Ferris Bueller's Day Off Page #9

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


The closet door is open. The wire from the bedroom door is

strung over the top of the closet door. A trophy is attached

to the end of the wire and it's resting on a yard stick. As

the bedroom door closes, the trophy lifts up off the

yardstick and the lump in the bed goes back down to it's

original position.

CU. FERRIS' SYNTHESIZER

Little LED's are lighting up to the rhythm of the snoring.

The snoring it simulated.

109 INT. HALLWAY 109

Joyce listens at the door another beat. She's smiles with

relief and affection.

110 EXT. SEARS TOWER. LATER 110

HELICOPTER SHOT moves in on the world's tallest building. As

it passes we see three figures pressed against the windows.

FERRIS (VO)

This is the world's tallest building.

From our vantage point here on the

103 floor, we are provided with a

view of four states.

CAMERON (VO)

Do you think the car's alright?

FERRIS (VO)

Illinois, Michigan, Wisconsin and

my personal favorite, Indiana.

111 INT. SEARS TOWER OBSERVATION DECK 111

Ferris, Cameron and Sloane are standing against the window.

CAMERON:

I don't feel good, Ferris. Are

we gonna stay long?

FERRIS:

Take a step back...

Ferris steps back. Sloane and Cameron follow suit.

FERRIS:

Now, lean against the glass. Like

this...

He leans forward, putting all his weight on his forehead.

FERRIS:

And look down.

Sloane leans forward. Cameron follows, reluctantly.

SLOANE:

Oh, sh*t!

HER POV:

The street far, far below. A dizzying view.

INT. OBSERVATION DECK

The three are leaning against the glass.

SLOANE:

What if the glass gives?

FERRIS:

Death.

SLOANE:

Cool.

CU. CAMERON

He's looking down.

CAMERON:

I think I see my Dad.

112 EXT. STREET LEVEL 112

A middle-aged man, Cameron's father, HORACE FRYE, is

standing on the street corner. He's lean, clean, tough and

humorless. He's wearing a puzzled look on his face.

CAMERON'S FATHER

I think I see my car.

HIS POV:

The Ferrari screams down the avenue and disappears down the

underground ramp.

113 INT. SEARS TOWER LOBBY 113

Ferris and Sloane bound down the escalator. Cameron follows

glumly. They dance past the giant Calder mobile. They're

singing.

FERRIS AND SLOANE

I BEEN ALL 'ROUND THIS GREAT BIG WORLD

AND I'VE SEEN ALL KINDS OF GIRLS

YEAH, BUT I COULDN'T WAIT TO GET

BACK IN THE STATES

BACK TO THE CUTEST GIRLS IN THE WORLD

I WISH THEY ALL COULD BE CALIFORNIA

I WISH THEY ALL COULD BE CALIFORNIA

114 EXT. STREET 114

Ferris and Sloane burst out the doors garnering the annoyed

stares of the business people busily going in and out of the

building. Cameron politely waits his turn to exit. Ferris

and Sloane head down the street. Cameron follows.

FERRIS AND SLOANE

I WISH THEY ALL COULD BE CALIFORNIA GIRLS!

115 EXT. CHICAGO MERCANTILE EXCHANGE 115

Giant old monolith.

116 INT. CHICAGO MERCANTILE EXCHANGE. TRADING ROOM 116

Traders are frantically buying and selling commodities.

117 INT. GALLERY 117

Ferris, Cameron and Sloane are sitting in the gallery

watching the proceedings.

SLOANE:

Do you love me?

FERRIS:

Do you love me?

SLOANE:

I asked you first.

FERRIS:

Yes. You?

SLOANE:

Yes.

FERRIS:

Would I trash a day of education to

be with you if I didn't love you?

SLOANE:

Yes.

FERRIS:

Would I risk damaging a deep and

wonderfully enriching relationship

with my parents if I didn't love you?

SLOANE:

Yes.

FERRIS:

Would I have introduced you as my wife

if I didn't love you?

SLOANE:

Wait a minute. That was a lie.

FERRIS:

True.

Ferris puts his arm around Sloane.

FERRIS:

Would you want to get married? I

mean if I wasn't an a**hole.

SLOANE:

Sure.

FERRIS:

(serious)

Today?

Sloane stares at him. Is he serious.

FERRIS:

I'm game.

SLOANE:

No way!

FERRIS:

I'll do it, if you will.

Cameron suddenly adds his two cents.

CAMERON:

You need a blood test.

Ferris looks around at him.

FERRIS:

Huh?

CAMERON:

If your blood's not compatible,

you could produce a pinhead. The

state requires a blood test.

FERRIS:

So?

CAMERON:

So, you can't get married today.

FERRIS:

Tomorrow?

CAMERON:

If you get a blood test today.

SLOANE:

I'm not getting married.

CAMERON:

I'm with you, babe.

FERRIS:

Why not?

SLOANE:

What do you mean, why not? Think

about it.

FERRIS:

Besides being too young and your

father hating my guts and not

having any place to live and feeling

awkward about being the only cheer-

leader with a husband, give me a

good reason why not.

CAMERON:

I'll give you two. My mother and

father.

Ferris and Sloane look at him curiously.

CAMERON:

They're married and they hate each other.

(to Ferris)

You've seen them. Am I right?

FERRIS:

You're father's a toad and your

Mom's always wired out, but so what?

They're old. That's natural.

CAMERON:

It makes me puke. Seeing people

treat each other like that. It's

like the car. He loves the car.

He hates his wife.

SLOANE:

My parents are divorced. So what?

It's not like it doesn't happen

ten thousand times a day.

CAMERON:

Just because it happens doesn't

make it right. Are you comfortable

with it?

SLOANE:

No. It's not something I can get comfortable

with. I've tried. Are yours divorced?

CAMERON:

They may as well be.

SLOANE:

Do you think they're staying together

because of you?

Cameron hasn't seen it that way. He shrugs.

SLOANE:

Do they like you?

It hasn't occured to Cameron that his parents might not like

him. That parental love might not be a given.

CAMERON:

Yeah. Sure.

SLOANE:

Consider this...my father canned me

and my brother and my Mom for a

twenty five year old dipso with fake

tits. He dropped us like a rock. Everything

was cool at our house. I thought so.

We all thought so. Then BLAM! It's over.

FERRIS:

(to CAMERA)

This is all news to me. She keeps a

pretty good secret.

SLOANE:

(to Cameron)

It was pure selfishness. When I have

a kid, I don't care how much I want

something, if it's gonna screw-up the

kid, forget it.

FERRIS:

(to CAMERA)

She's not lying.

CAMERON:

You could change.

SLOANE:

Yeah. But I'm gonna try not to.

I'm gonna think about it. I'm

gonna try to prevent it.

FERRIS:

This is optomism. It's a common

trait with my age group. Adults

think it's cute, it's like a charming

quick that infests youth. But it's

a cool thing and I think, deep down,

crusty old shits wish they had some.

They wish they had her, too.

(points to Sloane)

Sorry. She's taken.

CAMERON:

I'd rather not have my family break

apart, thank you.

SLOANE:

Well, you know what? It ain't up

to you. It's out of your hands.

CAMERON:

So, I in other words, I should just

sit back and watch it crumble?

SLOANE:

You're merely an inhabitant in their

universe.

FERRIS:

Frightening choice of words.

SLOANE:

They call the shots. When you split

from them, you call the shots.

CAMERON:

So, you're saying I should run away?

FERRIS:

No. She's saying it's time for lunch.

SLOANE:

What?

FERRIS:

Let's go feed Cameron.

They stand up and head out. Ferris hangs back a moment. He

cups his hands to his mouth. He yells at the top of his

voice.

FERRIS:

BUY!

And he exits. Cool and casual.

118 INT. CHICAGO MERCANTILE EXCHANGE. TRADING FLOOR 118

It explodes with activity in response to Ferris' shout.

We HEAR A RADIO ANNOUNCER.

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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