"FERRIS BUELLER'S DAY OFF" (1986)

"FERRIS BUELLER'S DAY OFF"

by

John Hughes

PROPERTY OF:

SHOOTING SCRIPT

PARAMOUNT PICTURES CORPORATION

July 24, 1985

5555 Melrose Avenue Los Angeles, California 90038

Copyright 1985 Paramount Pictures Corporation

1 BLACK SCREEN 1

MAIN TITLES

IT'S SILENT. A BEAT...AND AN EXPLOSION OF SOUND. A HOUSEHOLD IN THE MORNING. KIDS GETTING READY FOR SCHOOL. CLOCK RADIOS.

KITCHEN APPLIANCES. SHOWERS. FIGHTING. PEOPLE YELLING. DOG BARKING. APPLIANCES BUZZING. CAR HORNS. IT SOUNDS JUST LIKE YOUR HOUSE DID. STREAMS OF ROCK'N ROLL FADE IN AND OUT. HUEY LEWIS TO LIONEL RITCHIE TO HUSKER DU. SURROUND MAKES IT FEEL LIKE YOU'RE IN THE ROOM. AN AURAL TOUR OF A HOUSE ON A SCHOOL MORNING. BEGINNING IN THE KITCHEN AND MOVING UPSTAIRS.

The house falls dead SILENT. We hear footsteps thundering through the house. A TENSE STRAIN OF MUSIC FADES UP.

Todd screams. We hear the sound of Tom's footsteps running through the kitchen, down the hall, up the stairs, up the hallway. A door open.

2 CLOSE-UP. FERRIS 2

An eighteen year-old boy. He's staring lifelessly at CAMERA.

His mouth's open. His eyes are bugged-out. His tongue is fat and dry in his mouth. He's laying in bed, on his side.

Ferris' parents, TOM and JOYCE BUELLER are standing at bedside. They're in their late forties, early fifties.

Handsome, upper-middle class parents. They're both dressed for work.

4 CLOSE-UP. FERRIS 4

His lifeless eyes blink.

Tom bends down and touches Ferris' forehead.

Tom takes one of Ferris' hands.

Ferris exhales loudly. He tries to speak but all he can manage is a choked gasp.

Ferris tries again.

He starts to get up. Joyce gently pushes him back down.

He's gripped by a seizure. His body stiffens and he chokes.

His older sister, JEANIE, walks into the room. She's dressed for school. She's cute and stuck-up. A major pill.

She glares at Ferris. Her eyes are mascara and vengence. She slips out of the room. Ferris' brother, TODD and sister, KIMBERLY peek into the room.

She turns sharply and exits.

Todd backs out of the room.

6 CU. FERRIS 6

He acknowledges Tom with a pathetic flutter of his eyelids.

She strokes Ferris' hair.

She leans down and kisses his forehead. Tom pats his shoulder.

8 CU. FERRIS 8

Ferris lets out a wheeze. His glassy eyes follow his parents to the door.

They close the door. The lock clicks. Ferris' eyes shift from the door to CAMERA. A sly, little smile crawls across his lips.

The MTV theme music ROARS IN.

9 CU. TV SCREEN 9

The TV at the foot of Ferris' bed. The MTV logo is playing.

Ferris yanks open the drapes. The pall of the sickroom disappears in the brilliant glow of morning sunlight.

He turns from the window.

He flips on his stereo and fills the room with the MTV broadcast. A NEW SONG begins.

He equalizes the sound a little.

He exits into the hallway.

Ferris walks into the bathroom. It's littered with Jean's debris. He turns on the shower water.

He bends down OUT OF FRAME as he loses his briefs. He pops up.

He steps into the shower. Through the pebbled glass of the shower door we see Ferris' outline.

Inside the shower. Ferris' hair is standing straight up.

It's molded into a fin with shampoo.

He turns the shower head around and uses it like a microphone.

Ferris comes out of the bathroom with a towel wrapped around his waist. He's drying his hair with another of a different color.

He opens a linen closet and tosses the towel in it.

He passes CAMERA and goes into his room.

Ferris tosses the towel he's dried hair with on the bed.

He opens his door.

The door opens and Ferris rifles through his shirts.

He finds a shirt he likes. He steps back from the closet and puts it on. He drops the towel.

He walks across the room to his dresser. He opens his underwear drawer. There's an old model of a submarine on the top of the dresser. He picks it up.

He pulls out a pair of underwear. He gets dressed as he speaks.

He looks at himself in the mirror on the back of his closet door. He doesn't like what he's wearing. He continues his speech as he disrobes.

Ferris comes down the stairs. He's wearing a completely different outfit.

Ferris comes into the kitchen and crosses to the refrigerator.

He takes a sip out of a bottle of orange juice.

He crosses to the pantry.

He emerges from the pantry with a handful of Oreos.

Ferris walks in and flops down in an armchair.

He reaches over and picks up the telephone. He sets it in his lap.

20 CU. PHONE 20

He punches out a number.

He remote controls the TV on.

A sleek, modern house on a couple of deeply wooded acres. A prime house in a prime location. A telephone rings OVER.

It's a dark, dreary sick room. Shades drawn, floor strewn with used tissues, nightstand a still-life of over the counter remedies. A high school boy, CAMERON FRYE, is laying in bed. We don't see his face, only a silhouette with a thermometer sticking out his mouth. U2's SUNDAY BLOODY SUNDAY is playing. He's mumbling random words.

The phone rings. His hand reaches back and hits the speaker phone button.

Cameron takes the thermometer out of his mouth.

Ferris is sprawled out in the chair.

Cameron's insistant.

Ferris disconnects. Cameron slowly hangs up the phone.

The phone rings again. Cameron hits the speaker button.

Ferris hangs up.

We hear roll call as CAMERA MOVES ACROSS the tile floor. A shoe's POV.

CAMERA enters a classroom. It travels past a teacher's Hush Puppies and heads up an aisle of desk past dirty yellow Reebocks, rotting Air Jordans, scuffed heels, pristine loafers...

CAMERA reaches the last desk and rises slowly to reveal that it's empty.

WOUND-OUT CAR ENGINES COME UP LOUD.

28 CU. TV 28

THE ROAD WARRIOR is playing on video cassette. The big chase at the end.

He's sitting in the arm chair pretending it's Humongous' war wagon. He's wearing a hockey mash. He's steering. He reaches down and grabs an imaginary nitrous oxide valve.

29A CU. TV 29A

Humongous reaches down and grabs a real nitrous oxide valve.

He gives it a twist.

29B CU. FERRIS 29B

He throws himself back against the chair.

29C CU. TV 29C

The force of the rapid acceleration of his vehicle throws Humongous back in his seat.

29D CU. FERRIS 29D

He bounces himself in the chair to simulate the bumpy high speed ride.

29E CU. TV 29E

The was wagon hurtles down the road.

29F CU. FERRIS 29F

He rears back in horror.

29G CU. TV 29G

The war wagon is heading for a head-on collision with the tanker truck.

29H CU. FERRIS 29H

Arms outstretched, head thrown back, braced for collision.

29J CU. TV 29J

IMPACT!

MOZART COMES UP.

29K CU. FLOWERING TREE BRANCH 29K

Outside a bedroom window. A flowering crabtree branch.

Petite pink flowers. WE PULL BACK FROM THE WINDOW INTO THE ROOM. It's Jeanie's room. A pink and powder blue pig pen.

Clothes everywhere, make-up, books, records. Ferris is sitting on her bed going through a purse.

He comes up with a crumpled dollar bill.

He comes up with a five.

He holds up a twenty and snaps it. PINK FLOYD'S "MONEY" COMES UP.

The song plays as Ferris digs through the sofa cushions.

30A CU. SOFA 30A

Ferris extracts a sticky quarter from a crevice.

Ferris is going through his father's pants pockets. Another crumpled bill surfaces.

32 CU. WASHING MACHINE TOP 32

A couple of stiff, hard, bleached singles that have gone through the wash lay on top of the washer. A hand scoops them up.

33 CU. LUCITE ENCASED PROOF SET 33

An obvious gift from a grandparent. A U.S. Mint proof set. A ten, a five and a single enclosed in a lucite frame. A screwdriver tip wedges between the two pieces of Lucite and pops them apart. A hand peels the bills off the backing.

34 CU. KITCHEN DRAWER 34

Hands ripping through the kitchen junk drawer. Locating a dollar bill.

35 CU. COIN COLLECTION 35

The familiar blue collector's album. One-by-one, the quarters are being popped out of their slots.

36 CU. VACCUUM CLEANER 36

The dusty, dirty contents of the bag are emptied on the floor. Fingers pick a dime out of a matted wad of filth.

37 CU. SNOOPY BANK 37

It's being shaken furiously.

38 CU. BIRTHDAY CARD 38

It's a child's card. It's slowly opened to reveal a crisp, new five.

The door opens and Ferris thrusts his hands into the pockets of the coats. He comes up with a ball of Kleenex. A roll of Tums. A squirt gun. Then a modest wad of bills. His face lights up as he counts out the cash. He closes the door.

40 CU. FLOOR AND BED 40

Ferris' face appears between the bed and the floor. His arm reaches out for a small metal bank hidden under the bed.

41 CU. BANK 41

It's on a work bench. An awl is driven in between the door

and the jamb. It pries the door open. Inside are trading cards, a charred doll's head, a Zippo lighter and, finally, a five dollar bill.

Ferris is on his hands and knees under the kitchen table.

43 CU. TABLE LEG 43

Ferris lifts the leg and removes a quarter that's been used to balance the table.

Ferris stands up and pockets the quarter.

45 CU. FERRIS' BED 45

A shower of coins and bills rain down on the sheets. The SONG ENDS.

A suburban realty company. A cute little building in town.

Joyce is behind a desk. Across from her are two WOMEN.

They're also real estate agents.

Joyce's phone intercom buzzes. She take the call.

Her eyes open wide with alarm.

A modern, suburban high school.

It's a passing period. The hall is clogged with students.

A SECRETARY is at work at her desk. We hear the dean inside the office.

It reads, EDWARD R. ROONEY. DEAD OF STUDENTS. The dean's feet are up on the desk, behind the sign. Moderately priced dress shoes.

ED ROONEY is sitting behind his desk. He's tough, clean and straight as an I-beam. Short, neatly combed hair, suit and tie. He's toying with a pencil. He's confident to the point of arrogance.

Behind him is a computer terminal. He removes his feet from the desk and turns in his swivel chair.

53 CU. COMPUTER MONITOR 53

The monitor on Rooney's desk displays Ferris' records.

Under DAYS MISSED we see a number 9 suddenly change to a number 2.

Rooney turns to the monitor. He reads off the screen.

He looks closer at the screen.

Ferris is at his Macintosh computer. He has his record up on the screen.

She's still on the phone with Rooney.

MUSIC BLASTS. SOLO GUITAR.

58 CU. SPEAKER 58

The grille cloth is throbbing.

59 CU. LED METERS 59

The meters on the amplifier are totally in the danger zone.

60 CU. TV MONITOR 60

We see Ferris in his room with a guitar around his neck.

He's playing.

61 CU. VIDEO CAMERA 61

A home video camera is capturing Ferris on tape.

He's sitting on the edge of the bed buttoning his shirt. He sighs deeply and fall back on the bed.

Jeanie is at her locker during a passing period. A GIRLFRIEND comes up to her.

Jeanie stares incredulously at the girl.

She smiles and exits. Jeanie cocks her head in bewilderment.

She kicks her locker shut.

He's in bed on the phone.

A FRESHMAN BOY is on the pay phone. A couple of his BUDDIES are standing at his side waiting anxiously for news.

Second boy shakes his head, no.

The boy snatches a passing GIRL.

He hands her the phone.

Rooney's comparing his computer monitor to hard copy. His SECRETARY is standing over his shoulder.

Rooney stares at her for a long beat.

Rooney looks up at her with a proud smile.

He unconsciously does an Eastwood squint.

It's a glorious late spring day. A florist's truck drives past the house.

He's on the telephone. As he speaks he does a little MacPainting on his MacIntosh. A Modigliani nude.

Cameron's back in bed.

He's growing weary of Cameron's wimpishness.

The other phone line rings.

He puts Cameron on hold. He clears his throat and answers the second line. He sounds like he's on his last breath.

A LaSalle Street office tower.

He's behind his desk. Nice office. Two windows. Herman Miller desk and chair.

66 CU. COMPUTER MONITOR 66

A closer view of the rude drawing Ferris is making.

He leans back from the monitor and sips a Coke.

He puts his father on hold.

He disconnects and gets his father back. He switches back to his sick voice.

Ferris reaches out and hits a key on his computer. The screen dumps the drawing.

68 CU. COMPUTER SCREEN 68

A message is flashing: "TRANSMITTING DATA".

He turns away from the computer and puts his feet up on the desk. He lights a cigarette.

Ferris mouths Tom's words as he says them.

Ferris' drawing suddenly appears on the billboard.

Pedestrians stop to look.

He blows a smoke ring.

Ferris points a finger in the air as a cue to his father.

He nods.

Ferris smiles. He looks at CAMERA. He's gotten exactly what he wants.

(thinks) Of course, if they didn't, they'd be dumb and abnormal and they'd probably never move out of my house and I'd have to support them until I die. I take it back. (to the phone, sick voice) Dad? (MORE)

(thinks) (CONT'D) (thinks) All this talking has made me kind of light-headed. I think I better lie down.

He hangs up. Ferris sighs.

He turns his desk chair around and gets up.

He's sitting behind the wheel of his car.

He cuts the engine.

He sits for half a beat.

He sighs and restarts the engine. Another beat.

Another beat. He stops the engine. A CRASH OF HORROR MUSIC.

70 CU. DRESSER DRAWER 70

Hands curl around the drawer pulls. The drawer is opened slowly, ominously. The hands lift a sweater out. A HERALDIC STING as we see a men's magazine beneath the sweater.

He takes out the magazine. He leafs through the pages for the pictorials as he speaks.

He exits the room.

Ferris comes out of his room and heads down the hallway.

He goes into the bathroom. We HEAR THE TOILET SEAT SLAM DOWN.

A stunningly beautiful girl, SLOANE PETERSON, is sitting at her desk in a history class. She's staring out the window as a tweedy MALE TEACHER delivers a dry, dusty lecture.

The classroom door opens and the school NURSE walks in. For a moment, the teacher thinks she's come in because she heard him sneeze. She crosses to him and whispers in his ear.

The teacher's face drops as he's delivered an obvious piece of disturbing news. He nods grimly to the Nurse. She looks at the kids.

73B SLOANE 73B

A smile curls across her lips. As she gathers her books she looks to the GIRL next to her.

The Nurse is gently holding Sloane's hand.

74 CU. ROONEY 74

He has a suspicious look on his face.

Rooney's at his desk. His secretary is standing across from him.

Rooney smiles. His suspicions are confirmed.

As the secretary starts out of the room, Rooney's phone rings. She stops and answers the desk phone.

She puts the call on hold.

Rooney is startled. He thinks for a beat then reaches for the phone.

Rooney answers her with an annoyed look. She smiles and backs out. He punches the phone button.

Rooney rolls his eyes. It's so obvious it's not Mr. Peterson.

The secretary stops cold in the doorway. She turns to Rooney in horror. He covers the phone.

Rooney's other line rings.

She steps out of Rooney's office and picks up the other line.

Her jaw drops.

She puts the call on hold and hangs up. She hurried into Rooney's office.

Rooney's chewing out the person on the other line.

The secretary comes in. She's waving her arms furiously.

Rooney tries to wave her away. He's angry. She stomps her foot. Rooney covers the phone.

78 CU. ROONEY'S FOOT 78

It freezes in mid-tap.

79 CU. ROONEY'S HAND 79

The pencils falls from his fingers.

80 CU. ROONEY'S FACE 80

A mask of horror. He glances at the phone.

81 CU. PHONE 81

The second line light is flashing.

81A CU. ROONEY 81A

He blinks, cocks his head, twitches.

He's zipping his pants, fastening his belt. The phone's cradled against his shoulder. He speaks in the same voice he used on his father.

He's staring blankly ahead.

He nods.

81D CU. PHONE 81D

Rooney's finger gingerly presses the button on the waiting call.

Cameron's on the phone in the kitchen. He's doing a deep, phoney "father" voice.

He apologies profusely to Cameron. He's perspiring, trembling.

Rooney nods enthusiastically.

Cameron lays into Rooney.

Ferris strolls into the kitchen to catch the last of the conversation. Cameron covers the phone.

Cameron sighs and goes back to the phone.

Ferris gives Cameron an enthusiastic thumbs up.

Cameron smiles proudly.

Ferris smacks Cameron. He's said the wrong thing. He covers the phone.

Cameron panics. He holds the phone out to Ferris.

Ferris waves his arms angrily.

Cameron takes a deep breath. He clears his throat and puts on his father's voice.

Ferris slaps Cameron. The phone flies out of his hand.

82 CU. ROONEY 82

He winces as the phone hits the floor with a loud CLONK!

We hear the Boys scrambling to pick up the phone, then Cameron clearing his throat.

We hear a slap and the call disconnects.

Cameron's rubbing the side of his head.

Ferris is incredulous at Cameron's stupidity. Cameron's anger is intensified by his embarrassment.

Cameron glares at Ferris.

He turns and heads out of the room. Ferris sighs.

Cameron stops.

He turns around.

Cameron smiles. He appreciates Ferris apology.

Cameron's jaw drops.

The door opens slowly, dramatically as we hear a heraldic fanfare. Light streams in to reveal Cameron and Ferris looking at the car. Ferris is smiling with excitement and awe. Cameron is frowning with trepidation and fear.

85 CU. FERRARI STALLION 85

The prancing black stallion. We move up from the stallion to the erotic red hood of a 1958 Ferrari 250 GTS California.

86 CAMERON AND FERRIS 86

Cameron's face is ashen. The end of the world is at hand.

Ferris is in heaven.

He puts his arm around Cameron.

Cameron shakes his head, no.

87 CU. FERRARI GRILLE 87

Cameron's protests are drowned out by the distinctive roar of the twelve cylinders.

The roar of the engine is overtaken by the sound of a crowded school hallway.

She comes out of a classroom. She stops as Sloane and Rooney walk past. Sloane has her coat on and she's carrying her books. Jeanie watches her suspiciously.

The Ferrari is parked out in front. The top is down.

Ferris is driving. He's wearing a man's hat and sunglasses.

Cameron's in the back.

Cameron squeezes himself lower.

Rooney and Sloane come out the door.

Sloane looks across at the Ferrari. Rooney looks.

92 THEIR POV 92

Ferris is looking out across the roof of the Ferrari. He's careful to keep his nose and mouth below the roofline.

Rooney's suspicious. Sloane smiles and bids Rooney a hasty farewell.

She hurries to the car. Rooney watches her. Something does compute for him.

She's watching out the door. She sees the Ferrari pull away.

He can't quite put his finger on what's bothering him.

Sloane shrieks with delight. She leans across the console and gives Ferris a kiss.

She laughs and turns to Cameron.

Would you give up feeling like a ton just to ease your best friend's tension?

He smiles.

It accelerates away like a shot.

A fresh, modern bank building. The clock outside read 9:53.

The Ferrari pulls into the parking lot.

Ferris, Cameron and Sloane walk in. Ferris is cocky and confident. Sloane's still intoxicated with her freedom.

Cameron's having stomach trouble. Ferris leads the way to an open teller window.

A WOMAN about seventy with a silver blue beehive. It's about four inches higher the highest beehive you're ever seen. As she moves the beehive hits a small sign over her head. She's been at the bank since they opened. She smiles when she sees Ferris.

Sloane suppresses a laugh.

Cameron isn't amused.

Mrs. Froeling takes the bonds with a hearty smile. The latter part of the conversation sails over her like a line drive.

Cameron groans and turns away from the sham.

Mrs. Froeling thumbs through the bonds.

96F CU. CAMERON 96F

He's spooked by the games playing. He scans the bank nervously. He blinks, focuses, blinks again.

96G HIS POV 96G

Joyce is with a MIDDLE-AGED COUPLE and their bored, sour- puss teenage son, BOYD. He's sitting in a chair with his legs slung over the sides waving a Bic lighter back and forth across his rump. The parents are Joyce's clients from Vermont. A LOAN OFFICER is discussing the local financing situation with them. His is an open office adjacent to the teller windows. Joyce's back is to the tellers.

96H CU. CAMERON 96H

It's like he's just witnesses an ax murder.

Her back is to the teller windows. She's conducting her meeting. Behind her we see Cameron grab Ferris and point her out to him. He waves. Cameron slaps his arm.

Mrs. Froeling shows Ferris the savings bonds.

She concludes her meeting. She shakes hands with the loan officer and stands. The Vermont Couple stands. Boyd scrapes the bottom of his shoe on the desk, leaving a glob of mud behind and he stands. Joyce turns into the bank. Ferris, Cameron and Sloane are gone. She escorts her customers out.

Joyce and the Vermont Couple approach the doors. Boyd lays a luggie in the drinking fountain. Mrs. Froeling passes with the savings bonds. She stops when she sees Joyce.

Joyce doesn't know what she's talking about.

She pats Joyce on the arm.

She toodles on her way. Joyce and the Vermont Couple are completely baffled.

Joyce and the Vermont Couple walk along the side of the bank, heading for the parking lot. Boyd's tagging along behind. He picks up a stone and hurls it into the parking lot.

We HEAR A METALLIC PING! as Boyd's missle hits a car.

They pass a show window. As they pass, we hold on the window. It's promoting saving for college educations. A mannequin father is congratulating his mannequin son in a mortar and gown as a stiff Sloane, Ferris and Cameron look on proudly.

His secretary is dialing a number for him.

She hands the phone to Rooney.

Rooney glares at her.

He's got Sloane Peterson involved in this thing now. See?

The secretary nods.

97 CU. PHONE ANSWER MACHINE 97

It clicks on. We hear a grieved woman's voice. It sounds an awful lot like Sloane.

Rooney quickly takes down a number.

His answering machine clicks on. We hear Cameron's voice.

Rooney hangs up the phone.

The secretary's looking at a newspaper on Rooney's desk.

She's not listening to him.

Rooney looks at her, puzzled.

Rooney stares at her like she's crazy.

The major thoroughfare into the city of Chicago from the suburbs. The Ferrari streaks past. In the distance we see the Sears Tower, the Hancock Building and the Standard Oil Building.

Jeanie's walking down the hall. She's stopped by a KID with a Coke can.

Jeanie stares at him. She's flabbergasted at the proportions her brother's scan has reached.

She knocks the can out of his hands and storms down the hall.

The kid yells after her.

He reaches for the can.

The Ferrari pulls into a large parking garage.

Ferris, Sloane and Cameron get out. Cameron's having fits.

105 CU. PARKING ATTENDANT 105

He smiles with relish at the car. 6'6", 240. An IQ that equals his hourly wage. Shoulder-length hair stuffed into a hairnet Gold teeth. Earring. Goatee.

The Attendant swaggers over to the car. Ferris slips him a give.

He pats the Attendant on the arm. He smiles.

The Attendant very gingerly gets into the car. Ferris turns to Cameron. The Ferrari pulls into the lot very slowly, very carefully. No squealing tires, no revving engine.

She heads down the street.

Ferris nudges Cameron on. They exit the garage and head after Sloane. A long beat and the Ferrari creeps down the exit ramp of the garage. It's gone in the entrance and out the exit. Another attendant jumps in the passenger side.

He's skinny, tall, with a huge knit hat willed with dreads.

He lets out a spirited laugh and the Ferrari peels out of the lot. It heads down the street away from Sloane, Ferris and Cameron.

Joyce's care pulls in the driveway. She gets out and heads up the house.

It's dark. There's a figure in the bed. We hear soft snoring. A wire runs from under the bed covers to the closet door to the door to the room itself.

The wire is tied to the doorknob. It's taut. Downstairs, we hear a door open and close.

Joyce quietly walks up the stairs.

Joyce comes up the stairs and crosses to Ferris' room. She listens at the door. WE HEAR THE SNORING.

112 CU. DOORKNOB 112

Joyce slowly turns the doorknob and pushes the door open a crack.

113 HER POV 113

The door opens and the figure-like lump in the bed moves.

114 CU. JOYCE 114

She smiles and closes the door.

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.

116 CU. FERRIS' SYNTHESIZER 116

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

The snoring it simulated.

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

HELICOPTER SHOT moves in on the world's tallest building. As it passes we see three figures pressed against the windows.

Ferris, Cameron and Sloane are standing against the window.

Ferris steps back. Sloane and Cameron follow suit.

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

Sloane leans forward. Cameron follows, reluctantly.

120 HER POV 120

The street far, far below. A dizzying view.

The three are leaning against the glass.

122 CU. CAMERON 122

He's looking down.

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.

124 HIS POV 124

The Ferrari screams down the avenue and disappears down the underground ramp.

Ferris and Sloane bound down the escalator. Cameron follows glumly. They dance past the giant Calder mobile. They're singing.

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.

Giant old monolith.

Traders are frantically buying and selling commodities.

Ferris, Cameron and Sloane are sitting in the gallery watching the proceedings.

Ferris puts his arm around Sloane.

Sloane stares at him. Is he serious.

Cameron suddenly adds his two cents.

Ferris looks around at him.

Ferris and Sloane look at him curiously.

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

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.

And he exits. Cool and casual.

It explodes with activity in response to Ferris' shout.

We HEAR A RADIO ANNOUNCER.

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

Ferris, Sloane and Cameron are standing in the restaurant.

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

133 HIS POV 133

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

The maitre'd returns.

The Maitre'd looks at Ferris curiously.

Sloane tugs Ferris' sleeve. He ignores her.

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

135 CU. PHONE 135

Ferris punches out a number. A beat and the restaurant's second line lights up and the phone rings.

The maitre'd motions for the phone so that he can answer the call. Ferris waves him off angrily.

The Maitre'd backs off.

He hands the phone to Sloane.

Ferris, Sloane and Cameron are seated in the restaurant. The maitre'd is hovering over Ferris.

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

Cameron is flushed with nerves.

Cameron looks to Ferris.

Ferris disappears behind his menu.

We HEAR HALLWAY SOUNDS AND JEANIE.

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

She yanks angrily on the velcro strap on her sneakers. The straps rip off in her hand.

She displays the velcro straps to her friend.

Jeanie tosses the straps on the floor.

Jeanie freezes with her next sentence pinned to her tongue.

Her friend smiles sheepishly.

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

Jeanie shakes her head in disbelief.

Jeanie's friend gets up.

Her friend exits.

She snarls and slumps against the lockers.

Ferris is standing at the urinal.

He looks down at the urinal.

He zips this trousers and steps away from the urinal.

He checks his hair in the mirror.

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.

Cameron and Sloane have been served their lunches. They're staring at the plates.

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

Cameron looks at Ferris.

He puts his napkin in his lap and smells his plate.

He takes a bite. He savors the taste.

Cameron and Sloane try theirs. They chew tentatively.

Sloane and Cameron shrug. It's not bad. A WAITER passes.

Ferris stops him.

The waiter stops and looks at Ferris indignantly.

The waiter glances at the plates.

139C CU. SLOANE AND CAMERON 139C

They stop chewing. They're holding their sweetbreads in their mouths.

139D CU. FERRIS 139D

He continues his questioning.

139E CU. WAITER 139E

He nods broadly, knowing that he's spoiling the kids' meal.

139F CU. SLOANE AND CAMERON 139F

They look at each other.

139G CU. FERRIS 139G

He pats his mouth with his napkin. He looks to Cameron and Sloane. He raises a finger, holds it a beat and gives a cue.

139H CU. WAITER 139H

He turns away as Sloane and Cameron spit out their food.

139J CU. FERRIS 139J

He watches Sloane and Cameron then glances at the waiter.

Tom and his two GUESTS are standing at the curb, talking. A cab is waiting. The door's open. In the B.G. Ferris, Sloane and Cameron come out of the restaurant. They approach the cab. Tom's back it to Ferris. Ferris stops cold.

139L FERRIS, SLOANE, CAMERON 139L

They turns on cue at Tom, now in the B.G., turns toward the restaurant.

He turns to the cab. Sloane and Cameron turn slowly.

Tom and his party are still jawing at curbside. Ferris, Sloane and Cameron slowly approach the cab. Behind the backs of the men, Ferris scoots Sloane into the cab. Cameron dashes in. The Ferris hops the cab.

Ferris slams the door.

139P CU. CAB DOOR HANDLE 139P

A man's hand reaches for the handle as the cab pulls away.

Tom and his guests watch in bewilderment at their cab takes off. MUSIC COMES UP.

The grand old Chicago museum.

The main gallery is crowded with school kids.

A class of kids walking along holding hands. Among the second graders are Ferris, Sloane and Cameron, holding hands looking like giant grade schoolers.

Baby chicks are hatching in a huge, round incubator. Sloane, Ferris and Cameron are intently watching the process.

Sloane, Ferris and Cameron ride in the coal train in the coal mine replica. Ferris and Sloane are making out.

Sloane operates a metal press to produce a tin ashtray.

A giant, walk-thru replica of a human heart. Ferris staggers out of it, clutching his heart, feigning a massive heart attack.

Ferris is examining the controls of the captured U-Boat. He checks to see if he's being watched then he presses a button and pulls a lever.

143 CU. PROPELLER 143

For the first time in forty years, the screw turns.

144 CU. HUMAN FETUS IN A BOTTLE 144

The famous stages of life display which features bottled fetuses. The ninth month. A tiny human being in a jar.

145 CU. SLOANE, FERRIS, CAMERON 145

Sloane wants to cry. Cameron's stomach is in his throat.

Ferris is lost in thought. The MUSIC ENDS.

From the Merchandise Mart, looking down the fetid, green swath of water. A boat is rolling up the man-made canyon.

Long beat.

The boat makes the turn in the river and CLEARS FRAME.

The three are sitting on the aft deck of the tour boat.

Their feet are up on the railing. Very casual, very relaxed.

Discussing the end of the world.

A loud speaker on the boat identifies a point of interest.

The three look to the left.

LOUDSPEAKER, FERRIS, SLOANE, CAMERON The Sears Tower.

Cameron looks over the side of the boat. An obtuse thought flashes through Sloane's brain.

Meanwhile...

Jeanie is having a small moral debate with herself.

She slips into the Dean's outer office.

Rooney's secretary is behind her desk. Jeanie walks in. The secretary looks up and greets her with a weary smile.

Jeanie scowls at her.

A car tire rolls into FRAME and stops. Slide across to the sidewalk. Rooney's dress shoe steps out onto the pavement.

Move up to reveal Rooney standing at the door of his bile- green LeBaron. Rooney peels off his shades and looks

around like he's Dirty Harry. In his mind he is Dirty Harry.

152 CU. FIRE HYDRANT 152

Rooney's dres shoe on the hydrant. He ties his lace and pulls up his sock.

Rooney straightens his tie and jacket and slips into a rowdy hot dog joint.

It's jammed with construction workers, secretaries, suburban businessmen. It's loud and confusing. Rooney pushes his way in and scopes the crowd.

155 HIS POV 155

A young person is playing a video game in a far corner.

156 CU. ROONEY 156

He suspects it's Ferris. It look sort of like Ferris. He smiles and cuts into the crowd.

157 CU. THE BACK OF THE VIDEO PLAYER'S HEAD 157

MOVE IN on the player.

The player looks up.

The player turns around. It's a GIRL.

158 CU. ROONEY 158

The blood evacuates his face. He stares at the girl.

159 CU. GIRL 159

She stares at him. She picks up her Coke. She puts the straw to her lips and sucks.

160 CU. ROONEY 160

He's still staring. He can't think of anything to say.

161 CU. GIRL 161

Holding the straw in the mouth, she draws it out of the cup.

She raises it, pointing it directly in Rooney's face.

162 CU. ROONEY 162

He squints

163 CU. GIRL 163

She blows a strawful of Coke in Rooney's face.

164 CU. NAPKIN HOLDER 164

A hand yanks a napkin hold.

Rooney wipes his face. Behind him is the kitchen and a grease- covered TV set broadcasting a Cubs baseball game.

There's a long foul ball. The TV camera follows the ball into the stands. A kid makes a stab at the ball. Rooney wipes his suit off. The TV camera zooms in on the boy triumphantly holding the foul ball aloft. It's Ferris.

He does a little celebration dance. Rooney wads up the napkin and tosses it in a trashbin. The TV camera returns to the game. Rooney glances at the screen.

Rooney nods and exits.

Ferris sits down with the baseball. He shakes his stinging paw. On either side of him are Cameron and Sloane. Cameron's scarfing nachos.

Cameron offers his nachos to Sloane. She looks at them with disgust.

Ferris leans back, puts his hands behind his head and turns his face to the bright sun.

A boy's gym class is doing laps. A blue Fiat pulls into the shot.

Jeanie's at the wheel. She sneaks a glance at the school.

She puts the car in gear and drives out of the shot.

A parade is underway. Floats and politicians. Marching bands, drum and bugle corps, soldiers, school kids. Figure skating club in outfits and skates performing their routines on pavement. It's GERMAN-AMERICAN APPRECIATION DAY.

Riding atop on a float is Ferris. He's waving to the crowd.

He and half a dozen homely German-American Beauty Queens.

He's leading the girls in singing, "DANKE SHOEN".

They're watching Ferris go by. They wave to him.

Cameron breaks a smile. As worried as he is about the day and getting caught, he has to admire Ferris for his lack of inhibitions. Cameron mumbles a few words.

Sloane looks at him with amazement.

Ferris is on his knees, reaching down from the float, shaking hands with people in the crowd.

Sloane and Cameron continue their conversation.

Sloane laughs at herself. They step out of the crowd and head down the street in the direction the parade's heading.

Cameron nods.

Ferris is playing "TWIST AND SHOUT" on the accordian. The girls on the float are singing.

They continue their conversation.

Cameron doesn't understand what she means.

They walk on for a few beats. We HEAR "TWIST AND SHOUT"

GROWING LOUDER AND LOUDER. The sons is taking over all the other tunes in the band. It's infecting the entire parade.

They're playing TWIST AND SHOUT.

He's singing.

A band of PUNKS are dancing on the roof of a news kiosk.

A WOMAN and her two TODDLERS sing along.

He's wearing a shower cap and a maroon overcoat.

He singing along.

They're marching down the parade. They're singing in their angelic voices.

With their brooms ready...

The entire parade is singing and playing "TWIST AND SHOUT".

The POLITICIANS and their WIVES stand up.

The CLERGYMEN stand.

Marching in formation and in WWII uniforms.

Ferris leads the Beauty Queens in the rousing finale.

The entire parade is at frenzy pitch.

The SOUND OF THE VOICES blends with the SOUND OF A RED-LINED HIGH PERFORMANCE ENGINE.

The Port of Chicago. Grim, gritty waterfront. Suddenly, Cameron's father's car flies OVER CAMERA. Like the opening shot in Star Wars. The Starship Ferrari. SLO-MO.

191 CU. FERRARI UNDER-CARRIAGE 191

It travels past to reveal a beautiful blue sky. SLO-MO.

192 CU. PARKING ATTENDANT 192

His eyes are wide with exhilaration. Mouth open, tongue out.

Maniac at the wheel. SLO-MO.

193 CU. RASTAMAN 193

His eyes are closed. Big smile. SLO-MO,

They're looking up in the air, following the car as it flies over them. Broad, excited smiles. The car's shadow passes over them. SLO-MO.

195 CU. CAR GRILLE 195

It fills the frame and stops. We MOVE UP to reveal Rooney behind the wheel of his car.

Rooney gets out of his car. He looks at the house, looks up and down the street, then crosses to Ferris' house.

Rooney's at the front door. We see him peek in a window at the top of the door. The doorbell rings.

It acknowledges the doorbell.

The house intercom activates. We HEAR FERRIS' VOICE.

Rooney presses the intercom.

There's a pause. Rooney presses the intercom again.

places of business. Thank you for stopping by. I appreciate your concern for my well-being. It will be remembered long after this illness has past.

His voice clicks off. Rooney presses the intercom again.

Rooney presses the intercom.

There's no response. Rooney rings the doorbell again. The pre-recorded litany starts over.

Rooney doesn't realize that he's listening to a recording.

Rooney leans back from the door. He can't quite figure out what's going on. But's it's highly suspicious.

Rooney steps through the hedges and peeks in the windows. We HEAR FERRIS' VOICE inside.

Rooney tries to peak in the kitchen window.

A black rubber doggie door. The type that allows a dog to come and go as it pleases. Rooney is crouched down. He lifts the doggie door and peeks in the house.

HIS POV

Along the kitchen floor. Through the kitchen, into the dining room. We hear a LARGE DOG GROWL.

A Rottweiler bursts through the doggie door in a fury of gnashing teeth and foam.

146 CU. LARGE BREASTS

Tassled pasties twirl like airplane propellers.

CU. CAMERON, FERRIS AND SLOANE

They're sitting in a booth in the garish, nearly deserted strip joint. Cameron's mouth is open in amazement. Sloane is embarrassed and revolted.

Really. I'm losing respect for you by the bucket.

A parent. A child...

(to CAMERA) This kind of thing makes me a little depressed. You may think because I'm the age I am that I'm a sex maniac.

That sex is all I think about.

But that's not true. I'm a romantic.

I think alot of people my age are.

We think about love and matters of the heart. And SAT scores and acne aside, we worry about lonliness. It's a terrible thing. And we feel it. I feel it.

He flips his collar up, curls his lip and affects an Elvis impression. A sappy, do-wop track FADES UP. The club lights go down. Cameron and Sloane disappear into darkness. Ferris stands up from the booth. He strolls slowly through the empty club as the stripper bumps and grinds in a pool of blue light.

Fate had me playing in love, with you as my sweetheart. Act one was when we met. I loved you at first glance. You read your lines so cleverly and never missed a cue. Then came act two. You seemed to change. You acted strange.

And why, I've never known.

He climbs up on the little runway. The stripper disappears in darkness as Ferris takes over the spotlight.

Elvis fades up. The orignal recording. Ferris lip synchs with the big, dramatic florish that was the King's trademark ballad sign-off.

SHALL I COME BACK AGAIN?

TELL ME DEAR, ARE YOU LONESOME TONIGHT?

Ferris drops his head. Like the King would.

Cameron's father is looking at the car. He's studying it. It looks terribly familiar. He leans into the open car and reaches for the glovebox to see if the contents will confirm if it's his. He freezes. He looks up slowly.

HIS POV

The Attendant and the Rastaman are glowering at him. They're holding bags of fried chicken.

Jeanie's standing at her car. She's staring incredulously into the distance. Her mouth's open. She's shaking her head slowly.

HER POV

Spray-painted on the town water tower in gigantic black letters -- SAVE FERRIS BUELLER.

Afternoon traffic.

Ferris, Sloane and Cameron in the backseat of a checker.

Ferris is on one window, Cameron on the other. Sloane's in the middle. Ferris is talking to the DRIVER.

He leans forward and reads the driver's name off the city license.

Ferris sits back. He puts his arm around Sloane.

Cameron looks at him.

Cameron's staring past Ferris. He's frozen. Ferris realizes he's looking at something out the window. He turns. He freezes.

HIS POV

In the gridlock traffic, their cab is squeezed tight alongside another cab. In that cab is Tom. He's about a foot from Ferris. He turns and looks right into CAMERA.

TOM'S POV

Ferris' frozen face.

FERRIS' POV

Tom glances back at his paper. He pauses. Looks up. Thinks.

Turns back to CAMERA.

TOM'S POV

Sloane is sitting where Ferris was. She's wearing sunglasses, looking bored. She turns and glances out the window. Fakes a yawn.

HER POV

Tom stares at her. He's baffled. He looks away.

Cameron and Ferris are on the floor. On their asses, with their backs to the back of the front seat, feet up on the seat.

Sloane bursts out laughing.

She licks her finger and touches Ferris knee. She makes a sizzling sound. She collapes on the seat in hysterics.

Tom's looking into Ferris' cab.

HIS POV

Sloane's bouncing up and down.

RALLIES AROUND SICK YOUTH.

The Rottweiler's chewing on a shoe. Tearing it apart.

He's standing outside the fence. He's missing a shoe. His suit pants are torn from the crotch to the knee. His suit coat pocket is torn off. His hair's messed and there're grass- stains on his knees and elbows. He's looking in at the dog.

HIS POV

The Rottweiler leaps at CAMERA.

Ferris is leading the way down Michigan Avenue. He's hustling through the crowd. He has Sloane by the hand. She's jogging to keep up. Cameron's a few steps behind. He keeps bumping into people. Ferris and Sloane make the turn at Wacker Driver and disappear into the Stone Container Building. Cameron follows, mumbling again.

A florist truck pulls up in front of the house. A DELIVERY MAN gets out iwth a huge floral arrangement. He heads up to the house.

Rooney's sitting on the porch patting a bloody knee with his handkerchief. The delivery man hops up on the steps. Rooney looks up at him. He greets Rooney cheerily.

He presses the doorbell. A beat and we hear Ferris' recording.

The Deliver Man presses the intercom.

ROONEY FERRIS' VOICE

It's a recording, asshole. ...that in my weakened condition, I could take a DELIVERY MAN nasty spill and subject What's your problem? myself to further school absenses...

ROONEY (pause)

He's one of my students. You can reach my parents at their places of DELIVERY MAN business. Thank you for Little bugger's dying. stopping by. I appreciate

214 YOUR CONCERN FOR MY WELL- 214

ROONEY being. It will be What? remembered long after this illness has passed.

Rooney is flabbergasted.

Rooney looks at the flowers. Then he looks at the Delivery Man.

He hands the arrangement to Rooney.

He bounds off the porch and trots to the truck. Rooney looks incredulously at the arrangement. He opens the attached card.

215 CU. CARD 215

It's signed:

ALL OUR BEST FOR A SPEEDY RECOVERY THE ENGLISH DEPT. FACULTY AND STAFF

The number one afternoon FM rock'n roll D.J. is sitting behind his microphone.

He put his headphones on.

Jeanie's car pull in the driveway. We hear her car radio.

She goes into shock. Her eyes blink, her head cocks.

Jeanie draws back and punches out her radio.

220 CU. CAR ANTENNA 220

The impact of her blow to the radio shoots the antenna in the air.

Ferris leans forward and adjusts the microphone.

Ferris turns to CAMERA.

A group of kids are sitting around a blaster.

Ferris turns from the mike to CAMERA.

He turns back to the DJ.

A even larger group of kids is listening to the blaster.

They're cheering him on.

The Rottweiler is laying unconscious on the lawn. The flower arrangement is scattered all over the yard and the ceramic vase the flowers were in has obviously struck the dog. The broken pieces are all around the dog's head.

He's smiling with great satisfaction.

He hears something in the house. His head snaps around. He drops down and peek in the windows.

227 HIS POV 227

A glimpse of a fleeting figure.

228 CU. ROONEY 228

His eyes dance in anticipation of revenge.

Jeanie kicks the door open. The yardstick flings the covers and the pillows beneath them in the air. She stomps in and turns off the snoring synthesizer.

She grabs the phone and sits down. She dials a number.

Rooney sneaks around the side of the house. He slinks up on the porch. The front door's open. He peeks in.

Jeanie's on the phone.

She slams the phone down.

She's startled by a noise downstairs. A smile spreads across her face. He's back and she's going to nail him.

Rooney sneaks into the house. He looks around the foyer and heads into the kitchen.

Jeanie tiptoes down the stairs.

Rooney sneaks through the kitchen into the den.

Jeanie comes down the stairs into the foyer.

Rooney comes out of the den, back into the kitchen. He crosses back toward the foyer.

Jeanie sneaks into the kitchen.

Jeanie and Rooney come face-to-face. Jeanie squeals in horror. She doesn't recognize Rooney as himself but as an intruder. She drops into a karate stance and kicks Rooney in the face. He hits the deck. She flees back up the stairs.

Boyd is sitting in the backseat of Joyce's car listening to the radio.

Joyce and her clients leave a show house and head toward the car.

Boyd looks out the window as his parents and Joyce appear.

Joyce and her clients take one last look at the house.

She opens the car door.

The door opens.

Joyce gets in. The clients get in the other side. A song starts.

The kid stares at her.

Boyd sits up in the seat at the mention of Ferris' name.

Joyce looks around at Boyd. She gives him a curious look.

He thinks it's cute to bait adults.

Joyce give him a puzzled smile and starts the car.

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

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

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

Rooney stiffens with fear.

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.

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.

He hands him a buck and opens the door and pulls the passenger seat forward for Cameron.

Cameron gives him a look and squeezes in.

The Ferrari cruises through traffic.

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

Ferris looks in the mirror and changes lanes. He glances down at the speedometer, then to the road. And back to the speedometer.

He glances down at the speedometer.

250 CU. SPEEDOMETER 250

The odometer reads 432.7.

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

MUFFLED SCREAM.

The Ferrari is buzzing through traffic.

Sloane turns in her seat and looks at Cameron. Her gesture is one of genuine support.

254 CU. CAMERON 254

His eyes are frozen in a mindless, vacant stare.

255 CU. FERRIS 255

He looks at Sloane. He's concerned.

256 CU. CAMERON 256

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

He's trembling.

257 CU. SLOANE 257

She whips around in the seat and grabs his arms.

258 CU. FERRIS 258

He shoots Sloane a look.

Sloane fires an angry look at Ferris.

She turns back to Cameron.

The doorbell rings. The Ferris' tape is activated.

We hear a MALE VOICE over the intercom.

VOICE Anybody home?

The tape continues as Jeanie hurtles down the stairs.

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

She whips it open.

The door swings open.

Her jaw goes slack. She blinks her eyes.

262 HER POV 262

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.

The door slams shut.

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.

Rooney doesn't respond.

Rooney keep walking. The bus doors open. The DRIVER calls out to him.

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

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

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.

265 CU. GIRL 265

She looks at Rooney and smiles. She pushes her Coke bottle glasses up on her nose.

266 CU. ROONEY 266

He looks vacantly at her.

267 CU. GIRL 267

She holds her smile.

268 CU. ROONEY 268

He stares at her.

269 CU. GIRL 269

She holds up a candy package.

270 CU. ROONEY 270

He stares at her.

271 CU. GIRL 271

She puts one in her mouth.

272 CU. BOY 272

A rotund FRESHMAN BOY sitting across from Rooney is staring at him.

273 CU. ROONEY 273

He looks across to the kid.

274 CU. BOY 274

He leans forward.

275 CU. ROONEY 275

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

It grinds through the gears as it heads down the quiet street. The BLASTERS go back on, the SHOUTING RESUMES.

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.

He begins to walk. We follow him.

278 CU. CAMERON 278

His eyes are closed. Sloane's stroking his hair.

279 CU. SLOANE 279

She's studying Cameron's face. She looks away.

280 CU. FERRIS 280

He looks to the picnic table. Then back to CAMERA.

He starts back to the picnic table.

Conventional wisdom would suggest a visit to the nearest trauma center. I wouldn't fault anybody for doing that. My, personally, I think this calls for something new, something bold, something wet and wild.

185 CU. JACUZZI JET

UNDERWATER SHOT. A hyrdojet spews a gush of air bubbles.

281 CU. BLASTER 281

A finger pushes the PLAY button on the cassette. MUSIC COMES UP.

282 CU. BEER CAN LID 282

The finger pops a beer.

283 CU. OREO PACKAGE 283

A painted fingernail pierces the cellophane wrapper.

Ferris and Sloane are in Sloane's parents' Jacuzzi. Their clothes are tosssed around the deck. Cameron's been placed in a patio chair at the edge of the Jacuzzi. He's still catatonic. He's mummbling softly. Ferris is drinking a beer.

Sloane's eating Oreos.

285 CU. CAMERON 285

Staring into space.

286 CU. SLOANE AND FERRIS 286

They look at each other. She offers him a cookie. He offers her his beer.

287 CU. CAMERON 287

He doesn't respond.

288 CU. SLOANE AND FERRIS 288

Sloane sips the beer.

Ferris and Sloane watch their catatonic friend.

290 CU. CAMERON 290

He smiles.

291 CU. SLOANE 291

She leans forward and stares at Cameron.

292 CU. FERRIS 292

He cocks his head, wondering what Cameron's up to.

293 CU. CAMERON 293

He keels over forward.

Cameron falls out of the chair and splashes down, face-first, into the water. Sloane screams. Ferris leaps for him.

295 UNDERWATER 295

Ferris struggles with Cameron's lifeless bulk.

296 CU. SLOANE 296

She's screaming. Ferris thrashes around in the water.

297 UNDERWATER 297

Ferris grabs Cameron's collar and rips him out of the water.

Ferris sits Cameron on the edge of the Jacuzzi.

299 CU. CAMERON 299

His eyes are closed. He's lifeless.

300 CU. FERRIS 300

His face is a mask of terror. He shakes Cameron.

301 CU. SLOANE 301

She's screaming.

302 CU. CAMERON 302

A smile spreads across his face.

303 CU. FERRIS 303

He sees the smile. He stops shaking Cameron.

Ferris and Cameron are looking at each other. Sloane's still screaming. She realizes that Cameron's okay. She stops screaming.

Cameron's smiling.

Ferris starts to laugh. Cameron explodes with laughter.

Sloane's bewildered.

Jeanie's sitting on a wooden bench with a WASTED TEENAGE BOY in a Triumph t-shirt, long hair, torn jeans, creepers, studs and chains. He's studying her.

Jeanie stares at him.

The boy stares at her.

Jeanie turns away. The boy crosses his legs. Jeanie looks back at him.

The boy shrugs.

The boy nods. He understands the emotion.

Jeanie stares at the boy.

The boy nods knowingly.

Jeanie stares angrily at him. Partly because he's so bold and partly because he's so right.

Jeanie stares at him threateningly.

306 CU. JEANIE'S HAND 306

It curls into a fist.

307 CU. FERRARI TIRE 307

It's spinning rapidly.

308 CU. ACCELERATOR 308

A brick's resting on the accelerator, holding it down.

Ferris, Cameron and Sloane are sitting in the garage. The Ferrari is jacked up. The wheels are turning. The engine's racing.

She thinks.

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 peeks in the window.

Cameron pulls his head out of the car.

Ferris looks up.

Cameron shakes his head.

He walks back around behind the Ferrari.

311 CU. FERRIS 311

He turns to CAMERA.

312 CU. SLOANE 312

She smiles proudly at Cameron. She applauds him.

313 CU. CAMERON 313

He's serious and determined. He has made up his mind and it appears that it won't be changed by anyone but himself.

314 CU. TIRES 314

It's spinning wildly.

315 CU. MERCEDES BUMPER 315

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

316 CU. TIRE 316

The spinning tires slam down on the cement.

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.

318 CU. SLOANE AND FERRIS 318

They're in shock.

The Ferrari shoots down the driveway.

Cameron watches the car go. He's strangely placcid about the impending disaster. Ferris and Sloane are bewildered.

321 THEIR POV 321

The Ferrari travels down the driveway, across the street, over the curb into the wooded property opposite the house.

322 CU. TREE 322

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

Ferris and Sloane exchange baffled looks. They look at Cameron. He's proud and bold.

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.

Cameron looks across the street.

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

Ferris looks across the street at the car.

Cameron looks at him. He shakes his head.

He smiles. He raises am impish eyebrow.

Joyce is talking with the juvenile officer. Outside the office, on the bench, we see Jeanie and the boy making out.

The gathers her purse and jacket and stands.

Joyce looks at the officer curiously.

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 stands up.

Jeanie reaches down for her purse.

Sloane and Ferris are standing at the back fence.

Sloane smiles knowingly.

He kisses her.

Sloane nods. Ferris jumps the fence and takes off across the backyards. Sloane watches him go. A huge smile spreads across her face.

She backs away from the fence. MUSIC FADES UP.

She turns and runs into the house.

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

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.

329 CU. BEDSPREAD 329

Neatly bundles stacks of bills and rolled coins. A significant amount of cash.

330 CU. SLOANE 330

She's writing.

331 CU. PIECE OF PAPER 331

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"

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

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

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

334 HIS POV. MIRROR 334

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

335 CU. TOM 335

He realizes it couldn't be Ferris.

Ferris runs through the kitchen, past a WOMAN, fixing dinner and out her backdoor. The Woman looks up curiously.

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

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

339 CU. PORCH 339

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.

340 CU. FERRIS 340

He stares up in horror.

341 HIS POV 341

Rooney's looking down at him. He's holding the house key.

Ferris stands up. He smiles.

Ferris is caught. There's no way out. Rooney gloats severely.

Suddenly, the backdoor opens. Jeanie looks out. She feigns joy and relief. She rushes Ferris and hugs him.

343 CU. FERRIS 343

A moment of curiosity. Then it dawns on him what's happening. He smiles.

344 CU. ROONEY 344

His eyes dart from Ferris to Jeanie to Ferris. His victory is evaporating.

Jeanie breaks the embrace.

Ferris limps into the house.

346 CU. ROONEY 346

He's dumbfounded.

347 CU. JEANIE 347

She raises her hands and strikes a karate pose. A huge smile passes over her face.

348 CU. ROONEY 348

A look of terror as he realizes that is was Jeanie who kicked him and that Jeanie knows it was he who she kicked.

Jeanie steps into the house.

The door closes on Rooney's defeated, lost, dejected, bewildered face. Not only has he lost Ferris again, he has

Jeanie to deal with next year.

The click of the door wakes him up. His head pops up off the grass.

352 CU. ROONEY 352

He senses new danger. We hear AN O.C. GROWL. Rooney squeezes his eyes shut.

Kimberly and Todd are sitting at the kitchen table watching TV and eating cereal. They look up at Ferris as he comes in from outside.

Ferris leans against the counter as he tries to catch his breath. He looks at his little brother.

He crosses to the refrigerator and opens it. Kimberly feels her head.

Ferris takes out a bottle of orange juice out of the refrigerator and drinks straight from the bottle. Jeanie comes in.

Ferris gives her a proud smile.

Joyce and Tom head up to the kitchen.

Ferris and Jeanie exit the kitchen as Joyce and Tom enter.

The foyer is jammed with floral arrangements, plants and gifts. Ferris and Jeanie step gingerly through the flowers and head upstairs.

Ferris continues up the stairs. He affects a sickly voice.

Ferris and Jeanie stop.

Ferris walks into the room, brushes the crumbs off his hands and peels off his shirt. He climbs into bed. No sooner are the covers over him than the bedroom door opens and Joyce and Tom walk in. They walk over to the bed. Joyce sits down.

358 CU. FERRIS 358

The same deathly face he had in the morning. Tongue out, eyes bulging.

He pulls in his tongue to speak.

Tom and Joyce hover over him with deep concern.

Joyce leans over and kisses him forehead.

Tom pats Ferris on the rump. He and Joyce exit.

360 CU. FERRIS 360

The hideous face. A beat and we HEAR THE BEDROOM DOOR CLOSE.

Ferris looks at CAMERA.

He rolls over on his back and puts his hands behind his head.

He smiles.

MUSIC UP BIG

END TITLES: