Jerry Maguire Page #8

Synopsis: When slick sports agent Jerry Maguire (Tom Cruise) has a crisis of conscience, he pens a heartfelt company-wide memo that promptly gets him fired. Desperate to hang on to the athletes that he represents, Jerry starts his own management firm, with only single mother Dorothy Boyd (Renee Zellweger) joining him in his new venture. Banking on their sole client, football player Rod Tidwell (Cuba Gooding Jr.), Jerry and Dorothy begin to fall in love as they struggle to make their business work.
Genre: Comedy, Drama, Romance
Production: TriStar Pictures
  Won 1 Oscar. Another 25 wins & 41 nominations.
 
IMDB:
7.3
Metacritic:
77
Rotten Tomatoes:
83%
R
Year:
1996
139 min
1,797 Views


JERRY:

(to Dorothy)

Let's see how they do without us.

A beat of silence, then noise returns to its normal

commercial roar. A couple of fleas have been swatted off the

carcass of an immense beast.

INT. ELEVATOR -- NIGHT

The tragic-sounding beep of the elevator passing floors.

Jerry Maguire stands with Dorothy, both still charged with

adrenalin. And then the first pangs of dread. There is

silence. The elevator stops. A young, amorous Couple

enters. Both are about 24, and the Guy presses a number five

flights down. In a moment, we realize they are deaf. They

sign to each other, murmuring noises of love. And then the

Guy signs something, obviously powerful, because the Girl

emits a delighted gasp, as does Dorothy. The Couple are

truly in their own world. They kiss before exiting on their

floor. And suddenly the elevator seems empty without them.

JERRY:

Wonder what he said.

DOROTHY:

My favorite aunt is hearing

impaired. He said "you complete

me."

_

40.

They continue on in silence.

INT. BUILDING LOBBY -- NIGHT

Jerry and Dorothy pass through another office's party. Loud

music. It's a pre-Easter party thrown for the building

employees and their children. Jerry and Dorothy squeeze

through with boxes and fish.

EXT. SMI PARKING LOT -- NIGHT

Jerry and Dorothy walk to their cars. Music in distance.

DOROTHY:

So I know this is a bad time,

but -- you will have a medical

program, right?

JERRY:

Sure. Yes. Medical, I don't know.

He spaces out for a moment. Awkwardly, she touches him

briefly.

DOROTHY:

And I guess we didn't talk about

money. So, I'll just dive in --

JERRY:

Give me your number. I'll call

tomorrow. I'm just a little. I'm

a little insane right now.

(off her look)

But it's going to be great.

DOROTHY:

No no, I know --

They arrive at her red Camry. She writes her number on the

back of a business card.

JERRY:

But I mean really... wonderfully...

(out of steam)

great.

DOROTHY:

(unsure)

Absolutely.

She climbs into her car, rolls down the window.

JERRY:

And when you think about what

you've done later, don't panic.

_

41.

DOROTHY:

Me? No. My sister -- it's a good

bet.

She starts the engine.

DOROTHY:

(continuing)

That took guts.

JERRY:

Same to you.

She salutes him as she drives off. His own move, played back

to him. Camera moves away from Jerry, as he stands alone in

the parking lot. Salutes her in return. Herb Alpert. "The

Lonely Bull." Stripped of power, his once mighty theme now

seems puny.

FADE TO:

EXT. DOROTHY'S HOME -- NIGHT

Lights glow inside this small-but-cozy home on a side street

in Manhattan Beach. Windows open. The sound of women's

voices.

INT. LIVING ROOM -- NIGHT

A living room filled with ten earnest, talkative Divorced

Women. This is their talk group. We meet JAN, 30, who speaks

shyly, thoughtfully, covering her braces often as she speaks.

She holds a too-full glass of red wine. (Much of the talk in

this Women's Group will be improved by our cast of actresses)

JAN:

I love men. I respect men. But

that doesn't change the fact that

most of them belong in cages...

The other nine women nod with deep understanding.

INT. KITCHEN -- NIGHT

Dorothy does the dishes. Across the room, Laurel has her

nightly cigarette, blowing smoke out the window. She is a no-

frills woman. She has some time ago shut off those aspects of

her life spent pursuing the opposite sex. They are in mid-

argument.

LAUREL:

What about medical?

DOROTHY:

Of course, medical!

_

42.

LAUREL:

(unconvinced)

You are a single mother. You have

given up the right to be frivolous.

DOROTHY:

(irritated)

If you'd read what he wrote, you

would have left with him too.

LAUREL:

(more irritated)

You know how much those Well Child

exams cost --

DOROTHY:

(overlapping)

Of course I know --

LAUREL/DOROTHY

A hundred and fifty dollars.

LAUREL:

And that's just when he's well --

They talk over each other arguing for a moment and then:

DOROTHY:

Wait. Where is he?

LAUREL:

He's in the living room asleep.

Dorothy dries her hands, flicking in a hurry.

DOROTHY:

Wonderful. Next time you lecture

me, don't leave my little boy in

a room with your Divorced Women's

Group...

She exits in a hurry, as Laurel throws her cigarette into the

garbage disposal. She has a hard time saying this, so she

says it so nobody can hear:

LAUREL:

Sorry.

INT. LIVING ROOM -- NIGHT

Ray dreams sweetly in the middle of this rockbed of Women's

Woes. Dorothy strokes his head, as she plucks him up. In

frame another woman, ALICE, 50, speaks passionately to the

group.

_

43.

ALICE:

Okay I've finally, finally, gotten

my anger straight here. I'm going

to visualize Carl being here and

finally tell him --

DOROTHY:

Shhhh!

Dorothy exits, protectively stroking her son's head.

DOROTHY:

(continuing)

Come on, buddy, we're going to bed.

INT. HALLWAY-- NIGHT

She stops for a moment, little boy in her hands. The

enormity of the day arrives with a thud.

DOROTHY:

(to herself)

What did I do?

INT. JERRY'S CONDO -- NIGHT

Jerry is quickly packing for a road trip. Avery looks on.

They are both in a manic state.

JERRY:

The power move is to go

unannounced.

(sotto)

Black suit, right?

AVERY:

(sotto)

And the egyptian cotton shirt that

works with or without the jacket.

(full volume)

Tell me again, how was it left

with Cush?

JERRY:

(perfect imitation)

"Dad says we gwan sleep on it.

AVERY:

Ugh!

JERRY:

(turns, with clothes)

Seventy-two clients. ONE stayed.

(sotto)

Jacket on, tie in pocket.

_

44.

AVERY:

(sotta)

Good.

(full volume)

They're all heatseekers! All of

them, everybody. You keep one

superstar and they'll all follow.

There's no real loyalty, and the

first person who told me that,

Jerry Maguire, was you.

JERRY:

I think I was trying to sleep with

you at the time.

AVERY:

Well, it worked, and I will not

let you fail. You are Jerry Ma-

f***in-guire.

JERRY:

That's right.

AVERY:

King of the Housecalls! Master of

the Living Room!

JERRY:

Okay, this is working.

AVERY:

You are not a loser.

Jerry stops, turns. The way she says "loser" is the most

elegant of disses. She wraps her lips around it like a cheap

hot dog.

JERRY:

Who said anything about "loser?"

Where do you get this word "loser?"

AVERY:

I'm sorry. I was on a roll. I

meant something else. When do you

want to leave?

Jerry zips his brown travel bag shut. He is packed and ready.

JERRY:

Now.

AVERY:

Let's go. I'll drive you.

_

45.

JERRY:

(stops, an odd

thought)

What if I don't get him?

Avery takes his bag, heads for the door.

AVERY:

Function function function.

Forward motion is everything.

Cush saves all.

Jerry takes a breath, exits. Music.

AIRPLANE WHEELS:

folding up. Music continues.

INT. RENT-A-CAR -- MORNING

Jerry drives the bumpiest Texas backroad ever.

Music continues.

EXT. CUSHMAN DOOR -- DAY

Jerry exits car. Adjusts the jacket. Takes the tie off too,

returns to the car and tosses it inside. He walks to the

front door with purpose. Suddenly an intercom crackles,

jolting him with a booming and cheerful voice:

Rate this script:5.0 / 1 vote

Cameron Crowe

Cameron Bruce Crowe (born July 13, 1957) is an American actor, author, director, producer, screenwriter and journalist. Before moving into the film industry, Crowe was a contributing editor at Rolling Stone magazine, for which he still frequently writes. more…

All Cameron Crowe scripts | Cameron Crowe Scripts

0 fans

Submitted by aviv on November 30, 2016

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

    "Jerry Maguire" Scripts.com. STANDS4 LLC, 2024. Web. 20 Nov. 2024. <https://www.scripts.com/script/jerry_maguire_722>.

    We need you!

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

    Watch the movie trailer

    Jerry Maguire

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What does "A/B story" refer to in screenwriting?
    A Two main characters
    B The main plot and a subplot
    C Two different genres in the same screenplay
    D Two different endings