I have to make a huge correction in regards to the 'part 2' post... I missed something entirely while skimming the script for material!
The 'jukebox' conversation between Danny and Sandy, which is different in the shooting script, is more different than I originally realized - in fact, it doesn't take place in front of the jukebox at the Frosty Palace this time, but rather in a hallway at Rydell. On top of that, there's a totally different ending to the scene before it (at the Frosty Palace) that I missed. Overall, this whole chunk subtly makes Sandy seem a bit less 'virginal' then she should've been by this point in the movie.
This happens right after Putzie's "Is that all it takes? Fifteen minutes?":
=======================================
Danny cannot take his eyes off Sandy and Tom.
Vi arrives with their order -- a single giant sundae with two spoons. This is too much for Danny who rises, looks around the room and spots Patty Simcox entering.
Danny takes her arm and swirls her into an empty booth. She is surprised and flattered. He gives her a false smile and looks to see if Sandy is watching. She isn't.
90. OMITTED
91. CLOSE ON DANNY
He is seething.
92. WIDER
Sandy looks up surreptitiously from her sundae, then smiles a bit too hard as she sees Tom looking at her. She feeds him a bite of melting ice cream just as Danny puts his arm around Patty. Sandy spills the ice cream on Tom's shirt.
Patty turns out to be a lot hotter than anyone has given her credit for and she leans against him.
Sandy busies herself dipping a napkin in water and wiping Tom's shirt.
Danny watches Sandy in anger as she daintily scoops up the cherry on top of the sundae and lovingly feeds it to Tom who takes a big bite of it and chews for a long, agonizing time.
This is the last straw for Danny who rises, looks at Sandy as though she were beneath contempt, and swaggers toward the door where Kenickie stands.
KENICKIE
He's just a dumb jock.
DANNY
It ain't the dumb that counts; it's the jock.
CUT TO:
92A. EXT. HALLWAY - LATE DAY
The hallway is deserted. Late afternoon sun shines in dusty shafts through the windows as Sandy stands in the hall tacking up a poster about dental hygiene week. She wears Tom's oversized football jacket.
Behind her is a door with a sign on it reading DETENTION.
The door opens and Danny steps out. Sandy turns and the two of them look at each other silently, unsure of how to act.
Danny starts away, then stops and turns to see that Sandy is still looking at him.
DANNY
How's it going?
SANDY
(coolly)
Oh, it's wonder. I just love Rydell and I've got so many new friends.
Showing posts with label john travolta. Show all posts
Showing posts with label john travolta. Show all posts
Thursday, April 11, 2013
Monday, April 8, 2013
Grease - the deleted scenes! (part 2)
Sorry about that... totally forgot about this! Well, better late than never, allow me to dive again into the shooting script of "Grease" and dig out goodies...
=====================================
[The cheer at the bonfire - 'Do a split, give a yell' - was entirely different in the script, as was Calhoun's speech, which isn't pathetic this time around:]
60. CONTINUED:
CHEERLEADERS
Strawberry shortcake!
Huckleberry pie!
V-I-C-T-O-R-Y!
Stand 'em on their heads!
Stand 'em on their feet!
Rydell! Rydell!
Can't be beat!
61. THE BONFIRE
Coach Calhoun and the team stand before the students. Tom and Sandy are exchanging glances as the Coach addresses the crowd.
COACH CALHOUN
And we'll be expecting to see you all back out here after the game for that most joyous of Rydell customs -- the ringing of the victory bell!
He gestures toward a rope that hangs from a tarnished old bell that hangs over the ramp. The Cheerleaders put their hands over their hearts.
COACH CALHOUN
(continuing)
Rydell forever!
The school BAND launches into the VICTORY SONG.
[Oddly enough, shortly after this, the T-Birds' version of the cheer still matches the version that ended up in the film - "Do a split, do a yell, shake a tit for old Rydell."]
=====================================
[A couple differences in the next few pages - Sonny's clever line about having to "put out before she ever gets in" hasn't been refined yet:]
SONNY
A girl is going to have to be willing to go... three-quarters of the way before she can even get in it...
[And Danny's response to "What happened to the Danny Zuko I met at the beach?" is considerably more asshole-ish than in the final film:]
DANNY
Search me. I'm clean. Maybe there's two of us. What was he like? Was he short? Was he tall? Come on, baby, lay it on me. I don't got all day to help you.
Sandy has to bite her lip to keep from crying.
DANNY
(continuing)
That don't give me much to go on. Look in the Yellow Pages... Take out a Want Ad... Try Missing Persons.
=====================================
[The beginning of the slumber party scene is *not* Jan dancing to "Brusha Brusha Brusha", which may have been chosen after Jamie Donnelly's casting. The dialogue and directions are entirely different:]
69. INT. FRENCHY'S BEDROOM - NIGHT
CLOSE on a bottle of Italian Swiss Colony wine.
PULL BACK TO SEE that Rizzo is pouring from the bottle into the outstretched jelly glasses held by Marty, Jan and Frenchy. Sandy sits somewhat removed from the others looking unhappy. The girls are in baby-doll pyjamas, mules and hair rollers, the room a typical girl's room of the period. A large picture of Vince Fontaine is framed above the bed. He's a good looking man with sharp features and an elaborate hairdo. The room is full of wigs and hair dryers.
Both the RADIO and TV are ON. A 50's TUNE ENDS. The TV is a round Motorola.
JAN
Jeez, look what Loretta Young is wearing!
Marty squints. Frenchy pulls a large magnifying glass in front of the screen.
RIZZO
I can't stand her. I keep waiting for her to get her dress caught in the door.
VINCE FONTAINE (V.O.:)
(on the radio)
This is Vince Fontaine, your daddio on the radio playing stacks of wax for Jills and Jacks out there in Radioland... And now!... going out to Ronnie and Sheila. For the first time anywhere, here's the National Bandstand premiere of a brand new song that's going to set you little dears on your cotton-picking ears!
[The girls' conversation while Frenchy and Sandy are in the bathroom is different:]
Rizzo lights a cigarette and passes around the pack. The girls begin to smoke.
JAN
You know they've got peppermint candy cigarettes now.
MARTY
If you don't watch out, you'll look like the Goodyear Blimp.
JAN
Well, at least I don't have a complexion like pimento cheese.
Marty looks into the mirror.
MARTY
You can't see it through the pancake.
RIZZO
You can't see you through the pancake.
[Two points of interest - "Freddy My Love" is STILL not included in this scene, being replaced at this point by "Sandra Dee"; and the Elvis verse of that song is already intact - written to replace the verse about recently-murdered Sal Mineo.]
=====================================
[An alternate exchange after Danny's 'sloppy seconds' line - notice Rizzo's question is not yet crude, and not as funny:]
RIZZO
If ya think the virgin princess is up there dying of a broken heart, I got news for ya. The best she could do for love was prick an earlobe.
Danny looks at her disgustedly and starts away.
RIZZO
(continuing)
Where are you going? To howl at the moon?
DANNY
That's a better idea than hanging out with you dorks.
=====================================
[At make-out point, before Rizzo requests that Kenickie call her by her first name:]
As they lie on the back seat -- both of them with their eyes closed, Kenickie manages to free half his mouth so that he can dislodge a wad of gum which he sticks on the car light. They kiss a moment more.
RIZZO
(continuing; still kissing)
What happened to the gum?
KENICKIE
It was gettin' in the way.
Rizzo opens her eyes and looks at him meaningfully.
RIZZO
Keep a cool tool, fool.. I'm wise to the rise in your Levi's.
KENICKIE
You still thinking about Zuko?
RIZZO
I got one thing on my mind, baby, and that's you.
KENICKIE
(passionately)
Oh, Rizzo. Rizzo.
RIZZO
I always thought if I was to let a guy, he'd at least call me by my first name.
[In this version, Kenickie (sort of) already knows it:]
KENICKIE
(he has to think)
Yeah... uh... Betty! Betty!
[This repeats just as Hell's Chariot backs into the car:]
KENICKIE
(huskily)
Oh, Rizzo, Rizzo.
RIZZO
(huskily)
Please -- Call me Betty.
KENICKIE
Oh, baby.
RIZZO
Betty!
KENICKIE
Yeah!
Suddenly there is a loud SLAM and Kenickie is pitched over the front seat.
=====================================
[An almost entirely different lead-in before "Greased Lightning" begins:]
87. INT. AUTOMOTIVE REPAIR CLASSROOM - DAY
Danny, Kenickie, Sonny, Doody and Putzie stand looking gravely at the damaged car.
KENICKIE
We gotta do something.
PUTZIE
It's a hopeless case.
Kenickie gives him a dirty look.
SONNY
Junk it.
DOODY
Won't have to do much to do that.
Kenickie turns around and looks imploringly at Danny who approaches the car and contemplates it seriously while walking around it.
DANNY
I don't think it's so bad. In fact, it's okay. It's pretty good. No, I don't even think it's good. It's a major piece of machinery... I said a major piece of machinery. We can't 86 it.
KENICKIE
Yeah! Tell 'em!
DANNY
Look at the lines. Look at the lights. It needs a little work, sure. But it's all here! It's Hydramatic... Systematic... Automatic... Aristocratic...
HE begins to slide into an Elvis imitation as he speaks and moves.
KENICKIE
It's boss!
DANNY
(getting carried away)
Yeah boss!... Yeah, the best. I tell you what it is!... It's Greased Lightning!
KENICKIE
Greased Lightning.
Kenickie and Danny go through a hand-slapping ritual of enthusiasm as the others move in on them.
DANNY
Greased Lightning! Dual exhaust! A good transmission! Fluid drive! Out, in and overdrive. We can do it! We can fix it! Greased Lightning!
[Cue song.]
=====================================
[Unused dialogue at the start of the first Frosty Palace scene. Note that the design of the Frosty Palace was considerable more than a generic 50's diner here:]
FLOW with Danny and Kenickie as they enter the Frosty Palace where the igloo effect is carried out with the booths looking like chunks of ice and the brightly-hued juke box looking like the Northern Lights. The waitresses wear short fur-trimmed skirts with hoods and look like bouffant Eskimos. The place is crowded. The Pink Ladies are in one booth -- Putzie, Sonny and Doody in another -- miscellaneous students in another and, in the middle are Sandy and Tom. She is lost in his oversized football jacket, sees Danny out of the corner of her eye and gives Tom her undivided attention.
The boys greet each other like long-lost friends, but Danny can't take his eyes off Sandy and Tom. He collides with VI, the tough/tender waitress who's seen it all. Vi carries a loaded tray which almost dumps on the floor. They barely catch it, but Vi is a precision waitress who manages to hold the tray on one palm.
DANNY
Great save, Vi.
VI
I used to be with the Ice Follies, honey. It prepared me for life at the Frosty Palace.
She gives him a smile and he turns toward the booth.
KENICKIE
Are you still thinking about that chick?
DANNY
The only thing on my mind is Greased Lightning.
Danny and Kenickie slide into the already crowded booth.
Vi turns from serving a table and stands over the Pink Ladies' booth resting the tray on her hip.
JAN
How about an Aurora Borealis?
MARTY
What's that?
VI
The same as the Eskimo Surprise except it has colored sprinkles.
The JUKEBOX PLAYS an original 50's SONG -- "POOR LITTLE FOOL."
=====================================
[Shortly after, the conversation between Danny and Sandy is a bit different:]
DANNY
How's it going?
SANDY
(coolly)
Oh, it's wonderful. I just love Rydell and I've got so many new friends.
DANNY
(not meaning it)
Glad to hear it.
SANDY
Between meetings, parties and cheerleader practices, I hardly have any time to do my homework.
DANNY
Well, you're just naturally smart, I guess.
SANDY
It does help.
Danny looks at her for a moment. She smiles blithely giving him no encouragement, looking lovely and knowing it. She also knows exactly what she is doing as she feigns disinterest.
Danny is torn and for a moment he drops his pose.
DANNY
Look, Sandy... I'm sorry about the way things turned out... I mean I wish there wasn't anything between us.
SANDY
(sweetly)
But there isn't.
DANNY
There is and you know it!... It's just that I wake up in the morning and I look in the mirror and there I am, Danny Zuko. Then I get dressed and I come to school and I turn into DANNY ZUKO. And there's one you know and there's one they know, but I'm both of 'em and sometimes Danny Zuko says something, but it comes out like DANNY ZUKO said it, but I mean the same thing... You gotta help me, Sandy.
SANDY
That sounds like a wonderful idea for a term paper in Social Psychology.
DANNY
It ain't easy being two people, you know.
SANDY
That's why I'm so glad Tom is such a practical, simple person.
=====================================
[Finally for this installment, there is a bit more between Calhoun suggesting that Danny take up long-distance running, and his failed attempt at hurdles.]
102. SERIES OF SHOTS
of Danny running.
103. EXT. FROSTY PALACE
The Thunderbirds and Pink Ladies are dancing when Danny jogs past. A SONG is HEARD from the JUKE BOX. He stops momentarily to look in, which is just enough time for them to see him. They run into the street hooting and yelling. "What are you doing in your underwear? Where do you keep your Wheaties!?"
=====================================
[The cheer at the bonfire - 'Do a split, give a yell' - was entirely different in the script, as was Calhoun's speech, which isn't pathetic this time around:]
60. CONTINUED:
CHEERLEADERS
Strawberry shortcake!
Huckleberry pie!
V-I-C-T-O-R-Y!
Stand 'em on their heads!
Stand 'em on their feet!
Rydell! Rydell!
Can't be beat!
61. THE BONFIRE
Coach Calhoun and the team stand before the students. Tom and Sandy are exchanging glances as the Coach addresses the crowd.
COACH CALHOUN
And we'll be expecting to see you all back out here after the game for that most joyous of Rydell customs -- the ringing of the victory bell!
He gestures toward a rope that hangs from a tarnished old bell that hangs over the ramp. The Cheerleaders put their hands over their hearts.
COACH CALHOUN
(continuing)
Rydell forever!
The school BAND launches into the VICTORY SONG.
[Oddly enough, shortly after this, the T-Birds' version of the cheer still matches the version that ended up in the film - "Do a split, do a yell, shake a tit for old Rydell."]
=====================================
[A couple differences in the next few pages - Sonny's clever line about having to "put out before she ever gets in" hasn't been refined yet:]
SONNY
A girl is going to have to be willing to go... three-quarters of the way before she can even get in it...
[And Danny's response to "What happened to the Danny Zuko I met at the beach?" is considerably more asshole-ish than in the final film:]
DANNY
Search me. I'm clean. Maybe there's two of us. What was he like? Was he short? Was he tall? Come on, baby, lay it on me. I don't got all day to help you.
Sandy has to bite her lip to keep from crying.
DANNY
(continuing)
That don't give me much to go on. Look in the Yellow Pages... Take out a Want Ad... Try Missing Persons.
=====================================
[The beginning of the slumber party scene is *not* Jan dancing to "Brusha Brusha Brusha", which may have been chosen after Jamie Donnelly's casting. The dialogue and directions are entirely different:]
69. INT. FRENCHY'S BEDROOM - NIGHT
CLOSE on a bottle of Italian Swiss Colony wine.
PULL BACK TO SEE that Rizzo is pouring from the bottle into the outstretched jelly glasses held by Marty, Jan and Frenchy. Sandy sits somewhat removed from the others looking unhappy. The girls are in baby-doll pyjamas, mules and hair rollers, the room a typical girl's room of the period. A large picture of Vince Fontaine is framed above the bed. He's a good looking man with sharp features and an elaborate hairdo. The room is full of wigs and hair dryers.
Both the RADIO and TV are ON. A 50's TUNE ENDS. The TV is a round Motorola.
JAN
Jeez, look what Loretta Young is wearing!
Marty squints. Frenchy pulls a large magnifying glass in front of the screen.
RIZZO
I can't stand her. I keep waiting for her to get her dress caught in the door.
VINCE FONTAINE (V.O.:)
(on the radio)
This is Vince Fontaine, your daddio on the radio playing stacks of wax for Jills and Jacks out there in Radioland... And now!... going out to Ronnie and Sheila. For the first time anywhere, here's the National Bandstand premiere of a brand new song that's going to set you little dears on your cotton-picking ears!
[The girls' conversation while Frenchy and Sandy are in the bathroom is different:]
Rizzo lights a cigarette and passes around the pack. The girls begin to smoke.
JAN
You know they've got peppermint candy cigarettes now.
MARTY
If you don't watch out, you'll look like the Goodyear Blimp.
JAN
Well, at least I don't have a complexion like pimento cheese.
Marty looks into the mirror.
MARTY
You can't see it through the pancake.
RIZZO
You can't see you through the pancake.
[Two points of interest - "Freddy My Love" is STILL not included in this scene, being replaced at this point by "Sandra Dee"; and the Elvis verse of that song is already intact - written to replace the verse about recently-murdered Sal Mineo.]
=====================================
[An alternate exchange after Danny's 'sloppy seconds' line - notice Rizzo's question is not yet crude, and not as funny:]
RIZZO
If ya think the virgin princess is up there dying of a broken heart, I got news for ya. The best she could do for love was prick an earlobe.
Danny looks at her disgustedly and starts away.
RIZZO
(continuing)
Where are you going? To howl at the moon?
DANNY
That's a better idea than hanging out with you dorks.
=====================================
[At make-out point, before Rizzo requests that Kenickie call her by her first name:]
As they lie on the back seat -- both of them with their eyes closed, Kenickie manages to free half his mouth so that he can dislodge a wad of gum which he sticks on the car light. They kiss a moment more.
RIZZO
(continuing; still kissing)
What happened to the gum?
KENICKIE
It was gettin' in the way.
Rizzo opens her eyes and looks at him meaningfully.
RIZZO
Keep a cool tool, fool.. I'm wise to the rise in your Levi's.
KENICKIE
You still thinking about Zuko?
RIZZO
I got one thing on my mind, baby, and that's you.
KENICKIE
(passionately)
Oh, Rizzo. Rizzo.
RIZZO
I always thought if I was to let a guy, he'd at least call me by my first name.
[In this version, Kenickie (sort of) already knows it:]
KENICKIE
(he has to think)
Yeah... uh... Betty! Betty!
[This repeats just as Hell's Chariot backs into the car:]
KENICKIE
(huskily)
Oh, Rizzo, Rizzo.
RIZZO
(huskily)
Please -- Call me Betty.
KENICKIE
Oh, baby.
RIZZO
Betty!
KENICKIE
Yeah!
Suddenly there is a loud SLAM and Kenickie is pitched over the front seat.
=====================================
[An almost entirely different lead-in before "Greased Lightning" begins:]
87. INT. AUTOMOTIVE REPAIR CLASSROOM - DAY
Danny, Kenickie, Sonny, Doody and Putzie stand looking gravely at the damaged car.
KENICKIE
We gotta do something.
PUTZIE
It's a hopeless case.
Kenickie gives him a dirty look.
SONNY
Junk it.
DOODY
Won't have to do much to do that.
Kenickie turns around and looks imploringly at Danny who approaches the car and contemplates it seriously while walking around it.
DANNY
I don't think it's so bad. In fact, it's okay. It's pretty good. No, I don't even think it's good. It's a major piece of machinery... I said a major piece of machinery. We can't 86 it.
KENICKIE
Yeah! Tell 'em!
DANNY
Look at the lines. Look at the lights. It needs a little work, sure. But it's all here! It's Hydramatic... Systematic... Automatic... Aristocratic...
HE begins to slide into an Elvis imitation as he speaks and moves.
KENICKIE
It's boss!
DANNY
(getting carried away)
Yeah boss!... Yeah, the best. I tell you what it is!... It's Greased Lightning!
KENICKIE
Greased Lightning.
Kenickie and Danny go through a hand-slapping ritual of enthusiasm as the others move in on them.
DANNY
Greased Lightning! Dual exhaust! A good transmission! Fluid drive! Out, in and overdrive. We can do it! We can fix it! Greased Lightning!
[Cue song.]
=====================================
[Unused dialogue at the start of the first Frosty Palace scene. Note that the design of the Frosty Palace was considerable more than a generic 50's diner here:]
FLOW with Danny and Kenickie as they enter the Frosty Palace where the igloo effect is carried out with the booths looking like chunks of ice and the brightly-hued juke box looking like the Northern Lights. The waitresses wear short fur-trimmed skirts with hoods and look like bouffant Eskimos. The place is crowded. The Pink Ladies are in one booth -- Putzie, Sonny and Doody in another -- miscellaneous students in another and, in the middle are Sandy and Tom. She is lost in his oversized football jacket, sees Danny out of the corner of her eye and gives Tom her undivided attention.
The boys greet each other like long-lost friends, but Danny can't take his eyes off Sandy and Tom. He collides with VI, the tough/tender waitress who's seen it all. Vi carries a loaded tray which almost dumps on the floor. They barely catch it, but Vi is a precision waitress who manages to hold the tray on one palm.
DANNY
Great save, Vi.
VI
I used to be with the Ice Follies, honey. It prepared me for life at the Frosty Palace.
She gives him a smile and he turns toward the booth.
KENICKIE
Are you still thinking about that chick?
DANNY
The only thing on my mind is Greased Lightning.
Danny and Kenickie slide into the already crowded booth.
Vi turns from serving a table and stands over the Pink Ladies' booth resting the tray on her hip.
JAN
How about an Aurora Borealis?
MARTY
What's that?
VI
The same as the Eskimo Surprise except it has colored sprinkles.
The JUKEBOX PLAYS an original 50's SONG -- "POOR LITTLE FOOL."
=====================================
[Shortly after, the conversation between Danny and Sandy is a bit different:]
DANNY
How's it going?
SANDY
(coolly)
Oh, it's wonderful. I just love Rydell and I've got so many new friends.
DANNY
(not meaning it)
Glad to hear it.
SANDY
Between meetings, parties and cheerleader practices, I hardly have any time to do my homework.
DANNY
Well, you're just naturally smart, I guess.
SANDY
It does help.
Danny looks at her for a moment. She smiles blithely giving him no encouragement, looking lovely and knowing it. She also knows exactly what she is doing as she feigns disinterest.
Danny is torn and for a moment he drops his pose.
DANNY
Look, Sandy... I'm sorry about the way things turned out... I mean I wish there wasn't anything between us.
SANDY
(sweetly)
But there isn't.
DANNY
There is and you know it!... It's just that I wake up in the morning and I look in the mirror and there I am, Danny Zuko. Then I get dressed and I come to school and I turn into DANNY ZUKO. And there's one you know and there's one they know, but I'm both of 'em and sometimes Danny Zuko says something, but it comes out like DANNY ZUKO said it, but I mean the same thing... You gotta help me, Sandy.
SANDY
That sounds like a wonderful idea for a term paper in Social Psychology.
DANNY
It ain't easy being two people, you know.
SANDY
That's why I'm so glad Tom is such a practical, simple person.
=====================================
[Finally for this installment, there is a bit more between Calhoun suggesting that Danny take up long-distance running, and his failed attempt at hurdles.]
102. SERIES OF SHOTS
of Danny running.
103. EXT. FROSTY PALACE
The Thunderbirds and Pink Ladies are dancing when Danny jogs past. A SONG is HEARD from the JUKE BOX. He stops momentarily to look in, which is just enough time for them to see him. They run into the street hooting and yelling. "What are you doing in your underwear? Where do you keep your Wheaties!?"
Saturday, March 10, 2012
Grease - the deleted scenes! (Part 1)
Yes, it's been quite a while since I posted anything here... and I realize that any frequent readers I may have had have likely disappeared. But, nonetheless, I thought this was worth a post.
Some time ago, when our local used bookstore was clearing out their VHS tapes, I snagged the 20th anniversary of "Grease" for a whole dollar. Along with a CD single of the "Grease Megamix", the tape came packaged with a miniature reproduction (no reference intended) of the film's shooting script.
Admittedly, when the Special Edition DVD came out, one of the biggest disappointments was the 'deleted scenes' which were brief black-and-white fragments of existing scenes shorn of an uninteresting line or two. While the holy grail of deleted scenes (Rizzo and Kenickie's fight outside the Frosty Palace) is still lost completely, here are a few more tidbits from the shooting script that may or may not have been filmed.
================================
[First, the first several minutes of the movie were almost entirely different, up to the end of the opening credits.]
EXT. SEASIDE RESORT - DAY
OPEN with a small-screen ratio with a blue and white tint. It is a fashionable resort. SOUND of distant gulls.
SANDY OLSSON, a lovely ingenue, in a Rose Marie Reid swimsuit lies alone on a beach towel. "LOVE IS A MANY SPLENDORED THING" PLAYS on her portable RADIO. She looks at her watch.
EXT. HAMBURGER STAND ON PIER - DAY
DANNY ZUKO, a good-looking teenager, is wrapping up his day's work at a hamburger stand. Even though he wears a short order cook hat there is a look of a hero about him. His eyes glisten with unfulfilled romantic longing. The same SONG is PLAYING on a RADIO in the hamburger stand. He glances at the clock over the sink which reads six o'clock.
He finishes his work for the day and opens a closet where there are clothes hanging. A picture of James Dean is tacked on the inside of a closet door. He quickly grabs the clothes and begins to change.
EXT. SEASIDE RESORT - DAY
Sandy sits alone looking forsaken, tears in her eyes as the SONG continues to PLAY on her RADIO.
EXT. BEACH
Danny dashes madly along the beach away from the pier, zipping up, buttoning up and trying to make himself presentable in what he thinks are fashionable clothes, but almost everything is a little bit off.
EXT. BEACH COVE - DAY
Sandy rises, about to leave, just as Danny, breathless, slides down a sand dune toward her.
SANDY
I thought you'd forgotten.
DANNY
(still out of breath)
How could I forget?
SANDY
You know what they say about summer romances.
DANNY
No, what do they say?
Sandy looks disappointed. He looks confused.
SANDY
I have to leave in the morning. My father wants to beat the Labor Day traffic.
They look at each other for a moment then Danny kneels to the sand and pulls her with him. He looks into her eyes, then kisses her urgently. After a moment she pulls away.
SANDY
(continuing)
Oh, Danny, don't spoil it.
DANNY
This isn't spoiling it. This is making it better.
They sit side by side. He is about to put his arm around her. Then suddenly something is wrong. He stops. She opens her eyes.
SANDY
What is it?
He looks away in embarrassment. She turns his face to her.
SANDY
(continuing; tenderly)
You can tell me.
DANNY
I'm left-handed.
SANDY
Huh?
He pantomimes changing positions. They change sides.
SANDY
(continuing; as if it were precious)
Left-handed.
DANNY
In a world full of right-handed people.
They kiss again.
SANDY
I feel like this is the last time we'll ever see each other. Going to two different schools is like being in two different worlds.
They look at each other in sad acknowledgement of this impossibility.
SANDY
(continuing)
Oh, Danny, Danny, Danny. Is this the end?
He cups her face in both his hands and smiles gently at her.
DANNY
Of course not, Sandy. It's only the beginning.
GO TO COLOR IMAGE AT THE CENTER OF THE SCREEN
INTRO KENICKIE
CLOSE on an alarm clock radio.
KENICKIE, a tough, macho-to-the-teeth teenager, sits bolt upright in bed looking as if he has just been electrocuted. The pillow where his head has been is covered with grease stains. His hair stands out wildly. He shuts off the alarm and pants for breath as thought he has been running.
The VOICE of VINCE FONTAINE is HEARD on the RADIO and continues throughout the opening MONTAGE.
VINCE FONTAINE (V.O.)
This is the main brain... Vince Fontaine... beginning your day with the only way... Music, music, music... I gotta message for every scholar and fool... GET OUTTA BED; IT'S THE FIRST DAY OF SCHOOL... Don't be a slob... Don't get a job... Go back to class... You can pass... And to start this day off nice and fine... I'm gonna play a new old favorite of mine...
The new title song GREASE BLASTS on the SOUNDTRACK as each of the main characters is introduced.
NOTE: The background in each introduction is a sort of limbo in which only the character and certain vital props are used. As each character is introduced, they will occupy a large portion of the center screen. At the conclusion of their introduction, they will continue their actions in panels that frame the center action. In this sequence the audience is the mirror into which each of the characters is looking.
INTRO FRENCHY
CLOSE on a pink angora sweater. First disembodied arms are SEEN protruding from the tight sleeves. The hands hold the neck of the sweater, stretch it and slowly, painfully -- like something being born -- FRENCHY's head appears. She is a basically plain teenaged girl, with close cropped hair. She reaches OFFSCREEN and produces a flamboyant wig which she places on her head, transforming herself. She begins to comb out the wig.
INTRO DOODY
CLOSE on a Howdy Doody puppet.
Another ALARM GOES OFF as if in time to the music as DOODY, a teenager who looks like Howdy Doody opens his eyes and smiles at the puppet he has slept with. Then his features set as if he is remembering who he is. He throws the puppet aside and gets up.
INTRO JAN
JAN, an overweight girl who has the posture of a hen and wears baggy clothes, eats a piece of buttered-jellied toast as she contemplates the grim reality of her appearance. She turns sideways trying to hold in her stomach and as she does a glob of jelly falls on her jumper. She spits on a napkin and tries to rub it out.
INTRO SONNY
If SONNY could choose to be any animal it would be either a stallion or a prize bull. He blows the cobwebs off his toothbrush, looks at it in distaste, tosses it away, picks up a vicious looking long-handled comb and rakes it through his greasy hair. There is such a deposit of grease on the comb that there is hardly any room for his hair to get through. He practices looking tough.
INTRO RIZZO
CLOSE on a head that looks like a minefield of torpedo rollers. A long, lacquered nail is thrust into each roller, deftly withdrawing it while another finger holds the curl in place.
RIZZO looks like a cross between Ava Gardner and Annette Funicello and she works hard at it. She repeats the roller withdrawal with practiced precision.
INTRO PUTZIE
PUTZIE is a ruddy guy with an air of quiet derangement. He brushes his teeth as if he were operating a pneumatic drill, the foaming toothpaste encircling his mouth with a clown's makeup.
INTRO MARTY
MARTY, a breathing pastry, looks at her reflection. She is curvaceous every place but at the top. She grabs a box of Kleenex and remedies that situation by stuffing her bra.
CLOSE ON VARIOUS SHOTS
A hand reaches into a stuffed closet and pulls out a mass of crinolines.
A tube of Brylcreem is squeezed directly onto an already greasy head. Hands begin to massage the grease into the hair.
A can of spray net is held directly above a beehive hairdo and is sprayed like a crop duster.
A Thunderbird jacket is taken from a closet.
A brown bag lunch is picked up off a table, as a rapid tatto is HONKED out by a CAR HORN.
CUT TO:
EXT. STREET
A carload of students drive along with the top down.
CUT TO:
EXT. STREET
Students on foot making their way to school.
CUT TO:
EXT. STREET
A yellow school bus filled with very active students drives along.
EXT. RYDELL HIGH SCHOOL
From HIGH POV the school is still and deserted. An American Flag flutters in the breeze. Suddenly, cars, bicycles, busses and students on foot APPEAR pouring down the driveway and into the parking lot in a rousing FINALE, a choreographed procession not unlike a Busby Berkeley production number.
The cars are decorated in 50's emblems and decals with glimpses of each of the major characters (except for Danny and Sandy).
Students hang out of car windows, sit on convertible backs, ride on hoods, roofs and running boards -- hooting and hollering with youthful energy as the finale reaches is crescendo.
[Note that in the final film, the school exterior is already occupied; this opening is more reminiscent of "Grease 2."]
EXT. PARKING LOT
As the production number ends, the students suddenly become real people again breaking into groups and heading towards the building.
[The following scene IS in the film, just in another spot, and rewritten.]
A Studebaker pulls up and Rizzo gets out in her Pink Ladies jacket. She stands for a moment looking toward the school in bored resignation as the others rush around her.
Marty and Jan coming walking up.
MARTY
Hey, Riz!
JAN
Great to be back, huh?
RIZZO
It was great when we were Freshmen. It was good when we were Sophomores. It was okay when we were Juniors. But now that we are Seniors, it's just boring, boring. I can't wait for this year to be over so life can really begin.
Rizzo gives a world-weary sigh and starts toward the school. Marty and Jan adopt her air and the three of them walk along with their noses skyward as several excited younger girls rush past and look at them as though envying their exhaulted positions.
CUT TO:
[And we join the T-Birds in more or less the same scene that appears in the film; except that Kenickie is already with them (and delivers the "You're not supposed to eat this, you're supposed to bury it" line).]
================================
[A brief scene that takes place before Sandy enters the principal's office:]
INT. HALLWAY
Both sides of the hall are lined with lockers and students are busily applying locks and decorating the insides of them to match their personalities. There is also a lot of ritualistic, un-self-conscious hair combing, by members of both sexes.
Frenchy and Sandy come down the hall.
FRENCHY
You better check in the office to find out what homeroom you got. Pray you don't get old lady Lynch, the math teacher.
SANDY
Is she bad?
FRENCHY
Bad? All I know is she flunks people in homeroom.
Sandy grimaces and heads for the office.
================================
[Before the Pink Ladies are seen at the lunch table...]
INT. CAFETERIA - CLOSE - ELABORATELY FOLDED HANDKERCHIEF
PULL BACK TO SHOW that it rests on the ample bosom of MRS. OVERTON, the chubby dietitian who beams over the serving dishes of murky substances.
She wears a white uniform complimented by aqua costume jewelry.
Sandy and Frenchy come down the line with trays.
FRENCHY
That's Mrs. Overton, the dietitian. Everybody calls her Mrs. Over-a-ton. If you're friendly with her, she gives you extras... Hi, Mrs. Overton.
Mrs. Overton beams and walks toward the line. Her voice is as sugary as most of her dishes.
MRS. OVERTON
Hello, darlin'. We got peach cobbler today.
FRENCHY
This is Sandy Olsson. She's new.
She looks at Sandy and puts her hand to her heart.
MRS. OVERTON
Why, dear, you're nothing but skin and bones.
She picks up a dessert plate, slides two cobblers on it and slides it onto Sandy's plate with a wink.
MRS. OVERTON
(continuing)
Just remember, men like women with meat on their bones. My husband hasn't looked at another woman in thirty years.
FRENCHY
(sotto voce)
The reasion is he can't see around her. Come on, I wantcha to meet the Pink Ladies.
Sandy stifles a giggle as they line up for the cash register.
Mrs. Overton picks up a dessert and nibbles on it as she walks down the line where Danny and Doody are in line stuffing themselves as they go. They also shake bowls of jello in imitation of the voluptuous Marty who walks past in a tight skirt and sweater set.
Doody copies whatever Danny does.
Danny swallows part of a stuffed tomato as Mrs. Overton walks up.
MRS. OVERTON
The hash is good today.
DANNY
It always is on Monday.
The boys continue on down the line. Doody decides to do something on his own, takes a spoon and takes a big bite out of a dish of applesauce.
Danny sees this, does a take and shakes his head sadly.
DANNY
(continuing)
Hey, man, that applesauce will put you outta commission.
DOODY
Why?
DANNY
Saltpeter.
Doody grabs his throat as if dying. Danny shakes his head and goes on down the line, grabbing the dessert off the tray of a passing girl, taking a few bites and tossing it in the drink cooler.
Danny looks at the cashier as he arrives with his empty tray.
DANNY
(continuing)
No appetite today. Must be the early lunch period.
Doody catches up and they head out of the cafeteria.
================================
[Before cutting away from the Pink Lady lunch table:]
RIZZO
(rising; fake English accent)
I'm going to have a Viceroy on the verandah!
FRENCHY
Which means, Sandy, she's sneaking behind the cafeteria garbage dump for a ciggie-butt. You get caught; you get suspended.
================================
[As the Pink Ladies set off for class after lunch:]
EXT. RAMP
The Pink Ladies walk under a ramp as the Thunderbirds climb over the top, not seeing each other.
SONNY
Her knockers. Tell me about her knockers.
Danny sculpts an overly endowed female form in the air and Putzie pretends to grab them in the air. A flicker of uncertainty crosses Danny's face as the others laugh.
SONNY
(continuing)
One hour with me and she'd be my slave for life.
DANNY
That's because one hour with you makes the brain go bye-bye.
PUTZIE
What about her hinie?
DOODY
I'm a leg man myself.
KENICKIE
You'll take anything you can get.
A BELL RINGS and the boys split up.
================================
That takes us up to the bonfire... more coming soon!
Some time ago, when our local used bookstore was clearing out their VHS tapes, I snagged the 20th anniversary of "Grease" for a whole dollar. Along with a CD single of the "Grease Megamix", the tape came packaged with a miniature reproduction (no reference intended) of the film's shooting script.
Admittedly, when the Special Edition DVD came out, one of the biggest disappointments was the 'deleted scenes' which were brief black-and-white fragments of existing scenes shorn of an uninteresting line or two. While the holy grail of deleted scenes (Rizzo and Kenickie's fight outside the Frosty Palace) is still lost completely, here are a few more tidbits from the shooting script that may or may not have been filmed.
================================
[First, the first several minutes of the movie were almost entirely different, up to the end of the opening credits.]
EXT. SEASIDE RESORT - DAY
OPEN with a small-screen ratio with a blue and white tint. It is a fashionable resort. SOUND of distant gulls.
SANDY OLSSON, a lovely ingenue, in a Rose Marie Reid swimsuit lies alone on a beach towel. "LOVE IS A MANY SPLENDORED THING" PLAYS on her portable RADIO. She looks at her watch.
EXT. HAMBURGER STAND ON PIER - DAY
DANNY ZUKO, a good-looking teenager, is wrapping up his day's work at a hamburger stand. Even though he wears a short order cook hat there is a look of a hero about him. His eyes glisten with unfulfilled romantic longing. The same SONG is PLAYING on a RADIO in the hamburger stand. He glances at the clock over the sink which reads six o'clock.
He finishes his work for the day and opens a closet where there are clothes hanging. A picture of James Dean is tacked on the inside of a closet door. He quickly grabs the clothes and begins to change.
EXT. SEASIDE RESORT - DAY
Sandy sits alone looking forsaken, tears in her eyes as the SONG continues to PLAY on her RADIO.
EXT. BEACH
Danny dashes madly along the beach away from the pier, zipping up, buttoning up and trying to make himself presentable in what he thinks are fashionable clothes, but almost everything is a little bit off.
EXT. BEACH COVE - DAY
Sandy rises, about to leave, just as Danny, breathless, slides down a sand dune toward her.
SANDY
I thought you'd forgotten.
DANNY
(still out of breath)
How could I forget?
SANDY
You know what they say about summer romances.
DANNY
No, what do they say?
Sandy looks disappointed. He looks confused.
SANDY
I have to leave in the morning. My father wants to beat the Labor Day traffic.
They look at each other for a moment then Danny kneels to the sand and pulls her with him. He looks into her eyes, then kisses her urgently. After a moment she pulls away.
SANDY
(continuing)
Oh, Danny, don't spoil it.
DANNY
This isn't spoiling it. This is making it better.
They sit side by side. He is about to put his arm around her. Then suddenly something is wrong. He stops. She opens her eyes.
SANDY
What is it?
He looks away in embarrassment. She turns his face to her.
SANDY
(continuing; tenderly)
You can tell me.
DANNY
I'm left-handed.
SANDY
Huh?
He pantomimes changing positions. They change sides.
SANDY
(continuing; as if it were precious)
Left-handed.
DANNY
In a world full of right-handed people.
They kiss again.
SANDY
I feel like this is the last time we'll ever see each other. Going to two different schools is like being in two different worlds.
They look at each other in sad acknowledgement of this impossibility.
SANDY
(continuing)
Oh, Danny, Danny, Danny. Is this the end?
He cups her face in both his hands and smiles gently at her.
DANNY
Of course not, Sandy. It's only the beginning.
GO TO COLOR IMAGE AT THE CENTER OF THE SCREEN
INTRO KENICKIE
CLOSE on an alarm clock radio.
KENICKIE, a tough, macho-to-the-teeth teenager, sits bolt upright in bed looking as if he has just been electrocuted. The pillow where his head has been is covered with grease stains. His hair stands out wildly. He shuts off the alarm and pants for breath as thought he has been running.
The VOICE of VINCE FONTAINE is HEARD on the RADIO and continues throughout the opening MONTAGE.
VINCE FONTAINE (V.O.)
This is the main brain... Vince Fontaine... beginning your day with the only way... Music, music, music... I gotta message for every scholar and fool... GET OUTTA BED; IT'S THE FIRST DAY OF SCHOOL... Don't be a slob... Don't get a job... Go back to class... You can pass... And to start this day off nice and fine... I'm gonna play a new old favorite of mine...
The new title song GREASE BLASTS on the SOUNDTRACK as each of the main characters is introduced.
NOTE: The background in each introduction is a sort of limbo in which only the character and certain vital props are used. As each character is introduced, they will occupy a large portion of the center screen. At the conclusion of their introduction, they will continue their actions in panels that frame the center action. In this sequence the audience is the mirror into which each of the characters is looking.
INTRO FRENCHY
CLOSE on a pink angora sweater. First disembodied arms are SEEN protruding from the tight sleeves. The hands hold the neck of the sweater, stretch it and slowly, painfully -- like something being born -- FRENCHY's head appears. She is a basically plain teenaged girl, with close cropped hair. She reaches OFFSCREEN and produces a flamboyant wig which she places on her head, transforming herself. She begins to comb out the wig.
INTRO DOODY
CLOSE on a Howdy Doody puppet.
Another ALARM GOES OFF as if in time to the music as DOODY, a teenager who looks like Howdy Doody opens his eyes and smiles at the puppet he has slept with. Then his features set as if he is remembering who he is. He throws the puppet aside and gets up.
INTRO JAN
JAN, an overweight girl who has the posture of a hen and wears baggy clothes, eats a piece of buttered-jellied toast as she contemplates the grim reality of her appearance. She turns sideways trying to hold in her stomach and as she does a glob of jelly falls on her jumper. She spits on a napkin and tries to rub it out.
INTRO SONNY
If SONNY could choose to be any animal it would be either a stallion or a prize bull. He blows the cobwebs off his toothbrush, looks at it in distaste, tosses it away, picks up a vicious looking long-handled comb and rakes it through his greasy hair. There is such a deposit of grease on the comb that there is hardly any room for his hair to get through. He practices looking tough.
INTRO RIZZO
CLOSE on a head that looks like a minefield of torpedo rollers. A long, lacquered nail is thrust into each roller, deftly withdrawing it while another finger holds the curl in place.
RIZZO looks like a cross between Ava Gardner and Annette Funicello and she works hard at it. She repeats the roller withdrawal with practiced precision.
INTRO PUTZIE
PUTZIE is a ruddy guy with an air of quiet derangement. He brushes his teeth as if he were operating a pneumatic drill, the foaming toothpaste encircling his mouth with a clown's makeup.
INTRO MARTY
MARTY, a breathing pastry, looks at her reflection. She is curvaceous every place but at the top. She grabs a box of Kleenex and remedies that situation by stuffing her bra.
CLOSE ON VARIOUS SHOTS
A hand reaches into a stuffed closet and pulls out a mass of crinolines.
A tube of Brylcreem is squeezed directly onto an already greasy head. Hands begin to massage the grease into the hair.
A can of spray net is held directly above a beehive hairdo and is sprayed like a crop duster.
A Thunderbird jacket is taken from a closet.
A brown bag lunch is picked up off a table, as a rapid tatto is HONKED out by a CAR HORN.
CUT TO:
EXT. STREET
A carload of students drive along with the top down.
CUT TO:
EXT. STREET
Students on foot making their way to school.
CUT TO:
EXT. STREET
A yellow school bus filled with very active students drives along.
EXT. RYDELL HIGH SCHOOL
From HIGH POV the school is still and deserted. An American Flag flutters in the breeze. Suddenly, cars, bicycles, busses and students on foot APPEAR pouring down the driveway and into the parking lot in a rousing FINALE, a choreographed procession not unlike a Busby Berkeley production number.
The cars are decorated in 50's emblems and decals with glimpses of each of the major characters (except for Danny and Sandy).
Students hang out of car windows, sit on convertible backs, ride on hoods, roofs and running boards -- hooting and hollering with youthful energy as the finale reaches is crescendo.
[Note that in the final film, the school exterior is already occupied; this opening is more reminiscent of "Grease 2."]
EXT. PARKING LOT
As the production number ends, the students suddenly become real people again breaking into groups and heading towards the building.
[The following scene IS in the film, just in another spot, and rewritten.]
A Studebaker pulls up and Rizzo gets out in her Pink Ladies jacket. She stands for a moment looking toward the school in bored resignation as the others rush around her.
Marty and Jan coming walking up.
MARTY
Hey, Riz!
JAN
Great to be back, huh?
RIZZO
It was great when we were Freshmen. It was good when we were Sophomores. It was okay when we were Juniors. But now that we are Seniors, it's just boring, boring. I can't wait for this year to be over so life can really begin.
Rizzo gives a world-weary sigh and starts toward the school. Marty and Jan adopt her air and the three of them walk along with their noses skyward as several excited younger girls rush past and look at them as though envying their exhaulted positions.
CUT TO:
[And we join the T-Birds in more or less the same scene that appears in the film; except that Kenickie is already with them (and delivers the "You're not supposed to eat this, you're supposed to bury it" line).]
================================
[A brief scene that takes place before Sandy enters the principal's office:]
INT. HALLWAY
Both sides of the hall are lined with lockers and students are busily applying locks and decorating the insides of them to match their personalities. There is also a lot of ritualistic, un-self-conscious hair combing, by members of both sexes.
Frenchy and Sandy come down the hall.
FRENCHY
You better check in the office to find out what homeroom you got. Pray you don't get old lady Lynch, the math teacher.
SANDY
Is she bad?
FRENCHY
Bad? All I know is she flunks people in homeroom.
Sandy grimaces and heads for the office.
================================
[Before the Pink Ladies are seen at the lunch table...]
INT. CAFETERIA - CLOSE - ELABORATELY FOLDED HANDKERCHIEF
PULL BACK TO SHOW that it rests on the ample bosom of MRS. OVERTON, the chubby dietitian who beams over the serving dishes of murky substances.
She wears a white uniform complimented by aqua costume jewelry.
Sandy and Frenchy come down the line with trays.
FRENCHY
That's Mrs. Overton, the dietitian. Everybody calls her Mrs. Over-a-ton. If you're friendly with her, she gives you extras... Hi, Mrs. Overton.
Mrs. Overton beams and walks toward the line. Her voice is as sugary as most of her dishes.
MRS. OVERTON
Hello, darlin'. We got peach cobbler today.
FRENCHY
This is Sandy Olsson. She's new.
She looks at Sandy and puts her hand to her heart.
MRS. OVERTON
Why, dear, you're nothing but skin and bones.
She picks up a dessert plate, slides two cobblers on it and slides it onto Sandy's plate with a wink.
MRS. OVERTON
(continuing)
Just remember, men like women with meat on their bones. My husband hasn't looked at another woman in thirty years.
FRENCHY
(sotto voce)
The reasion is he can't see around her. Come on, I wantcha to meet the Pink Ladies.
Sandy stifles a giggle as they line up for the cash register.
Mrs. Overton picks up a dessert and nibbles on it as she walks down the line where Danny and Doody are in line stuffing themselves as they go. They also shake bowls of jello in imitation of the voluptuous Marty who walks past in a tight skirt and sweater set.
Doody copies whatever Danny does.
Danny swallows part of a stuffed tomato as Mrs. Overton walks up.
MRS. OVERTON
The hash is good today.
DANNY
It always is on Monday.
The boys continue on down the line. Doody decides to do something on his own, takes a spoon and takes a big bite out of a dish of applesauce.
Danny sees this, does a take and shakes his head sadly.
DANNY
(continuing)
Hey, man, that applesauce will put you outta commission.
DOODY
Why?
DANNY
Saltpeter.
Doody grabs his throat as if dying. Danny shakes his head and goes on down the line, grabbing the dessert off the tray of a passing girl, taking a few bites and tossing it in the drink cooler.
Danny looks at the cashier as he arrives with his empty tray.
DANNY
(continuing)
No appetite today. Must be the early lunch period.
Doody catches up and they head out of the cafeteria.
================================
[Before cutting away from the Pink Lady lunch table:]
RIZZO
(rising; fake English accent)
I'm going to have a Viceroy on the verandah!
FRENCHY
Which means, Sandy, she's sneaking behind the cafeteria garbage dump for a ciggie-butt. You get caught; you get suspended.
================================
[As the Pink Ladies set off for class after lunch:]
EXT. RAMP
The Pink Ladies walk under a ramp as the Thunderbirds climb over the top, not seeing each other.
SONNY
Her knockers. Tell me about her knockers.
Danny sculpts an overly endowed female form in the air and Putzie pretends to grab them in the air. A flicker of uncertainty crosses Danny's face as the others laugh.
SONNY
(continuing)
One hour with me and she'd be my slave for life.
DANNY
That's because one hour with you makes the brain go bye-bye.
PUTZIE
What about her hinie?
DOODY
I'm a leg man myself.
KENICKIE
You'll take anything you can get.
A BELL RINGS and the boys split up.
================================
That takes us up to the bonfire... more coming soon!
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