Ferris Bueller's Day Off Page #18

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


SLOANE:

It's better than "hello".

FERRIS:

Hellos' generic.

SLOANE:

You wanna be generic?

CAMERON:

It's help.

Cameron smiles at his wisdom. Ferris and Sloane think about

it. It's a good choice. Cameron gets up and walks to the

Ferrari.

CAMERON:

The word is help.

Cameron peeks in the window.

CU. ODOMETER

Nothing's happening.

INT. GARAGE

Cameron pulls his head out of the car.

CAMERON:

Ferris? It's not working.

Ferris looks up.

CAMERON:

The miles aren't coming off, running

it in reverse.

FERRIS:

I thought that might be a problem.

Let's crack open the odometer and

roll it back by hand.

Cameron shakes his head.

CAMERON:

I got a better idea. It's cool.

He walks back around behind the Ferrari.

CAMERON:

Seventeen years and I've never

taken a stand. Now, I'm gonna

do it. I'm taking a stand against

my father, against my family,

against myself, against my past,

my present and my future. I will

not sit idly by as events that affect

me unfold to change the course of

my life. I will take a stand and I

will defend it. When my father comes

home tonight, he's finally going

to have to deal with me. Good or

bad, I'm taking a stand.

CU. FERRIS

He turns to CAMERA.

FERRIS:

This is a big U-2 fan.

CU. SLOANE

She smiles proudly at Cameron. She applauds him.

CU. CAMERON

He's serious and determined. He has made up his mind and it

appears that it won't be changed by anyone but himself.

CU. TIRES

It's spinning wildly.

CU. MERCEDES BUMPER

Cameron's foot rests on the bumper. A beat and it gives a

mighty shove.

CU. TIRE

The spinning tires slam down on the cement.

INT. GARAGE

Cameron has kicked the Ferrari off the jack. It squeals out

of the garage in a cloud of blue tire smoke. A $50,000

unmanned investment heading backwards down a driveway.

CU. SLOANE AND FERRIS

They're in shock.

EXT. HOUSE

The Ferrari shoots down the driveway.

INT. GARAGE

Cameron watches the car go. He's strangely placcid about the

impending disaster. Ferris and Sloane are bewildered.

THEIR POV:

The Ferrari travels down the driveway, across the street,

over the curb into the wooded property opposite the house.

CU. TREE

The Ferrari's brief journey ends as it smacks a tree trunk.

INT. GARAGE

Ferris and Sloane exchange baffled looks. They look at

Cameron. He's proud and bold.

FERRIS:

What was that about?

SLOANE:

This has to be a dream.

FERRIS:

Cameron? One quick question.

Why'd you do that?

Cameron holds his proud posture for a beat. Then a look of

bewilderment comes over his face. He shoots a look to

Ferris. A puzzled look.

FERRIS:

You trashed the car.

Cameron looks across the street.

SLOANE:

Why?

CAMERON:

I took a stand.

FERRIS:

No, Cameron. You wrecked a car.

Cameron thinks for a moment. Then he regains his confidence.

CAMERON:

It's okay.

Ferris looks across the street at the car.

FERRIS:

I have an idea. If you're interested.

Cameron looks at him. He shakes his head.

CAMERON:

I'm gonna handle it.

FERRIS:

I think this could work.

CAMERON:

No, thanks. I want to deal with

it by myself.

SLOANE:

What about your one word?

CAMERON:

You already did it. If I need it

again, I'll use it.

He smiles. He raises am impish eyebrow.

CAMERON:

It's cool. I'm loose.

188 INT. POLICE STATION. OFFICE 188

Joyce is talking with the juvenile officer. Outside the

office, on the bench, we see Jeanie and the boy making out.

JOYCE:

She's never been in trouble before.

This is a shock to me. First, I

don't know why she wasn't at school.

Second, I don't know why she'd call

you with this story about a rapist.

OFFICER:

For whatever reasons she did it,

I think she'd had a good scare.

JOYCE:

I hope so. I appreciate your calling

me. I can assure you that her father

and I will have a long talk with her.

The gathers her purse and jacket and stands.

JOYCE:

Thank you.

OFFICER:

Oh, by the way, I hope you son's

feeling better.

Joyce looks at the officer curiously.

OFFICER:

Tell him, all the guys at the

station here are pulling for

him.

189 INT. POLICE STATION. WAITING ROOM 189

Jeanie quickly breaks the embrace with the boy as Joyce

steps out of the juvenile officer's room. She's still a

little bewildered that everybody knows Ferris was ill.

Jeanie wipes her lips and sits up straight. The boy adjusts

his pants to better hide his passion.

JEANIE:

(to the boy)

If you keep this to yourself, I

think we can probably get it on

pretty good.

BOY:

For sure.

Jeanie stands up.

JEANIE:

Hi.

JOYCE:

Don't "hi" me, young lady. Get

your stuff.

Jeanie reaches down for her purse.

BOY:

What's your name?

JEANIE:

Jean. What's yours?

BOY:

Garth Volbeck.

190 EXT. SLOANE'S BACKYARD 190

Sloane and Ferris are standing at the back fence.

SLOANE:

I had a great time today.

FERRIS:

Yeah. It was pretty cool.

SLOANE:

You think Cameron's gonna be

alright?

FERRIS:

Sure. He had to so it, I guess.

His old man had it coming. He'll

be okay. I'd be worried if he'd

taken my idea.

Sloane smiles knowingly.

SLOANE:

You didn't have an idea, did you?

FERRIS:

Not a glimmer.

SLOANE:

You're so smart.

FERRIS:

No. I'm just real loose.

He kisses her.

FERRIS:

I'll call you tonight.

Sloane nods. Ferris jumps the fence and takes off across the

backyards. Sloane watches him go. A huge smile spreads

across her face.

SLOANE:

I LOVE YOU!

She backs away from the fence. MUSIC FADES UP.

SLOANE:

He's gonna marry me. I know it.

She turns and runs into the house.

191 EXT. BACKYARD 191

Ferris sprints across a backyard. He jumps a plaster elf.

192 EXT. ANOTHER BACKYARD 192

Ferris vaults a fence. He runs directly for a swimming pool.

He's approaching it from the side. He leaps, hits the diving

board, springs off, does a flip and lands on the grass on

the other side of the pool.

193 CU. BEDSPREAD 193

Neatly bundles stacks of bills and rolled coins. A

significant amount of cash.

CU. SLOANE

She's writing.

CU. PIECE OF PAPER

We see a portion of the typewritten letter as she signs it.

"...in the amount of $1,765.33. It

gives us great pleasure to assist

you in performance of your worthy

and much needed survives to those

so desperately in need.

Sincerely,

Sloane Peterson

Executive Director

The Ferris Bueller Foundation"

194 EXT. FERRIS' STREET 194

He's running down the middle of the street. A car honks.

Ferris moves to the side. The car pulls around him.

INT. CAR.

Tom's at the wheel. He glances in the mirror. He does a

take.

HIS POV. MIRROR

We see Ferris cut across a front lawn and into a house.

CU. TOM

He realizes it couldn't be Ferris.

195 INT. HOUSE195

Ferris runs through the kitchen, past a WOMAN, fixing dinner

and out her backdoor. The Woman looks up curiously.

196 EXT. FERRIS' HOUSE 196

Tom pulls in the driveway. He parks and gets out. Joyce

pulls in from the other direction.

197 EXT. HOUSE. BACK PORCH 197

Ferris tries the door. It's locked. He reaches down and

lifts the doormat.

CU. PORCH

The outline of a key in the dirt under the mat. The key's

gone. The toe of a chewed-up dress shoe steps INTO FRAME. An

OMNIOUS CHORD IS STRUCK.

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

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Submitted by aviv on January 26, 2017

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