c1001sD1 "SAY ANYTHING" Written by Cameron Crowe FINAL January 18, 1988“SAY ANYTHING" | FADE IN OVER BLACK: OMITTED 1 | INT. COREY'S BEDROOM - DAY 2 LIOYD DOBLER, 19, sits slumped in a small chair. He's tall, bulky, his nose looks slightly mashed. Hidden in there somevhere is a good-looking kid. Lloyd thumbs through a newspaper, sips a Super Big Gulp from 7-11. We're in the bedroom of COREY FLOOD, 17. It's a | weigh-station between school and home. Corey's walls feature photos and collages, most of them featuring a darkiy-handsome young man named Joe. Corey sits on her bed, playing Led Zeppelin riffs on an amplified electric guitar. By her bed is a four-track cassette recorder -- the sign ox a musician. Sitting on the floor, writing in a journal, is girlfriend D.C. She's a loyal supporter of her two friends, an introvert who mediates between two extroverts. Corey locks down at the school annual open on her bed. COREY I.don't feel. anything. D.C. come on. It's graduation. | COREY It's all so phony. Did you see what Mr. Carroll wrote in my yearbook? He ridiculed me all year long in English, then he wrote -- ‘You're a real live wire...Love, Mr. carroll." ; D.c. He wants to leave things on a good note. COREY When Mr. Carroll says ‘love' I start locking for a new word. D.c. Lloyd, s being difficult. Lloyd looks up from his newspaper. LLoyD | If life was a movie, what would it be rated? (CONTINUED)-O, : CONTINUED: : 2 ‘COREY That's a 'Lloyd' question. D.c. Probably R. Maybe X. ‘COREY gince Joe, ny life is definitely LioyD I'm probabls PG-13 -- some material may be too intense for young children. D.C. That's too bad. LLOYD I'm doing something about it. I'm going to take Diane Court out again. The girls exchange meaningful looks. coREY Unlikely. LLOYD The movies is a good second ‘date’, right? COREY You never had a first date. D.c. I hate that word ‘date.’ LioyD I sat across from her at Bell Square. We both ate. That's sharing eating -- an important physical ent., Why. isn't that going out ‘COREY That's not even a scam. LLOYD What's a scam? . COREY Going out as friends. (CONTINUED)CONTINUED: (2) D.c. No it's net. Scam is lusting. LLoyD Then what is a date? The girls take a moment to consider. : D.C. A date is...prearrangement with a possibility for love. LLOYD I'm going to call her. COREY Lloyd. LLOYD What? COREY, Diane Court doesn't go’ ‘out’. She's a brain. D.c. «trapped in the body of a game show hostess. COREY Diane Court doesn't even know how good-looking she is. All she thinks about it bio-chemistry. LLOYD This all sounds great to me. I'm going to call her. COREY Lloyd. Brains stay with brains. he bomb could go off, and their mutant genes would form the same cliques. He gets up, bounces lightly off the walls. D.C. I wouldn't get my hopes up, Lloyd. LLoyd Did she ever say anything about me, Corey? Tell me the truth. (CONTINUED)2 CONTINUED: (3) 2 ‘COREY (high-strung) She doesn't talk about that stuff! LLeYD Take it easy. I was just asking. COREY You're such a nice guy, Lloyd. We just don't want to See you get hurt. Lloyd stands, lumbers around the room. LLOYD 7 I want to get hurt! Will soméoné Just let me get hurt? 3 EXT. LLOYD'S APARTMENT - AFTERNOON - CREDITS 3 A rain-stained Seattle apartment building. Lloyd practices Kickboxing moves on a bag hanging from a tree in the yard. Next to him, his four-year-old nephew JASON attempts to Guplicate his moves. Jason falls, and Lloyd picks hin up. They both continue working out until a small timer sounds. Lieyd pulls the bag from his hook, throws it over his oO ‘shoulder and they both charge up the stairs. 4 INT. LLOYD'S APARTMENT . 4 Jason kicks open the door and they enter the cramped twocroom apartment. Lloyd's corner of the living room is his bedroom. It's devoted to kickboxing photos, and a newspaper clipping of him in action. Lloyd sets down the bag with a thump. c GASON: ee Yaaaaaaaaaaaaaa! Jason kicks, loses his balance and starts to cry hysterically. Lloyd's 28-year-old sister CONSTANCE enters from the kitchen. CONSTANCE You're headed for Day Care, buster. LLOYD Be tough, J-man. Jason stops sniffling. 7 JASON ~ © ‘Kay. eS (CONTINUED)| | CONTINUED: CONSTANCE Leok -- he's a mess. Constance pulls Jason into the kitchen, as Lloyd takes the phone into the bathroom. CREDITS END as he zoom-dials the number with one hand. INT. COURT LIVING ROOM - SANE TIME JAMES COURT, 48, is a friendly and charismatic father. There is an infectious good humor about him, even in the way he takes a light nap while Sam Cooke's "You Send Me" plays on his prized jukebox. Court sings along, harmonizes with the record -- he's not bad. The PHONE RINGS, Court leans across the coffee table to pick it up. The phone is one of those too-new too-sophisticated models. Court must orfoid it to answer it. He has a tough time with it, as he deals with the call. COURT Jim Court. No, Diane isn't home. Is this the guy with the Mustang? INTERCUT: INT. LLOYD'S BATHROOM Loyd tries to pace in a tiny bathroom, around a potty chair. LIOYD No sir. COURT The guy with the Datsun. LIOYD No. . y couRT The truck. LLOYD No sir, you don't know me. Iam basically a friend of your daughter. I sat with her yesterday at Bell Square, and...you know...I guess I'm pretty bad at this... . court grabs a copy of Omni Magazine, pulls an expensive-looking black pen from his pocket. He scribbles on the back of the magazine. (CONTINUED)6 CONTINUED: = _ 6 ‘COURT Let me get aj phone number from you. That's usually how it works. LLOYD Lloyd Dobler. 555-1342. couRT I'11 get her the message. LLOYD She's really great, isn't she? couRT Yes she is. Good luck, kid. Court puts the phone down. A moment later, it RINGS AGAIN. court (expecting Lloyd) gim court. We SEE that this is a new and very different caller. As’ he listens, his face travels the gamut of human emotion. couRT Yes, this is her father. ireally? No, I didn't get the letter... (goosebumps) kay, right now. Yes! Thank you. Yes! No. Good-bye: 7 INT. CAR - AFTERNOON 7 Court drives his Volvo through town. He's a rising tide of emotion, tries: listening to the radio. Can't. He pulls over, almost cries...does a little...feels pure joy. He continues on. 8 EXT. GOLDEN SEASONS NURSING. HOME - AFTERNOON 8 Court pulls into'the owner's spot in front of the Golden Seasons Nursing Home. On the porch outside, three elderly residents come to life as they see him arrive. He has a caring smile for them, as the home's Administrator ("RUTH") greets hin. , COURT. Diane still here? I've got to talk with her... RUTH She's upstairs, Mr. Court. (CONTINUED)10 CONTINUED: 8 Court has a moment for Eleanor, 89. A sketch pad and a set of colored pencils rest on her lap. She's been drawing a mountain range. COURT Eleanor darling, that's beautiful. Eleanor beams, Court moves inside the hone. INT. NURSING HOME 9 It's a well-scrubbed, smallish (54 beds) home. Court moves quickly, dealing with the residents along the way. He passes ROBERT ("THE WALKER") TAYLOR. He's 90, with bushy Syebrows, hefty hearing aid and a cane. He carries an envelope. COURT Mr. Taylor, you're a vision in green. Let me mail that for you. WALKER Thank you. COURT You can trust a man who writes 4 letter everyday. Court keeps moving, Ruth peels away. He passes Sabina, 94. Her jacket is open. SABINA Please please please. COURT You need a safety pin for your jacket, right? You were cold... Court reaches into a nearby desk for a pin, expertly pins her jacket. ’ SABINA Thank y'. Please please please. Court passes another resident lifting her skirt up, fanning herself. He routinely pulls it down, hurries around the corner. INT. THERAPY ROOM . 10 DIANE COURT, 17, is a rare beauty. She's wearing a nurse's uniform. She does not move as she hands a sumptuous-looking (CONTINUED)CONTINUED: 10 food tray to an uncommonly young-looking senior ("JUNE") resting comfortably in bed. It all looks good enough to be an ad, and in fact it is. We PULL BACK TO REVEAL an Artist sitting in a chair, sketching a live portrait for a telephone book ad. court arrives in the doorway. Diane melts out of her pose. DIANE Hi Dad. COURT I need to talk to you, honey. ARTIST Mr. Court, I'm sketching the perfect girl. I need another minute. COURT You've got another minute. DIANE What is it? Diane sees Ter father's impatience. An elder resident wheels up to Court in the doorway. She is EVA, 86. She has a throaty voice, dry from cigarettes and medication. EVA why didn't you ask me to be in this? COURT Because everyone would know you're my favorite, and they'd get jealous. (to Artist) .Is that thing done yet? f, -. EVA yvoufre a good man. You helped me with my finances when my own brother wouldn't. Sssssst. . COURT Don't worry, Eva. He'll be old soon. He'll see what it's like. (knows what makes her laugh) He'll pay. Eva's eyes dance at the notion. DIANE what is it, Dad? (CONTINUED)20 121 CONTINUED: (2) 10 ARTIST All finished. June rolls out of bed, grabs her bag. She's @ professional senior. JUNE Good because I have a bank commercial in an hour. ANGLE ON EVA as the professional senior passes her. She looks on with strange wonder. (They're both wearing the same large earrings.) Diane catches the look. DIANE Are you okay, Dad? What are you looking at? COURT I'm looking at the last few minutes of Daddy's Little Girl. Court pulls her out of the room. They try to find a place. INT. COURT'S OFFICE il They talk standing up, by several degrees hanging on the wall. COURT I've got to tell you this carefully... DIANE What? COURT I just... : DIANE Tell me. Is this bad news? ccuURT - «just ‘listen to me. He rearranges a long strand of her hair falling into her ayes. He quickly realizes he's tampered with a fashion statement and restores it. COURT Diane, you won the Reed Fellowship. (CONTINUED)10. (22 CONTINUED: 1 DIANE Are you kidding? You're kidding. You're not kidding. COURT You won it. You're going to study at the finest institute in England. The toughest fellowship in the ; country and you won! She leans against the wall, takes a big breath and slides downward until she's sitting on the floor. DIANE I won. COURT You're going to take a big step, a big leap, and before you do, I just want one thing from you, Miss. Stand up straight and admit you're special. DIANE (still sitting) Oo oh God. I'll have to fly. 5 coURT Worry about that later. Tell me you're special. Diane rolls her eyes. DIANE Don't do this, Dad. You're too good at making me nervous. COURT No. Listen to me. You're th best in the country. Don't you si t's 1ike a pyramid, it starts with everyone... He demonstrates, holding his hands apart. COURT - ...and it narrows through your life, through everything... Bis hands follow up the sides of the pyramid, forming the peak. (CONTINUED)121 12 13 al. CONTINUED: (2) . 21 COURT «sand all the competition and hoopla narrows it down to one brilliant person who is so special that they celebrate you on two continents and it's you. (pause) You've always wanted this. Today, you have it. Now tell me something. What's the flaw in that? Diane tries to respond. COURT (Joyous) See, there is no flaw! She stands, faces her father with new ey changed and she knows it. Diane smiles Something EXT. FOOTBALL FIELD - DAYS LATER 12 A LONG SHOT from the back of the football field. The aduating classes sit on the field, the family and friends In the bleachers. It's packed. We hear the booming p.a- PRINCIPAL I just can't introduce this girl without saying... CLOSE ANGLE ON DIANE COURT 23 who sits locking out on this sea of people, seated behind the Principal, who fiddles with a pencil. She's on the pedestal again. DIANE Please don't do a big thing:.- PRINCIPAL that we're all going to remember s one student who said ‘Hey world =- check me out’. ‘The Reed Fellowship Conqueress -- our own Blane courte She takes center stage, looks into the audience. The Lakeside Rooster dancing in the aisles. This makes her more nervous.as isa 16 ANGLE ON LLOYD’ DOBLER 22. 14 who sits with the boys, on the end of his row. Across from hin, a look with them, then noti daughter with a video camera on a tripod. ANGLE ON COURT “CLOSE ON DIANE DIANE ‘Thank you. (pause) The Real World. We're all about to enter ‘The Real World'. That's what everyone says, but most of us have been in the Real World a long time...For example, standing here. If this isn't the real world, I don't know what is! Little response from the audience. ANGLE ON A ROW OF FOUR GUYS who make OOGA-OOGA NOISES. Lloyd turns from the row front of them. LLOYD A little respect, guys. They quiet down. DIANE I should say this, I took a few courses at the University this year. T missed being with my own class, but I have something to tell everybody. I have glimpsed our future and all I can say is...it's overrated. . only a few laughs from a few students. : DIANE O-kay. ANGLE ON JAMES COURT with a surprised look on his face. ted with the girls, are Corey and D.C. He shares the nervous father standing | nearby in the bleachers. James Court begins filming his in (CONTINUED) 15 | 15a 16 16A13. O 16A CONTINUED: : 16a a DIANE It's mest over. We've gone hool together for three years, ve been through a lot. But with that training net of high school gone, what ‘is going to happen to us? 16B DIANE'S P.0.V. 168 and she sees a sea of bored faces, including one kid who , is nodding off. His friend elbows hin. DIANE Late at night, staring at the ceiling, I think we're all haunted by the same question. ‘What's going to happen to us?’ 17° ANGLE ON A GIRL STUDENT 17 who is only slightly less bored. DIANE ‘Will I live in the suburbs, and drive a BMW or will I be a bum on the beach? 18 ANGLE ON A BOY STUDENT 18 who recognizes this question. DIANE ‘Will I get married or stay single?' ‘will I live a long life?" 19 ANGLE ON THE LAKESIDE ROOSTER oO 19 who leans against a speaker, drinks a soft drink. DIANE ‘should I dedicate my life to ping the elderly, or the ° starving...or will I just make money, or is it possible to do both?! 20 ANGLE ON LLOYD 20 mesmerized by Diane. DIANE what's my goal, or do I have one?! (CONTINUED)qd 21 22 23 CONTINUED: Diane looks out at the crowd. She has now completely abandoned her speech. 5 DIANE We all know what the answers are. We want to be happy, go to college, work hard, maybe raise a family...but what if that doesn't happen? We should be strong enough to deal with it. (pause) But what if we aren't? I mean, I have to say I don know what will happen. (to audience) Do you? Because I don't. ANGLE ON THE AUDIENCE and there is silence. DIANE I've got to be honest. I have all the hope and ambition in the world. But when I think about the future...the truth is... ANGLE ON SOME STUDENTS and they're really listening. T..-am. DIANE «really...really scared. It's a moment of honesty that has surprised everyone, Diane. = ANGLE ON LLOYD 14. 20 2a 22 even 23 who stands and applauds. His claps are like cherry bombs exploding. ‘Then twenty more applaud, then a big ovation. Balled-up bits of programs and carnation flowers shower the air. Diane wants to continue but she holds up her diploma and sits back down in a fit of emotion. COREY (across aisle) Well, she's a legend now. She's definitely out of reach. (CONTINUED)© 23 24, 240 15. CONTINUED: 23 D.C. It's like she won the lottery of the mind. LroyD I'm happy for her. COREY (bitter) I can't believe they're going to let Joe sing. Tais place is going to torture me to the last possible second, The Principal takes the stage. PRINCIPAL okay, people, this is it. We don't want to see any hat-throwing this year. I declare you people the Graduating class of Lakeside High School. The bleachers flash with cameras, as parents and friends crowd onto the field. Inevitably, a number of hats go in the air. The school band plays “The Greatest Love of All". See begins performing in cap and gown, with eyes shut. JOE (sings) ‘ghe Great-est Love...of All'. Loyd and Corey exchange a rueful look. LLOYD Joe. He's darkly handsome. He's . intense. Joe, is many things, but he is not a singer. Corey smiles. OMITTED . 24 ANGLE ON JOE 24a who takes off his hat and chucks it into the audience as he sings. EXT. PAY PHONE - MINUTES LATER Z 25 Lileyd is on a pay phone near the football field. A MANIC EID in cap and gown runs by, slaps the side of the pay phone. (CONTINUED)© 25 26 26a 16. CONTINUED: 25 RID See you at Vahlere's! Four kegs! LLOYD (into phone) Hello MOM? Hello DAD? It's Lloyd! Yes sir! I'm wearing my cap and gown right now...here, here's the sound o: graduation. The live d...exclusive to Frankfort, He holds the phone up for D.C., who blows a bicycle horn near the receiver. LLCYD See, it's like you're hei Yes! Hi MOM! I love you both. I'll talk to you soon! He hangs up, runs back to the ceremony. EXT. FOOTBALL FIELD - MINUTES LATER 26 corey and D.C. stand with their parents, not wanting to stay foo Long. Corey snaps a few Sure Shot photos. MRS. FLOOD wears a multi-colored dress. She has the same hair as her daughter. (The sound of Sure Shots rewinding fills the air.) MRS. FLOOD I'11 see you at home, honey. (confidentially) Please do yourself and everyone who loves you a favor and don't talk to Joe.- ANGLE ON A TRAMPLED MORTAR BOARD : 26a under a woman's foot. The initials on the inside of the hat read L.D. A-hand reaches for the hat. LLOYD" Excuse me. Excuse me, ma'am. Thanks. Lloyd rescues his trampled hat and walks over to Corey and Dec’ They're fiddling with Corey's camera. He's focused on Diane Court standing nearby with her father and some well-wishers. Mrs. Court kisses Diane, steers clear of Mr. Court and disappears quickly. (CONTINUED)7 eo O 27 27a 17. CONTINUED: 26a LLOYD ‘The air around her must be different. Lloyd sniffs in Diane's direction. COREY Lloyd, give it up. LLOYD Do me a favor, Corey. Take my picture with her. corey pauses a monent, agrees. Lloyd tries to work into Diane's crowd. He ca: ually tries walking in front of her, just as Court is saying: COURT Honey, your graduation present is parked right over there. piane can't believe it, looks over at a used red vw Rabbit parked nearby. She's amazed and thrilled, and it's the sane Pplit second that Lloyd appears in the f.g. The picture is snapped... SHOT OF THE PHOTO 27 as we HOLD for a moment, and it actually appears that Diane 32 Svercome with emotion ard reaching out for Lloyd. The 35,%on continues as Diane and her father move to the car- She was never even aware of his presence. LLoyD I hope you caught ‘that, Corey, because something was really starting to happen between us... COREY Lloyd, spare yourself. LLoyD .sswhen she calls back, I've got everything planned out. (pulls note from pocket) I'm ready at all times. INSERT NOTE 27a which is filled with writing, most everything is starred or underlined. (CONTINUED)CO 27 28 29 18. CONTINUED: q 27a , D.C. Lloyd, this is a very special day. You should just enjoy it. LioyD I'm just kidding. It's all over. T graduated, I'm past it, T see the whole arc of my life ahead of ne... D.c. Good-bye school. LLOYD Let's kick it out of here. COREY Good-bye, prison. Lloyd and D.C. wave good-bye to the school -- Corey doesn't. They race for the exit. OMITTED 28 INT. COURT LIVING ROOM - DUSK : 29 We SEE a small and elegant box, on the table in front of her. Court sits nearby. COURT This box... DIANE Not another present! Dad! He indicates a bigger box sitting at the foot of his desk in his home offic COURT ‘It's one of the only things your mother gave me that I ever kept. Go ahead and open it up. She's about to, as the PHONE RINGS. courT (picks up phone) Court. Yes. (annoyed business tone) Not now, Al. | My only daughter just graduated and you're talking about tax receipts... (CONTINUED)29 29a 30 31 1s. CONTINUED: 29 He lets the phone dang: All we hear is a grating insistent volce on the other end of the phone. Diane laughs, as her father reels the phone back in. COURT Have a good evening, Al. (hangs up) Go ahead and open it. She does. It's a beautiful sapphire ring. DIANE Oh Dad. This whole day is just...crazy. I don't...deserve Court dismisses this talk with an abrupt wave of his hand. COURT And when you come back from England with honors, you may even get the big box over there. ANGLE ON A BIGGER MATCHING CHINESE BOX 290 in the nearby office. We hadn't noticed it. DIANE You're the best dad in the world. WIDE ANGLE, 30 of the empty house. Just the two of them. They're all they've got. . CURT. They really applauded for you today, honey. ; Diane leans forward, sees the message from Lloyd on the back of the magazine on the table. “INT. LLOYD'S APARTMENT/KITCHEN = EARLY EVENING 31 Lloyd stomp dances across the room, tosses his cap and gown on the sofa and hangs his tassel from a tack on the wall that holds in place a newspaper photo of him kickboxing. He stomps around some of his belongings on the floor (the living room doubles as his bedroom), and moves into the kitchen, opens the fridge... (CONTINUED)‘Ss 32 32 20. CONTINUED: 32 ANGLE ON THE FRIDGE which features healthy food on one layer. From the other layer -- Lloyd's layer -~ he withdraws a Big Gulp Slurpee and an already opened can of Spam. He proceeds to make a Spam sandwich, as Constance and Jason arrive home. Constance still has her dental technician uniform on. LLoyD French is history. Math is history. History is history...I believe the Goba-is wes. CONSTANCE (feels bad) Lloyd, I'm so sorry we missed it. Sam had me help with a new crown, and we had three root canals to do and Jason has a sore throat... Jason points to his throat, sticks his tongue out. LLoyD (rolls off him) No problem. I called Mom and Dad in Germany -- it's like they were there. CONSTANCE I hope you understand. LLOYD Bad throat, huh J-man? JASON Yaaaaaaaaa! LLOYD Yeah. He's not at full 'yaaaaa' strength. Lioyd walks back into the living room, Jason and Constance follow. : CONSTANCE How can you eat that stuff, Lloyd? There's no food in your food. CLOSE SHOT ON THE STEREO PANEL 32 as Lloyd turns the knob up past the red-line marked with a nail-polish slash. (CONTINUED)ce 32 CONTINUED: 22. 32 CONSTANCE, Not too loud. The red line is there for a reason. LiIeyD How do you know where to draw the line, anyway? CONSTANCE It's plenty loud and the neighbors haven't complained. That's how I know. : LLOYD Good thing there's not a red line on you, Jason. Yaaaaaa! JASON YAAAAA! LLOYD He's back. CONSTANCE can't you be his uncle not his playmate? LLoyD Jesus. CONSTANCE what? L1oyD Get in a good mood. How hard is it to just decide to be in a good mood and then be in a good mood? CONSTANCE (darkly) . It's easy. LLOYD . Look -- I'm really sorry Mom and Dad made you take me in. If it's such a big problem, I'll go. But remember thi you used to be fun. You used to be crazy, in the best way. I mean that as a compliment, of course. (a look at Jason) I mean, I'm sorry that T-I-M left you, but I am not T-I-M. (CONTINUED)C) 32 Oo 33 22. CONTINUED: (2) : 32 Constance looks pissed for a moment. Then a small smile. CONSTANCE I was crazy once, wasn't I? LLOYD Yes! JASON Yaaaa! LLOYD This is the best time of your life. Constance! It doesn't get any better. Constance looks around the small apartment. CONSTANCE I could kill you for that. (phone RINGS, she answers) : Hello? Yes, he's right here, Corey. Oh. Sorry. (hands phone to Lleye) It's Diane Court. Lioyd clicks into red alert, he takes the phone and races Constance for the bathroom. Constance is already pulling Sp her skirt, and wins. Lioyd is stranded in the living rbom, sans privacy. He covers the phone, addresses Jason- LLOYD ; No noise. No scund. No movement. Jason stands silent for the duration of the call. LLOYD Yello? Hi Diane. . | INTERCUT: INT. COURT LIVING ROOM - EARLY EVENING ass Diane is reclining, shoes off and'stockings on. She looks Bt a book as she talks on the phone. (She faces opposite frame from Lloyd.) ; DIANE Hi. You called me. (CONTINUED)a { 33 CONTINUED: Beat. 23. 33 . LLCYD Hey, let me be the millionth person to say way-to-go on your scholarship to England. Your speech was incredible. DIANE Thank you very much. LLOYD Whoa. What a day, huh? DIANE What a day. LroyD Yeah. DIANE Yeah. LLoyD Quick question. Do you know who _ Dam? DIANE We sat together at Bell Square. LLoyD You remember. DIANE No, I read it on the message. LLOYD Right. Well: listen... (gets list, looks at it) ‘throws it away) go out... +2280. oselet DIANE oh, thanks but I'm busy. LLOYD Busy. DIANE Things are pretty hectic right now, But thanks anyway. (CONTINUED)33 CONTINUED: 24. (2) 33 : LLOYD Are you busy on Friday? | DIANE (nodding) See, that's the problem. I'm busy. I've got to help my father. LLOYD How about Saturday? DIANE I've got some things to do around the house. LLOYD So you are...monumentally busy. DIANE Well (almost smile) Probably not monumentally. LLOYD Then what about tonight? You going to the party at Vahlere's? DIANE Well... LLOYD Diane. I'm sorry, but I can't allow you to leave the country without . attending Ethan 'Par-tay' Vahlere's Graduation Event. He's twenty-two, he comes out of hiding once a year, for this occasion. He dresses up as the Lakeside Rooster. He created his own drink, Purple Passion, if you like that sort of thing... DIANE Actually, I think, LLOYD (wailing) You're not in England yet. And by the way, I lived in England for three months. My parents are in the Army, and we lived there for a summer, then'we moved to Germany, and I could give you an enormous spount of tips. Many tips. English tips. (CONTINUED)O 33 34 “35 25. CONTINUED: (3) 33 DIANE (smiling) It's funny, because... LLOYD Then no tips. 1 will give you no tips of any kind. i DIANE (laughing) Lloyd. I'll go. LLOYD Pardon me? DIANE I'll go. LLOYD Really? This is great! It's a date. It's a scam. Whatever. We're going out. I have your address, hasta luego. I'll see you at 8 and good-bye. She hangs up. DIANE, Hasta Luego. She pulls her legs off the counter, and jumps off to get dressed. She passes her dad, who has been watching CNN on a mini-tv and chopping onions in the kitchen. INT. LLOYD'S APARTMENT 34 Lloyd hangs up and turns to his silent nephew. LLoyD Thank you! Lloyd picks Jason up and holds him horizontally. Jason remains joyously still -- it's one of their routines -- as Lloyd literally plays him like a guitar. INT. DIANE'S ROOM 35 A studious-looking room. Nice desk, big dictionary. Diane thinks about the evening ahead, shuts her eyes and places her face in the breeze of a small desk fan for a quiet moment as we: cur To:37 38 26. INT. LLOYD'S CAR - LATER EVENING ~ : 36 Lloyd sits outside the Court home. He is the picture of manic, inspired energy as he psyches in the car. He grunts like an athlete, takes in gulps of air and reaches @ crescendo of emotion as we: cur To: EXT. COURT FRONT PORCH 37 A perfect middle-suburban front porch. The door opens and Jakes Court faces Lloyd Dobler. We SEE Lloyd's standard gresting- ‘He wipes his hand off on his pant leg, and leans for a firm, sportsman-like handshake with Court. COURT Hello, Lloyd. LLOYD Lloyd Dobler, sir. Pleasure. Heard about the graduation present. That is quite a car. Listen, I know you're busy. You don't have to entertain me. But you can trust me. I rarely drink. I'm an athlete. Have you heard of Kickboxing -- Sport of the Future? I can see by your face -— no — but you can just relax tonight. Because The Reed Fellowship winner is safe with me on this night in history. He wipes off his hand, shakes again with a bewildered Court. couRT Fine, Lloyd. : LLOYD So. Is she around? Lloya looks past Court to the top of the stairs. But Diane immediately appears on the ground floor, from the right. She's wei ng a casual outfit with a fowler hat. It's the small, but inspired touch of a devastating beauty. LLoyD (to himself) Whoa. INT. LLOYD'S CAR - MINUTES LATER . 38 Deathly silence. Diane and Lloyd in the car (separate frames). Diane sits holding her English book ‘The Closing of his car door ECHOES. The car seats SQUEAK> (CONTINUED)la a) 38 | : ) 38a 39 40 4. 27. CONTINUED: 38 DIANE If I want to leave early, will that be terrible? LLOYD No. Lloyd silently adjusts his seat belt, helps her with hers. He vhen turns on the ignition. The stereo comes on, FULL BLAST. He turns it off quickly. They pull away. OMITTED EXT. VAHLERE PORCH - EVENING Music. Lloyd and Diane walk into view. Diane stops Slightly, Lioyd moves forward and she catches up: They Snter the party, and we MOVE BEHIND them for their entrance into the party. 38A ANGLE ON THE PARTY 40 and it's already cooking. A few faces turn and seem to fegister the sight. We hear the sounds of peripheral conversation. aaa Guy #1 GIRL #2 Is that Lloyd? «+ Thirty-nine units... GIRL #2 GIRL #2 «..welre finally out ..check them out... Guy #3 GIRL #3 veeT want the kill tan... -look who Diane came with... 41 THEY PASS ETHAN VAHLERE twenty-two, who stands over his punch bowl, talking to his puddies/security guards (they wear armbands). He's humorless, the Jack Webb of party hosts. VAHLERE . I don't want any other booze in there or it changes colors. The buddies nod solemnly. Vahlere spots Lloyd. VAHLERE Dobler! Buddy! I need you to be the Keymaster! Before Lloyd can protest, Vahlere has handed him a plastic drawstring sack and rejoined the party. (CONTINUED) 39O 4. 28. CONTINUED: q 7 4. DIANE ‘The Keynaster? Ik exybody 3k hi eep ev ‘gs keys. I have to judge who can drive home, and who’ can't. DIANE So it's an honor. Lloyd gives her a look. LLOYD Not quite. A shirtless Jock in checkered shorts and backwards hat walks by, sees Lloyd. He's already blitzed. JOCK We fuckin' GRADUATED big dude GUY! Here are my KEYS! He calls for a high-five, and slams Lloyd's hand with a vengeance. LLOYD (flexing hand) I wish you'd done that without keys in your hand. JOCK I LOVE YOU MAN! Glamorous-looking Sheila, eighteen, arrives and grabs Diane. SHEILA I'm so glad you came to this, I've always wanted you to come to one of these, come with me, there's SO MANY CUTE GUYS here Diane looks over her shoulder and smiles helplessly as Sheila pulls her away. Lloyd watches her disappear into the crowd. He's stili gazing at her wake as he's joined by Mike Cameron, seventeen. Mike wears bomber jacket, no shirt, and a medallion. He has a disasterous new haircut.’ He holds a cigarette and a glass of Purple Passion with one hand. MIKE Homeboy! Mike Cameron. I don't really know you, but how did you get Diane Court'to go out with you? (CONTINUED)Qa 42 a3 oO Oo 44 29. CONTINUED: (2) 41 LLOYD I called her up. MIKE But how come it worked? What are you? LLoyd I'm Lloyd Dobler. Mike takes a puff. MIKE This gives me hope. OMITTED 42 EXT. VAHLERE BACKYARD 43 More partiers fill the backyard. One girl dances alons, WOoks'up into the sky. She talks to no one in particular. DANCING GIRL I will never forget this. We FIND two EMOTIONAL GIRLS by a window. GIRL #1 I wish I was you. GIRL #2 I wish I was you. GIRL #1 You better write. GIRL #2 You better write. INT. BACK ROOM 44 Inside the back bedroom, Corey and D.C. and their friend Rebecea watch these giris. Corey tunes her guitar. COREY Slug me if I ever get like that. D.C. I will. : REBECCA why don't you play something? (CONTINUED)30. CQ) 44 CONTINUED: . 44 Corey falls on her back, puts her feet on the brass footboard. She starts strumming. COREY I wrote sixty-three songs this year. They're all about Joe. Tonight I'm going to play every single one. REBECCA I just saw Joe. He's here. COREY Well, xo". don't have to be so Sramatic about it. D.C. Well, you did try to kill yourself because of the guy. : REBECCA How did you do it, Corey, I've always wanted to know. Corey looks pained. D.c. i She explained it all on Wake Up Seattle. Where were you? COREY Stop. I'm fine now. All everybody does is ask me about it and I'm - F fine. I'm all right. Did Joe come with Mimi? Rebecca nods slowly. Corey's upset. ‘COREY They're both plastic. Plastic plastic plastic plastic... 45 EXT. VAHLERE FRONT PORCH’ ~ 45 Lioyd sits glumly. One hand holds his head and a can of 7-Up, the other holds the Xeymaster sack. Partiers stream by, drop their keys in the sack. PARTIER #1 All right! Keynaster! PARTIER #2 Key Man! (CONTINUED)32. 45 | CONTINUED: 45 Lloyd nods glumly. He's jcined by the incongruous presence of MRS. EVANS, Lakeside counselor. MRS. EVANS Lleyd Dobler, I found you! you missed your career-counseling session again. LLoYD I guess I did. MRS. EVANS Your sister told me where you'd be. Call me obsessive-compulsive, but let's do it right now. In the b.g., an emotional couple come charging out of the house. CONFUSED BOYFRIEND What did I do? CRYING GIRL Get. away from me! Don't fucking follow me! Leave we alone! But the Crying Girl looks back over her shoulder, hoping that her Confused Boyfriend is following. She gets in her Corolla -- with LHS 88 frosted on a side-rear window ~~ and cries against the steering wheel. Her Confused Boyfriend follows her, but he walks in zig-zags in the street, torn between her'and friends yelling for him back at the party. Finally he just sits dovn in the middle of the street. His girlfriend drives off, leaves him. LLOYD But I know I'm capable of anything, . and just, feeling that is 90% of it, right? MRS. EVANS I haven't heard that figure, no. GIRL) PARTIER #3 You the Keymaster? LLOYD (glumly) Yes. She drops a set of keys in the sack, moves on. (CONTINUED) Y32. QO 45 CONTINUED: (2) 45 LLOYD Everybody in our school is so career, career, career. These people are more intense than my parents. And they were intense. Hil year long, I waited for something to jump out at me. Nothing jumped. mrs. EVANS I'd like to put something on your record. LLOYD What about kickboxing, Sport of the Future? I say this, not as a jock. . MRS. EVANS, What do your parents say? LLOYD My father is an Army Captain in Germany, you know, so he wants to pull some strings. You know... (sings) ‘Be. All that you can be...' MRS. EVANS I'm going to make an appointment for you at Seattle Junior College. Mrs. Evans rummages for a pamphlet. LLOYD I've got to be honest, Mrs. Evans. I'm looking for something bigger Fight now. I'm looking for a dare-tovbe-great situation. MRS. EVANS Junior college can be a dare~ tovbe-great situation. More partiers pass, drop their keys. She hands him the pamphlet. uov, I'd better get back inside. I've got to find my date, Diane Court. a MRS. EVANS Diane Court is your date? Lloyd nods. " (CONTINUED)46 33. CONTINUED: (3) 45 MRS. EVANS (impressed) Well, get back inside. Here. Take the pamphlet and go. Lieyd says good-bye to Mrs. Evans. She walks off. He puts the pamphlet under the windshield wiper of a parked car. He spots the Confused Boyfriend still sitting in the middle of the street. LLOYD Need a hand, bro? BOYFRIEND Fuck you! LLOYD (shrugs) Have a nice life. Lloyd walks back to the party. He finds a private spot by the side of the hou: He leans against the wall, and takes a deep breath. Then he glances in a window and sees Diane. INT. UTILITY ROOM 46 Diane talks with twenty-seven year-old English teacher MR. DEEGAN. She's at ease with adults. MR. DEEGAN I'm serious, cali the principal and tell him. I'm too good for. senior-lounge duty. He'll listen to you. DIANE Great. Give me the dirty work. MR. DEEGAN (laughing) I was so glad when I saw you here tonight. The first time I've-seen you outside...those ‘four wall: DIANE That's true, isn't it. MR. DEEGAN (gathers courage) I'11 teli you a secret I couldn't tell you until you had that diploma in your hand... (CONTINUED)34. 46 CONTINUED: 46 He takes a half-step closer. Lloyd appears in the window, sees her and steps out of view. Diane doesn't see him. MR. DEEGAN I'd like to see you sometime. Diane is surprised. DIANE Really? MR. DEEGAN ' Come on. I was always smiling at you. . : DIANE . (instinctive honesty) I just thought you were a nice, happy guy. He steps closer, appears close to a kiss attempt. She deftly steps away. DIANE I know what you're saying, Mr, Deegan, You're saying you, enjoyed our friendship, and I did too, but youre not going to feel comfortable f you kiss me, so for your sake...thanks, and I understand. He considers pushing it, but gives her a friendly cuff instead. MR. DEEGAN You're amazing. Have a great life. DIANE You too, Mr. Deegan. He starts to exit, then.turns back again. MR. DEEGAN I wish you were older. She guides him out the door, turns to look out the window. 47 EXT. HOUSE . 47 : Lloyd just barely ducks out of her view. He squats on the = ground. - LLOYD . Amazing.48 . INT. BACK ROOM COREY He cries. Why he cries Only now TI realize Joe lies When he cries... 49 INT. LIVING ROOM Corey sings her song "He Cries" to a small audience. Diane has a serious talk with Sheila, who makes quote marks around many of her words. Around them, annuals are being passed. SHEILA I know we were... (does two-fingers) ...!ultra-competitive' this year but I just want to say that if it wasn't for... (does two-fingers) "Diane Court-whoa’ I probably jaldn't have gotten into Cornell because you made me study twice as hard...So thanks. - DIANE Really? q SHEILA God. Yes. I might as well tell you before you go off to your big does two-fingers) +e-life.t DIANE You did the same for me. SHEILA I did? Really? Diane nods. Sheila smiles. A moment while they consider this unexpected connection. DIANE - I don't have an ‘address’ yet, but if you ever come to England, you better stay with me. SHEILA I'11 give you my address. - “ney both dig in their purs (CONTINUED)49 50 51 51a 513 36. CONTINUED: ~ : 49 SHEILA Did you really come here with Lloyd Dobler? How) did that... (does) two-fingers) ‘happen'? DIANE (thinks about it) He made me laugh. DIANE'S P.0.V. 50 as she Lloyd's head above the crowd. Lloyd acknowledges her, points a finger her way, and then he's gone. EXT. BACKYARD - LATER 51 The punch is greenish-black. The music is louder. INT. BACK ROOM sia Lloyd watches as Corey sings a new song. COREY He likes girls With names like. Ashleigh And Tammerlane..- In walk Joe and Mimi. Corey plays harder, changes tempo. COREY - ‘That will never be me That will never be me That will never be me... Lloyd edges over to Joe. LLOYD She's pretty talented, isn't she Joe? JOE why do you think I keep her tapes? They're going to be valuable. someday. Corey strums a little too hard and -- thwap -- breaks @ string. INT. BATHROOM (FORMERLY SC. 55) 51B Mike Cameron drains a glass of Passion, stares at himself in the mirror. (CONTINUED)C 538 52 53 54 ‘S4A 55 SSA 56 37. CONTINUED: 2 : 513 MIKE I look like fuckin' Eraserhead with this hair. . INT. KITCHEN DOORWAY 52 Corey stands with Diane, her arms on Diane's shoulders. COREY (pained) Joe was my first sex, ny first love, and he was going out with Mimi the whole time! That bastard will never break up with her! : (breath) But if I see him, it's 'Hi Joe.' ‘How are you?! And that's it. I'11 be okay. DIANE Don't worry. He's at the other end of the hous. ‘COREY Too bad more guys can't be like Lloyd. DIANE (smiles) He checks up on me. Look. ANGLE ON THE LIVING ROOM 53 and it's a mass of bodies and clothes and couples. Lloyd's head pops into view, and then disappears again. COREY I'd better get back to my fans. 54 OMITTED thru . 54a INT. BATHROOM - LATER . 5 . 55 Mike Cameron talks to a stylish girl with hair like his. MIKE Yeah. Hey. It's exactly what I wanted. I love it. ~ NEW SCENE 51A 7 S5A INT. LIVING ROOM - LATER 56 An annual passes among students, returns to Diane. (CONTINUED)Os 57 38. CONTINUED: 56 Lloyd watches from across the party. He blends in with yhat is obviously the school's metal group, Magalady ("Laura," "Sue," "Ron"). They stand in the glow of a soundless | television. LAURA Look at these guys. We kill these guys. , A SUE No doubt. We blow these geeks off the stag | RON S Don't even compare us to this | bullshit. LAURA ' We play better. We have better ' vocals. tter equipment. | We are so completely better. | ANGLE ON THE TELEVISION “87 and it's The Beatles. EXT. BACKYARD $8 Diane stands surveying the backyard full of roaring partiers. Lloyd appears at her side. LLoyD So. We can finally talk. Vahlere comes coolly walking out in the backyard, dressed as the Lakeside Rooster. A large 88 is on his back and front. His costume has seen a few Grad Nights. ROOSTER Lakeside Lakeside Have no fear! How about another year! STUDENTS Never more! Never more! they surge past Lloyd and Diane to raucously attack Vahlere, in an explosion of feathers. Diane looks on with wide-eyes, laughing. DIANE He does, this every year? (CONTINUED)© ss 59 39. CONTINUED: 7 . 58 Worst job since Reymaster. INT. GARAGE - SAME TIME 59 corey gets a soft drink from the garage refrigerator. COREY (to herself) Diet 7-Up. Diet Ice Tea. Diet. Coke. Doesn't anyone drink real sugar anymore? She hears the door shut, turns to see Joe. A long stare- They're like two animals caught in the headlights. Corey's hands ‘ball into fists. She draws to within a foot of Joe's ace. COREY I love you. JOE I love you too. COREY You invade my scul. ICE I want to get back together. Mini's going to go to college. I'm going to be alone. (pause) But I'm going to break up with her before she leaves. Corey hugs him tightly. Joe looks emotional. JOE Have sex with me. COREY No. You probably have the full disease. He pulls out a twisted-looking palm-sized sculpture. JOE This is for you, TI made this on ‘ghrooms, even though I don't take them anymore. [ cail it ‘The Incubus. * COREY You made this for me? (CONTINUED)a ‘ = CQ 60 40. CONTINUED: 59 Joe nods. JOE Have sex with me. Let's get back together. She hugs him. . COREY Hold me. Hold me while I make up my mind. Corey doesn't answer. She Fulls away. COREY (a revelation) Good-bye, Joe. Joe stares blankly. No reaction. EXT. PUNCH TUB - LATER 60 the'Purple Passion now looks like black lava, Vahlere and buddies wearily lift the tub, haul it past Lloyd and Diane. Lloyd looks at her. She smiles back. Lloyd passes out keys. Outside, cars are revving. Vahlere plays a tape of Niawaii Five-o," which means the party's almost over. The Jock intercepts Lloyd. He's barely coherent. Jock GIVE me my fuckin' KEYS. LLOYD (sign language) You must CHILL. I am your FRIEND. JOCK I LOVE YOU MAN. The Jock hugs Lloyd. Lloyd barely pries himself loose to say good-bye to Corey and D.c. Corey hugs Lloyd. COREY . I feel so free. I hate it. D.C. takes Lloyd aside and whispers in his ear. D.C. You're a great person, Lloyd Dobler. I'm just a good person, but you're a great person. Diane joins him. (CONTINUED)a oe 61 62 41. CONTINUE! 60 vahlere's still picking feathers off himself. LLOYD I hereby surrender my duties as Keymaster. Give me a beer. ‘VARLERE (gives it to him) | thanks, Lloyd. You're the best. Diane -- everybody loved that you came. DIANE You're a ‘great rooster. ‘VAHLERE Take care, you guys. LLoyd (takes a sip) I'm happy to say this sack is officially... He empties the sack on the floor. A key falls out. LLOYD ++ sempty- vahlere pulls a feather out of his hair. He responds, Jack Webb-like. . VAHLERE - The back bathroom. Let's go. OMITTED . 6. EXT. BACK BATHROOM 62 Lloyd ‘and vahlere force open the door. Mike Cameron is hugying the commode, his face pressed up against the cool pofeelain. Diane stares at him, like he's a car wreck. LloyD Yep. He's been barking at the ants. VAHLERE Driving the Big White Bus. . MIKE Igagethone.. .Igagethone. VAHLERE Looks like he dipped his hair in the bowl or something. (CONTINUED)