Ferris Bueller's Day Off Page #10

Synopsis: Ferris Bueller is a clever and tricky fast talker, a legend in his own time. He decides to call out sick from school, feigning illness, to embark on a wild adventure involving his girlfriend, Sloane Peterson, his best friend Cameron Frye, and a Ferrari. From Wrigley Field to the Art Institute of Chicago to a Polish Pride parade, Bueller and friends intend on making the most of their day off. However, Ferris' sister and the school dean, Ed Rooney, suspect that Ferris is simply pretending to be ill. Both Rooney and Ferris' sister Jeanie are hot on Ferris' trail and are determined to catch him and his friends in the act of class-cutting.
Genre: Comedy
Production: Paramount Pictures
  Nominated for 1 Golden Globe. Another 1 win.
 
IMDB:
7.8
Metacritic:
61
Rotten Tomatoes:
79%
PG-13
Year:
1986
103 min
1,316 Views


ANNOUNCER:

Commodity prices rose sharply today

in unusually heavy trading...

119 EXT. RESTAURANT119

A French restaurant on the Gold Coast. It's noon.

120 INT. RESTAURANT120

Ferris, Sloane and Cameron are standing in the restaurant.

Ferris is looking at the maitre 'd's reservations book.

HIS POV:

His fingers runs down to a party of three for 12:00.

INT. RESTAURANT

The maitre'd returns.

MAITRE'D

(to Ferris)

May I help you?

FERRIS:

Yes. I'm Abe Frohman. Party of

three for 12:
00.

The maitre'd looks at Ferris curiously.

FERRIS:

Is there a problem?

MAITRE'D

You're Abe Frohman?

FERRIS:

I'm Abe Frohman.

MAITRE'D

(chuckles)

I'm sorry, son. I'm very busy right

now. If you have trouble finding the

door...

Sloane tugs Ferris' sleeve. He ignores her.

FERRIS:

Are you suggesting that I'm not

who I say I am?

MAITRE'D

Shall I call the police?

CAMERON:

Let's go...Abe.

FERRIS:

I'm not going anywhere.

(to the Maitre'd)

Call the police. Go ahead. Better

yet...

(grabs the phone)

...I'll call myself.

Cameron chokes. Sloane grits her teeth. The maitre'd smiles

smuggly.

CU. PHONE

Ferris punches out a number. A beat and the restaurant's

second line lights up and the phone rings.

INT. RESTAURANT

The maitre'd motions for the phone so that he can answer the

call. Ferris waves him off angrily.

FERRIS:

You touch me and I yell "rat!"

There's another phone around here.

Find it.

The maitre'd backs off.

CAMERON:

Ferris, let's split, please?

SLOANE:

Cameron's right. We're gonna

get busted.

FERRIS:

Not a chance in the world.

He hands the phone to Sloane.

FERRIS:

Ask for Abe Frohman.

INT. RESTAURANT. LATER

Ferris, Sloane and Cameron are seated in the restaurant. The

maitre'd is hovering over Ferris.

MAITRE'D

I appreciate your understanding.

FERRIS:

Don't grovel, Charles. Just leave

us to our repast and all will be

forgotten.

MAITRE'D

Enjoy your luncheon.

FERRIS:

Thank you.

The maitre'd backs away. Ferris smiles. Sloane is impressed.

Cameron is flushed with nerves.

FERRIS:

Darling, you were wonderful.

SLOANE:

Oh, but I had a wonderful teacher.

FERRIS:

Cameron, dear friend?

Cameron looks to Ferris.

FERRIS:

And you thought we wouldn't have

any fun. Shame on you.

Ferris disappears behind his menu.

121 EXT. SCHOOL 121

We HEAR HALLWAY SOUNDS AND JEANIE.

JEANIE (VO)

Ferris Bueller's days are numbered.

122 INT. GIRL'S LOCKER ROOM 122

Jeanie's sitting on a bench in a field hockey uniform. She's

talking to a FRIEND.

JEANIE:

(mean, vicious)

I'm gonna bust his buns.

FRIEND:

Why? What's the point?

JEANIE:

Why? Because I'm sick of the little

dope. He manipulates my parents, he

does whatever he wants, whenever he

wants and he never gets nailed.

(wicked pause)

Well, babe, today I'm the hammer.

She yanks angrily on the velcro strap on her sneakers. The

straps rip off in her hand.

FRIEND:

I think he's cute.

JEANIE:

Sweetie, it's an established fact that

you have no taste. Ferris is not cute.

He's not charming. He's not nice. He's

not a wonderful person. He's an ignorant

mule and the sooner everybody in this

school comes to that realization the

better off we'll all be.

She displays the velcro straps to her friend.

JEANIE:

See? My brother strokes you, you

sympathize with him, I get pissed

off and this is what happens!

Jeanie tosses the straps on the floor.

JEANIE:

Let me tell you something. I study

hard, I work hard, I'm polite, I'm

considerate, I'm friendly and fair

to all kinds of people. Except

morons. I try to be everything a

good, decent person should be and

you know what?

FRIEND:

Everybody thinks you're an a**hole.

Jeanie freezes with her next sentence pinned to her tongue.

JEANIE:

Excuse me?

FRIEND:

I don't think you're an a**hole.

JEANIE:

Who does?

Her friend smiles sheepishly.

JEANIE:

Rachel?

Jeanie's friend shrugs, wags her head, does everything but

verbally confirm.

JEANIE:

Rachel's a dirt bag. Who else?

FRIEND:

I don't know. Just forget it.

JEANIE:

Forget that everybody thinks I'm an

a**hole? Would you like everybody to

think you're an a**hole?

FRIEND:

Not everybody thinks you're an

a**hole. Mr. Rooney likes you.

JEANIE:

Oh, hey. That's exciting. A fat

fifty year old clod with B.O.

likes me.

Jeanie shakes her head in disbelief.

JEANIE:

Would everybody be happier if

maybe I were to die in a flaming

car accident or something?

FRIEND:

Maybe if you didn't cat like and

a**hole...

JEANIE:

Am I acting like an a**hole?

FRIEND:

I didn't mean it that way.

JEANIE:

I this a conspiracy to sh*t all

over me or something? Is my brother

behind this? Tell me if he is or I'll

sock your tits.

FRIEND:

You really do have a problem, Jeanie.

JEANIE:

Me? I have a problem?

FRIEND:

Somebody who threatens to sock people's

tits has a problem.

JEANIE:

Alright. How about if I sock your

face?

Jeanie's friend gets up.

FRIEND:

Take a walk, Jeanie.

Her friend exits.

JEANIE:

(yells after her)

If it means anything to you, I

have my period! MY BODY'S RIDDING

ITSELF OF OLD EGGS, GODDAMN IT!

She snarls and slumps against the lockers.

JEANIE:

He's gone. He's over. He's monkey meat.

123 INT. MEN'S ROOM. CHEZ PAUL 123

Ferris is standing at the urinal.

FERRIS:

She's a person who views life as

an ordeal that must be endured. Her

body is a transport vehicle for her

anger. I don't know where she gets

this sh*t. Basically, the family's

pretty cool.

He looks down at the urinal.

FERRIS:

I wonder if everybody shoots at

cigarette butts in urinals? Probably

not many women.

(continues)

I used to think that my family was

the only one that had weirdness

in it. It used to worry me. Then I

met Cameron and I saw how his

family functioned.

He zips this trousers and steps away from the urinal.

FERRIS:

Cameron's home life is really sh*t.

He wasn't lying. That's why he's sick

all the time. It really upsets him.

What he said about his parents hating

each other? I refuse to sleep over at

his house. His parents fight all the

time. Even when I'm there. Is there

anything worse than being at somebody's

house when their parents are fighting?

It's the absolute height of social

discomfort.

He checks his hair in the mirror.

FERRIS:

When they go after each other, Cameron

tightens up. It's scary. He gets so

wadded-up, you couldn't pry his buns

apart with a crowbar. The thing with

taking his old man's car? It's good

for him. It teaches him to deal with

his fear. Plus, and I must

be honest here, I love driving it.

I highly recommend picking one up.

He exists the men's room. We hold a beat. A toilet flushes.

Another beat and Tom walks out of the stall. He crosses to

the sink.

124 INT. RESTAURANT124

Cameron and Sloane have been served their lunches. They're

staring at the plates.

CAMERON:

What is it?

SLOANE:

I don't know. But it looks like

it's already been eaten and digested.

CAMERON:

I knew it was a mistake letting

Ferris order for us.

Ferris slides over to the table and drops into his seat.

FERRIS:

What are you doing?

Cameron looks at Ferris.

Rate this script:3.3 / 3 votes

John Hughes

An American filmmaker. Beginning as an author of humorous essays and stories for National Lampoon, he went on to write, produce and sometimes direct some of the most successful live-action comedy films of the 1980s and 1990s. Most of Hughes's work is set in the Chicago metropolitan area. He is best known for his coming-of-age teen comedy films which often combined magic realism with honest depictions of suburban teenage life. more…

All John Hughes scripts | John Hughes Scripts

3 fans

Submitted by aviv on January 26, 2017

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

    "Ferris Bueller's Day Off" Scripts.com. STANDS4 LLC, 2024. Web. 24 Dec. 2024. <https://www.scripts.com/script/ferris_bueller's_day_off_857>.

    We need you!

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

    Watch the movie trailer

    Ferris Bueller's Day Off

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What does "parenthetical" refer to in screenwriting?
    A A character's inner thoughts
    B An instruction for how dialogue should be delivered
    C A scene transition
    D A description of the setting