See part I of this article
As we have seen in the first part of our discussion on John Hughes' deceptively intricate and perceptive work of "film literature", the characters are never as they appear at first glance. The character of "Samantha" was revealed to be a true heroic figure; struggling through an ordeal of Herculean proportions. Long Duck Dong is a walking talking allegory for sexual awakening in the teenage psyche. And as we will see here, "The Geek" is a truly classic example of the archetype of the tragicomic antihero.

Our first encounter with "The Geek" is his appearance as a foil for "Samantha" as she tries to return to the safety of her home after her worst school day in recent history. The already emotionally fragile and upset female protagonist is harassed by the shabbily dressed "Geek" who saunters up to the front of the bus like a rogue traveler seeking a scrap of food. When the camera pans up to reveal his smirking, greedy face, however, he is instantly revealed to be a "bad guy" intent on the sexual conquest of our "heroine", "Samantha".

The first conversation between our two main characters consists of a series of rebuffed advances by "Geek" and ultimately in his seeming humiliation at the hands of the object of his desire. This is revealed not to be the case, however, when "Samantha" leaves the bus and "Geek" seems not defeated but encouraged and possibly even more driven by lust to achieve his goal of "bagging a babe".

The subsequent encounters between "Geek" and "Sam" become increasingly more awkward and tense as his desperation and her annoyance escalate. But no matter how hard she tries to get rid of him, "Geek" becomes more confident with every refusal.