Ferris Bueller's Day Off Page #16

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
1,315 Views


JOYCE:

Do you know my son?

FATHER:

Don't pay any attention to him.

He thinks it's cute to bait adults.

BOYD:

I don't think it's cute. I think

it's fun.

Joyce give him a puzzled smile and starts the car.

174 INT. FERRIS' ROOM 174

Jeanie's on the phone. She's in a panic.

JEANIE:

This is not a phoeny phone call. There's

an intruder, male caucasian, possibly armed,

certainly weird, in our kitchen.

(pause)

My name is Bueller.

There's another pause. Jeanie's face drops.

JEANIE:

It's real nice that you hope my

brother's feeling better but I'm

in danger, okay? I'm very cute,

I'm very alone and I'm very

protective of my body. I'd rather

not have it violated or killed.

I need help!

175 INT. KITCHEN 175

Rooney's plugging his bloody nose with paper towel. The

intercom goes on.

JEANIE'S VOICE

Excuse me. If whoever's in the house

is still in the house, I'd like you

to know that I have just called the police.

If you have any brains whatsoever, you'll

get your ass out of my house real quick.

Rooney stiffens with fear.

JEANIE'S VOICE

I'd also like to add that I have

my father's gun. And a scorching

case of herpes.

176 EXT. STREET 176

Rooney's car is hooked to a tow truck. It's parked in front

of a fire hydrant and the windshield is decorated with

parking citations. In the distance SIRENS WAIL.

177 EXT. PARKING LOT 177

The three are waiting for the Ferrari. We HEAR TIRES

SQUEALING, AN ENGINE REVING-OUT. Then the Ferrari pulls down

the ramp and jams to a frightening stop. A BLACK GUY jumps

out. Ferris hands him the parking stub.

FERRIS:

Just out of curiosity, what was

your top speed coming down the

ramp?

BLACK GUY:

(matter-of-fact)

About 60.

FERRIS:

Stunning!

He hands him a buck and opens the door and pulls the

passenger seat forward for Cameron.

FERRIS:

This is probably the last time you'll

have to ride back here. Keep that in

mind.

Cameron gives him a look and squeezes in.

178 EXT. DOWNTOWN STREET 178

The Ferrari cruises through traffic.

INT. FERRARI

Sloane's in the passenger seat. Ferris is driving and

Cameron is crammed in the back.

SLOANE:

What's next.

CAMERON:

Nothing. We return the car.

SLOANE:

We could go to my house. My parents

aren't coming home until late.

FERRIS:

We have enough cash left for a quick

flight to Peoria and back.

CAMERON:

Very funny.

Ferris looks in the mirror and changes lanes. He glances

down at the speedometer, then to the road. And back to the

speedometer.

FERRIS:

Cameron? How many miles did you

say this thing had when we left?

CAMERON:

One hundred and twenty six and

halfway between three and four

tenths. Why? How many miles are

on it now?

He glances down at the speedometer.

CU. SPEEDOMETER

The odometer reads 432.7.

FERRIS:

(to CAMERA)

Here's where Cameron goes berserk.

EXT. TRAFFIC

The Ferrari pulls up at a stop light. We HEAR A THUNDERING,

MUFFLED SCREAM.

EXT. EXPRESSWAY

The Ferrari is buzzing through traffic.

INT. FERRARI

Sloane turns in her seat and looks at Cameron. Her gesture

is one of genuine support.

SLOANE:

You okay?

CU. CAMERON

His eyes are frozen in a mindless, vacant stare.

CU. FERRIS

He looks at Sloane. He's concerned.

FERRIS:

Hey, Cameron. It's okay. We'll fix

it.

CU. CAMERON

He's still holding the stare. He starts to breathe heavily.

He's trembling.

CU. SLOANE

She whips around in the seat and grabs his arms.

SLOANE:

Cameron! Cut it out! What's

wrong?! Ferris!

CU. FERRIS

He shoots Sloane a look.

FERRIS:

Cameron, are you okay? It's

no problem, really. Your old

man won't know a thing. It's

completely fixable.

INT. FERRARI

Sloane fires an angry look at Ferris.

SLOANE:

Shut-up! It is a problem! For

him it's a problem. Nothing's

a problem for you. But it's

a problem for him! So, just

shut-up.

She turns back to Cameron.

SLOANE:

What can I do, Cameron?

CU. FERRIS

Eyes front. He knows what he's doing.

179 INT. FERRIS' HOUSE. FOYER179

The doorbell rings. The Ferris' tape is activated.

FERRIS VOICE:

Who is it?

We hear a MALE VOICE over the intercom.

VOICE:

Anybody home?

FERRIS' VOICE

I'm sorry that I can't come to

the door right now...

The tape continues as Jeanie hurtles down the stairs.

JEANIE:

I'm saved! Thank you, God!

Thank you, thank you, thank you!

She jumps the last few stairs and slides to the front door.

She whips it open.

180 EXT. HOUSE. FRONT DOOR 180

The door swings open.

JEANIE:

Thank...you...

Her jaw goes slack. She blinks her eyes.

HER POV:

The Delivery Man and a young ASSISTANT are standing at the

door with floral arrangements. Spread all around them are

more flowers. A sexy singing NURSE and a BALLOON MAN steps

up on the porch.

NURSE:

(sings)

WE HOPE YOU'RE FEELING BETTER

WE HOPE YOU'RE FELLING FIT

WE...

The door slams shut.

181 EXT. NEIGHBORHOOD STREET 181

Rooney's walking down the street. A school bus is crawling

alongside him as kids hang out the windows. From inside we

hear SHOUTING and seventeen different SONGS PLAYING ON

BLASTERS. A top forty montage.

KID:

Hey, Mr. Rooney! What're you doing?

Rooney doesn't respond.

ANOTHER KID:

Did you get in a fight?

Rooney keep walking. The bus doors open. The DRIVER calls

out to him.

DRIVER:

You want a lift?

Rooney takes a few more steps. He stops. The bus stops.

Rooney takes a deep breath. He climbs aboard the bus.

182 INT. BUS 182

The bus is jammed with WONKS and WEINERETTES. The passengers

are silent as they watch Rooney shuffle down the aisle and

take an empty seat next to a skinny, myopic GIRL.

CU. GIRL

She looks at Rooney and smiles. She pushes her Coke bottle

glasses up on her nose.

CU. ROONEY

He looks vacantly at her.

CU. GIRL

She holds her smile.

GIRL:

I'll bet you never smelled a

real school bus before.

CU. ROONEY

He stares at her.

CU. GIRL

She holds up a candy package.

GIRL:

Gummi Bear?

CU. ROONEY

He stares at her.

CU. GIRL

She puts one in her mouth.

GIRL:

They've been in pocket. They're

real soft and warm.

CU. BOY

A rotund FRESHMAN BOY sitting across from Rooney is staring

at him.

CU. ROONEY

He looks across to the kid.

CU. BOY

He leans forward.

FRESHMAN BOY:

It's kind of like being in the

belly of the beast isn't it?

CU. ROONEY

He turns him eyes to the front. The bus jerks forward and

pulls away.

183 EXT. BUS 183

It grinds through the gears as it heads down the quiet

street. The BLASTERS go back on, the SHOUTING RESUMES.

184 EXT. PARK 184

Cameron's laying on a picnic table. Sloane's sitting beside

him on the table. She's stroking his hair. Ferris WALKS INTO

THE FOREGROUND. He addresses CAMERA.

FERRIS:

This may very well be for real. I

think Cameron might have blown a

micro-chip or two. He's always been

a little keyed-up. All I wanted to do

was give him a good day. We're

gonna graduate in a couple of months.

Then we have the summer. He'll work

and I'll work. And we'll see each

other at night and on the weekends

but then he'll go to one school and I'll

go to another. And basically that'll

be it. As much as we like each other,

the process of growing up will

separate us.

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…

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Submitted by aviv on January 26, 2017

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