Streets of Fire

Synopsis: Rock and Roll singer is taken captive by a motorcycle gang in a strange world that seems to be a cross of the 1950's and the present or future. Her ex-boyfriend returns to town and to find her missing and goes to her rescue.
Genre: Action, Crime, Drama
Director(s): Walter Hill
Production: MCA Universal Home Video
  2 wins & 1 nomination.
 
IMDB:
6.8
Metacritic:
59
Rotten Tomatoes:
67%
PG
Year:
1984
93 min
1,890 Views


COOLEY:
It looks like

she drug in a real crowd,

don't it?

PRICE:
Sure does.

Looks like it's gonna be

a full house tonight.

Hey, what do you say we run in

and check out the show?

(PEOPLE CLAPPING)

How we doing here?

We all set?

Hey, big crowd, huh?

Yeah, and not one of them's

got a pot to piss in.

I never should have let

myself get talked

into this dumb benefit.

I could be making some

real money tonight. All right,

let's get this thing started.

(CROWD CHEERING)

MAN:
And now back home again

the one, the only

Ellen Aim!

(BAND PLAYING)

Lying in your bed

and on a Saturday night

You're sweatin' buckets

and it's not even hot

But your brain

has got the message

And it's sending it out

To every nerve

and every muscle you've got

You've got so many dreams

That you don't know

where to put 'em

So you'd better turn

a few of 'em loose

Your body's got a feeling

that it's starting to rust

You'd better rev it up

and put it to use

And I don't know

how I ever thought that

I could make it all alone

When you only make it better

And it better be tonight

I'll be there for you tonight

Even if you don't have

anywhere to go

You go down on the pedal

and you're ready to roll

And your speed

Is all you'll ever need

All you'll ever need to know

Darlin', Darlin'

You and me

we're goin' nowhere slowly

And we've gotta get away

from the past

There's nothin' wrong

with goin' nowhere, baby

But we should

be goin' nowhere fast

It's so much better

goin' nowhere fast

Stalkin' in the shadows

by the light of the moon

It's like a prison

and the night is a cell

Goin' anywhere

has gotta be heaven tonight

'Cause stayin' here

has gotta be hell

Dyin' in the city

like a fire on the water

Let's go runnin'

on the back of the wind

There's gotta be some action

on the face of the earth

And I've gotta

see your face once again

And I don't know where

I ever got the bright idea

that I was cool

So alone and independent

But I'm depending on you now

And you'll always be

the only thing that

I just can't be without

And I'm out for you tonight

I'm comin' out

for you tonight

Even if you don't

have anywhere to go

You go down on the pedal

and you're ready to roll

And your speed

Is all you'll ever need

All you'll ever need to know

Darlin', Darlin'

You and me

we're goin' nowhere slowly

And we've gotta get away

from the past

There's nothin' wrong

with goin' nowhere, baby

But we should be

goin' nowhere fast

Everybody's goin'

nowhere slowly

They're only fighting

for the chance to be last

There's nothin' wrong

with goin' nowhere, baby

But we should be

goin' nowhere fast

Godspeed

Godspeed

Godspeed

Speed us away

Godspeed

Godspeed

Godspeed

Speed us away

We're goin' nowhere fast

Godspeed

We're goin' nowhere fast

Godspeed

We're goin' nowhere fast

Godspeed

Speed us away

We're goin' nowhere fast

Godspeed

We're goin' nowhere fast

Godspeed

We're goin' nowhere fast

Godspeed

Speed us away

(CROWD CHEERING)

Now!

Hey, what the hell

do you think you're doing?

Get off the stage!

Hey, you guys

shouldn't be doing this!

Hey, we don't want

no trouble!

Let me go!

Let me go!

No!

Let me go!

Put me down now!

Let me go! Let me go!

Help me!

(SIRENS WAILING)

Get them!

(SCREAMING)

Them Goddamn

son-of-a-b*tches!

Hang a one-eight.

What's with that guy?

Watch out!

These guys are gonna pay!

(SCREAMING)

Someone help me!

Stop it!

Stop it!

Stop it!

Can I help you?

Coffee.

Cream and sugar?

Just black.

(MAN WHISTLING)

Oh, you guys really know

how to come through a door.

What are you trying to prove?

We just came down

from Kings Park

looking for a good time.

You guys already missed

all the excitement.

The party's over.

The Roadmasters are hungry.

And when they're hungry,

they eat.

The Bombers have brought

this act through

The Richmond already.

All you're doing in here

is looking like punks.

Is that right?

We're just gonna

have to mess the place up.

And after we mess

your place up

maybe we'll mess you up.

Oh, you got a problem

with this, pretty boy?

(CLINKING)

Try it again, punk.

Go on, go home!

What do you think

of my new car?

It looks great.

Why don't you sell it

and buy me a new window?

(TIRES SCREECHING)

Tom, come on, slow down.

Reva, there's no point

in stealing a car, if you're

not gonna ring it out.

When are you

ever gonna grow up?

Why should l?

This is more fun.

Let me give you

some news, Tom.

The Bombers

and this guy Raven Shaddock,

they stole Ellen Aim.

(SIRENS WAILING)

How the hell did that happen?

Oh, sh*t!

Goddamn cops!

Okay, buddy,

what the hell

do you think this is?

We don't go

for that kind of speeding

around here.

Now let's see your license.

Sorry, Officer,

I must have left it at home.

Tom Cody. It's been a couple

of years since I've had

any trouble out of you.

Hey, Ed,

I just came home

to visit my big sister.

You're not gonna have

any trouble with me.

Glad to hear it.

We don't need somebody

coming back here

trying to give us a hard time.

Come on, Ed, he just got back.

Give him a break.

Yeah, I'll give him a break.

Get out of here, Cody.

Yeah, and anymore

driving like that

and I'll give you a ticket.

A**hole!

Who the hell

does that guy think he is?

Well, he's always been

a real bad ass. I busted him

a couple of years ago.

He had a pistol

in the glove compartment

of his car.

A real punk, huh?

Yeah, he belongs in jail

with all the other

juvenile delinquents.

You sure I'm not gonna

be cramping your style

with any guy tonight, huh?

No, not tonight.

I bring one in now and then

but there's nothing steady.

I never seem to find

the right one.

Yeah, I ain't having much luck

in that department myself.

Look, Tom,

you were always

real close with Ellen.

She wasn't like all those

tramps you used to

run around with.

Reva,

it didn't work out, okay?

Well, somebody figured out

how to make it work with her.

She's been living with a guy

named Billy Fish.

Who's that?

He's done some rock joints

in The Battery.

He started managing her act.

Yeah, she was always

interested in going somewhere.

Tom.

She's not just your old girl.

Reva, what do you

want from me, huh?

You know what I want.

You want me to go rescue

an old girlfriend who's

shacked up with another guy?

Thanks a lot.

Tequila.

Hey, Tom! Tom Cody.

It's been a long time, pal.

How's your hammer hanging?

How's it going, Clyde?

Well, not so hot.

I got beat up trying to save

your old girl.

I could use a little help

with those guys. You should

have been there, Tom.

It would have been like

the old days when we were in

school. We'd have kicked ass.

Hey, bartender,

you gonna shoot

the sh*t all night,

or do you wanna

get me another drink?

Hey, Tom,

would you get a load

of this little heinie?

She thinks she owns the place.

I'm just trying to

get myself a drink, pal.

Well, maybe you've already

had enough, babe.

You gotta be kidding me!

Rate this script:3.0 / 2 votes

Walter Hill

Walter Hill (born January 10, 1942) is an American film director, screenwriter, and producer. He is widely known for his action films and revival of the Western genre. He has directed such films as The Warriors, Hard Times, The Driver, Southern Comfort, 48 Hrs. and its sequel Another 48 Hrs., Red Heat, Last Man Standing, Undisputed, and Bullet to the Head, as well as writing the Steve McQueen crime drama The Getaway. He has also directed several episodes of television series such as Tales from the Crypt and Deadwood and produced the Alien films. more…

All Walter Hill scripts | Walter Hill Scripts

2 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Streets of Fire" Scripts.com. STANDS4 LLC, 2024. Web. 24 Dec. 2024. <https://www.scripts.com/script/streets_of_fire_18995>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the purpose of "action lines" in a screenplay?
    A To list the plot points
    B To describe the setting, actions, and characters
    C To outline the character arcs
    D To provide character dialogue