natured girl devoted to helping others , and Billy , a former frat boy and now reluctant husband and father , after a car accident . At the hospital , Kirby sees a medical student named Dale , with whom he has been infatuated since college . The group gathers at their favorite college hangout , St. Elmo’s Bar . Billy has been fired from the job Alec helped him secure and his marriage is unstable . At their apartment , Alec pressures Leslie to marry him , but she is convinced they are not ready . Kirby is telling Kevin of his love for Dale when Billy shows up , asking to spend the night as he can not deal with his wife . Kevin worries about his romantic life when Jules accuses him of being gay and loving Alec . When he visits Alec and Leslie for dinner , Alec confesses to Kevin that while buying lingerie for Leslie he had sexual intercourse with the saleswoman . Billy and Wendy get drunk together and Wendy reveals that she is a virgin . She and Billy kiss but Wendy insists they just remain friends , especially since she realizes Billy is taking advantage of her crush on him . During Halloween at St. Elmo’s Bar , Jules reveals to a disapproving Leslie that she is having an affair with her married boss . Billy sees his wife with another man in the crowd and attacks him . Billy is thrown out of the bar but reconciles with his wife . The girls confront Jules about the affair and her reckless spending but she insists that everything is under control . Kirby takes a job working for Mr. Kim , a wealthy Korean businessman , and invites Dale to a party he is holding at Mr. Kim’s house . Wendy arrives with Howie , a boy her parents set her up with . Alec announces that he and Leslie are engaged , upsetting Leslie . She confronts him about her suspicions of his infidelity and the two break up . Alec is also angry with Kevin , who he believes confessed everything to Leslie . After the party , Jules gives Billy a ride home . As she is about to confide in him , Billy makes a pass at her . Furious , Jules throws him out of her car . Still pursuing Dale , Kirby drives to the ski lodge where she is staying but learns she has a boyfriend . His borrowed car becomes stuck in the snow and Dale and her boyfriend invites him to come inside . The next morning , as Kirby prepares to leave Dale’s cottage , Dale tells him she is flattered by his affections . He kisses her , and she does not resist . Kirby then takes a photo with Dale and departs the lodge , happy . Leslie goes to Kevin’s place to stay the night after the breakup and discovers photographs of her . Kevin confesses his love for her , and the two sleep together but the next morning , Alec comes by to apologize to Kevin for attacking him the night before . Alec is shocked to find Leslie there and the two argue over his infidelity . Wendy meets her father at a café and announces she wants to be independent from her family and move into her own place . Jules has been fired from her job and fallen behind on her credit card payments ; as a result , her possessions have been seized . Jules locks herself in her apartment and opens the windows , intending to freeze to death . The friends attempt to coax her out , but she is unresponsive . Kirby fetches Billy , who landed a job at a gas station courtesy of Kevin , to calm Jules down . Billy convinces Jules to come back out . Wendy moves into her own place , where Billy visits and informs her that he is getting a divorce and moving to New York City . The two make love as a going away present . At the bus station , the group gathers once more to say goodbye to Billy . Billy urges Alec to make up with Leslie but Leslie declares that she does not want to date anyone for a while . Alec and Kevin make up and the group decides to get brunch . However , they decide not to go to St. Elmo s bar and instead choose Houlihan s because there are not so many kids there .
http://en.wikipedia.org/wiki/St._Elmo's_Fire_(film)
St. Elmo's Fire (film)
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<pre>

<b>                              ST. ELMO'S FIRE
</b>


                                Written by

                     Joel Schumacher & Carl Kurlander




<b>                                                      THIRD DRAFT
</b>                                               September 18, 1984

                         

                         

                         
          RED TITLES ON BLACK. The sound of a young MAX and WOMAN
          on a WILD CAR RIDE. At the END OF the TITLES, the sound
          of a sudden CAR CRASH, a WHITE INCANDESCENT FLASH of
          light FILLS the SCREEN. THROUGH the BRILLIANT WHITE
          LIGHT we --

<b>          DISSOLVE RAPIDLY TO:
</b>
<b>          1 INT. GEORGETOWN MEDICAL CENTER - RIGHT (SEPTEMBER) 1
</b>
          Electric' doors zip open. ALEC NEWBERRY, a handsome
          possessor of The Right Stuff, his beautiful roommate
          LESLIE HUNTER, KEVIN DOLENZ, self-styled, chain-
          smoking, sardonic, and KIRBO KREAGER, short, hyper,
          dressed like a waiter -- dash worriedly into the busy
          emergency room. They are all twenty-two, or barely
          twenty-two. Only four months out of college, they are
          in their freshman year of life.
          Alec, Leslie, Kevin and Kirbo dash past a cubicle, where
          a totally naked, three-hundred-pound man paces in a daze.
          Past this, they find a black nurse talking with two COPS.

<b>                         ALEC
</b>          Wendy Beamish and Billy Hicks?
          They were in a car accident?

<b>                         ELECTRIC DOORS
</b>          zip open again, introducing JULIANNA VAN PATTER (JULES),
          another freshman in life, but her sleek style gives her
          a certain sexual sophistication. She is accompanied by
          her dark, interesting DATE as she joins her friends and
          the Cops.

<b>                         JULES
</b>          They're dead, aren't they?
          Everyone ignores her as Alec hands his card to the Cops.

<b>                         ALEC
</b>          Officers, I'm Alec Newberry with
          Congressman Langston's office.
          Leslie whispers to Jules, while Alec and the Cops talk.

<b>                         LESLIE
</b>          I think they're okay.

<b>                         JULES
</b>          Thank God.

<b>                         (BEAT)
</b>          Are you aware there's a three-
          hundred-pound man walking around
          naked?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          2.
</b>
<b>                         1 CONTINUED: 1
</b>          WENDY BEAMISH, a sweet-faced, insecure preppy, emerges
          from a first-aid room with a bandaged forehead.

<b>                         HER FRIENDS
</b>          Wendy. Oh, my God. Are you
          all right???

<b>                         WENDY
</b>          I'm fine. It's the car my father
          gave me for graduation that's
          totalled.

<b>                         ALEC
</b>
<b>                         (TO KEVIN)
</b>          Find Billy. See if you can sober
          him up.
          Kevin always does what Alec tells him to. Meanwhile,
          Wendy pulls out her Visa card and speaks to the nurse.

<b>                         WENDY
</b>          How much do I owe you?

<b>                         JULES
</b>          He almost killed you. Destroyed
          your car, and you're paying...?

<b>                         LESLIE
</b>          Jules, please.
          As Leslie comforts her, Wendy is looking over Jules' Date
          who hovers in the distance.

<b>                         WENDY
</b>          Is that your date?
          The naked man wanders past them.

<b>                         JULES
</b>          No, that's my date!
          As usual, Jules has managed to make Wendy laugh, Just as
          the Cops approach her.

<b>                         COP # 1
</b>          You pressing charges?

<b>                         WENDY
</b>          No.

<b>                         KI RBO
</b>          'I'm Mr. Hicks' legal counsel and
          he's not required to take any
          tests.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          3.
</b>
<b>                         1 CONTINUED: (2) 0
</b>
<b>                          COP 1
</b>          You're a little late, Counselor.
          He's in the van giving blood right
          now.
          The Cops start toward the electric doors as Kirbo and
          Alec follow. Leslie helps Wendy with the bill. CAMERA
          FINDS Jules whispering dramatically to her Date.

<b>                         JULES
</b>          I'll have to be with her all night.
          They don't know if she's going to
          make it.

<b>                         DATE
</b>          She looks fine.

<b>                         JULES
</b>          Shock. She could black out at any
          second... I'll call you...
          Jules joins Leslie and Wendy.

<b>                         LESLIE
</b>          He's cute.

<b>                         JULES
</b>          Too young... and don't you both
          start on your father complex
          theory.

<b>          2 EXT. MEDICAL CENTER 2
</b>
          Alec and Kirbo follow the Cops toward a mobile van.

<b>                         KIRBO
</b>          We're dealing with a first offender
          here, and since Ms. Beamish doesn't
          want to press charges, whaddya say
          we just let this one slide,
          Officers?
          They reach the back of the mobile van, where we see BILLY
          HICKS, a handsome daredevil, playing his saxophone,
          wearing handcuffs, for two good-looking nurses and Kevin,
          who is trying to give him black coffee.

<b>                         COP $1
</b>          Okay, you're under arrest.
          Alec looks to Kevin for information about Billy's
          condition.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         2 CONTINUED: 2
</b>
<b>                         KEVIN
</b>          I wouldn't strike a match near his
          blood.

<b>                         BILLY
</b>
<b>                         (TO COPS)
</b>          Hey, watch my sax...

<b>                         (TO NURSES)
</b>          . You girls believe in premarital
          sax?
          They laugh as Alec barks at him.

<b>                         ALEC
</b>          Billy -- four months after
          graduation and you're still
          acting like every night's a
          fraternity party. Aren't you
          even concerned about Wendy?

<b>                         BILLY
</b>
<b>                         (TRUE PANIC)
</b>          Wendy? Jesus, how bad is it?

<b>                         KEVIN
</b>          Severe. She might have finally
          exceeded the limit on her father's
          Visa.
          Billy smiles with relief as the Cops lead him toward
          their car.

<b>                         ALEC
</b>          Will you both get serious. He's
          being arrested for drunk driving.

<b>                         BILLY
</b>          Drunk maybe. But I don't know if
          you could call that driving.
          Wendy, Leslie and Jules come from the hospital, just in
          time to see Billy being put into the cop car. Wendy
          rushes to Billy and they embrace.

<b>                         BILLY
</b>          Sorry, babe... sorry.

<b>                         WEHDY
</b>          We'll be right behind you!
          They all move toward Alec's car except Kirbo, who sud-
          denly notices'someone. He becomes mesmerized as he falls
          away from the group and starts back for the hospital.

                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 5.

<b>          3 INT. EMERGENCY ROOM 3
</b>
          He enters and begins to pick up speed as he quickly
          catches up to a beautiful INTERN in a white lab coat.

<b>                         KIRBO
</b>          Dale?... Dale Biberman?
          She hesitates, somewhat puzzled.

<b>                         KIRBO
</b>          You don't remember me.

<b>                         DALE
</b>          I do, but I'm trying...

<b>                         KIRBO
</b>          Kirby Kreager. You were a senior
          when I started Georgetown.

<b>                         DALE
</b>          Kirby... It's been four years.
          How are you?

<b>                         KI RBO
</b>          I graduated!

<b>                         DALE
</b>          I always knew you would.

<b>                         KIRBO
</b>          And I'm a lawyer.
          (as she looks at
          his waiter's duds)
          I mean I'm a waiter, studying to
          be a lawyer... and you became a
          doctor... Just like you said you
          would.

<b>                         DALE
</b>          Almost. I'm finishing my clinical.

<b>                         KIRBO
</b>          Dale Biberman. I can't believe
          it. Do you still like Woody Allen
          movies?
          There is a big COMMOTION at the other and of the hail.

<b>                         DALE
</b>          I've got to go. Nice seeing you.
          She races down the hall, joining paramedics wheeling in
          a large black man on a gurney. His hysterical wife runs
          screaming behind them.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 6.

<b>                         3 CONTINUED: 3
</b>          Dale helps them maneuver the gurney down the hall, leaving
          a small black child, alone and frightened, in their wake.
          Dale comes running back and picks up the child. Kirbo
          watches, as the rest of the hospital moves in real time,
          but Dale, comforting the frightened child, moves in

<b>          ROMANTIC SLOW MOTION. SONG BEGINS.
</b>
<b>                         KIRBO
</b>          Madly in love.

<b>          4 EXT. "M" STREET (GEORGETOWN) - NIGHT 4
</b>
          CAMERA PANS the preppy nightlife and drinking spots.
          CAMERA FINDS a group of. postgrads moving into a build-
          ing. One of the postgrads drops his half of-a bureau
          and runs into the street toward Alec's old Oldsmobile.

<b>                         POSTGRAD
</b>          Hey, Billy, where's the fifty you
          owe me...

<b>                         5 OMITTED 5
</b>
<b>          6 INT. ALEC'S CAR - MIGHT 6
</b>
           Alec drives while Leslie tends to Wendy between them.
           Billy, Kirbo and Kevin are in the back seat, with Jules
          on their lap.

<b>                         BILLY
</b>          Alec, could you kinds burn a little
          rubber?
          Alec turns the corner as Billy continues.

<b>                         BILLY
</b>          Thanks for bailing me out.

<b>                         JULES
</b>          Again.

<b>          7 EXT. ST. ELMO'S BAR - NIGHT 7
</b>
          A local hangout for those primarily in their twenties.
          Alec parks as his gang emerges.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 7. s

<b>                         7 CONTINUED: 7
</b>
<b>                         JULES
</b>          When are you going to get a new
          car? One that truly expresses
          your lifestyle as the perfect
          couple.

<b>                         LESLIE
</b>          Not everybody got recruited out
          of school into international
          banking, 'moneybags.'

<b>                         ALEC
</b>          Besides... My mom and dad gave us
          this car. I think I was conceived
          in the back seat.

<b>                         KEVIN
</b>          It's still sticky.

<b>                         WENDY
</b>          Oh, God. Wait 'til my father hears
          the car is totalled.

<b>                         BILLY
</b>          I'm gonna get you a new car, Wendy.
          Everyone screams in disbelief as they go into St. Elmo's.
          Alec, Leslie, Jules, Wendy, Kevin holds the door open,
          but no one thanks him.

<b>                         KEVIN
</b>          You're welcome. You're welcome.
          A young, burned-out UNDERGRAD (CLAYTON) follows.

<b>                         KEVIN
</b>          You're not welcome, Clayton. How's
          school?

<b>                         CLAYTON
</b>          Baroque. Thank you very much.
          How's life after school?

<b>                         KEVIN
</b>          Like getting slam-dunked against
          a brick wall, thank you very much.

<b>                         CLAYTON
</b>          College is the last womb. Got a
          cigarette for a lowly undergrad?

<b>                         KEVIN
</b>          If you tell me the meaning of life?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 8.

<b>                         7 CONTINUED: (2) 7
</b>
<b>                         CLAYTON
</b>          Life? Life's like acne. It has
          to get worse before it gets better.

<b>          8 INT. ST. ELMO'S - HIGHT 8
</b>
          Young professionals, graduate students, and precocious
          undergrads populate the P.J. Clarke-like bar/restaurant.
          Kirbo quickly goes back to work waiting tables. Alec gets
          rid of a group of rowdy undergrads sitting at two tables
          pushed together. He admonishes WALLY, the burly owner.

<b>                         ALEC
</b>          Wally! You let undergrad punks
          at our tables???

<b>                         WALLY
</b>          Relax, Alec... they've only been
          there ten minutes.

<b>                         ALEC
</b>          Yeah, well, we've been here for
          four years.
          Alec, Leslie, Jules, Wendy, Kevin and Billy (still with
          sax around his neck) take their usual chairs as Kirbo
          drops off a large pitcher of beer.

<b>                         BILLY
</b>          Hey, I need a real drink.
          Kirbo is long gone. Kevin pours.

<b>                         KEVIN
</b>          Waiters are like cops. Never
          around when you need one.
          Kevin and Alec begin bouncing quarters from the edge of a
          table into their beers -- obviously some ritual.

<b>                         BILLY
</b>          Will somebody get me a screwdriver?

<b>                         JULES
</b>          And a hammer.

<b>                         ALEC
</b>          You know what it means to have a
          suspended license for drunk driving
          on your record?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
          ST. ELMO'S FIRE - Rev. 10/1/84

<b>                         CONTINUED: (A2)
</b>
<b>                         BILLY
</b>          Yeah, Al. It means I won't ever
          be able to be a cop in D.C... Hey,
          Wend, you're not angry are you?

<b>                         WENDY
</b>          No, I'm not angry.

<b>                         KEVIN
</b>          Never trust a woman who says she
          isn't angry.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          9.
</b>
<b>                         8 CONTINUED: (2) 8
</b>
<b>                         WENDY
</b>          You better call your wife, Billy.
          Billy reluctantly leaves as Jules laces into Kevin.

<b>                         JULES
</b>          You're the one who's so angry
          these days. I thought writing
          for the Washington Post would
          make you happy.

<b>                         KEVI N
</b>          Writing obituaries is not writing,
          Jules. All my characters die in
          the and. I'd like to write
          something about the meaning of
          life for a change.

<b>                         LESLIE
</b>          You'll get your chance, Kevin.
          Alec suddenly spots TOMMY BANCROFT, an older version of
          Alec, across the room.

<b>                         ALEC
</b>          Hey, Tommy...

<b>                         (TO LESLIE)
</b>          Tommy Bancroft, Senator Hodges'
          key guy. Come on, I want you to
          meet him.
          They leave the table as Jules turns to Kevin.

<b>                         JULES
</b>          The meaning of life, Kevin, is
          fun, good times and a little
          H-U-M-O-R. Don't you enjoy
          anything anymore? Like girls?

<b>                         KEVI N
</b>          I enjoy being afraid of Russia.
          It's a harmless fear. Makes
          America feel better and Russia
          gets an inflated sense of national
          worth from our paranoia... Excuse
          me, I have to call in my latest
          epitaphs to the death squad. The
          presses are waiting.
          He gets up and leaves the table, passing Kirbo.

<b>                         KIRBO
</b>          Did you see her at the hospital?
          Dale Biberman?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          10.
</b>
<b>                         8 CONTINUED: (3)
</b>
<b>                         KEVIN
</b>          Who...?

<b>          9 BILLY ON PHONE 9
</b>
<b>                         BILLY
</b>          Well, honey, I kinda had a car
          accident... What? Stop shouting.
          I know I don't have any insurance.
          Aren't you even gonna ask if I'm
          okay? --
          Billy adjusts a framed photo on the wall of him, Alec,
          Jules, Wendy, Kevin, Leslie and Kirbo in their graduation
          caps and gowns. He notices a woman's reflection in the
          glass. He turns to see she is flirting with him from the
          bar. He smiles back. Kevin arrives and Billy sees a
          perfect way to get off the phone.

<b>                         BILLY
</b>          Here's Kevin, he wants to say
          hello.
          He hands the phone to a more than reluctant Kevin and
          moves toward the YOUNG WOMAN at the bar.

<b>                         BILLY
</b>          Hey, Wally... a double screwdriver.
          He joins the Young Woman who is eyeing his sax.

<b>                         BILLY
</b>          So, you believe in premarital sax?

<b>          10 INT. LADIES ROOM - NIGHT 10
</b>
          Leslie watches as Jules applies eyeshadow to Wendy's
          bruised eye.

<b>                         WEND Y
</b>          Will you both give Billy a break?
          He lost his job today.

<b>                         LESLIE
</b>          The job Alec got for him?

<b>                         JULES
</b>          You didn't give him any money, did
          you?

<b>                         WENDY
</b>          A little...

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                          1 1
</b>
<b>                          1 0 CONTINUED: 10
</b>
<b>                         Â¢ JULES
</b>          I thought you were going to take
          definite steps to change everything
          in your life that is not working.

<b>                         WENDY
</b>          That doesn't leave much left.

<b>                         LESLIE
</b>          I better break this to Alec gently
          before he finds out the wrong way
          and destroys his political career
          by murdering Billy in front of
          fifty witnesses.
          She leaves as Jules looks to Wendy.

<b>                         JULES
</b>          Wendy, this is all too destructive.

<b>                         WENDY
</b>          Life in the-fat lane.

<b>                         JULES
</b>          You're not fat.

<b>                         WENDY
</b>          My thighs are fat. And no diet
          works. The only way to lose
          weight on your thighs is amputation.

<b>                         JULES
</b>          You have to amputate Billy the Kid.

<b>                         WENDY
</b>          I know, but I can't.

<b>                         JULES
</b>          I don't get it.

<b>                         WENDY
</b>          Me, either.

<b>                         1 1 BAR 11
</b>          Billy gets cozier with the Young Woman.

<b>                         YOUNG WOMAN
</b>          So, what line of work are you in?

<b>                         BILLY
</b>          Me? I'm a very important drinker!
          So how 'bout we cut outta here?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 12.

<b>                         11 CONTINUED: 11
</b>
<b>          â¢ YOUNG WOMAN
</b>          I came with my girl friend.

<b>                         BILLY
</b>          That's okay, honey. This face
          seats five.
          Alec appears.

<b>                         ALEC
</b>          Billy, may I see you, please.
          Billy follows as Leslie alerts Kevin and Kirbo.

<b>          12 INT. MEN'S ROOM 12
</b>
          Alec and Billy enter.

<b>                         BILLY
</b>          What's up, Al?

<b>                         ALEC
</b>          May I see you over here, please.
          Billy joins him. Alec grabs him and shoves his head in
          the toilet.

<b>                         ALEC
</b>          Why didn't you tell me you blew
          another job?

<b>                         BILLY
</b>          For some insane reason I thought
          you'd take it badly.
          Kevin and Kirbo rush in.

<b>                         KEVIN
</b>          Don't drown him, he's a father.
          Alec releases Billy who comes up with his hair wet and
          gives Alec a major shove.

<b>                         ALEC
</b>          That's right, you are a father and
          when are you gonna grow up?

<b>                         BILLY
</b>          Like this was real mature, Al?
          They all start to laugh. Alec softens.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 12A.

<b>                         12 CONTINUED: (AL) 12
</b>
<b>                         ALEC
</b>          I just got pissed off 'cause I had
          to pull so many strings to get you
          that job.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          13.
</b>
<b>                         12 CONTINUED: 12
</b>
<b>                         Â¢ BILLY
</b>          Working for Senator Pomerantz was
          not for me...
          Billy looks at himself in the mirror.

<b>                         ALEC
</b>          Sorry, Billy.

<b>                         BILLY
</b>          That's all right. You couldn't
          help yourself. You're an asshole.
          Besides, the wet look is in.
          He shakes his head, showering them with toilet water.

<b>                         KEVIN
</b>          Why do they put ice cubes in the
          urinals?

<b>                         KIRBO
</b>          It tastes better.

<b>          13 OUTSIDE MEN'S ROOM 13
</b>          Leslie, Jules and Wendy wait anxiously, but the guys
          emerge, pals forever again. Together as a group, they
          join Tommy Bancroft and his pals at the jukebox singing

<b>          "I LIKE A GIRL WHO DRINKS."
</b>
<b>          14 INT. ALEC AND LESLIE'S LOFT - CLOSE ON MECHANICAL 14
</b>

<b>          C DRAWINGS - NIGHT (LATER) L
</b>
<b>                         15 15
</b>          Leslie works at a large drafting table in their sparsely
          furnished loft. She wears over-sized pajamas.

<b>                         LESLIE
</b>          If we could find the money it would
          be better to get the longer sofa.
          Alec enters in his underwear, brushing his teeth.

<b>                         ALEC
</b>          Tommy Bancroft said I could start
          working on weekends for Hodges. No
          pay at first, but a way toward
          big dough.
          They wrap themselves around each other, kissing.

<b>                         LESLIE
</b>          Isn't Hodges a Republican?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 1 4.

<b>                          14 CONTINUED: 14
</b>
<b>                          0 C
</b>
<b>                         Â¢ 15 ALEC 15
</b>          He's a senator, and Republican
          senators' aides get paid a lot
          more than Democratic congressmen's
          assistants.

<b>                         LESLIE
</b>
<b>                         (KISSING HIM)
</b>          What happened to that Newberry
          political conviction I fell in
          love with?

<b>                         ALEC
</b>          You want the longer sofa?

<b>                         LESLIE
</b>          - I want you.

<b>                         ALEC
</b>          I'm going to buy you a red
          nightgown with satin and lace.

<b>                         LESLIE
</b>          And rubber and leather...

<b>                         ALEC
</b>          Yeah, leather...
          He opens her shirt and smothers her with love.

<b>                         LESLIE
</b>          Your breath is so sweet... Wait,
          let me get the babykiller.
          She starts for the bathroom.

<b>                         ALEC
</b>          Come on. Let's just do it. We're
          getting married soon.

<b>                         LESLIE
</b>          Not so soon.

<b>                         ALEC
</b>          Let's take a chance... Russian
          roulette!

<b>                         LESLIE
</b>          And guess who has to carry the
          bullet around for nine months.
          There is a KNOCK at the front door.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 15.

<b>                         14 CONTINUED: (2) 14
</b>
<b>                         E R
</b>
<b>                         15 LESLIE 15
</b>           Who could that be? 

<b>                         ALEC
</b>          Who else could it be... Jules, of
          course, afraid to stay in her new
          apartment alone and she's spending
          the night again.

<b>          16 INT. KITCHEN AREA OF LOFT - FEW MINUTES LATER 16
</b>
          Jules sits drinking vodka as Leslie listens.

<b>                         JULES
</b>          So this crummy welfare hospital
          called and remember I told you
          about my father's second wife. My
          'stepmonster.'

<b>                         LESLIE
</b>          The one who used to lock you in the
          closet all the time?

<b>                         JULES
</b>          She gambled away all the money she
          got out of my father, is on her
          I deathbed and she put me down as
          next of kin.

<b>                         LESLIE
</b>          But what about your father?

<b>                         JULES
</b>          Unreachable somewhere in South
          Africa with his new wife, who it
          turns out is only three years older
          than me. And if I don't reach him,
          guess who's going to end up paying
          for that old witch's funeral. Is
          there some insane irony to this or
          what?

<b>                         LESLIE
</b>          I'm sure your father will take care
          of everything.

<b>                         JULES
</b>          Sure, just like he takes care of
          everything else, including not
          showing up for my graduation.
          In the background, Alec has brought in their mattress and
          some sheets and a pillow.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          16.
</b>
<b>                         16 CONTINUED: 16
</b>
<b>                         JULES
</b>          Thanks, Alec. You're still my
          Indiana Jones. Always coming to
          my rescue.

<b>                         ALEC
</b>          I just know better than to try and
          break the umbilical cord between
          two old roommates. Good night,
          Jules.
          Leslie kisses Jules and goes into the bedroom with Alec.
          Jules takes another belt of vodka.

<b>          17 INT. KEVIN AND KIRBO'S APARTMENT - MIGHT (LATER) 17
</b>
          Dirty laundry and Woody Allen posters. Kevin sits in the
          middle of the mess looking at photographs longingly. He
          wears camouflage shirts, a black beret and shades --
          drinks brandy and writhes in orgiastic ecstasy as he
          sings along with JANIS JOPLIN.

<b>                         KEVIN
</b>
<b>          TAKE IT... TAKE ANOTHER LITTLE
</b>
<b>          PIECE OF MY HEART NOW, DARLIN'...
</b>          Kirbo enters carrying his bike, and Kevin immediately
          hides the photographs in a straw basket and becomes his
          sophisticated self.

<b>                         KEVIN
</b>          Quick, what's the meaning of life?

<b>                         KIRBO
</b>          Dale Biberman.
          Kevin looks puzzled as Kirbo hangs up his bike.

<b>                         KIRBO
</b>          The girl I fell in love with when
          we were freshmen. Remember, I met
          her at that big fountain on main
          campus? The one that says
          'Knowledge, Art, Religion, Life'...
          she was sitting on the 'Life' side
          and she smiled at me.

<b>                         KEVIN
</b>          You took her to one movie! That's
          not love, it's infatuation!
          Kirbo searches madly through records strewn on the floor.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          17.
</b>
<b>                         17 CONTINUED: 17
</b>
<b>          â¢ KI RBO
</b>          Kevin, there are several
          quintessential moments in a man's
          life... losing his virginity...
          He yanks JANIS JOPLIN OFF abruptly.

<b>                         KIRBO
</b>          ... Getting married... becoming a
          father.

<b>                         KEVIN
</b>          Killing his roommate for removing
          Janis Joplin for the soundtrack
          from Manhattan???

<b>                         KIRBO
</b>          And having the right girl
          smile at you. She has the whitest
          teeth I've ever seen.
          "RHAPSODY IN BLUE" fills the room. Kevin begins gathering
          up his endless pieces of paper, notes, etc.

<b>                         KEVIN
</b>          If you think I'm going to live
          through another year of finding
          poorly written, unmailed love
          scratchings around this apartment.

<b>                         KIRBO
</b>          I found her again. It's fate.
          It's true love. I have her
          hospital schedule!

<b>                         KEVIN
</b>          Love is just an illusion created
          by lawyer-types like yourself to
          perpetuate another illusion called
          marriage to create the reality of
          divorce and the illusory need for
          divorce lawyers. Did you know
          there are more people in law school
          right now than there are lawyers on
          the planet?

<b>                         KIRBO
</b>          You're just bitter, 'cause you
          haven't had sex for a long time.

<b>                         KEVIN
</b>          No wonder. The sexual revolution?
          Who won?

<b>                         (MORE)
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 18.

<b>                         17 CONTINUED: (2) 17
</b>
<b>                          KEVIN (COHT'D)
</b>          Nobody... It used to be that sex
          was the only free thing in the
          world. No longer. Palimony,
          alimony. All financial. Love's
          an illusion.
          Finally having gathered up all his notes, Kevin moves
          toward the bedroom.

<b>                         KIRBO
</b>          It's the only illusion that counts.

<b>                         KEVIN
</b>          Says who?

<b>                         KIRBO
</b>          Anyone who's ever been in love.

<b>                         KEVIN
</b>          Love stinks.
          He moves into the bedroom, closing the door on Kirbo.

<b>          18 EXT. "0" STREET (GEORGETOWN) - DAY 18
</b>
          A great fall day. Young people shop and party on the
          busy street. CAMERA FINDS Jules, Wendy and Leslie exit-
          ing a store with their purchases. Jules is on Wendy's
          case.

<b>                         JULES
</b>          You should have bought the red
          dress. Red drives men mad.
          As two college guys hit on Jules she flips her red cape.

<b>                         JULES
</b>          See...

<b>                         WENDY
</b>          I have a mad man in my life
          already.

<b>                         JULES
</b>          You have to put some kind of
          distance between you and Billy.

<b>                         LESLIE
</b>          Jules is right.
          Kevin and Kirbo join them.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 18A.

<b>                         18 CONTINUED: 18
</b>
<b>                         WEHDY
</b>          It's easy for both of you. Men
          are just a game for you Jules.

<b>                         JULES
</b>          Trivial pursuit.

<b>                         WEHDY
</b>          And of course you and Alec are...

<b>          LESLIE/JULES/WEHDY/KEVIN/KIRBO
</b>          The perfect couple!!!
          They approach Jules' Jeep.

<b>                         LESLIE
</b>          Thanks for the pressure, guys...

<b>                         (TO WENDY)
</b>          .. Shouldn't we be finding you an
          apartment?

<b>                         19 OMITTED 19
</b>
<b>                         & C
</b>
<b>                         20 20
</b>
                         

                         

                         

                         

<b>          19.
</b>
<b>          21 EXT. STREET CORNER - DAY (CONTINUOUS) 21
</b>
          â¢ The group picks up Alec and Billy who have just come from
          a small office building. Billy has made a great effort
          to look establishment. Alec, as always, looks like a
          Ralph Lauren ad. They cram into the crowded Jeep.

<b>                         WEND Y
</b>          How'd you do?

<b>                         BILLY
</b>          I'm an official pollster, thanks
          to Alec.
          Everyone applauds.

<b>                         ALEC
</b>
<b>                         (KISSING LESLIE)
</b>          I had to promise our first born.
          'Keep your nose clean and you could
          move up fast, Billy.
          Billy is quickly pulling off his tie, unbuttoning his
          shirt and messing up his hair.

<b>                         BILLY
</b>          You're a god, Alec.

<b>                         JULES
</b>          How 'bout bloody Marys on me at
          St. Elmo's?
          Everyone cheers except Alec.

<b>                         ALEC
</b>          I gotta get back to work.

<b>                         KIRBO
</b>          Since when do you work on Saturdays?

<b>                         LESLIE
</b>          Since he started volunteer
          moonlighting for Senator Hodges.

<b>                         KI RBO
</b>          What is the three-year president
          of Georgetown's Young Democrats
          doing working for a Republican?

<b>                         ALEC
</b>          Moving up, Kirbo.
          As most of the others boo and hiss playfully, CAMERA
          FINDS Billy talking to Wendy. Reaching in his pocket,
          he gives her a toy car.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
          Mb tEti4yA)
           Rev. 10/11/84 20.

<b>                         21 R CONTINUED: 21
</b>
<b>                         BILLY
</b>          I told you I'd get you a new car.
          I'm goin' ultimate on this gig, Wend.
          Gonna pay you back for everything...
          Let's celebrate tonight.

<b>                         WENDY MI
</b>          What about Felicia and the baby?

<b>                         BILLY
</b>          Hey, come on, it's Saturday night.
          Let's party out. Let's go ultimate.
          Could he mean sex? Love? What she's been waiting for?

<b>                         WENDY
</b>          Okay. Why can't I say no to you?

<b>          22 EXT. ATTRACTIVE TOWNHOUSE - DAY (LATER) 22
</b>
          The Jeep parked, Jules lets Kevin in.

<b>          23 INT. VERY DRAMATIC APARTMENT - DAY 23
</b>
          Jules and Kevin can be heard CLIMBING the STAIRS outside.

<b>          JULES (O.S.)
</b>          You haven't been here since you
          helped me move in...

<b>          KEVIN (O.S.)
</b>          Oh, did you move in, too? I only.
          remember 800 pair of shoes.
          She opens the elaborate locks and they enter.

<b>                         JULES
</b>          What do you think?

<b>                         KEVIN
</b>          Very subtle and very pink. Must
          have cost some subtle bucks.

<b>                         JULES
</b>          Why do you think God invented credit
          for fabulous people like me? Fix
          us a drink.
          She disappears into the bedroom.

<b>          JULES (0.5.)
</b>          I knew you'd like it. You have
          such sensitivity... Fix me a
          vodka rocks...

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 24.

<b>                         29 CONTINUED: 29
</b>          V There's no one home. Sadly she walks back to her apart-
          ment. It's getting darker outside.

<b>          30 EXT. GEORGETOWN MEDICAL CENTER - DUSK 30
</b>
          Kirbo, wearing a jacket, anxiously waits behind a tree,
          watching a car pull into the parking lot. Dale Biberman
          emerges. Kirbo keeps out of sight, and frantically
          dashes toward a side entrance to the building.

<b>          31 INT. HOSPITAL - DUSK 31
</b>
          Kirbo dashes down the hall. Approaching a corner,-he
          immediately achieves nonchalance as he "accidentally"
          runs into Dale at the entrance.

<b>                         KIRBO
</b>          Why, Dale? How nice to see you
          again.

<b>                         DALE
</b>          Kirby, what brings you back here?
          Nothing serious, I hope.

<b>                         KIRBO
</b>          Oh, no... just tying up some legal
          loose ends for my friends...

<b>                         DALE
</b>          Excuse me... I'm late...

<b>                         KI RBO
</b>          Ah, funny running into you again.
          I noticed there's going to be a
          Woody Allen festival and I thought
          maybe we...

<b>                         DALE
</b>          I don't get to the movies much
          anymore... I've got to go.
          She is moving away.

<b>          K I RBO
</b>          Well, lunch. How about lunch?

<b>                         DALE
</b>          Sure. That would be nice sometime.
          She is moving quicker.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 25.

<b>                         31 CONTINUED: 31
</b>
<b>                         Â¢ KIRRO
</b>          Wednesday? How about Wednesday?
          Dale is gone.

<b>          32 INT. ALEC AND LESLIE'S LOFT - NIGHT 32
</b>
          Leslie is trying to coordinate dinner'while Kevin is
          looking at a rendering of a complex housing unit.

<b>                         LESLIE
</b>          A whole community within
          itself. Right near Lockheed.
          Open some wine.

<b>                         KEVIN
</b>          Looks like it could be put
          together with Leggo blocks. You
          design this?

<b>          .LESLIE
</b>          I did all the mechanicals for one
          of our senior architects and I think
          he's going to promote me to the
          design staff.
          Kevin is fighting with a ridiculous wine opener.

<b>                         KEVIN
</b>          Maybe you could design a corkscrew
          that actually works. Everything in
          this apartment comes from Scandinavia.
          They don't even have wine in
          Scandinavia.
          Naturally Leslie opens it in a flash.

<b>                         KEVIN
</b>          Do you think my attachment to Alec
          is unnatural?

<b>                         LESLIE
</b>          No, I think mine is. We've only
          just started to live together and
          he's already pushing for 'the
          wedding.'

<b>                         KEVIN
</b>          Well, since you fell in love with
          a Democrat and now he's a
          Republican, I think all bets are
          off.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 26.

<b>                         32 CONTINUED: 32
</b>          â¢ Leslie burns herself and shouts.

<b>                         LESLIE
</b>          How do some women do this every
          night of their lives and not go
          insane?

<b>                         KEVIN
</b>          They are insane. Wives, husbands,
          children, love, marriage,
          relationship. It's all insane.

<b>                         LESLIE
</b>          That's what I'm afraid of. Did I
          tell you that my perfect sister
          and her perfect husband are getting
          a perfect divorce-?

<b>                         KEVIN
</b>          I have the perfect cure. Stay
          away from love.
          He finds the butter and puts some on her hand.

<b>                         LESLIE
</b>          You must have been in love, once.
          You like hot peppers?

<b>                         KEVIN
</b>          Doesn't Alec hate them?

<b>                         LESLIE
</b>          Insurrection... Now, come on, Kevin,
          you must have been in love with
          somebody, sometime...

<b>                         KEVIN
</b>          Once, in junior high. I played
          guitar in a group and fellin love
          with our singer who did 'We've Only
          Just Begun' as sweet as Karen
          Carpenter. I got high on cheap
          champagne and pledged my love.
          Next day she ran off with the bass
          player named Rocky and I traded my
          guitar in for a battered Underwood
          typewriter.

<b>                         LESLIE
</b>          On which you will type your way
          to being one of the most important
          writers in America.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/11/84 27.

<b>                         32 CONTINUED: (2) 32
</b>
<b>                         KEVIN
</b>
<b>                         Â¢
</b>          On which I continue to turn out
          obituaries and very little else...
          Taking out shreds of papers and napkins.

<b>                         KEVIN
</b>          I can't seem to organize any of my
          thoughts into anything of any
          substance.

<b>                         LESLIE
</b>          Maybe you need to stop thinking so
          much and fall in love again.

<b>                         KEVIN
</b>          Love stinks.
          The door opens and Alec arrives home.

<b>                         ALEC
</b>          Hi, guys.
          He kisses Leslie.

<b>                         KEVIN
</b>          Rough day with the right wing,
          dear?
          Alec hands Leslie a red box. She opens it excitedly and
          finds a black lace nightgown. She screams as Alec heads
          for the kitchen.

<b>                         ALEC
</b>          Try it on...
          Leslie makes naughty eyes at Kevin and disappears into
          the bedroom.

<b>                         ALEC
</b>          Leslie has to marry me, soon.

<b>                         KEVIN
</b>          Why, you pregnant? Kidding.
          What's your 'marriage' hurry?

<b>                         ALEC
</b>          When you have a serious
          relationship, Kev, you'll find out
          the problem with living together:
          it's too easy.

<b>                         KEVIN
</b>          Maybe for you and Leslie. You have
          the perfect relationship.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/11/84 28. s

<b>                         32 CONTINUED: (3) 32
</b>
<b>                         I ALEC
</b>           I mean, it's too easy to get out
           of. You either build to something
           bigger -- like marriage -- or one
          day you could make a mistake and
          the person you were living with is
          gone.
          Alec takes a bite of dinner and cringes.

<b>                         ALEC
</b>          I'm going to kill myself.

<b>                         KEVIN
</b>          They're only peppers, Alec.

<b>                         ALEC
</b>          I can't believe what I just did. I
          innocently go to buy the nightgown
          and this amazing blonde salesgirl
          starts coming on to me... we wind up
          doing it standing up in front of a
          three-way mirror in the dressing
          room.
          He lies down on the floor.

<b>                         ALEC
</b>          If Leslie would just marry me, I
          know I wouldn't do stuff like that
          -- it would be a legal violation.

<b>                         KEVIN
</b>          As opposed to tonight's standing
          violation. You think marriage is
          going to make you faithful?

<b>                         ALEC
</b>          Yes.

<b>                         KEVIN
</b>          The idea of two people spending
          their lives together was invented
          by people who were lucky to make
          it to thirty without being eaten
          by dinosaurs. Marriage is obsolete.

<b>                         ALEC
</b>          Dinosaurs are obsolete. Marriage
          is still around.
          Leslie screams from the bedroom.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/11/84 28A.

<b>                         32 CONTINUED: (4) 32
</b>
<b>           LESLIE (O.S.)
</b>
<b>                         I S
</b>          This is obscene. I love it.
          Alec dashes into the bedroom. As he opens and then
          closes the door, Kevin sees a flash of Leslie looking
          absolutely ravishing in the nightgown. As they SCREAM
          and PLAY, Kevin, feeling very alone, stirs the burning
          dinner.

<b>                         CUT TO:
</b>
                         

                         

                         

                         

<b>          29.
</b>
<b>          33 EXT. BAD NEIGHBORHOOD - NIGHT (LATER) 33
</b>
           A few hookers work the corner. FOCUS ON a BLACK HOOKER
          talking to passing car.

<b>                         BLACK HOOKER
</b>          You want a date...? Hi... you
          want a date...
          Kevin passes quietly and she ignores him.

<b>                         KEVIN
</b>          Why don't you ever ask me if I
          want a date?

<b>                         BLACK HOOKER
</b>          'Cause I thought you were gay.

<b>                         KEVIN
</b>          Why would you think I'm gay?

<b>                         BLACK HOOKER
</b>          'Cause I never see you with a girl.
          And you always look real strange.

<b>                         KEVIN
</b>          Well, just for your information.
          I happen to be in love with someone
          but they don't know it. I guess
          you wouldn't understand loving
          someone from afar.
          He takes a swig from a bottle in a paper bag.

<b>                         BLACK HOOKER
</b>          Delaware's about as far as I've
          ever gone. Is this person a he
          or a she?
          She takes the bottle and takes a swig.

<b>                         KEVIN
</b>          It's a secret. But I guess you
          wouldn't understand about that,
          either.

<b>                         BLACK HOOKER
</b>          Oh honey, lots of people come to
          me for love and it's a secret.
          He takes his bottle back and goes home.

<b>          34 INT. VISTA WELFARE OFFICES - AFTERNOON 34
</b>
          Wendy is interviewing a good-looking WOMAN with five
          children crawling all over her.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 30

<b>                         34 CONTINUED: 34
</b>
<b>                         WENDY
</b>          See our real purpose, Miss Chambers,
          or do you prefer Ms... is to get
          you off welfare and train you in a
          skilled profession. Now, do you
          have any interest in the janitorial
          field?

<b>                         WOMAN
</b>          Jus' give me my check.

<b>                         WENDY
</b>          There are educational...

<b>                         WOMAN
</b>          Jus' give me my check.
          Wendy hands her the check.

<b>                         WOMAN
</b>          You get some hot clothes, get
          yourself a man... you won't be
          worryin' about all this shit.
          She leaves as Billy arrives in time to check her out.

<b>                         BILLY
</b>          Welfare recipients are getting
          better-looking these days.

<b>                         WENDY
</b>          Ever feel like you're not
          accomplishing anything?
          Billy sits on her desk.

<b>                         BILLY
</b>          I think I'm in touch with the
          feeling. Let's go get a drink.

<b>                         WEND Y
</b>          Billy, why aren't you at work?
          Billy gives her a look she knows all too well.

<b>          35 INT. ST. ELMO'S - DAY (AN HOUR LATER) 35
</b>
          Wendy and Billy sit at the bar as Kirbo pours.

<b>                         KIRBO
</b>          Buddy, the only extra money I
          have is my savings for the most
          important date of my life.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 31.

<b>                         35 CONTINUED: 35
</b>
<b>                         WENDY
</b>
<b>                         E
</b>          Are you in love?

<b>                         KIRBO
</b>          I'm ripped between rapture and s
          torture. s

<b>                         WENDY
</b>          I'm all tapped out from the accident
          but I could probably get some from
          my father...

<b>                         BILLY
</b>          No more money from you, Wend. But
          maybe you could help me find another
          job.

<b>                         WEND-Y
</b>          Do you have any interest in the
          janitorial field?
          They both smile.

<b>                         WENDY
</b>          You should be playing your music.
          Billy...

<b>                         BILLY
</b>          I'm a family man and the rent is
          due.
          Alec, followed by Kevin, storms into the bar and attacks
          Billy.

<b>                         ALEC
</b>          You dumb shit. You have to start
          making passes at the women you're
          supposed to be polling?

<b>                         BILLY
</b>          Actually, they were the ones who
          suggested another type of polin'...
          He smiles as Alec grabs him.

<b>                         ALEC
</b>          You're twenty-three years old.
          You got a wife and kid.

<b>                         BILLY
</b>
<b>                         A
</b>          And you're a great American.- Are
          you new at this? Or just an
          asshole?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 32.

<b>                         35 CONTINUED: (2) 35
</b>
<b>                         Â¢ ALEC
</b>          You're not the fraternity star
          anymore. No more Billy the Kid.
          Billy starts to leave. Alec follows.

<b>                         ALEC
</b>          I didn't bargain for you turning
          out this way.

<b>                         BILLY
</b>          And I didn't bargain for you
          turning into a pompous politico.
          Suckin' up to Hodges. That's it,
          Al, isn't it?... You've become a
          Republican!!!

<b>                         ALEC
</b>          And you've become a drunk.

<b>                         BILLY
</b>          Oh, no, not just 'a' drunk, Big
          Al. One of the great drunks!
           Born, bred and diseased in the s

<b>          U.S.A.
</b>
<b>                         (TO WENDY)
</b>          Come on...

<b>                         (TO KEVIN)
</b>          You with us, Kev...?
          Kevin hesitates.

<b>                         BILLY
</b>          Oh, I forgot, Kev. You don't do
          anything Alec doesn't tell you to
          do. Well, that's-okay, 'cause
          just remember one thing. You can
          pick your friends and you can pick
          your nose, but you can't pick your
          friend's nose.
          Billy leaves. Wendy looks at Alec and starts to laugh.

<b>                         ALEC
</b>          Stay right here, Wendy.
          She can't and runs after Billy.

<b>          INT. ALEC AND LESLIE'S BEDROOM - NIGHT 36
</b>
          They are both asleep as the PHONE RINGS. Alec pulls
          himself together and speaks alertly.

<b>                         ALEC
</b>          Alec Newberry.

                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 33.
          37 INT. VAN BUREN HOTEL - BATHROOM - NIGHT 37 s
          â¢ Jules, wearing a sexy dress, whispers into the phone.

<b>                         JULES
</b>          Alec, it's Jules. I'm at the
          Van Buren... X
          INTERCUT their phone conversation.

<b>          ALEC (V.0.)
</b>          What time is it?

<b>                         JULES
</b>          Please... I'm with these Arabs...
          and they've been forcing me to do
          coke all night... And I only
          understand a little Arabic, but
          I'm sure I heard the words for
          'gang bang' and 'white slavery'...
          Please get me out of here... Suite

<b>          2708.
</b>
<b>          38 INT. ALEC AND LESLIE'S BEDROOM - NIGHT (SECONDS LATER) 38
</b>
          Leslie watches anxiously as Alec throws on his clothes.

<b>                         A
</b>
<b>                         LESLIE
</b>          You're so wonderful taking care of
          all of us. I love you. I really,
          truly love you.
          He kisses her.

<b>          39 EXT. VAN BUREN - NIGHT (TEN MINUTES LATER) 39 :
</b>
          Alec gives his car to a valet and rushes into the hotel.

<b>          40 INT. VAN BUREN - TOP FLOOR - MINUTES LATER 40
</b>
           The elevator opens and Alec quickly finds the room and
           knocks loudly.

<b>           ARAB VOICE (O.S.)
</b>           Yes.

<b>                         ALEC
</b>          Open up.
          After a beat, the door is opened by a sedate Arab
          businessman. Alec pushes past him.

                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev.. 10/1/84 34.

<b>          41 IXT. SUITE - NIGHT 41
</b>          Four additional sedate Arab businessmen sit calmly
          watching MTV. Jules is pacing nervously by the bar,
          smoking. She fakes surprise at Alec's entrance.

<b>                         JULES
</b>          Alec, what are you doing here?
          He quickly grabs her and they leave the suite. The Arabs
          hardly notice.

<b>                         ALEC
</b>          Okay, nobody make a move.
          42 INT. VAX BUREN LOBBY - RIGHT 42 s
          Jules and Alec walk from the elevators.

<b>                         JULES
</b>          You're a real pal. My Indiana
          Jones. I won't forget how you came
          to my rescue again.

<b>                         ALEC
</b>          They hardly impressed me as the
          gang bang type, Jules. Now much
          coke have you done?

<b>                         JULES
</b>          Shovels full. They've got
          barrels.

<b>                         ALEC
</b>          You're just paranoid from the coke.
          You know sometimes I think you just
          make up these dramas to test me or
          something.

<b>                         JULES
</b>          That's very interesting, let's
          stay up all night like the old
          days and discuss it.

<b>                         ALEC
</b>          I have to be at work in a few hours.

<b>                         (INDICATING HER
</b>
<b>                         FURS)
</b>          And where are you getting all this
          money from?

<b>                         JULES
</b>          'I'm a financial genius, haven't
          you heard?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 35.

<b>                         42 CONTINUED: 42
</b>          She goes toward the public phone.

<b>                         LJ
</b>
<b>                         ALEC
</b>          Who are you calling?

<b>                         JULES
</b>          A systems analyst I met... very
          hot Jewish guy.

<b>                         ALEC
</b>          What are you, the new Middle East
          Ambassador? It's two-thirty.
          Come on, I'll take you home.

<b>                         JULES
</b>          And waste all this good coke!
          As Jules connects with her number, Alec starts to head
          out of the hotel in disgust. A beautiful older woman is
          getting her key from the desk and crosses in front of him
          toward the elevators. She and Alec check each other out.
          He smiles. She smiles. As her elevator, arrives, she
          changes her mind and, giving Alec an inviting smile,
          steps into the dimly-lit bar. Alec is torn between
          morality and temptation. Temptation wins as he follows
          the sexy lady.

<b>          43 INT. LA PETITE CHATEAU - MORNING 43
</b>
          Kirbo, dressed in his best, enters the elegant, but empty
          dining room. Searching around quickly, he begins to try
          out various tables. He exchanges floral arrangements at
          one as the austere MAITRE D' approaches as Kirbo peruses
          a menu.

<b>                         MAITRE D'
</b>          Excuse me, sir. We do not open
          until eleven.

<b>                         KI RBO
</b>          That's all right. I'll wait.

<b>                         MAITRE D'
</b>          Do you have a reservation?

<b>                         KIRBO
</b>          Yes. Kreager. One o'clock. I
          want this table.

<b>                         MAITRE D'
</b>          At that time, I will find a lovely
          table for you and your guest. But
          this is a table for four.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 36.

<b>                         43 CONTINUED: 43
</b>
<b>                         KIRBO
</b>          I'll pay double.

<b>                         MAITRE D'
</b>          I'm sorry.

<b>                         KI RBO
</b>          I want this table... and I'm
          waiting right here.

<b>          44 INT. INTERNATIONAL BANKING OFFICE - ONE HOUR LATER 44
</b>
          Jules, wearing glasses, is at work speaking on the phone
          in front of a bank of computers..

<b>                         JULES
</b>          You could order a nice Napa Valley
          Chardonney, unless you want to
          impress her with an import.

<b>          45 INTERCUT - KIRBO IN THE RESTAURANT 45
</b>          With a phone at his table, looking at the menu.

<b>                         KIRBO
</b>          Money's no object.

<b>          JULES (V.0.)
</b>          Montrechart or Mersalt then
          and don't forget to smell the cork.

<b>                         KIRBO
</b>          Okay and how do you say escargot?

<b>          JULES (V.O.)
</b>          Escargot. I'd stay away from them
          if I were you... heavy garlic.

<b>          46 INTERCUT - INT. BANK 46
</b>
          A WOMAN moves through the desks with a box of envelopes.

<b>                         JULES
</b>          It's payday, thank God!

<b>                         WOMAN
</b>          Jules, you're advanced on your salary
          two months. I have no check for you.

<b>          KIRBO (V.0.)
</b>          Jules, I owe you.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 37.

<b>                         46 CONTINUED: 46
</b>
<b>                         Â¢ JULES
</b>          That's good. 'Cause I owe
          everyone else.
          She hangs up and follows the Woman.

<b>                         JULES
</b>          I've got to pay for my stepmonster's
          funeral. Then I'll catch up.

<b>                         WOMAN
</b>          I'm afraid you'll have to see
          Forrester Davidson.

<b>                         JULES
</b>          The president of the bank?

<b>          47 BACK TO RESTAURANT 47
</b>          The Maitre D' grandly takes the phone from Kirbo's table.

<b>                         KIRBO
</b>          Could you please clean up these
          crumbs, waiter?

<b>                         MAITRE D'
</b>          I am not the waiter. I am the
          captain.

<b>                         KIRBO
</b>          Aye, aye, sir.
          Dale Biberman rushes into the restaurant in all her
          splendor. Kirbo is extremely excited.

<b>                         DALE
</b>          Sorry I'm late. Have you been
          waiting long?

<b>                         KIRB0
</b>          Just got here.
          Kirbo beats out the Maitre D' and pulls out Dale's chair;.

<b>                         DALE
</b>          The food is great here.

<b>          K I RBO
</b>          I'll be having the alfalfa sprouts
          and a plate of mashed yeast.

<b>                         (CONTIRUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 38.

<b>                         47 COHTIHUED: 47
</b>
<b>                         Â¢ DALE
</b>          Are you a vegetarian?

<b>                         KIRBO
</b>          Ho... that's from Annie Hall, the
          movie we saw together... don't
          you remember?

<b>                         DALE
</b>          That's funny... I thought we went
          to see a Mel Brooks movie.

<b>                         KIRBO
</b>          Ho... it was Annie Hall.

<b>                         DALE
</b>          Are you sure? 'Cause I don't like _
          Woody Allen movies very much.

<b>                         KI RBO
</b>          Oh, me, too. I hate Woody Allen
          movies.
          The Maitre D' comes over to the table.

<b>                         MAITRE D'
</b>          Will you be ordering any wine?

<b>                         KIRBO
</b>          Of course... We'll have the...

<b>                         DALE
</b>          I can't... I'm on call.
          Kirbo is shot down as the Maitre D' hands Dale a menu.

<b>                         KIRBO
</b>          So... how's your, uh... are you
          seeing anyone?

<b>                         DALE
</b>          To tell you the truth, my work's
          so time-consuming, I don't get the
          chance to date, but when I do --
          well, medicine's such an incestuous
          profession, the only people I seem
          to ever go out with are doctors.
          The Maitre D' returns with the telephone.

<b>                         MAITRE D'
</b>          Miss Biberman? Telephone.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          39.
</b>
<b>                         47 COHTIHUED: (2) 47
</b>
<b>                         DALE
</b>          r See, they just won't let me alone.

<b>                         (INTO PHONE)
</b>          Hello... Yes, yes, doctor, right
          away.

<b>                         (HANGS UP)
</b>          I've got to get back to the hospital.
          I'm so sorry. Maybe we can do this
          again sometime.

<b>                         KIRBO
</b>          When?
          She is gone as the Maitre D' walks over to him with his
          pad and speaks with exquisite, controlled sarcasm.

<b>                         MAITRE D'
</b>          Have you had enough time to look
          at the menu?

<b>          48 INT. LAUNDROMAT - DAY 48
</b>
          Kevin and Kirbo fold their laundry.

<b>                         KEVIN
</b>          You cannot go to med school just
          to impress this girl with whom
          you have a fleeting infatuation.

<b>                         KIRBO
</b>          This is not just an infatuation and
          she's not just a girl -- she's the
          only evidence of God I can find on
          this planet -- with the exception
          of the mystical force which removes
          one of my socks from the dryer every
          time I do laundry.
          Laundry folded, they head out of the laundromat passing
          the drop-off "Fluff and Fold" facilities.

<b>                         KIRBO
</b>          'Fluff and Fold.' I'm telling
          you, Kev, when I make it, that's
          where I take my laundry.

<b>                         KEVIN
</b>          Dreamer.

<b>                         KIRBO
</b>          I understand 'Fold,' but what is
          'Fluff'?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 40.

<b>                         48 CONTINUED: 48
</b>
<b>                          KEVIN
</b>           'Fluff' is what I write for the paper.
           They leave the laundromat. Kirbo drops a sock.

<b>                         49 OMITTED 49
</b>
<b>          50 INT. BEAMISH DINING ROOM - NIGHT 50
</b>
          Wendy's formidable FATHER shows Billy framed greeting
          cards. Billy drinks heavily. Wendy worries.

<b>          MR. BEAMISH (FATHER)
</b>          We've got twenty-four 'Card-A-
          Terias' now. What line are you
          in?

<b>                         BILLY
</b>          Munitions.

<b>                         WENDY
</b>          He's kidding, Dad. He's a musician
          and a very fine one.
          Wendy leaves them as she enters:

<b>          51 INT. BEAMISH KITCHEN - NIGHT 51
</b>
           where her two-blonde sisters (RACHEL and LIBBY) help her
           BLONDE MOTHER with dinner.

<b>                         RACHEL
</b>          Please do not bring up moving out
          tonight. Daddy'll have a heart
          attack in front of your boyfriend.

<b>                         WENDY
</b>          He's not my boyfriend.

<b>                         LIBBY
</b>          There's a nice young guy working
          for us now. Howie Krantz.

<b>                         WENDY
</b>          Libby, please.

<b>                         (KISSING MOTHER)
</b>          You're looking beautiful, Mom.

<b>          MRS. BEAMISH
</b>
<b>                         (STAGE WHISPER)
</b>          I'm fat. I'm thin. I'm fat. I'm
           thin. I'm blonde. I'm brunette.

<b>           (CONTINUED.)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 41.

<b>                         51 CONTINUED: 51
</b>
<b>                         WEKDY
</b>          Look at it this way. You always
          wanted to look like Elizabeth
          Taylor... and now you do.
          52 INT. BEAMISH DIKING ROOM - NIGHT (CONTINUOUS ACTION) 52 s
          Billy fills his glass while Wendy's niece and NEPHEWS
          watch. Wendy joins him.

<b>                         WEKDY
</b>          There are certain words my mother
          finds too horrible to utter so
          she whispers them... you'll get
          used to it...

<b>          53 INT. BEAMISH DINING ROOM - NIGHT 53
</b>
          Everyone is eating. Billy is drinking. Wendy's mother
          is talking.

<b>          MRS. BEAMISH
</b>          Hear about Betty Rothberg?

<b>                         (STAGE WHISPER)
</b>          Cancer.
          One of Wendy's BROTHERS-IN-LAW speaks to Billy.

<b>                         BROTHER-IN-LAW #1
</b>          The day I married Rachel, I got
          three 'Card-A-Teria' franchises.
          Just bought a BMW.

<b>                         BILLY
</b>          (to other Brother-

<b>                         IN-LAW)
</b>          You in the card game, too?

<b>                         BROTHER-IN-LAW #2
</b>          Six franchises! We have two kids.
          Mrs. Beamish addresses Billy.

<b>          MRS. BEAMISH
</b>          Where did you and Wendy meet again?.

<b>                         BILLY
</b>
<b>                         (STAGE WHISPER)
</b>          Prison.

                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 42.

<b>          54 TNT. BEAMISH DEN - NIGHT 54
</b>          Wendy's father gives her money.

<b>          MR. BEAMISH
</b>          If you'd get married and run a
          franchise like your sisters, you
          wouldn't need to borrow money.

<b>                         WENDY
</b>          I have a job with the Department
          of Human Services, Dad.

<b>          MR. BEAMISH
</b>          That's not a job. It's killing
          time 'til you get married.

<b>                         WENDY
</b>          I'm very committed and I think I
          should get my own apart...
          Suddenly, one of Wendy's Nephews comes running into the
          room excitedly.

<b>                         NEPHEW
</b>          Billy's up on the roof.

<b>          0 55 EXT. BEAMISH. HOUSE - NIGHT 55
</b>
          The entire family comes running out of the house. Billy
          is way on top of the three-story house, sitting above
          the cupola and widow's walk, his legs dangling.

<b>          MR. BEAMISH
</b>          Come down from there.

<b>                         RACHEL'
</b>          What, is he crazy?

<b>          MRS. BEAMISH
</b>          I knew it the minute he walked in
          the door...

<b>                         (STAGE WHISPER)
</b>          drugs!!!
          Wendy runs inside.

<b>          56 EXT. BEAMISH ROOF - NIGHT 56
</b>
          Wendy joins him.

<b>                         X
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 43. s

<b>                         56 CONTINUED: 56
</b>          She sits down next to him.

<b>                         WENDY
</b>          All the years we lived here and
          no one ever did this.

<b>                         BILLY
</b>          I used to do this at the Prat
          house all the time. Climb out
          from Alec's room onto the roof
          and play my sax.

<b>          57 EXT. BEAMISH HOUSE - NIGHT 57
</b>
          Below, the family comes running out again.

<b>                         RACHEL
</b>          Oh, my God. Wendy's up there with
          him!
          Wendy and Billy ignore them as the family screams and
          runs back into the house.

<b>          BACK ON WENDY AND BILLY 88
</b>
<b>                         WENDY 59
</b>          You miss school, don't you?

<b>                         BILLY
</b>          Not a day does by that I don't
          wish we were all back there.
          Everything made so much sense
          then. Our group being so
          ultimate, so number one.

<b>                         WENDY
</b>          Every group on campus thought
          they were number one.

<b>                         BILLY
</b>          But we were. Alec and me running
          everything. Jules and Leslie
          the hottest girls... Kevin and...

<b>                         WENDY
</b>          Me having the fattest thighs.

<b>                         BILLY
</b>          You being the best of us all...
          Those all-nighters when we used
          to talk about our dreams.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 44. s

<b>                         58 CONTINUED: 58
</b>
<b>                         8
</b>
<b>                         WENDY 59
</b>          I was gonna save humanity.

<b>                         BILLY
</b>          I was headed for New York with my
          sax... to become the new Clarence
          Clemmens. Then I met Felicia and
          she got pregnant, or said she was.
          Wendy looks shocked.

<b>                         BILLY
</b>          By the time I found out she had
          lied, she really was pregnant...

<b>                         WENDY
</b>          Why didn't you ever tell me that
          before?

<b>                         BILLY
</b>          No matter... I probably wouldn't
          have made it in New York, anyway.

<b>                         WENDY
</b>          You're very talented, Billy.

<b>                         BILLY
</b>          School was so damned ultimate.
          Everyday life... there's no way
          to go ultimate.

<b>                         (SMILING)
</b>          But if it all gets too much
          Like just too fucking much...
          You can end your life at any
          moment.
          He dangles his feet dangerously off the edge.

<b>                         WENDY
</b>          That's ultimate.

<b>                         BILLY
</b>          Don't you ever just want to
          die?

<b>                         WENDY
</b>          Not while I'm still a virgin.
          Billy looks over at her. He's amazed.

<b>                         BILLY
</b>          Why didn't you ever tell me that
          before?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 45.

<b>                         58 CONTINUED: (2) 58
</b>          59 Brother-in-Law #1 arrives at the window below them. 59

<b>                         10
</b>
<b>                         BROTHER-IN-LAW I1
</b>          Will you get down here before
          your parents have matching heart
          attacks?!

<b>          60 INT. BEAMISH FOYER - LATER 60
</b>
          Wendy waits in the hallway, listening to bedroom DOORS
          CLOSING. Confident her parents have bedded down, she
          tiptoes back into:

<b>          61 INT. BEAMISH DEN 61
</b>
          where Billy is drinking heavily at the bar.

<b>                         BILLY
</b>          Want some?
          Wendy takes a big gulp. They are both awkward and ap-
          prehensive. She turns out a lamp. So does he, but
          knocks it over.

<b>                         WENDY
</b>          Sssssh.
          She waits, and when she realizes no one has heard the
          crash, she sits down on the small loveseat. Billy joins
          her and going to kiss her, knocks her glasses askew.

<b>          WENDY E BILLY
</b>          Sorry...
          He goes to kiss her again and she responds. He pulls up
          her skirt and starts to stroke her legs.

<b>                         BILLY
</b>          What the hell is that...?

<b>                         HIS POV
</b>          Her long-line panty girdle.

<b>          BILLY (O.S.)
</b>          What's that, your scuba suit...?
          He laughs as Wendy is destroyed with mortification.
          She gets up.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 46.

<b>                         61 CONTINUED: 61
</b>
<b>                          BILLY
</b>
<b>                         W
</b>          Hey, come on, Wend. You're allowed
          to laugh when you're screwing.
          Wendy is destroyed as she opens the door.

<b>                         WEND Y
</b>          I don't think we should see each
          other, anymore.
          She pulls out the money her father gave her and places it
          on a nearby table.

<b>                         WEHDY
</b>          There's your rent money. Just
          take it and go away.
          She starts up the stairs. Billy comes to the doorway.

<b>                         BILLY
</b>          Wend... I'm sorry...
          She is up the stairs and out of sight. Billy feels
          terrible. He eyes the money on the table and decides
          not to take it. As he opens the front door, white light
          from the moon glares INTO the CAMERA, as Billy moves into
          the light, it becomes whiter, more incandescent -- he
          becomes a ghostlike shape that eventually disappears and
          the SCREEN becomes SHIMMERING WHITE as we --

<b>          DISSOLVE RAPIDLY TO:
</b>
<b>          62 EXT. GEORGETOWN STREET - NIGHT (FEW WEEKS LATER) 62
</b>
          A ghoulish Halloween mask FILLS the SCREEN. Children run
          BY CAMERA trick-or-treating, revealing the Georgetown
          streets alive with mild Halloween shenanigans. Jules
          comes zooming around a corner, driving her black Jeep.
          She, Alec, Leslie and Kevin are in costume.

<b>          63 EXT. ST. ELMO'S BAR - RIGHT 63
</b>
          Balloons and streamers fly from Jules' Jeep as she pulls
          up near St. Elmo's.
          A large paper banner across the window reads "LIVE MUSIC

<b>          EVERY FRI. R SAT. -- STARTING TONIGHT." CAMERA MOVES
</b>          CLOSER TO the window, where THROUGH the rowdy patrons,
          some in costume, we see a trio on a small platform led by
          Billy playing his sax.

                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 47.

<b>          64 INT. ST. ELMO'S -- HIGHT 64
</b>
          Kirbo is ushering Alec, Kevin, Leslie and Jules to their
          usual table.

<b>                         LESLIE
</b>          But don't you need science credits
          to get into mad school?

<b>                         KI RBO
</b>          I have most of the credits from
          when I was going through my
          'major-of-the-week' phase. All I
          need is Organic Chemistry which I
          just enrolled in for January.

<b>                         ALEC
</b>          This must be some woman to turn 7
          you into a doctor, Kirbo.

<b>                         KIRBO
</b>          Hey, I've been an amateur
          gynecologist for years.
          He is gone as Jules and Leslie wave to Billy and start
          toward the ladies' room.

<b>                         JULES
</b>          So, I went to see my boss and I
          thought he'd say something
          presidential like, 'How can I be
          in banking when I can't even
          balance my own checkbook.' But
          instead, he took me to dinner --
          several times.

<b>                         LESLIE
</b>          I was wondering why you haven't
          been sleeping over. Jules, I
          don't think you should start
          bopping your boss.

<b>                         JULES
</b>          Too late, Leslie. You should see
          him -- sort of a cross between John
          Forsythe and Richard Gere.

<b>                         LESLIE
</b>          An old man who doesn't wear
          underwear.

<b>                         65 OMITTED 65
</b>
<b>          0,
</b>
<b>                         1
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 48.

<b>          66 INT. ST. ELMO'S - NIGHT 66
</b>
          Billy is happily playing his heart out. CAMERA FINDS
          Alec and Kevin at their table flipping quarters.

<b>                         ALEC
</b>          Do you have an extra key to your
          apartment I could use tomorrow?

<b>                         KEVIN
</b>          What for?

<b>                         ALEC
</b>          Remember the lingerie salesgirl?
          She's been calling me at work.

<b>                         KEVIN
</b>          Alec, you're going to have to
          learn to say 'no.'

<b>          AJ.EC
</b>          I need a reason to say no. Until
          Leslie agrees to marry me, I've
          got to grab some of the gusto.

<b>                         KEVIN
</b>          You've seen too many beer
          commercials.
          Wendy arrives, nervously, with HOWIE KRANTZ, a plump,
          cheerful guy, uncomfortable in his preppy clothes.

<b>                         WEND Y
</b>          Hi... this is Howie Krantz.
          As Alec and Kevin welcome Howie, CAMERA STAYS ON Wendy,
          who is filled with mixed emotion watching Billy play.
          As she sits down slowly, Kevin'speaks to her:

<b>                         KEVIN
</b>          Thought you weren't coming here
          anymore.

<b>                         WENDY
</b>          Oh, we were just passing by.
          Kevin and she smile as he puts his arm around her. Alec
          and Howie are talking business.

<b>                         HOWIE
</b>          Greeting cards. I work for one of
          Wendy's brother-in-laws.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO`S FIRE - Rev. 10/1/84 49.

<b>                         66 CONTINUED: (A2) 66
</b>
<b>                         ALEC
</b>          â¢ A humongous future in greeting
          cards.
          Alec wickedly eyes Kevin as Jules and Leslie return.
          During introductions to Howie. Jules shouts across the
          room to a new arrival:

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          50.
</b>
<b>                         66 CONTINUED: (2) 66
</b>
<b>                         JULES
</b>
<b>                         Â¢
</b>          Over here!
          Kevin is watching Alec kiss Leslie, when suddenly they
          are joined by Jules' neighbor, ROH.

<b>                         JULES
</b>          Everybody... this is my friend
          and decorator, Ron Dellassandro!!!

<b>                         (TO KEVIN)
</b>          You remember Ron.
          This is not Kevin's night. As Ron sits next to him,
          Alec's jovial mood suddenly changes.

<b>                         ALEC
</b>          Oh, shit.
          All their eyes move across the room, where a very sexy
          young WOMAN has entered with a noisy blue-collar type.

<b>                         HOWIE
</b>          What's wrong?

<b>                         WENDY
</b>          That's Felicia. Billy's wife.

<b>                         JULES
</b>          But who is she with?
          Kirbo seats them at a small reserved table.
          Alec, Leslie, Jules, Wendy, Kevin and Howie all turn
          their attention immediately to Billy, who is playing his
          heart out -- until he sees FELICIA.
          Felicia and blue-collar get chummier.
          Billy stops abruptly and jumps from the platform.
          Alec is up in a flash and headed after him.
          Billy arrives at their table.

<b>                         BILLY
</b>          Hands off my wife.

<b>                         FELICIA
</b>          Oh, you finally remembered. Where
          were you this past week?
          Alec arrives.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          51.
</b>
<b>                         66 CONTINUED: (3) 66
</b>
<b>                          ALEC
</b>
<b>                         IS
</b>           Billy...

<b>                          BILLY
</b>          I said, take your goddamn hands off
          my wife.
          Blue-collar just smiles. Billy throws himself on top of
          him, slugging. Felicia screams. Alec tries to stop
          them. St. Elmo's watches as Billy and blue-collar beat
          the shit out of each other. Blood flows. Wally, the
          owner, arrives with a baseball bat.

<b>                         WALLY
</b>          Get him outta here.
          Alec, Kevin and Kirbo get Billy moving toward the door.

<b>                         FELICIA
</b>          Yeah, get outta here... you no-
          good shit.
          Felicia is hurling insults at Billy as she tends to blue-
          collar. Alec and the others drag Billy past Leslie and
          Jules, who look to Ron, who has been hiding behind them
          with a hand in front of his face.

<b>                         ROM
</b>          I just had my nose done.

<b>                         WALLY
</b>          You're fired, Billy.

<b>                         (TO BAND)
</b>          You, too. Out, all of you.
          Wendy is dying, as she watches them take Billy out.

<b>                         WEHDY
</b>          He's bleeding.

<b>                         FELICIA
</b>          Get outta here, Billy. Get outta
          my life!!!

<b>          67 EXT. ST. ELMO'S - HIGHT 67
</b>
          Alec, Kevin and Kirbo are dealing-with Billy's rage.
          Patrons and friends begin to gather and watch.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 52.

<b>                         67 CONTINUED: 67
</b>
<b>                         I BILLY
</b>          I shoulda had a vasectomy at birth.
          You ever have boys, do 'em a favor
          and get 'em neutered at birth.
          Knock up some slut and you're the
          one who's really fucked. Fucked
          for life. I hate that bitch!!!
          He pushes his friends away as he lunges into the street
          to make a grand gesture of marching away. Suddenly blue-
          collar comes charging out of the doorway and kicks Billy
          in the back. Billy goes down as Felicia jumps on him.

<b>                         FELICIA
</b>          Goddamn you, Billy. You shit.
          There is pandemonium as Felicia and Billy pummel each
          other. Alec grabs Billy, while Kevin and Kirbo restrain R
          Felicia. As the young couple are being dragged away 2
          from each other, suddenly Felicia cries out to,her man.

<b>                         FELICIA
</b>          Billy...

<b>                         BILLY
</b>
<b>                         (MELTING)
</b>          Baby...
          They break away from the friends who are restraining
          them, and rush to each other in the middle of the street.
          Only the very
          young and the very drunk can get away with
          this. They collide in sexual frenzy.

<b>                         68 IN CROWD 68
</b>          Wendy watches, filled with emotions as Leslie and Jules
          stand on either side of her.

<b>                         LESLIE
</b>          You just go ahead with your evening
          with Howie.

<b>                         JULES
</b>          Yes. No matter what he looks like.
          Leslie glares at Jules, but Wendy starts laughing.

<b>          69 INT. ALEC AND LESLIE'S LOFT - NIGHT (AN HOUR LATER) 69
</b>
          â¢ Felicia puts ice packs on Billy's face. Leslie and Kevin
          make coffee.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 53

<b>                         69 COHTIHUED: 69
</b>
<b>                         FELICIA
</b>          This is all my fault.

<b>                         BILLY
</b>          Ho, you married a loser and you
          better face it.

<b>                         FELICIA
</b>          Don't say that.

<b>                         BILLY
</b>          Alec's,known it for a long time.
          Haven't you, Big Al?

<b>                         ALEC
</b>          You're just running away from x
          responsibility, and it's catching
          up with you, just like I said it
          would.

<b>                         FELICIA
</b>          I'll get a job.

<b>                         BILLY
</b>          I won't have you working.

<b>                         ALEC
</b>          Listen to me, Billy. There's a
          hot-shot Korean in town. Big
          money. He needs a gopher. I
          don't know, for some reason I
          think you might be perfect for
          each other.

<b>                         FELICIA
</b>          Alec. You've been so good to us.

<b>                         ALEC
</b>          But if you blow this one, Billy...

<b>                         BILLY
</b>          I'm not gonna blow this one, Alec
          I'm gonna do ultimate by
          everybody...
          (starting to cry)
          I almost lost my wife tonight
          . and my little baby... Jesus...
          Felicia starts to cry as she holds him.

<b>          70 INT. ALEC AHD LESLIE'S KITCHEN -.NIGHT 70
</b>
           Alec joins Leslie and Kevin.

<b>                          (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 54.

<b>                         70 CONTINUED: 70
</b>
<b>                         LESLIE
</b>
<b>                         0
</b>          Still want to get married?

<b>                         ALEC
</b>          Leslie, that is not a marriage
          in there. That is a mistake.

<b>                         LESLIE
</b>          And who's this Korean hot-shot?

<b>                         ALEC
</b>          A business acquaintance.
          She leaves with the coffee.

<b>                         KEVIN
</b>          Speaking of business acquaintances,
          you still want my extra key?

<b>          71 EXT. KEVIN AND KIRBO'S NEIGHBORHOOD - LATER 71
</b>
           Kevin walks with his thoughts. He approaches the Black
          Hooker on her usual corner.

<b>                         BLACK HOOKER
</b>          Hey, secret love, you want a date
          tonight?

<b>                         KEVIN
</b>          What would you say the meaning of
          life is?

<b>                         BLACK HOOKER
</b>          Got fifty bucks? I'll show you
          the meaning of life.

<b>                         KEVIN
</b>          I don't pay for sex.

<b>                         BLACK HOOKER
</b>          Oh, you think if you get some
          girlfriend, or maybe a wife, you
          ain't gonna pay? Oh, you'll pay
          . but you won't ever be sure
          you're gonna get it. Now with me,
          you pay, but you get it, and you
          get it good!

<b>                         KEVIN
</b>          Food for thought. Food for
          'thought.
          He walks toward his apartment.

                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 55.

<b>          72 EXT. DALE'S BUILDING - EXTREME CLOSEUP - NIGHT 72
</b>
          â¢ "DALE BIBERMAN" typed on an apartment registry.

<b>          73 EXT. BUILDING - WIDER SHOT - NIGHT 73
</b>
          Kirbo agonizes, paces and finally rings the bell.

<b>          DALE (V.0.)
</b>          Yes...?
          Kirbo cannot bring himself to speak.

<b>          DALE (V.0.)
</b>          Hello.
          Kirbo is dying to speak, but can't. He quickly charges
          out of sight.

<b>          74 EXT. DALE'S BUILDING - NIGHT 74
</b>
          Dale opens her second-story window and looks out. She
          searches the night and is about to close her window when
          a sudden flash gets her attention.
          Is 75 EXT. ALLEY 75
          Hidden by the night, Kirbo has just snapped Dale's
          picture. He charges down the alley and leaps on his bike.

<b>          76 EXT. DALE'S BUILDING 76
</b>
          puzzled and pissed, closes her window.

<b>          76A INT. MOVIE THEATER - DAY 76A 
</b>
          On screen "MANHATTAN." Woody talks into a microphone.

<b>          WOODY (V.0.)
</b>          An idea for a short story, about
          um, people in Manhattan who, uh,
          who are constantly creating these
          real, uh, unnecessary neurotic
          problems for themselves 'cause it
          keeps them from dealing with, uh,
          more unsolvable terrifying problems
          about, uh, the universe.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 56.

<b>          76A CONTINUED: 76A
</b>
<b>                         R AUDIENCE
</b>          Kirbo and Kevin watch.

<b>                         KEVIN
</b>          Not just in Manhattan, Woodman.
          Kirbo quickly pulls out his camera and snaps a picture of
          the screen.

<b>          76B INT. LAUNDROMAT - LATE DAY 76B 
</b>
          Kirbo and Kevin do laundry.

<b>                         KEVIN
</b>          You can't keep ringing doorbells
          and running away, calling her and
          hanging up. What are you afraid
          of?

<b>                         KIRBO
</b>          Rejection. Total and devastating.
          As long as she hasn't rejected me,
          there's hope.

<b>                         KEVIN
</b>          I have lived with a secret obsession
          many years myself. However, I
          realize the other person has no
          interest in me -- so I pursue my
          career which is going even more
          unsuccessfully.

<b>                         KIRBO
</b>          Who are you in love with?

<b>                         KEVIN
</b>          I don't have to share everything
          with you...

<b>                         (GRABBING LAUNDRY)
</b>          My underwear is enough. Kirbo, if
          you must pursue this narcissistic
          mortification, that you have decided
          to call love, then you must ask her
          out on a proper date. Like a young
          god. Like Alec, our leader, would.

<b>                         KI RBO
</b>          Alec has balls. He sees things
          with his balls. A ball's-eye view
          so to speak.
          Having taken their stuff out of the dryer they leave.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 57.

<b>          76B CONTINUED: 76B 
</b>
<b>                          KIRBO
</b>
<b>          10,
</b>          'Fluff and Fold,' buddy. Soon as
          I get some dough, I'm goin' 'Fluff
          and Fold.'

<b>          76C EXT. STREET - DAY 76C 
</b>
          They move through the busy street together passing some
          double Dutch champions.

<b>                         KEVIN
</b>          You'll go fluff and fold, someday. 
          Whereas I will still be writing
          obits. I can't even come up with
          a decent piece for the paper to
          show my editor.

<b>                         KIRBO
</b>          I can't help you with your writer's
          block -- until I see that look in
          Dale Biberman's eyes. The look
          that says she knows I'm the one
          for her.

<b>                         KEVIN
</b>          Kirbo, what about all the other
          women you were going out with?

<b>                         KIRBO
</b>          They weren't women. They were
          practice.

<b>                         KEVIN
</b>          You'll never catch me making a
          fool ofmyself over a beautiful
          woman. I know what they're really
          made of. Watch this.

<b>                         (TO APPROACHING
</b>
<b>                         BEAUTIFUL GIRL)
</b>          What's the meaning of life?

<b>                         BEAUTIFUL GIRL
</b>          Leave me alone.

<b>                         KEVIN
</b>          The defense rests.
          They disappear into their building.

<b>          77 INT. VISTA SOUP KITCHEN - DAY 7 7
</b>
          Bums, bag ladies and the less fortunate are getting meals.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/11/84 58.

<b>                         77 CONTINUED: 77
</b>          Wendy is advising a street youth as she supervises the
          whole operation. Suddenly, Leslie and Jules arrive.

<b>                         WENDY
</b>          Hi. x

<b>                         JULES
</b>          We came to take you to lunch.
          La Petite Chateau. One o'clock.

<b>                         WENDY
</b>          I can't leave here and go to La
          Petite Chateau. Ladies, please, x
          let's have a little perspective.

<b>                         LESLIE
</b>          Well, we could eat here.

<b>          78 LUNCH LINE - MINUTES LATER 78
</b>          The girls drag metal trays through the line.

<b>                         JULES
</b>          Campbell's mushroom barley. How
          chic.
          They are joined by MYRA, a bag lady, and several other
          regular patrons.

<b>                         WENDY
</b>          This is Myra. Myra, Jules and Leslie.

<b>                         LESLIE
</b>          How's Howie?

<b>                         WENDY
</b>          I wouldn't say my father is trying
          to bribe me, but he offered me a
          Chrysler Le Baron convertible if
          I'd get engaged to Howie.

<b>                         JULES
</b>          Have you fucked him yet?

<b>                         WENDY
</b>          Jules!!!

<b>                         JULES
</b>          You haven't? Listen, get engaged. x
          Get the car. Fuck him and if you
          don't like it, break the engagement.

<b>                         X
</b>          They put their trays down at a table.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/11/84 59.

<b>                         78 CONTINUED: 78
</b>
<b>                         JULES
</b>          Well, no sense beating around the
          bush. Wendy, we came to see you
          because we're both worried about
          you.

<b>                         WENDY
</b>          No, Jules, that was the scam that
          Leslie and I worked out because we
          were worried about you.

<b>                         JULES
</b>          Moi? Your were worried about moi?

<b>                         LESLIE
</b>          We were worried about you and this
          affair with your boss.

<b>                         JULES
</b>          Forrester is the greatest...

<b>                         LESLIE
</b>          Forrester is married...

<b>                         JULES
</b>          Leslie, this is the Eighties... I
          bop him for a few years -- get his
          job when he gets caught with his
          hand in the vault. I become a
          legend -- do a black mink ad, but
          get caught in a sex scandal.
          Retire in massive disgrace -- but
          write a huge bestseller and become
          the star of my own talk show.

<b>                         WENDY
</b>          Silly of us to be concerned.

<b>                         JULES
</b>          And besides, Forrester suggested
          some fabulous alternatives for my
          stepmonster...

<b>                         WENDY
</b>          That's another thing. You seem
          obsessed with this woman's dying.
          It's creepy.

<b>                         JULES
</b>          Well, it turned out that cremation
          is almost as expensive as the non-
          torch method -- so if I don't find
          a cheaper solution -- I'll probably
          end up...

<b>                         (MORE)
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/11/84 60. s

<b>                         78 CONTINUED: (2) 78
</b>
<b>                          JULES (CONT'D)
</b>
<b>                         (SOTTO)
</b>          like one of these bag ladies.
          Of course, I'll have alligator
          bags...
          She looks at her watch.

<b>                         JULES
</b>          Oh, I've got to meet Forrester.

<b>                         LESLIE
</b>          Jules, you haven't touched your
          food.

<b>                         JULES
</b>          Who'd want to? I think this was a
          wonderful talk, don't you? Nice
          meeting you, Myra.
          Jules is gone in a neurotic flurry. Leslie and Wendy are
          worried.

<b>                         79 OMITTED 79
</b>
<b>                         THRU THRU
</b>
<b>                         84 84
</b>
<b>          85 EXT. GEORGETOWN CANAL - DAY 85
</b>
          Wendy and Leslie walk together.

<b>                         LESLIE
</b>          The senior architect I've been
          assisting is going to promote me to
          the design staff.

<b>                         WENDY
</b>          That's so great.

<b>                         LESLIE
</b>          Yeah, it worked out really well.

<b>                         WENDY
</b>          That's great. So I guess that
          means marriage now, huh?

<b>                         LESLIE
</b>          It scares me. My sister lived with
          her husband for five years before
          they got married. And now it's over.
          They loved each other so much, but
          somehow it just disappeared.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELI10'S FIRE - Rev. 10/11/84 61/62.

<b>                         85 CONTINUED: 85
</b>
<b>                         Â¢ WENDY
</b>          You can't say that. You're not
          your sister. You and Alec were
          made for each other.

<b>                         LESLIE
</b>          I love Alec. I do, but I just
          don't think I'm ready for the
          big step.

<b>                         WEND Y
</b>          Seen Billy?

<b>                         LESLIE
</b>          I was wondering how long it was
          going to take until you asked.

<b>                         WENDY
</b>          It's like stopping smoking. I can
          go as long as I can and then I just
          have to have a hit.

<b>                         LESLIE
</b>          Alec's got him working for some
          Korean gangster, and I actually
          think Billy is doing a great job.

<b>                         WENDY
</b>          Great. Great.

<b>          86 EXT. ATTRACTIVE GEORGETOWN HOUSE - DAY 86
</b>
          A limousine arrives and a female CHAUFFEUR opens the door
          for KIM SUNG HO, a well-dressed Korean.

<b>          87 INT. ATTRACTIVE TOWNHOUSE - DAY 87
</b>
          Kim enters looking over some mail.

<b>          KIM SUNG HO
</b>          Billy?

<b>                         KITCHEN DOOR
</b>          A house boy, sensing what's going to happen, ducks back.

<b>          88 INT. HO TOWNHOUSE - SECOND FLOOR - DAY 88
</b>
          ROCK and ROLL BLASTS as Kim Sung Ho opens the bathroom
          door, revealing Billy in the marble Jacuzzi with a naked
          blonde and a bottle of vodka.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          63.
</b>
<b>                         88 CONTINUED: $$
</b>          Everyone is shocked to see everyone.

<b>                         BILLY
</b>          Ah... I thought you were comin'
          back Thursday.

<b>          89 EXT. GEORGETOWN STREET - NIGHT 89
</b>
          Dale Biberman, dodging the RAIN, leaves her building
          and gets in her car. CAMERA FINDS Kirbo, across the
          street, watching. He jumps on his bike and follows.

<b>          90 EXT. FASHIONABLE BROWNSTONE - HIGHT (FEW MINUTES LATER) 90
</b>
          A carpark helps Dale into the house with an umbrella.
          CAMERA FINDS Kirbo, who looks in the window of the
          brownstone.

<b>          91 INT. FASHIONABLE TOWNHOUSE - HIS POV - HIGHT 91
</b>
          Dale enters and talks animatedly with two attractive
          young men. The party is filled with attractive yuppies.

<b>          92 INT. FASHIONABLE BROWNSTONE PARTY - HIGHT 92
</b>
          Dale continues talking with the men as the CAMERA MOVES
          THROUGH the party TOWARD her. The CAMERA is Kirbo.
          Although we do not see him, we hear people talking to
          him.

<b>                         VOICES
</b>          Excuse me... Sir...?'
          The CAMERA (Kirbo) STOPS as Dale looks up from her con-
          versation. She is pleasant, but slightly stunned.

<b>                         DALE
</b>          Kirby... How are you?
          We see Kirbo now, soaking wet and in pain.

<b>                         KI RBO
</b>          I'm obsessed. Thank you very
          much.

<b>          93 INT. DALE'S CAR - NIGHT (TWENTY MINUTES LATER) 93
</b>
          Dale drives, Kirbo next to her, his bike on the trunk.
          It has stopped raining.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          64.
</b>
<b>                         93 CONTINUED: 93
</b>
<b>                         DALE
</b>          r What's going on?

<b>                         KIRBO
</b>          I'm going to be a doctor.

<b>                         DALE
</b>          That's not what's going on.
          They pull up in front of her building and get out of the
          car.

<b>                         KIRBO
</b>          Why did you tell me you had to
          work tonight? Why did you lie?

<b>                         DALE
</b>          I didn't want to hurt your
          feelings.

<b>                         KIRBO
</b>          I'm obsessed with you, Dale. I
          have been for four years.

<b>                         DALE
</b>          But you don't even know me.

<b>                         KIRBO
</b>          I know. But I'm obsessed by my
          fantasy of you.
          Dale realizes this man needs some help.

<b>          94 INT. DALE'S APARTMENT - NIGHT (MINUTES LATER) 94
</b>
           Kirbo is actually entering Dale's apartment. A shrine.

<b>                         DALE
</b>          I'm very average... full of
          flaws...
          She gestures toward her sloppy bedroom.

<b>                         DALE
</b>          I'm a slob.., can't even make a
          bed straight... You ready for
          more...

<b>                         (INDICATING MAGAZINES
</b>          on a coffee table)
          .. I steal People magazine from
          my dentist's office.
          She then goes into the tiny kitchen and picks up a large
          garbage bag.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          65.
</b>
<b>                         94 CONTINUED: 94
</b>
<b>                         DALE
</b>          Here. Watch. Dale Biberman takes
          out her own garbage.
          She opens the apartment door as her roommate, JUDITH,
          arrives home with a bad cold.

<b>                         DALE
</b>          Here's my roommate, Judith. She
          hates me.

<b>                         JUDITH
</b>          I hate her.
          Judith disappears into the bedroom as Dale puts out the
          garbage. Kirbo sits for a moment alone, stunned. Dale
          returns.

<b>                         DALE
</b>          And here's the worst of all...
          When I first decided to be a
          doctor, I thought it was because
          I wanted to serve people. But
          now, well, I'm beginning to get
          this funny feeling that what
          medicine's really all about is
          money... You want some coffee?

<b>                         MIRBO
</b>          It's money, isn't it? That's what
          you're trying to tell me. It's
          'cause I don't have any money!
          Thank you for being so honest.
          He gets up and leaves.

<b>                         DALE
</b>          Kirby?

<b>          95 EXT. GEORGETOWN CAMPUS - DAY 95
</b>
          CLOSE ON Billy as he walks across the campus and even-
          tually stops.

<b>          96 HIS POV - HIS OLD FRATERNITY HOUSE 96
</b>          A few young men stop their activities when they see
          Billy. Others join. TROY, an undergrad big shot,
          arrives.

<b>                         TROY
</b>          The man. The myth. The legend.
          The one and only Billy the Kid!
          The guys all cheer as they surround Billy.

                         

                         

                         

                         

<b>          66.
</b>
<b>          97 EXT. CAMPUS - DAY (LATER) 97
</b>
          Billy plays football with the younger students. He
          seems happy and home at last. As the others run toward
          the opposite side of the grounds, Billy looks to Troy.

<b>                         TROY
</b>          Like old times, Billy-Boy.

<b>                         BILLY
</b>           You know I've been thinkin', Troy
          6 9 I'd like to get some kind of
          job maybe on campus... you know
          work with the students or the
          fraternity. Maybe coaching or
          something.

<b>                         TROY
</b>          We could use somebody like you
          around, Billy.

<b>                         BILLY
</b>
<b>                         (ENCOURAGED)
</b>          Really?

<b>                         TROY
</b>          Yeah. We need somebody to get us
          some good drugs.
          Billy realizes there is no place for him here either.
          He looks up to see Felicia and the baby. He gives the
          football to Troy and slowly walks across the field.

<b>                         BILLY
</b>          Hi, babe...
          There is a long pause.

<b>                         FELICIA
</b>          'Member Ray Slater? He was the
          guy I was goin' with before I met
          you?

<b>                         BILLY
</b>          Felic...

<b>                         FELICIA
</b>          He came to see me, Billy, and he
          still wants to marry me. And held
          take good care of Melody and I
          could probably get an annulment.

<b>                         BILLY
</b>          Don't give up on me. Please,
          baby.

<b>                         (MORE)
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          67.
</b>
<b>                         97 CONTINUED: 97
</b>
<b>                          BILLY (COHT'D)
</b>          I know it's been rough on you.
          But I'll get the right job soon.
          I'll change... I swear it. No
          women, no booze... You won't
          believe how ultimate I'm gonna
          go...
          He holds her and she wants to believe him badly.

<b>          98 INT. KIM SUNG HO'S TOWNHOUSE LIBRARY - DAY 98
</b>
          Kim Sung Ho paces the elegant room.

<b>          KIM SUNG HO
</b>          I work out of my house. You must
          be available twenty-four hours a
          day. Complete discretion and
          loyalty. Five hundred dollars a
          week.
          We now see he is talking to Kirbo.

<b>                         KIRBO
</b>          I'm your man, Mr. Ho.

<b>          KIM SUNG HO
</b>          Your scholastic record is very
          impressive, why would you be
          willing to leave law school for
          essentially a gofer's position?

<b>                         KIRBO
</b>          I don't feel it has any relevancy
          in the world I want to go into.

<b>          KIM SUNG HO
</b>          Which world is that?

<b>                         KIRBO
</b>          The 'real' world. Besides, did
          you know that there are more
          students in law school than there
          are practicing lawyers?

<b>          99 EXT. GEORGETOWN MEDICAL CENTER - DUSK 99
</b>
          Winter is on the way. Dale gets out of her car. As she
          starts for the hospital, a limousine pulls up. Kirbo is
          sitting in the back.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          68.
</b>
<b>                         99 CONTINUED: 99
</b>
<b>                         KIRBO
</b>          Hi, Dale.

<b>                         Â¢
</b>
<b>                         DALE
</b>          Kirby. What are you up to?

<b>                         KIRBO
</b>          I was hand-picked as special
          attache to Kim Sung Ho. You know,
          the famous Korean entrepreneur?
          He quickly holds up a newspaper with Kim on the cover.

<b>                         DALE
</b>          What about medical school?

<b>                         KIRBO
</b>          I have to grab my huge financial
          opportunities while-I can. It's
          all about money, isn't it, Dale?

<b>                         DALE
</b>          Well, good luck.

<b>                         KIRBO
</b>          I'm giving a little party Saturday
          night at Kim's house.
          (handing her card)
          I'd really like to see you there.

<b>                         DALE
</b>          Well, thank you, Kirby. I'll try...
          She smiles sweetly and runs off as Kirbo sits back and
          talks to the female Chauffeur.

<b>                         KI RBO
</b>          She'll be there. You see her
          face when she saw this car?

<b>                         CHAUFFEUR
</b>          Mr. Ho catches you having a party
          in his house Saturday night.
          You'll be out on the street.

<b>                         KIRBO
</b>          He won't be back until Sunday...
          remember, there's an extra hundred
          bucks for you and Kenny to shut up.

<b>          100 INT. NEIGHBORHOOD LAUNDROMAT - LATE DAY' 100
</b>
          Kirbo proudly drops his laundry off.

<b>                         KIRBO
</b>          Fluff and Fold!!!

                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 69.

<b>          101 EXT. LAUNDRY 101
</b>
          The Chauffeur waits as Kirbo comes proudly out of the
          laundry. The neighborhood Black Hooker looks it all over
          as Kirbo pulls away grandly.

<b>          102 EXT. ALEC AND LESLIE'S - SATURDAY NIGHT 102
</b>
          Traffic, people. The smell of fun and sexual contact in
          the air. Party MUSIC PLAYS.

<b>          103 INT. ALEC AND LESLIE'S LOFT - HIGHT 103
</b>
          Leslie hangs out the window calling to someone below.

<b>                         LESLIE
</b>          We'll be right down.
          Alec comes from the bedroom getting dressed.

<b>                         ALEC
</b>          June first!'

<b>                         LESLIE
</b>          Honey, I just got promoted. I'm
          going to have a lot more
          responsibility. I'm sure it's
          the right time.

<b>                         ALEC
</b>          Looking at my big picture agenda,
          I want to be playing softball
          with my firstborn in about four
          years.

<b>                         LESLIE
</b>          Do you realize that over half the
          marriages today end in divorce.

<b>                         ALEC
</b>          And the other half don't.

<b>                         LESLIE
</b>          My six-year-old niece asked me
          today why everyone's father
          doesn't live in a separate house
          like her father does. I don't
          want us to become another divorce
          statistic in Newsweek.

<b>                         ALEC
</b>          Look at my parents. My father may
          not come home with a raging hard-
          on, anymore, but they're happy.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 70. t

<b>                         103 CONTINUED: 103
</b>
<b>                         LESLIE
</b>          Your father sits around playing
          chess while your mother talks to
          him constantly. But he's not
          listening.

<b>                         ALEC
</b>          That's probably why they're happy.
          (he grabs her)
          Leslie, let's stop living together
          . get married and start really
          living together!

<b>                         LESLIE
</b>          Sweetheart, please. Let's not talk
          about it tonight. This party means
          a lot to Kirbo. The floor's filthy
          again.

<b>                         ALEC
</b>          Just pick a date, any date...
          She opens the door as he grabs a nearby can of white
          spray paint, and sprays the floor white again as they
          back out through the door.

<b>                         LESLIE
</b>          There are some things we have to
          work out first.

<b>          104 INT. ALEC'S LOFT - HALLWAY - RIGHT 104
</b>
          Leslie locks the door as Alec sets the spray can down and
          they disappear down the Victorian stairwell.

<b>                         ALEC
</b>          Okay. Okay. Like my mom always
          says, 'Don't get a hard-on'...

<b>                         LESLIE
</b>          And like my mom always says...
          'Marriage makes two people one.
          But you never know which one.'

<b>                         ALEC
</b>          Yeah, and like my pop says, 'The
          way to woman's heart is,to saw
          her in half.'

                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 1.0/1/84 71.

<b>          105 EXT. ALEC AND LESLIE'S LOFT - STREET - NIGHT 105
</b>
          They emerge from the building to find Wendy and Howie in
          Wendy's brand new white Chrysler LeBaron. Alec and Leslie
          make a big deal about it as they get in.

<b>                         LESLIE
</b>          So, does this mean you're
          officially engaged?

<b>                         HOWIE
</b>          Yes.

<b>                         WENDY
</b>          No... It just means I'm officially
          thinking about it.

<b>                         ALEC
</b>          What is this? Howie, didn't you
          always think women were dying to
          get married?

<b>                         HOWIE
</b>          Not to me.

<b>          106 INT. KIM SUNG HO'S BEDROOM - NIGHT 106
</b>
          â¢ Kirbo, in his underwear, is looking through his employer's
          impressive closet. As he moves in front of a mirror, we
          see Kevin watching him from the bedroom.

<b>                         KEVIN
</b>          Does Alec know you're doing this?

<b>                         KIRBO
</b>          I told him I had Kim's permission.
          Should I go for the formal'tux, or
          the velvet smoking jacket, I-do-
          this -all -the -time look?

<b>                         KEVIN
</b>          You've left school, put yourself
          into debt, lied to Alec who got
          you this job in the first place --
          and all for a woman who doesn't
          seem to be interested in you.

<b>                         KIRBO
</b>          When she sees me in this setting
          and realizes my potential, which
          she has always secretly known
          about me, the veil will be stripped
          from her eyes and she will give
          herself to me tonight.

<b>                         (MORE)
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 71A.

<b>                         106 CONTINUED: 106
</b>
<b>                          KIRBO (CONT'D)
</b>
<b>                         Â¢
</b>          Perhaps in that very bed you are
          sitting on. Is the cummerbund
          out of style?

<b>                         KEVIN
</b>          Well, excuse me, buckeroo. But I
          think you're a fool.

<b>                         KI RBO
</b>          Perhaps, but a well-dressed fool.

<b>          107 INT. KIM SUNG HO'S LIVING ROOM - LATER 107
</b>
          SHOTS of party beginning: Alec, Leslie, Wendy and Howie
          arrive. Other guests arrive, including some regulars
          from St. Elmo's, undergrads and old schoolmates. Billy
          enters and seeing some old frat brothers goes nuts.
          Wendy watches him painfully.

<b>                         KEVIN
</b>          holds court for the undergrads.

<b>                         KEVIN
</b>          The best advice I can give you
          undergrads is to fail. Failure is
          a virtue in today's society. Human
          error is a badge of honor. If
          you're the alcoholic child of a
          celebrity, you can blame them and
          earn a year on the best-seller
          list. If you're a celebrity, your
          mistake will earn you a People
          magazine cover. It's post-
          Watergate morality. Take
          responsibility for your mistakes
          and make a quick buck while you're
          at it.

<b>                         ALEC
</b>          Then Sully snuck the pizza
          waitress into the showers...
          They start screaming with laughter.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          72.
</b>
<b>          107, CONTINUED: 107
</b>
<b>                         BILLY
</b>
<b>                         Â¢
</b>          And the fat chick Sandy met on a
          plane. Alec and me pretended to
          be renting agents. She wound up
          taking on the whole house...
          Everyone laughs as Alec looks to Billy seriously.

<b>                         ALEC
</b>          I'm not getting you any more jobs,
          Billy...

<b>                         BILLY
</b>          You know, Al, you're so perfect.
          Such a young god... I'll bet you
          were sproutin' pubic hairs at the
          age of three.
          Jules redoes Wendy's makeup as Leslie watches.

<b>                         WENDY
</b>          Jules, your hands are shaking.

<b>                         JULES
</b>          Thin blood.

<b>                         LESLIE
</b>          How's Forrester?
          She drops the makeup.

<b>                         JULES
</b>          Oh, shit.
          Wendy and Leslie are worried.

<b>                         LESLIE
</b>          How's your stepmother?

<b>                         JULES
</b>          Hanging on. the old witch. At
          least it gives me a chance to
          funeral-shop. Did I tell you I
          found this place in California
          -- 'The Neptune Society.' They'll
          wrap her up and throw her to the
          sharks for five hundred dollars...
          But I have to ship the body all
          the way out there... Excuse me.
          Wendy and Leslie look to each other. Kirbo nervously
          dials the 'phone.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          73.
</b>
<b>                         107 CONTINUED: (2) 107
</b>
<b>                         KIRBO
</b>
<b>                         Â¢
</b>          Ah... by any chance did Dale
          Biberman get called in on
          emergency duty tonight?... Ho?
          He hangs up and tries her home number. It's busy.

<b>          108 EXT. BACK OF HOUSE - NIGHT 108
</b>
          Wendy steps out to get some air. Billy is fooling around
          inside the house, when he notices her through the window.
          Their eyes meet, Wendy quickly looks away and moves down
          the back steps. In a few seconds Billy comes out onto
          the back porch.

<b>                         BILLY
</b>          So how you doin'? Still living
          at home?

<b>                         WENDY
</b>          Yeah, how about you?

<b>                         BILLY
</b>          Felicia hasn't kicked me out yet.

<b>                         WENDY
</b>          You been playin' your sax?

<b>                         BILLY
</b>          I hocked it to pay the phone
          bill... You forgiven me yet for
          bein' such a horse's ass?

<b>                         WENDY
</b>          There's nothing to forgive. In
          fact, I should thank you... It
          helped me grow up a lot and see
          how stupid I was...

<b>                         BILLY
</b>          How stupid you were to be caring
          about a loser like me. I agree
          with you wholeheartedly.
          They both pause for a beat.

<b>                         WENDY
</b>          You have a lot of talent, Billy.

<b>                         BILLY
</b>          So you still a virgin?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 74.

<b>                         108 CONTINUED% 108
</b>
<b>                         9 WENDY
</b>          That's none of your business.
          Wendy quickly goes back into the house. Billy spits at
          the moon.

<b>          1 09 INT. HOUSE - HIGHT 109
</b>
          Kirbo is shouting at an operator on the phone.

<b>                         KIRBO
</b>          Emergency break in!... Operator!
          . That's right... What do you
          mean she won't release the
          phone??? Did you tell her I'm
          giving a party for her???

<b>          1 10 INT. DEN - HIGHT 110
</b>
          Jules is doing coke with Kim's female chauffeur.

<b>          1 11 INT. LIVING ROOM - HIGHT 111
</b>
          Alec, deep in his cups, clinks bottles loudly.

<b>                         ALEC
</b>          Quiet. Big Al has an announcement.
          Everyone more or less quiets down. Kevin TURNS DOWN
          the STEREO, but not without SCRATCHING the record.

<b>                         ALEC
</b>          On June first. Leslie will do me
          the long-awaited honor of becoming
          my bride. You're all invited.
          Everyone rushes to Leslie, who is stunned.

<b>                         LESLIE
</b>          Alec, you're drunk.
          Alec is already accepting congratulations, and passing
          out cigarettes like cigars, as Leslie grabs him.

<b>                         LESLIE
</b>          Alec, may I speak to you please...
          She leads him toward the kitchen as he shouts back:

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         D
</b>           ST. ELMO'S FIRE - Rev. 10/1/84 75.

<b>                          1 11 CONTINUED: 1 11
</b>
<b>                         0 ALEC
</b>          Hey, Howie... how 'bout we make
          it a double wedding?
          They pass Kirbo who dashes out of the kitchen franti-
          cally. He finds Wendy.

<b>                         KI RBO
</b>          Can I use your car?

<b>                         WENDY
</b>          No.

<b>                         KIRBO
</b>          Wendy, please, this is the most
          important thing in my life...

<b>                         WENDY
</b>          It's brand new.

<b>                         KIRBO
</b>          Trust me.

<b>           1 12 INT. KITCHEN - NIGHT 1 12
</b>
          â¢ Alec and Leslie talk as the servants pretend not to
          eavesdrop.

<b>                         LESLIE
</b>          You just want a yearly Christmas
          card with the Newberrys in front
          of the fireplace..

<b>                         ALEC
</b>          You're just afraid to commit.

<b>                         LESLIE
</b>          You don't have to slow down your
          career to help raise them.

<b>                         ALEC
</b>          Jesus Christ, will you just for
          once not make the reason you
          won't marry me your fucking career!

<b>                         LESLIE
</b>          All right then, what will we do
          about your extra-curricular love
          life?

<b>                         ALEC
</b>          What extra-curricular love life?

<b>                         (MORE)
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/1/84 76.

<b>                         112 COHTIHUED: 112
</b>
<b>                          ALEC (COHT'D)
</b>           What did Kevin tell you? 

<b>                          LESLIE 
</b>           Nothing. 

<b>                          ALEC A
</b>          What?
          He dashes back into the

<b>          113 INT. LIVING ROOM 113
</b>
          where people are dancing and cavorting. Quickly finding
          Kevin, Alec punches him with all his might. Kevin goes
          flying. People shout as Kevin lands against the stereo,
          taking several thousands of dollars' worth of porcelain,
          jade and flowers with him. Leslie runs to Kevin's aid.

<b>                         ALEC
</b>          What'd you tell her?... Little
          buddy... little traitor. Huh,
          what'd you tell her?

<b>                         LESLIE
</b>          He told me nothing. It was just
          a hunch... until now.
          Alec filled with guilt and remorse becomes angrier. Alec
          realizes that everybody in the house is watching him. He 
          must save face.

<b>                         ALEC
</b>          Leslie, I want you out of the
          apartment tonight. 
          Alec marches out the door. The place is a wreck.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          77.
</b>
<b>                         113 CONTINUED: 113
</b>
<b>                         BILLY
</b>          Hey. everything's cool. It's not
          a party 'til something gets broken.

<b>          114 EXT. DALE BIBERMAN'S BUILDING - NIGHT ' 114
</b>
          Wendy's car still running. Kirbo buzzes Dale's bell and
          shouts up to her second-story window:

<b>                         KI RBO
</b>          You better get off the phone and
          open this door!
          Suddenly the window above him opens and Dale's roommate
          Judith appears angrily.

<b>                         JUDITH
</b>          Are you the maniac trying to cut
          in on my line?

<b>                         KIRBO
</b>          Where is Dale?

<b>                         JUDITH
</b>          She went skiing.

<b>                         KIRBO
</b>          What???... Where???

<b>                         JUDITH
</b>          Why should I tell you?

<b>                         KIRBO
</b>          Because I'm not responsible for
          what I'll do to you if you don't.

<b>          115 EXT. KEVIN'S NEIGHBORHOOD - NIGHT (LATER) 115
</b>
          Kevin and Leslie walk together silently. Kevin sees they
          are approaching his neighborhood Black Hooker. He
          proudly takes Leslie's arm. He'll show her who's gay.

<b>                         BLACK HOOKER
</b>          .You think you ain't gonna pay?
          You'll pay.

<b>          116 INT. KEVIN AND KIRBO'S APARTMENT - NIGHT 116
</b>
          Usual mess. Kevin enters and quickly starts to pick up.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          78.
</b>
<b>                         116 CONTINUED: 116
</b>
<b>                         LESLIE
</b>          I haven't been here for a long
          time.

<b>                         KEVIN
</b>          It's still the same. Small and
          ugly... but then again it's small
          and ugly. Are you sure we
          shouldn't find you some nice
          lady-like hotel?

<b>                         LESLIE
</b>          No, I'll be fine here for tonight
          0 as long as I'm not putting
          you or Kirbo to any trouble...

<b>                         (NOTICES SOMETHING)
</b>          . What are you doing.with a
          coffin?
          We now see that a long coffee table which has always been
          covered with junk is indeed a black coffin.

<b>                         KEVIN
</b>          That's not how you're supposed
          to ask. You're supposed to be a
          young lady who is very impressed
          with. my mind. Having come from a
          deep Hungarian film and getting
          cozy over a brandy, she says...
          'Is that... a coffin...?' And,
          then I say, 'Yes, it's my coffin'
          . 'Your coffin,' she would gasp,
          her interest in me growing by leaps
          and bounds. Then'I would sit back
          stroking her arm and say 'Yes, I
          figured we're going to spend a long
          time in the ground together so I've
          made friends with it... I've gotten
          drunk on it... rolled joints on it
          . Even made love on it many times!'
          It's a prop for affect.

<b>                         LESLIE
</b>          Does it work?

<b>                         KEVIN
</b>          How would I know?

<b>                         LESLIE
</b>          Well you better not let Jules see
          it. She'll steal it for her
          stepmother. Are these relatives
          of yours?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          79.
</b>
<b>                         116 CONTINUED: (2) 116
</b>           She holds up a beautiful photograph of a very beautiful

<b>                         E
</b>           distinguished family.

<b>                          KEVIN
</b>          No, that's more effect.
          He opens a straw box, obviously filled with his most
          personal possessions and extricates a photograph of a
          very ordinary family.

<b>                         KEVIN
</b>          You remember my family.

<b>                         LESLIE
</b>          So I've wandered into a real
          woman trap here, haven't I?

<b>                         KEVIN
</b>          Except you're the first woman
          I've ever been able to get up
          here. And I've blown all my
          props already... So how about
          some brandy?
          Kevin searches for clean glasses in the debris that
          passes for a kitchen, Leslie finds photos and political
          cartoons in his straw box. Eventually, she finds a
          photo of herself, and then another -- followed by dozens
          more. Kevin has an entire homage to her in his secret
          stash. He comes back with the brandy to find her looking
          at the photos.

<b>                         LESLIE
</b>          Am I part of your props?

<b>                         KEVIN
</b>
<b>                         (PAINFULLY; SWEETLY)
</b>          No... you're the real thing.
          He quickly starts pouring the brandy as Leslie looks at
          Kevin, almost for the first time.

<b>          117 EXT. WEST VIRGINIA FREEWAY SIGN - NIGHT 117
</b>
           It is starting to snow.

<b>          118 INT. WENDY'S CAR - NIGHT 118
</b>
           Kirbo drives frantically. As snowflakes begin to hit
           the windshield, he grabs for the windshield wiper. Not
           knowing how it works, he forces it the wrong way. The
          handle comes off in his hand.

                         

                         

                         

                         
          ST. ELMO'S FIRE - Rev. 10/11/84 83.

<b>          125 INT. KEVIN'S APARTMENT - NIGHT 125
</b>
          MUSIC PLAYS. Much brandy has been had.

<b>                         R
</b>
<b>                         LESLIE
</b>          Alec was the first. There were
          other guys, in high school, boys
          -- but he was the first love of my
          life. I always wondered if Alec
          and I hadn't ended up in the same
          dorm -- well, I guess I would have
          just found someone else. And so
          would he.

<b>                         KEVIN
</b>          Alec had the luck of geography.
          Whatever we say about Alec we'll
          regret tomorrow.

<b>                         LESLIE
</b>          What do you think about our
          relationship. as an outsider?

<b>                         KEVIN
</b>          Oooo -- dangerous question.

<b>                         (BIG SLUG)
</b>          Sometimes I think I just hang
          around with you and Alec 'cause.
          well, since he introduced me to
          you...

<b>                         LESLIE
</b>          Kevin.

<b>                         KEVIN
</b>          And I think the reason I'm not
          interested in other women... is
          'cause I...

<b>                         LESLIE
</b>          (tears of joy)
          Kevin. All this time right in
          front of us. How could I have
          been so blind?

<b>                         KEVIN
</b>          Leslie, we won't even remember
          this tomorrow.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          84.
</b>
<b>                         125 CONTINUED: (2) 125
</b>
<b>                         LESLIE
</b>
<b>                         S
</b>          It is tomorrow.
          There is a mad moment of hesitation and then Kevin and
          Leslie smash into each other's arms.

<b>                         KEVIN
</b>          I love you... I've always loved
          you.
          They kiss madly, passionately. They fall to the floor
          in a frenzy. Leslie pulls Kevin's hair.

<b>                         KEVIN
</b>          Aaaaah. Ouch...
          (as she stops)
          No. I love it. I love it!!!
          Leslie grabs onto the large throw rug as they roll around
          the floor. Somehow as they roll and turn, the rug gets
          wrapped around them. Leslie tears at his shirt, as he
          yanks her sweater off. Kevin fights madly with the back
          of Leslie's bra. He is going berserk trying to find the
          clasp.

<b>                         LESLIE
</b>          No... it's in front.
          With a flick of her hand she undoes her bra and opens up
          the wonders of paradise to her old buddy. They kiss
          madly again as they roll in the rug.

<b>          126. SHOTS OF CLOTHES ALL OVER THE ROOM 126
</b>          Leslie and Kevin fuck on the floor, on the coffin, in
          the shower. All over the apartment.

<b>          127 EXT. SHOW-COVERED PENNSYLVANIA TURNPIKE - NIGHT 127
</b>
          The worst turnpike in the world. Kirbo swerves on the
          slushy lanes. Fortunately he is the only car on the
          road.

<b>          KIRBO (V.0.)
</b>          Dear Mr. Iacoccoa... Recently, in
          a life and death situation, I
          had the bad luck to use one of
          your so-called luxury cars...
          Finally, he sees a large sign reading: "SEVEN SPRINGS."

                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/11/84 80.

<b>          119 EXT. VERY ORDINARY BLUE COLLAR NEIGHBORHOOD - NIGHT 119
</b>
          0 Jules' Jeep (with vinyl doors for the winter) cruises
          down the middle of the cold, quiet street.

<b>          120 INT. JEEP - HIGHT 120
</b>
          Jules, in a fur coat, is driving Billy home. They both
          are moving kind of slow, having had too much of
          everything.

<b>                         JULES
</b>          Which one is yours? I always
          forget.

<b>                         BILLY
</b>          So do I. You wanna go someplace?
          He points to a house. Jules stops the Jeep.

<b>                         JULES
</b>          Do I. I've had a shit day.

<b>                         BILLY
</b>          I've had a shit year.

<b>                         JULES
</b>          Where do you want to go?

<b>                         BILLY
</b>          The bars are all closed. How 'bout
          your place?

<b>                         JULES
</b>          We're going to my place. Good.
          She STARTS up the JEEP.

<b>                         BILLY
</b>          Jules, you've really grown up into
          a fine-looking woman.

<b>                         JULES
</b>          I don't feel very fine-looking.

<b>                         BILLY
</b>          I've been meaning to ask you
          something all night. What do you
          have on under that skirt?

<b>                         JULES
</b>          You should know.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/11/84 81.

<b>                         120 CONTINUED: 120
</b>
<b>                         Â¢ BILLY
</b>           Come on -- Gimme some of those
          beautiful lips.
          Jules needs some attention. The hot couple kiss. He
          immediately goes for the gold.

<b>                         JULES
</b>          Billy... enough!

<b>                         BILLY
</b>          Who says?

<b>                         JULES
</b>          I say.

<b>                         BILLY
</b>          Yeah, well, I bet you really won't
          have so much to say with me in
          your mouth.
          He kisses her wildly as she pushes him away aggressively.

<b>                         JULES
</b>          I'm serious, Billy. No!!!
          He grabs the keys from the ignition as the CAR DIES.

<b>                         JULES
</b>          Billy!
          Holding her off with one hand, he shoves the keys into
          his underwear and then sits back grinning.

<b>                         BILLY
</b>          Come and get 'em.

<b>                         JULES
</b>          You shit!!!
          She attacks him, biting his hands, his neck and his
          chest. Billy shrieks with laughter and pain.

<b>          121 EXT. JEEP - NIGHT 121
</b>
          He tumbles out of the Jeep, onto the street, laughing and
          shouting. Jules tumbles right after him, belting, pinch-
          ing, biting. As she goes to kick him, Billy slides
          between her legs and looks up under her skirt.

<b>                         BILLY
</b>          Ultimate...

<b>                         (ECHO)
</b>          Ultimate!!

<b>                         (CONTINUED)
</b>
<b>                         J
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/11/84 82. s

<b>                         121 COHTIHUED: 121
</b>          â¢ She sits down an his chest, undoes his pants and gets her
          keys. Felt up with all, she heads back to the Jeep.

<b>                         JULES
</b>          I really needed you tonight.

<b>                         BILLY
</b>          Nell, just get back in the Jeep
          and assume the missionary
          position.

<b>                         JULES
</b>          You break my heart. You break
          everybody's heart.
          She drives off in the Jeep. Billy fumbles with his pants
          and then turns toward his house. Felicia, holding their
          baby, stands watching from the porch. Obviously having
          seen most of this, she silently goes back into the house,.
          locks the door and turns out the light. Alone, drunk and
          bewildered, Billy starts moving away from the house real-
          izing he has no place to go.

<b>          122 INTO WEHDY'S CAR - HIGHT 122
</b>
<b>                         40
</b>          Kirbo is still driving frantically, but, without the
          windshield wipers, snow is building rapidly on the wind-
          shield.

<b>          123 EXT. CAR - MIGHT 123
</b>
          Kirbo, with one hand on the wheel, hangs out of the car
          using his left hand to wipe off the snow. It's cold.

<b>                         KIRBO
</b>          Shit... Goddammitt...

<b>          124 IHT. CAR - MIGHT 124
</b>          He searches the dashboard frantically.

<b>                         KIRBO
</b>          Heater. Where's the defroster???
          He rams and jams every button and knob in sight as he
          weaves dangerously on the freeway. Eventually one of the
          levers comes off in his hand.

<b>                         KIRBO
</b>          Dear Mr. Iacoccoa... I recently
          had the misfortune of using one
          of your, so-called, new luxury
          cars in an emergency situation.
          So much for American enterprise!

                         

                         

                         

                         

<b>          85.
</b>
<b>          128 EXT. SEVEN SPRINGS SKI RESORT - HIGHT (LATER) 128
</b>
          â¢ Kirbo tries to stop the car in front of a cabin, but
          it slides further than he had planned and almost hits
          it. Getting out and trudging through the snow, in his
          party clothes. he bangs on the door.

<b>          MAX (V.O.)
</b>          Who is it?

<b>                          KI RBO
</b>          Is Dale Biberman in there?

<b>          MAX (V.0.)
</b>          Who wants to know?

<b>                         KIRBO
</b>          Kirby Kreager! And who the hell
          are you?
          The door swings open and there stands GUY, a handsome
          thirty-year-old wrapped in a blanket. Dale comes from
          the bedroom, fastening a man's robe and staring at Kirbo
          in disbelief.

<b>                         DALE
</b>          Kirby? What are you doing here?
          His entire world has collapsed. He can't swear, shout
          or cry -- he can only dash toward the car frantically.
          Falling in the snow once or twice, he eventually jumps
          into the car and tries to peel out, but it just spins
          in the snow. Meanwhile Guy has put on heavy boots and
          comes running out to the car where Kirbo stands on the
          gas to no avail.

<b>                         DALE
</b>          Kirby, stop. Come inside.
          He ignores her maniacally as he keeps desperately trying
          to get out of there.

<b>                         GUY
</b>          You've got no skid chains or snow
          tires. You've got no traction.
          Kirbo ignores them.

<b>                         DALE
</b>          Kirby, please!

<b>                         GUY
</b>          You-'re not gonna get out of here
          tonight. You better come back
          inside.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          86.
</b>
<b>          1.28 CONTINUED: 128
</b>
<b>                         KIRBO
</b>          I'll stay in the car.

<b>                         GUY
</b>          (yelling at Dale)
          He wants to stay in the car.

<b>                         DALE
</b>          He'll freeze!!!
          She begins pulling on her boots as Guy tries to reason
          with Kirby.

<b>                         GUY
</b>          People have died out here.

<b>                         KIRBO
</b>          Leave me alone. I'm not your
          responsibility!
          Dale has joined them.

<b>                         DALE
</b>          By driving up here, you've made
          us responsible for you. Now
          come inside.

<b>          129 INT. CABIN - NIGHT (MINUTES LATER) 129
</b>
          Kirbo sits in front of the fire wrapped in a blanket.
          Guy goes back into the bedroom as Dale finishes making
          a bed for him on the sofa.

<b>                         DALE
</b>          Your clothes should be dry in a
          few hours.

<b>                         KIRBO
</b>          He's a doctor, isn't he?

<b>                         DALE
</b>          Here are some pajamas.

<b>                         KIRBO
</b>          You expect me to wear his pajamas?

<b>                         DALE
</b>          We'll talk in the morning.
          She joins Guy, in the bedroom and closes the door. Kirbo
          is left with the pajamas and his desperate anguish.

                         

                         

                         

                         

<b>          87.
</b>
<b>          130 INT. KEVIN'S BEDROOM - NEAR DAWN 130
</b>
          The room is destroyed as Leslie and Kevin lie on the
          floor blissfully in each other's arms. They hear the
          front DOOR OPEN.

<b>                         KEVIN
</b>          Kirbo?

<b>          ALEC (O.S.)
</b>          No, it's Alec.
          Kevin and Leslie look at each other frantically.

<b>                         KEVIN
</b>
<b>                         (WHISPERING)
</b>          I gave him a key.

<b>          131 INT. LIVING ROOM 131
</b>
          Alec, miserable, hungover, having walked all night in the
          cold, shuffles around the living room.

<b>                         ALEC
</b>          I'm only gonna ask you this once.
          Did you tell Leslie about my
          screwing around?

<b>          132 INT. BEDROOM 132
</b>
          Kevin looks to Leslie as they wonder how to handle this.

<b>                         KEVIN
</b>          No.

<b>          133 INT. LIVING ROOM 133
</b>
          Alec has found a beer.

<b>                         ALEC
</b>          I believe you. I want you to
          know that I believe you and, Kev,
          I'm sorry I hit you. Shit, how'd
          she find out? How long has she
          known? I've been thinking all
          night about school... How sex
          was always a barometer,'especially,
          at the fraternity. The more women
          you got, the more of a man you
          were... or thought you were... I
          thought I was.

<b>                         (MORE)
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          88.
</b>
<b>                         133 CONTINUED: 133
</b>
<b>                         9 ALEC (CONT'D)
</b>          Shit, my whole life at school
          revolved around sex... even after
          I fell in love with Leslie. I
          always had to be doing better than
          the next guy... I had my rep. Big
          Al... It all started as a game...
          Kevin gingerly comes from the bedroom in a robe.

<b>                         KEVIN
</b>          Ah... I kind of have company.

<b>                         ALEC
</b>          Oh Jesus... I'm sorry... I never
          thought. Who is it?

<b>                         KEVIN
</b>          Alec...

<b>                         ALEC
</b>          That fat chick from the party?
          You and the fat chick...

<b>                         KEVIN
</b>          Alec, I'll call you later.
          Alec capitulates and leaves the apartment. Kevin relaxes
          just as Alec pops back in.

<b>                         ALEC
</b>          Just tell me if it's the fat
          chick...
          The bedroom door opens and Leslie appears wrapped in a
          sheet.

<b>                         ALEC
</b>          No. No. No... wait a minute...
          I don't believe it. This could
          not be real. There is no way
          this is happening.

<b>                         LESLIE
</b>          It happened, Alec.

<b>                         ALEC
</b>          Not Kevin. Little fuckin' Kevin.
          My little buddy. No way, Jose.

<b>                         LESLIE
</b>          He didn't do it alone, Alec.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          89.
</b>
<b>                         133 CONTINUED: (2) 133
</b>           Alec moves toward Kevin with murder as his intent. Kevin

<b>                         Â¢
</b>           takes a stand.

<b>                          KEVIN
</b>          I know that if we fight, you're
          going to win. But I'm warning
          you, I will use every bone in my
          body, every lamp in this room to
          make sure I inflict as much damage
          as possible on you before you
          bring me down.
          Kevin prepares for the fight.

<b>                         ALEC
</b>          You're both pathetic. I don't
          want to see either one of you
          again, ever. You understand me?
          You see me on the street, you see
          me at St. Elmo's, just pretend you
          don't know me.
          On his exit, Alec takes a lamp and throws it against a
          Woody Allen photograph on the wall. Kevin and Leslie
          look at each other, uncertain of what they have done.

<b>                         Â¢
</b>
<b>          134 EXT. GEORGETOWN - SUN 134
</b>
          rises.

<b>          135 EXT. KIM SUNG HO'S TOWNHOUSE 135
</b>
          A taxi delivers Mr. Ho to his front door.

<b>          136 INT. KIM HO'S HOUSE - DAY 136
</b>
          Mr. Ho enters to find a big mess from the party and Wendy
          and Howie asleep in the living room.

<b>          KIM SUNG HO
</b>          Where's'Kirby Kreager?

<b>                         WENDY
</b>          He took my new car.

<b>          137 EXT. SKI LODGE - MORNING 137
</b>
          â¢ Guy is heating up the block of Wendy's car with a couple
          of hair dryers on long extension cords. He shouts toward
          the open door of the cabin.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          90.
</b>
<b>                         137 CONTINUED: 137
</b>
<b>                         0 GUY
</b>          It's thawing... and the roads
          look pretty clear.

<b>          138 INT. CABIN - DAY 138
</b>
          Dale is doing dishes -- Kirbo hasn't touched his break-
          fast. He looks suicidal and possessed.

<b>                         DALE
</b>          I'm sorry. I had no idea it had
          gone this far.

<b>                         KIRBO
</b>          I gave up school... and my job
          at St. Elmo's... and you never
          even knew about it. It's kind
          of funny, isn't it?
          Dale sits down next to him.

<b>                         DALE
</b>          The reason I didn't know... is
          because all of this happened

<b>                         R
</b>          between you and you. I could
          never participate because I
          never knew what was expected of
          me. Love isn't like this, Kirby.
          It's mutual and reciprocal.
          Guy yells to them from outside.

<b>          GUY (O.S.)
</b>          Okay, she's starting... You better
          get out of here before it starts
          snowing again.

<b>          139 EXT. CABIN - MINUTES LATER 139
</b>
          Guy sits in Wendy's CAR making everythng HUM. Dale
          escorts Kirbo.

<b>                         DALE
</b>          Drive carefully.
          Guy gets out of the car.

<b>                         GUY
</b>          Wait a minute... I've got to get
          a picture of you old college
          chums...

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          91.
</b>
<b>                         139 CONTINUED: 139
</b>          0 He goes into the cabin. Dale sees Kixbo's pain.

<b>                         DALE
</b>          I don't really know you well...
          but you seem like a fine person
          .. and I want you to know that
          I'm flattered by all of this and
          deep down, I'm sure for a long
          time, I'll wonder if maybe
          this somehow isn't my loss.
          She kisses him gently on the cheek. He is about to sink
          into more pain when suddenly he grabs Dale and kisses her
          with all the passion he has for her. When he releases
          her she is dazed. Something has definitely happened.

<b>                         GUY
</b>          Smile.
          They turn to face Guy and his Polaroid camera. After he
          takes their photo, he hands it to Kirbo who hands it to
          Dale'and quickly gets into the car.

<b>                         GUY
</b>          Aren't you going to wait for it
          to develop?
          Kirbo drives off quickly.

<b>                         REARVIEW MIRROR
</b>          Dale gets smaller and smaller.

<b>          IK DALE'S HAND
</b>          The Polaroid picture becomes clear of Kirbo and Dale.

<b>                         MIRROR
</b>          She is smaller and smaller.

<b>                         KIRBO
</b>          A kind of win fills his senses.

<b>          1 40 INT. WENDY'S CAR - HIS POV - DAY 140
</b>
          The mirror, the Polaroid, the snow, the sun, they fuse
          together in a brilliant, incandescent white light that
          FILLS the SCREEN. In this glaw we rapidly --

<b>                         DISSOLVE TO:
</b>
<b>                         Â¢
</b>
                         

                         

                         

                         

<b>          93.
</b>
<b>                         143 CONTINUED: 143
</b>
<b>          â¢ MR. BEAMISH
</b>          Love comes later. Marriage,
          family, the family business --
          children carrying on the parents'
          traditions... that's what...

<b>                         WEHDY
</b>          Dad, I have my own work, and I
          want to get my own apartment.

<b>          MR. BEAMISH
</b>          All right, keep your job 'til you
          get pregnant. Howie is a fine
          boy. You don't need your own
          apartment.

<b>                         WEHDY
</b>          I don't love Howie, Dad. I love
          Billy!

<b>          MR. BEAMISH
</b>          Billy on the roof? Let me tell
          you something, he's a drunk and
          a lowlife. How could you love
          such a person?

<b>                         WEHDY
</b>          He's talented and confused and
          he's not a lowlife. And I love
          him because he's alive! He's the
          most alive person I've ever known.

<b>          MR. BEAMISH
</b>          When he looks at you, all he sees
          is U money. He doesn't give a
          damn about you...
          Wendy has started to cry.

<b>          MR. BEAMISH
</b>          I'm warning you, young lady. You
          marry him -- no 'Card-A-Terias' !
          Wendy is overcome with grief.

<b>                         WEHDY
</b>          I hate you, Dad. I really hate
          you now.
          She rushes from the counter grabbing her coat.

<b>                         40
</b>
<b>          144 EXT. STREET - DAY 144
</b>
           Wendy rushes into the street crying.

<b>                          (CONTINUED)
</b>
                         

                         

                         

                         

<b>          92.
</b>
<b>          141 EXT. CAPITOL HILL, GEORGETOWN, ETC. - DAY 141
</b>

<b>                         (LATE NOVEMBER)
</b>
<b>                         Â¢
</b>          SHOTS of lunchtime in D.C.: Clerks, pages, government
          employees of all description leave work and venture
          forth for the lunch ritual.

<b>          142 EXT. UNDERPRIVILEGED NEIGHBORHOOD - DAY 142
</b>
          Wendy leaves the Welfare office and hurries down the
          street. She comes to the window of a modest coffee shop
          and looks inside. Her father is waiting for her.

<b>          143 INT. COFFEE SHOP - DAY (MINUTES LATER) 143
</b>
          Wendy and her father sit at a counter FACING the CAMERA.
          They finish ordering as the waitress leaves them.

<b>          MR. BEAMISH
</b>          Some place this is. Your car
          fixed?

<b>                         WENDY
</b>          I got a personal letter from Lee
          lacocco... they fixed everything
          for nothing.

<b>          MR. BEAMISH
</b>          Good... so you like the car?

<b>                         WENDY
</b>          It's a great car, Dad, but I can't
          keep it. I don't feel right about
          driving a car like that and
          working with people who can't
          afford to eat.
          She finds the keys and hands them to him.

<b>          MR. BEAMISH
</b>          Keep the car... you and Howie are
          going to need it.

<b>                         WENDY
</b>          I'm giving Howie back, too.

<b>          MR. BEAMISH
</b>          Wendy, listen to me. You think I
          wanted to marry your mother? I
          was pressured into it. She was
          pressured into it.

<b>                         WENDY
</b>          I don't love Howie.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          94.
</b>
<b>                         144 CONTINUED: 144
</b>          Eventually, Mr. Beamish comes running after her.

<b>          MR. BEAMISH
</b>          Wendy...
          Wendy keeps running. A BAG LADY from the soup kitchen,
          crosses her path.

<b>                         BAG LADY
</b>          Hi, Wendy.

<b>                         A
</b>          Wendy ignores her as she keeps running. Mr. Beamish
          suddenly gets a cramp in his leg.

<b>          MR. BEAMISH
</b>          Wendy... Wait. Oh, my God, my
          leg!
          Wendy continues running and crying as YOUNG STREET TOUGHS
          run past her.

<b>                         STREET TOUGH #1
</b>          Don't worry, Wendy... we got the
          old pervert covered.
          Wendy keeps running, but then looks back. The Street
          Toughs are giving her father a hard time as he puffs,
          wheezes and deals with the pain in his chest and his
          leg. Wendy can't stand it. She shouts at them.

<b>                         WEND Y
</b>          That's my father. You leave him
          alone... that's my father!
          She runs over to them and shoos the Toughs away. Still
          crying, she guides her father toward a stoop.

<b>                         WENDY
</b>          Sit down, Daddy... sit down.
          They sit down, both still very emotional. After a
          moment, Mr. Beamish takes a torn greeting card from
          his pocket. It has a very sexy woman on it.

<b>          MR. BEAMISH
</b>          See this... A feminist came into
          the Pennsylvania Avenue store this
          morning -- called me a 'sexist'
          and a 'pig' and tore the card up.
          I said 'Listen, we got naked men
          on cards, too, with their pee-pees
          hanging out... It's fair! We got
          men and we got women!'

<b>                         (MORE)
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          95.
</b>
<b>                         144 CONTINUED: (2) 144
</b>
<b>           MR. BEAMISH (CONT'D)
</b>
<b>                         (CRYING)
</b>          And she spit in my face.

<b>                         WENDY
</b>          Daddy, I'm sorry. I'm sorry I
          said I hated you...

<b>          MR. BEAMISH
</b>          That's okay. I'm sorry about
          Howie. You don't have to marry
          anybody you don't want to marry
          and if you want to move out, well,
          move out... But listen...
          He starts to get up with her help.

<b>          MR. BEAMISH
</b>          .. Don't judge your mother and
          me so hard... and the way we
          raised you and your sisters.
          There's no training to be a parent,
          you know. You're learning every
          day on the job.
          They start back toward the restaurant.

<b>                         WENDY
</b>          There's no training to be me
          either, Dad. I'm learning on
          the job, too.
          He hugs her as they walk back into the restaurant.

<b>          145 INT. ALEC AND LESLIE'S LOFT - AFTERNOON 145
</b>
          Leslie enters carrying several empty cardboard boxes.
          She shakes off her many emotions and tries to efficiently
          gather her things. Beginning with record albums, she
          accidentally knocks an ashtray to the floor.

<b>                         LESLIE
</b>          Shit.
          As she picks up the broken pieces, the door opens from
          the bedroom. Alec appears, looking horrible, in his
          bathrobe.

<b>                         LESLIE
</b>          I especially took off work because
          I thought you wouldn't be here.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          96.
</b>
<b>                         145 CONTINUED: 145
</b>
<b>                         ALEC
</b>          I'm sick.

<b>                         LESLIE
</b>          What's wrong?

<b>                         ALEC
</b>          Just sickness...
          (noticing an album)
          .. Hey, you can't take The
          Pretenders' first album. That's
          mine.

<b>                         LESLIE
</b>          I bought it.

<b>                         ALEC
</b>          You did not!!!

<b>                         (IN CONCESSION)
</b>          You can have all the Billy Joels.
          Except for 'The Stranger.'

<b>                         LESLIE
</b>          I'm taking 'Thriller' and Mahler's
          Ninth.

<b>                         ALEC
</b>          Kevin is so fond of Mahler.

<b>                         LESLIE
</b>          I've moved in with Jules.

<b>                         ALEC
</b>          How nice. Roomies again...

<b>                         (GRABBING ALBUMS)
</b>          . No Springsteen is leaving this
          house. But you can have all the
          w Carly Simons.

<b>                         LESLIE
</b>          You got those for me on Valentine's
          Day. When there were still
          valentines around here.

<b>                         ALEC
</b>          You ran out on this relationship.
          You take the consequences.

<b>                         LESLIE
</b>          I didn't run out on anything. You
          ran out.

<b>                         ALEC
</b>          You fucked Kevin!

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          97.
</b>
<b>                         145 CONTINUED: (2) 145
</b>
<b>                         LESLIE
</b>
<b>                         Â¢
</b>          You fucked manyl

<b>                         ALEC
</b>          Nameless, faceless manyl

<b>                         LESLIE
</b>
<b>                         (SARCASTICALLY)
</b>          Oh, I feel much better now.
          Alec angrily grabs another album from her.

<b>                         ALEC
</b>          You're not taking The Police so
          just forget it!

<b>          LESLIE.
</b>          I didn't 'fuck' Kevin. I was
          confused and angry... and I care
          for him deeply.

<b>                         ALEC
</b>          No more albums! That's it... Get
          your clothes and give me the keys.
          Leslie reluctantly hands him the keys and moves toward
          the bedroom closet slowly.

<b>                         LESLIE
</b>          I don't believe this is happening
          to us.
          Alec sits down angrily on the new sofa, clutching his
          albums.

<b>                         ALEC
</b>          Wasted love. I wish I could get
          it all back.

<b>                         CUT TO:
</b>
<b>          146 EXT. GEORGETOWN STREETS - CLOSEUP - LESLIE - LATER 146
</b>

<b>                         AFTERNOON
</b>          Dealing with her emotions, she drives Jules' Jeep through
          the Georgetown streets. The back of the Jeep is filled
          with her clothes, etc.

<b>          147 EXT. JULES' BUILDING 147
</b>
          Kevin is waiting on the doorstep with flowers, champagne,
          and a stack of newspapers.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          98.
</b>
<b>                         147 CONTINUED: 147
</b>          As Leslie pulls up, he greets her by pressing a newspaper
          against the windshield. After a moment, she focuses on
          a small article entitled: "THE MEANING OF LIFE"; OBSER-

<b>          VATIONS BY KEVIN DOLENZ.
</b>
<b>                         LESLIE
</b>          You did it!!!

<b>          148 INT. JULES' APARTMENT - DUSK 148
</b>
          Leslie's stuff is still in boxes. Kevin fixes a fire
          as Leslie re-reads his article, sipping champagne.

<b>                         LESLIE
</b>          God, this is so exciting. Your
          first byline...

<b>                         KEVIN
</b>          I'm sure I'll be back doing obits
          tomorrow.

<b>                         LESLIE
</b>          Oh, no. You're going to really
          attract some attention with this...

<b>                         (LAUGHING)
</b>          Did somebody actually say 'I
          believe in the golden rule,
          whoever's got the gold makes the
          rule'?

<b>                         KEVIN
</b>          Sort of. Leslie, I couldn't write
          anything of any meaning until you.
          He kisses her warmly.

<b>                         LESLIE
</b>          Kevin.
          He aggressively gets on top of her, and feeling the
          excitement and the champagne kisses her madly. The
          front door opens and Jules appears breathless.

<b>                         JULES
</b>          Don't you two ever use a bed?
          Leaving the door wide open, she races through the apart-
          ment. Kevin continues to madly attack Leslie when Ron,
          carrying packages, arrives at his door across the hall.
          He and Kevin exchange a look as-Ron goes inside.

<b>                         LESLIE
</b>          Let me show Jules your piece.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          99.
</b>
<b>                         148 CONTINUED: 148
</b>          She grabs a paper and starts for the hall. She stops
          for a moment as she sees Jules, using her long pinky
          nail, deftly take a couple of pops of coke. Unaware
          that Leslie is watching, Jules starts back down the hall.

<b>                         LESLIE
</b>          Kevin has his first byline.
          Jules is so stoked she can't focus.

<b>                         JULES
</b>          Wonderful. Brilliant... Ha ha...
          'Tract Housing in Maryland'...

<b>                         LESLIE
</b>          No, it's the other piece... Jules...

<b>                         JULES
</b>          Got to fly. Forrester, the
          magnificent animal, is waiting.
          Did the hospital call? Is my
          stepmonster dead yet?

<b>                         LESLIE
</b>          Jules, I'd like to meet him.

<b>                         JULES
</b>          I'll have him wave up to you.
          She is out the door in a flash as Leslie moves toward
          - the window.

<b>                         LESLIE
</b>          Doesn't she seem out of control
          to you?

<b>                         KEVIN
</b>          Since the day I met her.
          They look out of the window.

<b>          149 EXT. STREET - THEIR POV 149
</b>
          Down below Jules jumps into a small dark Mercedes, helped
          by a slightly nefarious-looking hunk. They wave to
          Leslie.

<b>          150 INT'. APARTMENT 150
</b>
<b>                          KEVIN
</b>           Who's that?

<b>                          (CONTINUED)
</b>
                         

                         

                         

                         

<b>          100.
</b>
<b>                         150 CONTINUED: 150
</b>
<b>                         LESLIE
</b>          Jules' boss and lover...
          International banking seems to
          be getting sexier.

<b>                         KEVIN
</b>          Speaking of which...
          As she closes the window, Kevin attacks her again.

<b>                         LESLIE
</b>          Kevin, I've been thinking.

<b>                         KEVIN
</b>          Me, too, and I don't like to count
          my cornish hens before they hatch,
          but I do think I'll be getting a
          raise. And I was thinking we
          could get a place together.

<b>                         LESLIE
</b>          Kevin.

<b>                         KEVIN
</b>          I know it's fast. But I also know
          I love you.

<b>                         LESLIE
</b>          I don't think you do love me.

<b>                         KEVIN
</b>          What?

<b>                         LESLIE
</b>          I mean we love each other as
          friends. But... Kevin, you were
          sitting on all these incredible
          feelings... all tied up in that
          box with my pictures in desperate
          need of a love affair. And me...
          well, I needed to break the Alec
          habit... and it's only natural I
          would turn to you in my confusion.
          But this doesn't feel real. It
          feels manufactured.

<b>                         KEVIN
</b>          It's me, isn't it?

<b>                         LESLIE
</b>          Are you kidding? You're a little
          â¢ miracle.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          101.
</b>
<b>                         150 CONTINUED: (2) 150
</b>
<b>                         KEVIN
</b>          But not a big miracle like Alec.

<b>                         LESLIE
</b>          Oh, Alec was the big miracle for
          a long time... But I think I'd
          like to try life without any
          miracles for a while.
          Kevin realizes how serious Leslie is.

<b>                         KEVIN
</b>          Well, having your first byline,
          and losing the love of your life
          in the same night has a certain
          'The Gods must be laughing at
          me' feeling.

<b>                         LESLIE
</b>          I'm not the love of your life.

<b>                         KEVIN
</b>          Who says?

<b>                         LESLIE
</b>          I say.

<b>                         KEVIN
</b>          But you're a girl, what do you
          know?
          Leslie embraces him with deep friendship.

<b>          151 INT. MOVIE THEATER 151
</b>
          Kevin and Kirbo are watching the and of ANNIE HALL.
          On screen, Woody says goodbye to Diane Keaton.

<b>          WOODY CV.O.)
</b>          I realized what a terrific person
          she was and how much fun it was
          knowing her and I thought of that
          old joke, you know, this guy goes
          to a psychiatrist and says, 'Doc,
          uh, my brother's crazy. He thinks
          he's a chicken,' and the doctor
          says, 'Well, why don't you turn
          14 him in?' And the guy says, 'I
          would, but I need the eggs.' Well,
          I guess that's pretty much how I
          feel about relationships.

<b>                         (MORE)
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          102.
</b>
<b>                         151 CONTINUED: 151
</b>
<b>           WOODY (V.O.)
</b>
<b>                         R
</b>          You know they're totally irrational
          and crazy and absurd and... but .1
          guess we keep going through it
          because, uh, most of us need the
          eggs.

<b>          152 EXT. MOVIE THEATER - NIGHT 152
</b>
          Kevin and Kirbo walk away from the theater advertising
          the "WOODY ALLEN FESTIVAL."

<b>                         KI RBO
</b>          I don't think I need the eggs
          anymore. Dale Biberman gave me
          enough cholesterol for a lifetime.
          You were right all along... Love
          stinks.

<b>                         KEVIN
</b>          I've had second thoughts. Intimacy
          is dangerous and shattering... but
          ultimately necessary.

<b>                         KIRBO
</b>          But, Kevin, I used to wait outside
          her house,. ring the bell and then
          when she'd come to the window I'd
          run away. Just to get a glimpse
          of her.

<b>                         KEVIN
</b>          The night Leslie gave me the kiss-
          off, I fucked a black hooker three
          times.

<b>                         KIRBO
</b>          Not Naomi, from our corner?

<b>                         KEVIN
</b>          Naomi from our corner.

<b>                         KIRBO
</b>          I think you better go to the
          doctor and get some shots.

<b>                         KEVIN
</b>          I used a rubber. She put it on
          me with her mouth.

<b>                         Â¢
</b>
<b>          153 EXT. ST. ELMO'S - NIGHT 153
</b>
          They stop as they reach St. Elmo's. Looking inside, they
          see Alec at his usual table.

                         

                         

                         

                         

<b>          103.
</b>
<b>          154 INT. ST. ELMO'S - THEIR POV 154
</b>
          Alec is playing his old quarter game, but with Tommy
          Bancroft and his new political friends.

<b>          155 EXT. ST. ELMO'S - NIGHT 155
</b>

<b>                         KI RBO
</b>          I always thought we'd be friends
          forever.

<b>                         KEVIN
</b>          Forever got a lot shorter suddenly.
          They move on, passing a sign on the door: "WAITER
          WARTED." Kevin points to it.

<b>                         KIRBO
</b>          No, as soon as I get back in
          school, I'm going to work part-
          time for a law firm. Did you know
          there are as many people in law
          school as there are practicing
          lawyers?

<b>                         KEVIN
</b>          Sounds familiar.

<b>                         KIRBO
</b>          How'd she put the rubber on with
          her mouth?

<b>          156 INT. LARGE GLAMOROUS INTERNATIONAL BANKING OFFICES - DAY 156
</b>
          A well-dressed female executive secretary looks disturbed
          as she enters a formidable office. She returns with a
          distinguished GENTLEMAN in a grey suit. He approaches
          Leslie who is waiting anxiously.

<b>                         GENTLEMAN
</b>          Yes, may I help you?

<b>                         LESLIE
</b>          I want to see Forrester Davidson
          Jr.

<b>                         GENTLEMAN
</b>          I am Forrester Davidson Jr.
          Leslie is shocked and even more confused.

<b>                         LESLIE
</b>          Well, there must be some mistake.
          I've come to see Julianna van
          Patten and they told me she
          doesn't work here anymore.

                         

                         

                         

                         

<b>          104.
</b>
<b>          157 INT. SENATOR HODGES' HEADQUARTERS - AFTERNOON (NOVEMBER) 157
</b>
          Busy. Active. Alec is on a phone and talking to co-
          workers at the same time. He looks up to see Leslie,
          very shaken, waiting across the room. He is immediately
          angered, but eventually gets off the phone and joins
          her.

<b>                         ALEC
</b>          Did you forget one of your albums?

<b>                         LESLIE
</b>          I'm sorry to bother you here.
          It's Jules. After she left for
          work this morning, the finance
          company came and took away all
          her furniture, her Jeep, everything
          they could get their hands on...
          I couldn't reach her so I finally
          went over to her office. Alec --
          she was fired three weeks ago!
          All this time, she's been
          pretending to go to work every day
          , and pretending to be still
          having this affair with her boss.
          And she's been doing a lot of coke
          .. Well, anyway, I confronted her
          at the apartment, and at first she
          denied everything, but then she
          went crazy -- and now she's locked
          herself in the apartment and she
          won't let me back in... I'm really
          worried about her.
          Alec hesitates angrily.

<b>                         LESLIE
</b>          Alec, please. I need your help.

<b>          158 INT. JULES' APARTMENT BUILDING - HALLWAY - HALF-HOUR 158
</b>

<b>                         LATER
</b>          Alec knocks on the door with Leslie.

<b>                         ALEC
</b>          Jules, open the door.
          Leslie puts her key in the door.

<b>          159 INT. JULES' APARTMENT - CLOSE ON DOOR - DAY (LATE) 159
</b>
           Dead locks and a heavy bolt prevent it from opening.

<b>           LESLIE (0.S.)
</b>           She's in there.

<b>                          (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         159 CONTINUED:
</b>
<b>          ALEC (O.S.)
</b>          â¢ Jules, come on. Just open the
          door.

<b>          160 INT. JULES' APARTMENT 160
</b>
          The main room is empty and dark, except for Jules, who
          sits on the floor dressed only in a thin T-shirt and
          bikini pants. Thin, tired, no makeup, this is a differ-
          ent Jules than we have seen before. Freezing winds shoot
          through the open window.

<b>          161 INT. APARTMENT HALLWAY 161
</b>

<b>                         ALEC
</b>          Jules, remember my junior year
          when I went cold turkey on
          cigarettes? You sat up with me
          all night in the commons room
          feeding me emergency carrots...?
          No answer.

<b>                         LESLIE
</b>          Jules, if you don't let us in, we're
          going to have to call the police.
          There is a beat and then Jules speaks from the depths of
          hell.

<b>          JULES (O.S.)
</b>          I'll throw myself out the window
          before they get through the door.

<b>                         LESLIE
</b>          Not my greatest ploy.

<b>                         ALEC
</b>          Jules, remember the time I flunked
          art history and I was trying to
          drink myself to death...
          Kevin and Kirbo come dashing up the stairs breathlessly.

<b>                         KIRBO
</b>          How is she?

<b>                         LESLIE
</b>          She just threatened to throw
          herself out the window.
          Kevin and Alec have a moment of awkwardness.

<b>                         LESLIE
</b>          The fire escape!

                         

                         

                         

                         

<b>          106.
</b>
<b>          162 EXT. JULES' BUILDING -.LATE AFTERNOON 162
</b>
          Alec, Kevin and Kirbo climb up the fire escape. They
          arrive at the second floor to find burglar proof grill-
          work locked in place, but the windows are still wide open.

<b>          163 INT. APARTMENT - THEIR POV 163
</b>
          Through the iron bars they see Jules.

<b>          164 EXT. FIRE ESCAPE 164
</b>

<b>                          ALEC
</b>           Jules, what are you doing? You'll
           freeze...
           He stops.

<b>                          KEVI N
</b>           To death. Exactly!
           The three young men start tearing at the bars frantically.

<b>          165 INT. HALLWAY 165
</b>
          Leslie pounds on the door.

<b>                         LESLIE
</b>          Jules, you're really scaring me
          now.

<b>          166 EXT. JULES' FIRE ESCAPE - LATE AFTERNOON 166
</b>
          Alec, Kevin and Kirbo cannot budge the bars.

<b>                         KEVIN
</b>          The whole country is.falling apart,
          but these five bars are made
          perfectly.

<b>                         ALEC
</b>          We need something that cuts
          through metal.

<b>                         KEVIN
</b>          Or an experienced thief.

<b>                         KIRBO
</b>          I'll find Billy.
          Kirbo dashes down the fire escape.

<b>                         KEVIN
</b>          I was kidding.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         166 CONTINUED:
</b>
<b>                         KIRBO
</b>          Billy's working at the big Chevron
          station on Michigan. He must have
          a hacksaw or something...
          Kirbo takes off on his bike as Alec looks at Kevin.

<b>                         ALEC
</b>          Billy is working in a gas
          station???

<b>                         KEVIN
</b>          He needed the money.
          Suddenly, Alec and Kevin become aware that they are
          alone.

<b>                         ALEC
</b>          I saw your article.

<b>                         KEVIN
</b>          Yeah, well, yesterday's editorial
          achievement is today's garbage
          wrapper, right...?
          Kevin tries to laugh charmingly. Alec tries to laugh
          along with him, but suddenly rage returns.

<b>                         ALEC
</b>          You little shit!!!
          He grabs Kevin. Kevin tries to fight back, but Alec is
          so overpowering he pushes Kevin up to the railing of the
          fire escape, and then pushes him over. Kevin hangs
          upside down as Alec holds him by his legs. Dozens of
          scraps of paper fall from his pocket.
          Leaning out the apartment hallway window, Leslie sees
          them.

<b>                         LESLIE
</b>          Alec, no!!!

<b>          167 INT. JULES' HALLWAY - LATE AFTERNOON 167
</b>
          Leslie runs screaming through the hall and down the
          stairs, passing Ron Dellassandro who is just coming home
          from work.

<b>                         RON
</b>          What's happening???

                         

                         

                         

                         

<b>          108.
</b>
<b>          168 EXT. JULES' FIRE ESCAPE - LATE AFTERNOON 168
</b>
           Kevin, still hanging upside down, tries to hang on to
           Alec. Papers continue to fly.

<b>                          KEVIN
</b>           My notes!

<b>                          ALEC
</b>          You won't need any more notes on
          the meaning of life.

<b>                         KEVIN
</b>          (upside-down,

<b>                         STRAINING)
</b>          I'm kinda betting on you not doing
          it, Al... think of your political
          career.
          Leslie runs into the alley underneath them.

<b>                         LESLIE
</b>          Alec, stop Iit!
          She frantically starts climbing the fire escape.

<b>                         LESLIE
</b>          Alec!!!

<b>          BACK TO ALEC AND KEVIN
</b>
<b>                         ALEC
</b>          After all I've done for you.

<b>                         KEVIN
</b>          I feel I've done a lot for you,
          too, Al... so pull me up and we'll
          call it even.

<b>                         ALEC
</b>          What you did for me was take the
          woman I was going to marry.
          The woman he was going to marry arrives frantically onto
          their landing. She struggles with Alec.

<b>                         LESLIE
</b>          Alec, stop it right now!
          Below them, Billy and Kirbo pull up in a Chevron tow
          truck. Billy, wearing Chevron coveralls, jumps out with
          an acetylene torch in hand, shouting.

<b>                         BILLY
</b>          Looks pretty ultimate up there...

                         

                         

                         

                         

<b>                         168 CONTINUED:
</b>          He helps Kirbo, who is struggling with a two-wheeler
          dolly holding a large tank of oxygen and acetylene.

<b>          LESLIE, ALEC AND KEVIN
</b>
<b>                         KEVIN
</b>          You think this is helping Jules?
          With Kevin's life still in his hands, he suddenly
          remembers Jules.

<b>          169 INT. APARTMENT - THEIR POV 169
</b>
          Looking back inside, he sees her still in the same posi-
          tion, freezing.

<b>          170 EXT. FIRE ESCAPE 170
</b>
          He slowly pulls Kevin onto the fire escape.

<b>                         LESLIE
</b>          Are you all right?
          Kirbo tries to get the dolly up the fire escape with
          Billy.

<b>                         KIRBO
</b>          Hey! Help.
          Kevin goes down the fire escape to help him, leaving Alec
          and Leslie alone. Leslie kneels by the window with her
          hands on the iron bars and speaks to Jules.

<b>                         LESLIE
</b>          Oh, my God. Jules, please, it's
          so cold.

<b>                         ALEC
</b>          Very noble how you ran up here to
          save your lover.

<b>                         LESLIE
</b>          He's not my lover. Jules, listen...

<b>                         ALEC
</b>          Bullshit.

<b>                         LESLIE
</b>          I have never lied to you once
          since the day I met you... you
          cocky shithead.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          110.
</b>
<b>                         170 CONTINUED: 170
</b>          Alec knows it's the truth.

<b>                         LESLIE
</b>          Hang on, Jules. We all love you.
          She has been holding onto the bars with her bare-hands,
          but the bitter cold makes her wince as she removes her
          hands. Alec is overwhelmed with feelings as he takes her
          hands and holds them to his mouth, breathing warm breath
          onto them. Much emotion passes between them.

<b>                         LESLIE
</b>          Your breath, your breath is so
          sweet.

<b>          ALEC.
</b>          Leslie, I'm sorry. I'm so
          profoundly sorry.
          Kirbo and Kevin arrive. Billy races down the alley.

<b>                         KIRBO
</b>          Blowtorch, anyone?

<b>                         ALEC
</b>          Give it to me.

<b>                         KEVIN
</b>          Do not hand him a blowtorch!
          Kevin takes the torch and goes for the bars. SPARKS and
          fire fly. Suddenly there is a PHENOMENAL POUNDING from
          inside the apartment at Jules' front door. It stops
          everyone on the fire escape.

<b>          171 INT. JULES' APARTMENT 171
</b>
          The POUNDING jolts Jules.

<b>          172 EXT. JULES' HALLWAY - LATE AFTERNOON 172
</b>
          Billy pounds on the door as Ron watches nervously.

<b>                         BILLY
</b>
<b>                         (FRIENDLY)
</b>          Jules, it's Billy. Open the door.

<b>                         (NO REPLY)
</b>          Okay, Jules... Open up the goddamn
          door, or I'm coming right through
          it.
          No reply. Billy spots a large metal fire extinguisher at
          the end of the hall.

                         

                         

                         

                         

<b>          114.
</b>
<b>                         178 CONTINUED: 178
</b>
<b>                         LESLIE
</b>          You want some coffee, Ron?
          Ron enters tentatively and joins them as JULES and BILLY
          start SHOUTING and LAUGHING LOUDER.

<b>                         RON
</b>          You know, until today I thought
          gay people were nuts.

<b>          179 INT. UNIDENTIFIED APARTMENT - MIGHT 179
</b>
          Billy sits on the floor playing his sax soulfully.

<b>                         WIDER ANGLE
</b>          REVEALS it's Wendy's apartment. It is partially painted
          and a large ladder stands in the room. A small. wing
          chair has fabric swatches on it. Cartons, books, etc.
          Wendy sits on the floor watching Billy.

<b>                         WEND Y
</b>          Then what happened?

<b>                         BILLY
</b>          That was it... We came out of the
          bedroom and had coffee with
          everybody.

<b>                         WEND Y
</b>          You saved her life.

<b>                         BILLY
</b>          Let's not get dramatic.

<b>                         WENDY
</b>          So, when did you get so sane?

<b>                         BILLY
</b>          When I realized how insane I've
          been all this time tryin' to be
          like Alec and Leslie... and you
          and Kevin... I'm not part of this
          post-college Georgetown life;
          marriage and jobs. Felicia and
          Melody'll be better off without me.

<b>                         WENDY
</b>          Did she get remarried already?

<b>                         BILLY
</b>          Three or four weeks...

<b>                         (MORE)
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          115.
</b>
<b>                         179 CONTINUED: 179
</b>
<b>                          BILLY (CONT'D)
</b>          I was thinkin' of hanging around
          tryin'to be one of those in-the-
          neighborhood dads... but it would
          just confuse everybody... especially
          me. New York'll suit me fine. if
          somebody'll let me play sax.

<b>                         (INDICATING APARTMENT)
</b>          This is great.

<b>                         WENDY
</b>          I'll tell you what's great. Last
          night I woke up in the middle of
          the night and made myself a peanut
          butter and jelly sandwich... and
          you know it was my kitchen, and
          my refrigerator and My apartment
          . and it was the best peanut
          butter and jelly sandwich I've
          ever had in my life.
          They chuckle together and then they become more serious.

<b>                         WENDY
</b>          So you're goin', huh...?
          She picks up his sax and blows a few comic notes.

<b>                         BILLY
</b>          So, are you still a virgin?

<b>                         WENDY
</b>          Why is my sexual status so
          important to you?

<b>                         BILLY
</b>          Have I abused our relationship too
          much? Or could I be so bold... as
          to ask you for a going-away present...?
          Wendy is moved.

<b>                         CUT TO:
</b>
<b>                         180 WENDY 18O
</b>          Lying on the floor of her bedroom. Only a candle lights
          the room. Billy's face comes INTO FRAME and they kiss,
          tenderly at first and then more passionately. Wendy
          looks beautiful and she and Billy are filled with a
          tenderness and love that can only exist from the years
          they have shared together.
          The SAX BUILDS as the wonder of the two young lovers
          builds.

<b>                         DISSOLVE TO:
</b>
                         

                         

                         

                         
           

<b>          181 EXT. BUS TERMINAL - NIGHT 181
</b>
          A large bus pulls out as Leslie stands at a coffee
          vending machine. Alec approaches.

<b>                         ALEC
</b>          Need someone to blow on your hands?
          She smiles, but shows him her gloves. As she searches
          for change in her pockets, Alec stops her and puts his
          own coins in the machine. He presses buttons as he
          talks.

<b>                         ALEC
</b>          Did you know that I.always wanted
          to make you coffee? I tried once
          -- when you were in the shower --
          but it didn't turn out right, so I
          threw it out and cleaned everything
          up so you wouldn't know. I don't
          like doing things I'm not good at
          -- like making coffee and saying
          I'm sorry...
          He looks at her sincerely as he hands her the plastic cup
          from the machine.

<b>                         ALEC
</b>          Leslie, I'm sorry.
          They exchange a tender glance, and then Leslie takes a
          sip from the steaming cup.

<b>                         LESLIE
</b>          Alec, this is soup.

<b>                         ALEC
</b>          What?

<b>                         LESLIE
</b>          This is soup.
          Alec's nervousness turns to embarrassment as they both
          start to laugh. Old feelings surge.

<b>                         LESLIE
</b>          I love you.
          They look at each other for a moment.

<b>                         LESLIE
</b>          We need time.

<b>                         ALEC
</b>          I know.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           ST. ELMO'S FIRE - Rev. 10/11/84 116A.

<b>                         181 CONTINUED: (AL) 181
</b>          Kirbo comes running over.

<b>                         KI RBO
</b>          The bus is leaving.
          Alec and Leslie Join him and they quickly move to where
          Jules. Kevin and Wendy are saying goodbye to Billy who
          has his suitcase and sax. A bus waits.

<b>                         JULES
</b>          'Bye, baby.
          She hugs him expansively. Billy next kisses Leslie and
          shakes hands with the guys at the same time. Wendy waits
          until last and then they embrace emotionally.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          117.
</b>
<b>                         181 CONTINUED: 181
</b>          She whispers into his ear.

<b>                         WENDY
</b>          Go ultimate.
          Billy smiles at her as she fights tears.

<b>                         BILLY
</b>          I'll keep in touch.

<b>                         WENDY
</b>
<b>                         (LAUGHING)
</b>          No, you won't.
          He wants to say more to all of them, but the bus is wait-
          ing and he hops on it. The door closes and the bus backs
          out of the terminal. Billy stands near the driver and
          waves out at them.

<b>                         HIS FRIENDS
</b>          watch him pull away.

<b>                         BUS
</b>          As it pulls backward, we can see Billy with his friend's
          reflections on the bus's windshield SUPERIMPOSED OVER his.
          The bus's headlights flare INTO the CAMERA. The images of
          all of them mix with the white, hot GLARE SUPERIMPOSED
          OVER this, for a brief second we see IMAGES of them all
          from past, from school, from St. Elmo's, ,etc.
          The SCREEN GOES totally WHITE with incandescent
          brilliance as we --

<b>          182 -EXT.. STREET - ST. ELMO'S - NIGHT (LATER) 182
</b>
          `Alec, Leslie, Kevin, Krbo, Wendy and Jules walk together
          slowly.

<b>                         WIDER SHOT
</b>          Coming upon St. F'1mo's, they stop. Looking,in the
          window...

<b>                         183
</b>          They see their old tables filled with younger students,
          led by Claton, the undergrad.



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What does wendy say when she meets her father?
What does wendy say when she meets her father ?
she says that she wants to be independent and move in to her place.
she says that she wants to be independent and move in to her place .
She wants to live on her own
She wants to live on her own