Say Anything
Transcribed by Judith Allen
CREDITS ROLL
COREY I don't feel anything.
DC Come on, it's graduation.
COREY Did you see what Mr Carroll wrote in my yearbook? Well, he ridiculed me all year long, and then he writes, "You're a real live-wire, Love Mr Carroll." Y'know, it's all so phoney.
EXT. SEATTLE - DAY
DC He wants to leave things on a good note.
COREY Well, where Mr Carroll uses the word 'love', I look for a new word.
INT. COREY'S ROOM - DAY
LLOYD DOBLER, COREY FLOOD AND DC are talking together.
DC Lloyd, she's being difficult.
LLOYD I'm going to take out Diane Court again.
COREY That's unlikely.
LLOYD The movies are a good second date, you know, as a date?
COREY But you never had a first date.
LLOYD Yes I did- I sat across from her in a mall. We ate together. We ate, that's eating, sharing an important physical event.
COREY That's not even a scam.
LLOYD What's a scam?
COREY Going out as friends.
DC No it's not. A scam is lusting.
LLOYD & COREY Then, what's a date?
DC A date is pre-arrangement, with the possibility for love.
COREY Then what's love?
LLOYD I'm gonna call her.
COREY Diane Court doesn't go out with guys like you. She's a brain.
DC Trapped in the body of a gameshow hostess.
COREY Diane Court does not realise how good-looking she is.
LLOYD Sounds great to me, I'm going to call her, that's what's cool about her.
COREY Brains stay with brains. The bomb could go off and their mutant genes would form the same cliques.
DC I wouldn't get my hopes up Lloyd.
COREY I'm sorry. It's just you're a really nice guy, and we don't want to see you get hurt.
LLOYD I wanna get hurt!
EXT. SEATTLE HIGHWAY - DAY
There are a lot of cars going towards the city.
INT. JIM'S CAR - DAY
JIM COURT is driving his daughter DIANE COURT to her graduation.
DIANE Well, it's almost over. We've gone to school together for three years... I might cut that part out.
JIM Why? It's fine. It's nice.
EXT. SEATTLE - DAY
Lloyd is on his way to the graduation. He takes a timed photo of himself with his camera.
INT. JIM'S CAR - DAY
Diane sees a group of statues dressed in the gowns and mortarboards of her school, with balloons tied to them.
INT. LLOYD'S CAR - DAY
Lloyd is playing music on his car stereo. The tape goes funny, and he jams a piece of folded-up cardboard under the tape to hold it in place.
INT. JIM'S CAR - DAY
DIANE Having taken a few courses at the university this year, I have glimpsed our future, and all I can say is... go back.
JIM Ha! Go back! What a great line!
DIANE You like it?
JIM Oh yeah!
DIANE I didn't think anyone would get it.
JIM Oh no, no, it's... it's wonderful. It's... no, don't worry about it. You're very funny. Go back, that's great!
DIANE Alright, no more, I'm going to save it.
JIM Okay.
EXT. HIGH SCHOOL - DAY
It is graduation, and JOE is singing on the stage in front of everyone. The students start to clap and sway to the 'music'.
JOE I love you guys! Party at Valhere's, going to be great. Be there.
PRINCIPAL Thank-you Joe.
He silences the audience.
Thank you. Thank-you Joe. Now it's time. I just can't introduce this person without saying 'History, Oceanography, Creative Writing, Biochemistry'. I think you know who I'm talking about. We're going to remember this student who said "Hey world, check me out." Giving a speech entitled 'Soaring Ahead', Miss Diane Court.
Diane stands up, and takes her place at the lectern.
DIANE Thank-you. The real world.
LLOYD Look at those eyes.
Lloyd is listening intently. During the speech, we see the faces of many parents and students.
DIANE We're all about to enter 'The Real World'. That's what everybody says. But most of us have been in the real world for a long time. But I have something to tell everybody. I've glimpsed our future, and all I can say is... 'Go Back'.
There is silence from the crowd.
JIM Ha!
DIANE Well, it's almost over. We've gone to school together for three years, and we've been through a lot. But with that training out of High School gone, what's going to happen to us? We all know what the answers are. We want to be happy, go to college, own a car, maybe raise a family. But what if that doesn't happen? I have, I have to be honest though, I have all the hope and ambition in the world. But when I think about the future, the truth is, I am really...scared.
EXT. SCHOOL, WOODED AREA - DAY
Lloyd is taking a photo of Corey, DC and MRS FLOOD.
LLOYD Alright, get up on it. Yeah, alright.
He takes the photo and hands the camera to Corey.
MRS FLOOD See you at home.
COREY Alright.
MRS FLOOD Now do yourself and everyone who loves you a favor, and don't talk to Joe.
COREY Mum! Mum!
LLOYD Look at those eyes.
COREY Lloyd, give it up.
LLOYD Do me a favor; take a picture of me with her.
COREY Lloyd.
LLOYD C'mon, just do it.
COREY C'mon Lloyd.
LLOYD Please?
COREY That's just so embarrassing.
LLOYD Please? COREY Alright. Alright, Okay, here.
They walk to a suitable point.
LLOYD Wait for me for when I get round to the front. (?)
COREY Okay, I got it.
JIM Your graduation present is parked right over there.
He points to a red car parked close by.
DIANE Are you kidding, that?
Diane points to the car just as Lloyd gets behind her. Corey takes the photo, and Lloyd moves away quickly.
INT. LLOYD'S HOUSE
Lloyd's sister CONSTANCE walks through the door with her son JASON.
CONSTANCE Lloyd?
LLOYD Hey, sis.
CONSTANCE I'm sorry. Sam had to do a new crown, we had [?], and Jason had a sore throat. Your big graduation, and no one was there.
Lloyd is making himself some 'food'.
LLOYD It's no problem. I called Mom and Dad in Germany; it's like they were there.
CONSTANCE I hope you understand.
LLOYD Hey, bad throat, huh J-man?
JASON Yeah.
LLOYD Yeah, you gotta go 'YEAH', strength. Poor little man.
Lloyd turns the volume on the stereo
CONSTANCE Why do you eat that stuff? There's no food in your food. Not too loud, the red line's there for a reason.
LLOYD How do you know how to draw the red line anyway?
CONSTANCE Because it's loud enough so the neighbors don't complain, that's how come I know.
LLOYD Good thing there's not a red line on you, J-man. YEAH!
JASON YEAH!
LLOYD He's back. Hey my brother, can I borrow a copy of your 'Hey Soul Classics'?
JASON No my brother, you have to go buy your own.
LLOYD Hook up the jab, hook up the jab.(?)
CONSTANCE Why can't you be his uncle and not his playmate?
LLOYD Jesus Christ. I get in a good mood. How hard is it just to decide to be in a good mood, and then be in a good mood?
CONSTANCE Gee, it's easy.
LLOYD Look, I'm really sorry that Mom and Dad made you take me in. Really. If it's such a big deal, I'll go. But remember this, it used to be fun. It used to be warped, twisted and hilarious, and I mean that in the best possible way, I mean it as a compliment. I mean, I'm sorry T-I-M left you. But I am not T-I-M.
CONSTANCE I was hilarious once, wasn't I?
LLOYD Yeah.
CONSTANCE I still am.
INT. DIANE'S HOUSE - DAY
DIANE Dad, you have to teach me to suture this weekend.
JIM Okay, I promise I will. Just come here a minute, I want to show you something.
She walks over to him. He is getting something out of a wooden box.
DIANE What are you doing?
JIM Well, since I'm not only your father, I'm also your friend; I had to get you two presents.
He hands her a jewellery box.
DIANE God, that's... this is ridiculous.
JIM Now this is the only thing your mother ever gave me that I kept. Now it's yours. Go ahead, open it.
DIANE Oh god, I don't need all these presents. I don't know any kid who got a car, I mean...
She opens the box.
Oh god! Wow, it's beautiful.
She slips the ring onto her finger.
JIM They really applauded you today honey.
DIANE I was standing up there and looking at all the people, and I felt like they didn't know me. I mean, maybe I shouldn't have taken all those courses out of school, because everybody thinks I... forget it.
JIM No, wait a minute. Everybody thinks you're what?
DIANE Everybody thinks I'm a priss.(?)
JIM Diane, in a million years, you could never be a... priss. It's all working out for you honey, don't you see? It's all working out, just like we planned. All the years of summer school, all the vacations you gave up, it's all working out just the way we planned...
DIANE Stop it, stop it, stop it.
JIM I'm sorry.
DIANE I love you dad.
JIM I love you too honey.
EXT. LLOYD'S HOUSE - DAY
Lloyd is punching and kicking his punching bag on the front porch of his house, in full kickboxing gear. Jason is watching and imitating him. Lloyd holds the bag still for Jason to kick. His foot just reaches the bottom of the bag. They walk into the house.
JASON Yah! Yah! Yah!
CONSTANCE You're headed for day-care, buddy.
LLOYD You're tough, J-man.
CONSTANCE He's a mess!
Lloyd picks up the telephone and walks away with it.
LLOYD I'll be in my office.
CONSTANCE I just washed this shirt, didn't I?
Lloyd puts the phone down in the bathroom and closes the door.
JASON Yeah!
CONSTANCE Please, not in my ear. Not in my ear.
Lloyd dials a telephone number, hesitating slightly before the last digit.
JIM Jim Court?
LLOYD Hello. May I please speak with Diane please?
INT. DIANE'S HOUSE - DAY
JIM Sorry, Diane isn't here at the moment.
INT. LLOYD'S HOUSE - DAY
LLOYD Uh... okay... um...
JIM Is this the guy with the Mustang?
LLOYD No.
INT. DIANE'S HOUSE - DAY
JIM The guy with the Datsun?
INT. LLOYD'S HOUSE - DAY
LLOYD No.
INT. DIANE'S HOUSE - DAY
JIM The truck?
INT. LLOYD'S HOUSE - DAY
LLOYD Uh, no, not really, no actually, basically, you don't know me. I'm a friend of your daughters; well I sat with her yesterday at the mall.
INT. DIANE'S HOUSE - DAY
I drive a blue Chevy Malibu. I don't know,
INT. LLOYD'S HOUSE - DAY
I guess I'm pretty bad at this, but what I wanted to do is... could I please...
JIM Why don't I just get your phone number, that's usually how it works.
LLOYD Oh. Okay then... Lloyd Dobler, 555-1342.
INT. DIANE'S HOUSE - DAY
555-1342. 555-1342.
JIM Okay, I'll give here the message.
INT. LLOYD'S HOUSE - DAY
LLOYD Okay. She's really pretty great, isn't she?
JIM What?
LLOYD She's really pretty great, isn't she?
INT. DIANE'S HOUSE - DAY
JIM Yeah, she is. Good luck.
INT. LLOYD'S HOUSE - DAY
LLOYD Okay. Good afternoon. Goodbye.
INT. DIANE'S HOUSE - DAY
JIM Jim Court... no, this is her father. I'll take...
He reaches for the notepad.
What?... No, I didn't get the letter... yes... yes, right away... yes, thank-you, goodbye.
EXT. SEATTLE - DAY
Jim is driving to the 'Golden Seasons' nursing home, which he is in charge of. He runs up the front steps.
INT. NURSING HOME - DAY
Mr Taylor, you are a vision in green! Here, let me mail this for you. You can trust a man who writes a letter everyday.
He takes the letter from him, and walks over to the front desk.
Is Diane here? I gotta talk to her.
SECRETARY She's upstairs, Mr Court.
INT. NURING HOME KITCHEN - DAY
JIM I gotta tell you this carefully. [?], Ben, could you do me a favor, just a couple of minutes? Great, won't be long, thanks.
He shuts all of the doors.
DIANE What?
JIM I just had a phone call.
DIANE Tell me, is it bad news?
JIM No, no, just listen. You won the Wreath (?) fellowship.
DIANE Are you kidding? You're not kidding? You're not kidding!
JIM You won it. You're going to study at the finest institute at England, the toughest fellowship in the country, and you won.
DIANE I won?
JIM You're going to take a big step, a big leap, and before you do, I just want one thing from you, miss. You stand up straight and admit you're special.
Diane sinks to the floor.
DIANE God, I'll have to go on a plane.
JIM We'll worry about that later. Now come on, tell me that you're special.
He helps her up.
DIANE Don't do this to me. You're too good at making me nervous.
JIM No, listen to me. You're the best in the country, don't you understand? It's like a pyramid. It starts out with everybody, and it narrows through your life and through everything, and all the hoopla and the competition narrows it down to one brilliant person who is so special that they celebrate you on two continents. And it's you. So tell me something, where's the flaw in that? There is no flaw.
They hug each other.
INT. DIANE'S HOUSE - DAY
Diane looks at the messages that her father's taken for her while she was out.
INT. LLOYD'S HOUSE - DAY
Constance is on the phone.
CONSTANCE Hello? Yeah, just a second, Corey. Oh, sorry. Diane Court?
Lloyd drops everything and rushes over to the phone. Constance runs to the bathroom.
LLOYD No, no, don't go in there.
CONSTANCE Forget it, forget it, it's mine, it's mine!
The door slams.
Too bad!
Jason is standing in the doorway. Lloyd sees him there.
LLOYD No noise, no sound, no movement, nothing! Hello, Diane?
INT. DIANE'S HOUSE - DAY
DIANE Hi. You called me?
INT. LLOYD'S HOUSE - DAY
LLOYD Yeah. I read about your fellowship in the paper, and I'm very glad you called me back.
DIANE Yeah?
LLOYD Yeah. I just wanted to congratulate you on your scholarship to England, and I wanted to tell you that I thought your speech was really incredible.
INT. DIANE'S HOUSE - DAY
DIANE Thank you very much.
INT. LLOYD'S HOUSE - DAY
LLOYD Whoah, what a day, huh?
DIANE Yeah. What a day.
LLOYD Yeah.
INT. DIANE'S HOUSE - DAY
DIANE Yeah.
INT. LLOYD'S HOUSE - DAY
LLOYD Quick question - do you know who I am?
DIANE Yes, we sat together at Bell's Square.
LLOYD Yeah, yeah, yeah. You remember?
INT. DIANE'S HOUSE - DAY
DIANE No, I read it on the message.
INT. LLOYD'S HOUSE - DAY
LLOYD Okay, um, so it's Lloyd and... uh... uh... let's go out. Do you wanna go out?
INT. DIANE'S HOUSE - DAY
DIANE Oh, thanks, but I'm busy.
INT. LLOYD'S HOUSE - DAY
LLOYD Busy?
DIANE Yes. Things are pretty hectic right now, but thanks.
LLOYD Are you busy on Friday?
INT. DIANE'S HOUSE - DAY
DIANE Yeah, I have to help my father.
INT. LLOYD'S HOUSE - DAY
LLOYD Are you busy on Saturday?
INT. DIANE'S HOUSE - DAY
DIANE Saturday, I have some things to do around the house.
INT. LLOYD'S HOUSE - DAY
LLOYD So you're monumentally busy?
INT. DIANE'S HOUSE - DAY
DIANE Well, not monumentally.
INT. LLOYD'S HOUSE - DAY
LLOYD What about tonight then, are you going to that party at Valhere's?
DIANE Hmmm....
LLOYD Look Diane, I'm sorry, but I can't allow you to leave the country without going to Valhere's graduation party. This gentleman, he's twenty-two, and he comes out of hiding once a year for this occasion, and he dresses up as the Lakeside rooster, and he,
INT. DIANE'S HOUSE - DAY
And he makes this drink called the 'Purple Passion'.
DIANE Actually, I think that I...
INT. LLOYD'S HOUSE - DAY
LLOYD Y'know, you're not in England yet, you know that of course, and by the way, I want to just tell you that I lived in England for a few months,
INT. DIANE'S HOUSE - DAY
And my parents are in the army you know, so they live in England and Germany, and
INT. LLOYD'S HOUSE - DAY
I could give you an enormous amount of tips. Many tips. English tips.
INT. DIANE'S HOUSE - DAY
DIANE Well...
INT. LLOYD'S HOUSE - DAY
LLOYD No tips. I won't give you any tips of any kind.
INT. DIANE'S HOUSE - DAY
DIANE I'll go.
INT. LLOYD'S HOUSE - DAY
LLOYD Pardon me?
INT. DIANE'S HOUSE - DAY
DIANE I'll go.
INT. LLOYD'S HOUSE - DAY
LLOYD You will? Excellent, alright, this is great. You will, really?
INT. DIANE'S HOUSE - DAY
DIANE
I'll go.
INT. LLOYD'S HOUSE - DAY
LLOYD Alright. This is really great. Alright, we're going out. It's a date. It's a scam. Whatever, whatever, alright, I'll pick you up at what, eight O' clock?
INT. DIANE'S HOUSE - DAY
DIANE Eight.
INT. LLOYD'S HOUSE - DAY
LLOYD Eight. Eight O' clock.
INT. DIANE'S HOUSE - DAY
DIANE Goodbye.
INT. LLOYD'S HOUSE - DAY
LLOYD Goodbye.
INT. DIANE'S HOUSE - DAY
Diane picks up her yearbook, looking for Lloyd. When she finds his entry, she looks slightly ill at ease.
INT. LLOYD'S HOUSE - DAY
LLOYD Thanks, little man.
He picks Jason up and strums him like a guitar, then he holds him next to his punching bag.
Now, work that bag, work that bag J-man. Left hook, right hook, hook up the jab (?), straighten left hand. What do we love?
JASON PAIN!
LLOYD Work that jab, work that hook, work that jab, okay, take a break, take a break.
INT. DIANE'S HOUSE - NIGHT
Lloyd walks up the drive and knocks on the front door.
JIM Be right there.
He opens the door for Lloyd.
LLOYD Hi. Lloyd Dobler, sir. Pleasure to meet you.
JIM Hello Lloyd.
LLOYD Hello. Heard about that graduation present. Really quite a car. Look, I know you're busy, you don't' have to retain me, but you can trust me. I'll tell you a couple of things about myself, I'm nineteen, been overseas for a couple of semesters, but now I'm back. I'm an athlete, so I rarely drink. Kickboxing. You heard of kickboxing, sport of the future? Don 'The Dragon' Wilson, Lenny [?] merciless, one of the champions of the sport? I can see by your face, no. My point is, you can relax because your daughter will be safe with me for the next seven to eight hours.
JIM Fine Lloyd.
LLOYD How ya doing? Is she around?
JIM Yeah. Honey?
Diane appears in a white dress, and walks towards them.
LLOYD Whoa.
DIANE Would you hold this for me?
LLOYD Yeah
They leave. Jim looks after them, also looking ill at ease with Diane's choice of date.
INT. LLOYD'S CAR - NIGHT
DIANE What are these?
LLOYD They're Bavarian Death style (???) pretzels.
DIANE Oh. Um, would it be terrible if I wanted to go home early?
LLOYD No.
Lloyd turns the key in the ignition. Music starts, which he quickly stops, trying not to make a bad impression.
INT. VALHERE'S HOUSE - NIGHT
Lloyd and Diane walk through the front door. The party has already started.
GIRL AT PARTY Oh my god! Hi Lloyd.
LLOYD You okay? You want a drink?
Various other people greet Lloyd as he walks through the house with Diane to the back yard, many expressing surprise at his date. In the backyard, VALHERE is standing behind a fountain of 'purple passion'- his drink.
VALHERE It's gotta stay purple. All night. Hey Lloyd, how ya doin'?
LLOYD You know Diane Court?
VALHERE Wow, man. Well. Listen man, I need you to be the keymaster.
Valhere hands Lloyd a bag.
LLOYD Oh, I was just going to...
VALHERE A very responsible young man you're out with tonight.
LLOYD I was gonna...
VALHERE Thanks a lot Lloyd.
LLOYD I was just going to kind of move around.
Valhere walks away.
Thanks.
DIANE Keymaster?
LLOYD Yeah, I have to judge who can drive home and who can't. I have to keep their keys.
DIANE So it's an honor?
LLOYD No.
MARK rushes up to Lloyd, pinning him against the wall.
MARK We finally graduated, big dude guy!
LLOYD Alright!
SHEILA moves up to talk to Diane.
SHEILA I'm so glad you came to this.
MARK Here are my keys!
Mark 'hi-fives' Lloyd.
LLOYD Ow! I wish you had done that without the keys in your hand, brother.
SHEILA Come with me, there are so many cute guys here, c'mon.
LLOYD Let go of me!
MARK I love you man
LLOYD I love you too.
Mark leaves, as MIKE CAMERON approaches.
MIKE Oh boy.
LLOYD Hey.
MIKE Mike Cameron, how you doing?
LLOYD What?
MIKE Mike Cameron. This is one fresh jam, huh?
LLOYD Yeah.
MIKE Yeah, hey, oh god. Listen, I wanted to... I don't know you very well, you know, but I wanted to ask you, how did you get Diane Court to go out with you?
LLOYD I called her up.
MIKE Yeah, but how come it worked? I mean like, what are you?
LLOYD I'm Lloyd Dobler.
MIKE This is great, this gives me hope. Thanks.
LLOYD Alright. Key?
INT. VALHERE'S HOUSE - NIGHT
Corey has her guitar. DC and REBECCA are sitting next to her.
COREY I wrote sixty-three songs this year. They're all about Joe, and I'm going to play every single one of them tonight.
REBECCA I just saw Joe. He's here.
COREY Well, you don't have to be so dramatic about it.
DC You did try and kill yourself because of the guy.
REBECCA What was it like after it happened? I've always wanted to know.
DC She explained it all on 'Wake Up Seattle'. Where were you?
COREY Stop! I am fine now, I am alright. All everybody does is ask me about it and I am fine... did Joe come with Mimi tonight?
Rebecca nods.
EXT. VALHERE'S HOUSE - NIGHT
LLOYD Keys? Keys?
GUY Alright, keymaster.
LLOYD Right... hey, how ya doin'?
A car pulls up the driveway.
MISS EVANS Lloyd. Lloyd Dobler, I've got you.
LLOYD How ya doin' Miss Evans?
MISS EVANS You missed every one of your career counselling sessions. Call me obsessive, compulsive, but let's do this right now.
LLOYD No way.
MISS EVANS Lloyd.
LLOYD What?
Walking past, a girl and a guy are fighting, distracting Lloyd's attention from Miss Evans.
GIRL Get away from me!
GUY What did I do?
GIRL Don't even follow me. Leave me alone.
MISS EVANS Don't make this like a counsel(?), Lloyd. I got statistics I can show you, I got graphs I can show you. That's all the stuff I can show you, it all says the same thing. You have to decide on a career.
LLOYD My dad's a lieutenant colonel in the army, he wants me to join, he wants to pull some strings. I mean, there's no possible way.
MISS EVANS We'll just make an appointment for you at Seattle Junior College.
GIRL Are you the keymaster?
LLOYD Yep. I'm not going to go to Seattle Junior College. I mean, I've gotta be honest with you, I'm not looking for that, I'm looking for something bigger, you know? I'm looking for a dare to be great situation.
MISS EVANS Lloyd, everybody in that party put something down on their record except you.
LLOYD How many people really know what they want though? I mean, a lot of them think that they have to know, right? But inside, they don't really know, so, I don't know. But I know that I don't know.
MISS EVANS Hang tough, Lloyd.
EXT. VALHERE'S HOUSE - NIGHT
SHEILA I know we were 'all too competitive' this year, but I just want to say that if it hadn't been for 'Diane Court [?]', I probably wouldn't have gotten into Cornell, because you made me study twice as hard. So thanks.
DIANE You did the same for me.
SHEILA I did? Did you really come here with Lloyd Dobler? How did that happen?
DIANE He made me laugh.
Diane looks over and sees Lloyd, who then walks away.
INT. VALHERE'S HOUSE - NIGHT
Diane is on the phone to her dad.
DIANE Yes... he's okay dad... you're welcome. I always call you, you know that... alright ... stop being so grateful... alright, I'll be home before dawn, okay? Bye.
Diane walks over to two girls who have been standing in the doorway watching her.
Oh, would you guys sign my yearbook?
GIRL 1 Sure. Would you sign mine?
DIANE Yeah.
GIRL 2 Did you really have to call your dad?
GIRL 1 God, how nightmarish.
DIANE I promised.
GIRL 2 Is he going to wait up?
GIRL 1 Tell him nothing.
GIRL 2 Nothing.
GIRL 1 I make sure I enter the house crying. He leaves me alone.
GIRL 2 I loved in your speech, when you said you were scared?
GUY Lloyd Dobler, alright.
INT. VALHERE'S HOUSE - NIGHT
Diane is walking around, she sees Lloyd, and walks away.
Corey is playing her songs, Lloyd is watching.
COREY "He likes girls With names like Ashley And Kathleen"
Joe walks up behind Lloyd, with MIMI. Corey sees him, and stands up, looking at him.
MIMI I'll be in the kitchen, Joe.
Mimi leaves; Corey sits down and starts another song.
COREY "That'll never be me, That'll never be me, That'll never be, never be me, no.
That'll never be me, That'll never be me, That'll never be, never be me, no.
Corey continues her song as Joe walks towards her. Lloyd stops him.
LLOYD Joe. Joe. She's written sixty-five songs. They're all about you. They're all about pain.
JOE So what's up?
LLOYD Stop freaking with her head man. Just stop playing with her mind, you know? She's a human being. She's a person. She's very talented, you know.
JOE Dude, why do you think I keep her tapes? They're going to be valuable some day.
Corey finishes her song.
No. Never. No, never, ever, ever. Don't you ever think it!
INT. VALHERE'S BATHROOM - NIGHT
Mike has a drink in each hand, and looks in the mirror.
MIKE Oh my god.
A new tape is put on the stereo.
EXT. VALHERE'S HOUSE - NIGHT
Diane and Corey are talking in front of the fountain.
COREY I mean, Joe was my first love, he was my first sex, and the whole time he was going out with Mimi. He'll never break up with her. If I see him, it's "Hi Joe, how are you?", and that is it. I'll be okay.
DIANE Don't' worry. He's at the other end of the house.
COREY It's too bad more guys can't be like Lloyd.
DIANE He checks up on me, look.
We see Lloyd in the crowd, looking at Diane and Corey.
COREY I got some more songs to do.
INT. VALHERE'S HOUSE - NIGHT
Corey is on the sofa again.
"Joe lies, Joe lies, Joe lies, when he cries When he cries."
EXT. VALHERE'S HOUSE - NIGHT
Lloyd, seeing Diane alone, goes over to talk to her.
LLOYD So we can finally talk?
DIANE Yeah.
Valhere comes out to the center of the garden dressed as the Lakeside rooster, shouting into a megaphone.
VALHERE 'Lakeside, Lakeside have no fear (?), How about another year?'
All of the partiers start to tear feathers off the costume.
DIANE He does this every year?
LLOYD It's the worst job since keymaster.
Lloyd runs up to the crowd and jumps on Valhere.
INT. VALHERE'S HOUSE - NIGHT
Corey is getting some drinks out of the fridge, when Joe walks in.
COREY Hi Joe, how are you? I love you.
JOE I love you too.
COREY You invade my soul.
JOE I want to get back together. Mimi's going to go to college, and I'm going to be alone, but I'm going to break up with her before she leaves.
They hug.
Have sex with me.
COREY No. Goodbye Joe.
Corey walks away.
EXT. VALHERE'S HOUSE
Most of the people have left, or are leaving.
VALHERE You know, every year I throw this party, every year nobody helps me clear up. Why am I yelling?
LLOYD I don't know.
VALHERE I don't know. Good on you man. Alright Lloyd.
LLOYD Maybe we'll come by tomorrow, help you clear up or something.
VALHERE Diane, everybody loves that you showed up.
DIANE You're a great rooster. Sign this?
She hands him her yearbook
VALHERE Okay.
Corey comes up to them and puts her guitar on the ground.
COREY So I'm single now, everything's changed. I hate it.
Mark runs up and jumps on Lloyd, knocking him to the ground.
MARK Give me my firebird keys!
LLOYD You must chill! You must chill! I have hidden your keys. CHILL!
MARK I love you man.
LLOYD Alright, I love you too. Go to sleep.
MARK We're full on bonded.
LLOYD Yeah, alright.
Mark falls over.
COREY You are such a great person Lloyd. I'm a good person, but you are a great person.
LLOYD Hang in there, man.
COREY Yes.
LLOYD See you tomorrow.
COREY See you. Bye. Bye Diane.
DIANE Bye bye.
VALHERE Hey, drive safe.
He gives Diane her yearbook back.
DIANE Thank-you.
LLOYD I hereby surrender my duties as keymaster, give me a beer.
VALHERE Certainly.
LLOYD I am happy to say that this bag is officially empty.
He turns the bag upside down, a set of keys fall out.
DIANE Uh-oh.
VALHERE The back bathroom. Let's go.
INT. VALHERE'S HOUSE - NIGHT
Valhere, Diane and Lloyd cautiously open the bathroom door.
LLOYD Oh, look at this gentleman here.
Mike is on the floor, next to the toilet.
MIKE I gotta get home, gotta go home.
INT. LLOYD'S CAR - NIGHT
Lloyd and Diane are on the front seats; Mike is in the back.
MIKE Ooop, excuse me.
LLOYD How you doin', brother?
MIKE I don't really know where we are.
RADIO DJ I'm about to play you three hours of commercial free rock and roll as the soundtrack to this magical might.
EXT. SEATTLE - NIGHT
Lloyd's car is driving around.
LLOYD Recognise anything yet? Anything?
INT. LLOYD'S CAR - DAY
RADIO DJ Lord have mercy. Three hours of commercial free rock and roll. Good morning...
MIKE Hey, that's it, that's my house. I live there.
EXT. MIKE'S HOUSE - DAY
Lloyd's car pulls up sharply outside.
LLOYD Have a good sleep.
DIANE Bye.
MIKE Thanks a lot. You guys are the best. Give me a call or...
Lloyd's car speeds away.
INT. LLOYD'S CAR - DAY
LLOYD Uh, did you... so what did they write in your book, what did they write to Diane Court?
Diane opens her yearbook.
DIANE Alright, this is some of the things they wrote me; "Glad I finally met you", "You always seemed nice", "Wish I could have known you more"...
LLOYD Mine say stuff like "Lloyd, see you around maybe"
DIANE Nobody knew me before tonight.
LLOYD They knew of you. Now they know you.
DIANE Yeah, but I feel like I fit in for the first time, you know? Like I just held them far away from me, and they did the same to me.
LLOYD That's cool then.
DIANE Yeah. I'm so glad we did this.
EXT. SEVEN-ELEVEN - DAY
We can walk from here.
LLOYD It's just you and your dad, right?
DIANE Yeah, but that's an old story, you don't want to hear it.
LLOYD Sure I do.
DIANE Well, my parents split up when I was thirteen, and... god, I actually had to... I went into court and I had to choose between the two of them. So I chose my dad. It just felt safer that way, you know?
LLOYD Watch out for that glass.
Lloyd points at some broken glass in front of them, sweeps it aside with his foot, and helps Diane around it.
DIANE Thanks. But either way it still feels...
LLOYD Twisted?
EXT. DIANE'S STREET - DAY
DIANE You know what?
LLOYD What?
DIANE You're a great date. I've never really gone out with someone as basic as you.
LLOYD Basic. Hmmm.
DIANE So what's your job this summer?
LLOYD Job? Being a great date.
DIANE No, I'm serious.
LLOYD So am I. I want to see you again. I want to see you as much as I can before you leave. I said it.
DIANE I only have something like sixteen weeks.
LLOYD Sixteen weeks is a long time.
DIANE Then call me tomorrow.
LLOYD Today is tomorrow.
DIANE Then call me later.
They stop outside Diane's house. Diane runs up to Lloyd and hugs him.
LLOYD Oh. I'll call you later.
INT. DIANE'S HOUSE - DAY
Diane walks through the front door. Her dad is waiting for her.
JIM Morning honey.
DIANE Dad, I'm so glad I went. Goodnight.
JIM Wait a minute. How was Lloyd?
DIANE Lloyd was such a gentleman. He was funny and nervous and strange, and I met people that I never would have met before, then I blew it. I called him basic. Can you believe I did that?
JIM Well, I don't think he's really been embarrassed by it.
They walk to the window. Lloyd is celebrating in the street, ecstatically.
DIANE Goodnight.
JIM Goodnight.
INT. COREY'S ROOM - DAY
Corey, DC and Rebecca are sitting talking.
COREY Lloyd is doomed.
DC Meaning?
COREY Meaning that she made the second date a family audition, which is the kiss of death for Lloyd.
REBECCA Why?
COREY It's too much pressure, it's not his crowd.
REBECCA What is wrong with this girl?
DC I told him to be himself.
COREY He's got that nervous talking thing. I told him not to speak.
REBECCA Hey, I know this is a strange thing to say, but maybe Diane Court really likes Lloyd.
COREY If you were Diane Court, would you honestly fall for Lloyd?
She looks around the room. Everyone is thinking about it.
Yeah.
DC Yeah.
REBECCA Yeah.
INT. DIANE'S HOUSE - DAY
Lloyd and Diane are in Diane's bedroom. Lloyd is dressed for the evening.
DIANE You think I should wear this dress?
She holds a dress around the door.
LLOYD Yeah.
DIANE Or, or I could always wear this one.
She holds a different dress around the door.
LLOYD That's nice.
Lloyd picks up a model of a brain from Diane's shelves, sniffs it and puts it back.
DIANE Oh, um, I forgot to tell you who'll be at the dinner tonight. Uh, my dad's accountant, um, and two women who work in his nursing home. I know you don't know them, but it'll be fun.
Lloyd picks up a three-inch dictionary.
LLOYD Boy, this is a mother dictionary.
DIANE Yeah, I've had it forever. I used to have this thing with marking the words that I looked up.
Lloyd flicks through the pages of the dictionary. Nearly every word has a cross next to it. Diane holds another dress around the door.
How about this one?
LLOYD Nice one.
DIANE Yeah?
LLOYD I think you should wear that.
DIANE You think so?
LLOYD Mmmm.
The doorbell rings.
I'd better get downstairs, huh?
DIANE Yeah, I gotta change.
C.U. JUKE BOX, playing jazz.
INT. DIANE'S HOUSE - NIGHT
Lloyd, Diane, Jim, Jim's accountant and two women are sat around the table.
ACCOUNTANT Great meal, you two.
WOMAN You just look beautiful, Diane.
DIANE Thank-you. JIM Same eyes, same nose, same mouth... [?]
ACCOUNTANT So, what airline do they send you over to England on?
DIANE Charter.
JIM She's not the world's greatest flyer, let me tell you. When she was eight years old, she...
DIANE Dad.
JIM Now why can't I tell the story?
WOMAN What story?
DIANE If you're gonna tell it, let me tell it.
JIM Well, let me start it. I'm flying down to Los Angeles on business, and I decide to take her on her first aeroplane.
DIANE I knew how planes flew, but I was still a little nervous.
JIM Crash paranoia.
LLOYD Oh.
DIANE I had a checklist in mind. I thought that if babies were on the plane, the plane couldn't crash. But all the babies were crying, and I thought they knew something I didn't.
JIM So anyway, they closed the doors, and she starts to scream. I've never in my life heard anyone scream quite like that.
DIANE And then you got up and you told them to turn the plane around.
JIM Which they did. Let me finish.
DIANE Okay, I give up.
JIM So anyway, these two federal marshals meet the plane, and they take our address, and they ask us never to fly with 'Friendly Skies'(?) again.
WOMAN You never flew?
DIANE No. But there's more.
JIM Oh yeah. There was, uh, somebody on the plane worked in a recording studio, and, uh, we got this telephone call, this guy is making a sound effects record, and he'd gotten our address and he wanted to know if he could come over and record her scream.
DIANE Which they did, and every once in a while on a commercial, you can hear me scream.
LLOYD You two are amazing, you know? The way you, the way you, the way you talk. I'm just like that with... I'm not even like that with anybody.
Lloyd gets up and walks over to the jukebox.
Stellar (?) jukebox, sir.
JIM Thanks Lloyd.
LLOYD How do you pay for one of those?
JIM Well, we pay for the [?]. That guy didn't want to part with it, a little matter of nine thousand dollars.
ACCOUNTANT So Lloyd, you graduated Lakeside, right?
LLOYD Yes sir.
ACCOUNTANT What are you going to do now?
JIM Yeah Lloyd. What are your plans for the future?
LLOYD Spend as much time as possible with Diane before she leaves.
JIM Seriously, Lloyd.
LLOYD I'm totally and completely serious.
JIM No, really.
LLOYD You mean like career? Uh, I don't know. I've, I've thought about this quite a bit sir, and I'd have to say considering what's waiting out there for me, I don't want to sell anything, buy anything or process anything as a career. I don't want to sell anything bought or processed, or buy anything sold or processed, or... process anything sold, bought or processed, or repair anything sold, bought or processed, you know, as a career I don't want to do that. So, uh, my father's in the army, he wants me to join, but I can't work for that corporation, so what I've been doing lately is kickboxing, which is really a, uh, new sport, but I think it's got a good future. As far as career longevity goes, I don't really know, because, you know, you can't really tell. Your training sticks (?) as a fighter, you know, but it's no good, you know, you have to be great, but I can't really tell if I'm great until I've had a couple of pro fights. But I haven't been knocked out yet. I don't know, I can't figure it all out tonight sir, I'm going to hang with your daughter.
The guests exchange nervous glances. There is a knock at the door. Diane and Jim answer it. There are two men outside.
DIANE Hello?
AGENT SIMS Mr James Court?
AGENT SIMS I'm Mr Sims and this is Mr Talbot, we're special agents of the Internal Revenue Service, and we'd like to inform you that you are under criminal investigation for the tax years 1982 through 1986.
He looks around the house.
JIM Jesus. What, I live in a palace, right? I have guests here.
AGENT SIMS Understanding the following rights...
JIM Speak with my lawyer.
AGENT SIMS So you refuse to answer my questions?
JIM Just come down to my place of business, for god's sake. I have people here.
AGENT SIMS Mr Court, be aware that we will be contacting a number of your business associates...
JIM This evening is over.
AGENT SIMS And your former wife.
Jim shuts the door.
INT. RESTAURANT - DAY
Diane and MRS COURT are sitting at a table.
DIANE Mom, please?
MRS COURT Diane, I do have a history with this man, and it's not the greatest. I see you so seldom, I'd really rather know about you.
DIANE This is me telling you about me.
MRS COURT You know, I don't even know if you've got a young man in your life?
DIANE I just wonder what could be more important than what's going on with dad.
MRS COURT If we could just talk about boys everything would be so much easier. You know, your room is always ready for you, you can always come home if... alright, what do you want me to do?
DIANE If they ask you questions, and they probably will ask you questions, would you please say something nice about him mum? Help him?
MRS COURT Alright.
DIANE You will?
MRS COURT Okay. Oh, here's Ray. Just talk to him because when you don't, your mouth turns down.
RAY walks over to them.
Hi honey.
RAY Hello pretty ladies. Hello Diane.
DIANE Hi Ray.
INT. LLOYD'S HOUSE - DAY
Lloyd is sitting on his bed with the phone.
LLOYD After work?
DIANE I usually have a break after the dinner service, if you want to stop by.
LLOYD Won't you see me later?
INT. DIANE'S HOUSE - DAY
DIANE I know you think my job is strange. You don't like old people, do you?
INT. LLOYD'S HOUSE - DAY
LLOYD Me? Sure I do.
DIANE Come on.
LLOYD Well, except for one thing. I used to work at a smorgasbord, and, and the old people would flock there, and, and they loved to eat. And they just jammed their mouths, you know? The used to eat with their mouths open, and you know, it's just too much for me. You get to be thinking about how short life is, and how maybe, maybe has no meaning because you wake up and you're frying burgers
INT. DIANE'S HOUSE - DAY
And you're like sixty and seventy and then you check out, and, you know, what are you doing, and I just don't need to think about those kinds of things,
INT. LLOYD'S HOUSE - DAY
So that's the reason I was, um... but I'm not sure I'm right about any of that.
INT. DIANE'S HOUSE - DAY
DIANE I think that's ageism, and that's, that's being prejudiced against people because they're old. Maybe their mouths don't work as well as yours.
INT. LLOYD'S HOUSE - DAY
LLOYD Really? Um... I... well... you're really turning me around here,
INT. DIANE'S HOUSE - DAY
I was looking at it the wrong way, I think.
INT. LLOYD'S HOUSE - DAY
Shall I come by later?
INT. DIANE'S HOUSE - DAY
DIANE Stop by later.
LLOYD Okay, bye, I will.
DIANE Okay, bye.
INT. LLOYD'S HOUSE - DAY
LLOYD I'll see you there. Bye.
INT. NURSING HOME - DAY
Lloyd and Diane are walking along a corridor.
DIANE You have to meet Bess.
LLOYD Okay.
DIANE She's amazing. She's ninety-three, she's a writer, and I told her about you.
LLOYD Wait, wait. You told her about me?
Jim is passing by, carrying a box. He stops momentarily when he sees Lloyd with Diane.
DIANE Yes.
LLOYD What did you say?
DIANE Well... just meet her.
Diane knocks on a door, and they both go in.
Hi.
BESS Hi.
DIANE This is Bess. Lloyd, Bess.
BESS Hello.
LLOYD Hello.
BESS You're too tall.
She motions with her hand for him to go down slightly. He bends slightly, then crouches.
She likes you.
Diane smiles nervously.
INT. NURSING HOME - DAY
Lloyd is standing in front of a television and a blackboard, on which is the message 'Lloyd Presents "Cocoon"'
LLOYD Okay, how are you doing? Hello. I'm Lloyd, and we're going to watch the movie 'Cocoon'. I've never actually seen it, but I hear it makes you very happy,
Mr Taylor gets up and starts to walk to the door.
So I figure that's a good thing, a good film to see, one that makes you happy. It's about a group of older people who go into outer space, I hope I didn't give anything away there.
DIANE The movie hasn't started yet Mr Taylor, we're going to have a good time.
He goes back to his seat.
OLD LADY Why can't I eat popcorn anymore?
DIANE I'll get you something.
LLOYD Okay, so here we go with 'Cocoon'.
He starts the video and walks over to Diane.
Was that okay?
DIANE That was good.
INT. COFFEE SHOP - DAY
Lloyd and Diane are sitting with their coffees.
DIANE I feel so bad being with you. I feel selfish, I feel like I should be spending some more time with my dad. I mean, it's not fair to you, half the time I'm with you I'm thinking of other things.
Lloyd passes her some milk for her coffee.
LLOYD It's okay, everybody does that.
DIANE I just don't want it to get too heavy. I feel really overloaded. I have this theory of convergence, that good things always happen with bad things. But I know you have to deal with them at the same time, but I just, I mean I don't know why they have to happen at the same time, I mean, I don't know why, I just wish I could work out... Am I just babbling? Do you know what I mean?
LLOYD No.
DIANE I just can't have any social life right now.
LLOYD Don't worry about it. We're just having coffee. We'll be anti- social.
DIANE Be friends?
LLOYD Yeah. With potential.
DIANE Friends with potential.
EXT. NURSING HOME - DAY
Diane is driving her car around the roundabout just outside the nursing home, with Lloyd giving her tips.
LLOYD Yeah, just keep going first, keep going around. Get the feel of it, feel the clutch, when you put it in a little?
DIANE Yeah.
LLOYD You know how it'll come out and feel... y'know... little more, little more... Yeah, yeah, that's right. Go round just at first, keep it in first, just feel it.
DIANE I'm doing alright.
LLOYD Yeah. Now, when you feel like you're confident,...
DIANE Yeah?
LLOYD If you'll just maybe ease it into second.
DIANE Right.
The car makes a horrible sound and judders.
LLOYD Okay, this is important...
DIANE Am I wrecking my car?
LLOYD Yeah, a little bit. Listen, this is important. When you feel it start to give, put the clutch in.
DIANE Oh. I was putting the...
The car moves backwards.
LLOYD Little more gas. Ease it up. Hold on- minor setback. Now you feel confident, right?
DIANE Yeah.
LLOYD Now, go into second. Little more gas... Yeah! You can get (?) this whole problem. Now, maybe you downshift to first?
DIANE This is so noble.
LLOYD Well no, it's not noble, but it's a good aid to your lesson.
They kiss and the car starts rolling backwards. Lloyd puts the handbrake on.
Let's switch, you wanna switch?
DIANE Yeah.
They move over/under each other. Jim is watching them from a window in the nursing home.
LLOYD Let's get outta here. You want to?
DIANE Yeah.
They drive away.
EXT. PARK - DAY
Lloyd and Diane are walking along, they stop, then kiss.
EXT. STREET - DAY
It is raining. Lloyd and Diane are kissing.
EXT. COAST - NIGHT
Lloyd's car is parked on the coast, overlooking the waves. 'In Your Eyes' is playing on his car stereo.
INT. LLOYD'S CAR - NIGHT
Lloyd and Diane are under a blanket on the back seat. Lloyd moves to sit next to Diane, and they kiss.
LLOYD Are you comfortable?
DIANE Yes. Are you shaking?
LLOYD No.
DIANE You're shaking.
LLOYD I don't think so.
DIANE You're cold.
LLOYD I don't think I am.
DIANE Then why are you shaking?
LLOYD I don't know. I'm happy.
DIANE Here are some blankets. This is a good song, this is a really good song.
INT. DIANE'S HOUSE - DAY
Diane walks through the front door, knowing that she's going to have to see her father, and dreading it. She walks into her room. Jim sees her, and walks in after her.
JIM Morning.
DIANE Dad, I'm sorry.
JIM You should be.
DIANE I was irresponsible, I should have called.
JIM You bet you should have called. You still live at home. Don't make me call the police at three-thirty in the morning, don't make me call hospitals.
DIANE Dad, I'm so sorry. I know this is a bad time.
JIM You've always called before, always. Now I'm not asking what you did, I just want to know that you're alright.
DIANE I'm fine.
JIM Do you wanna make things easier on me? Now tell me where you were because this is, this is bullshit. You can say anything to me, I hope you still know that.
DIANE I know that.
Pauses.
I spent the night with him.
JIM Lloyd?
DIANE Dad, yes. And I'm scared to death of what you must think of me right now.
JIM Sit down.
Diane sits down.
DIANE Dad, do you know what he did the first night I went out with him? We were walking across by the Seven-Eleven, and he pointed out some glass for me to walk around. And I always think of that when people say 'What are you doing with Lloyd Dobler?' And I never get nervous around him. So we started spending all thins time together, as friends. But, I could feel him getting anxious, and then I knew that there would be a confrontation over getting physical. And he started to get that look at the end of the night. Do you know that look?
Jim nods.
And then, you know it's going to be an issue. So I went through all the different feelings and all the different arguments you're supposed to go through.
JIM Did he ever get rough with you?
DIANE Dad, no. But I didn't want any problems, so I decided not to sleep with him.
Jim looks relieved.
But then I attacked him anyway.
Jim looks slightly alarmed, which passes quickly when Diane looks for his reaction.
It always feels good to tell you the truth. Because if I can't share it with you, it's almost like it didn't happen.
INT. GUITAR SHOP - DAY
Lloyd, Corey and DC are in the shop together; Lloyd is strumming a riff on a guitar.
COREY Did you sleep with her?
LLOYD I admit nothing.
DC Lloyd, it's us.
COREY Look at his face, he did the deed.
DC You're an inspiration Lloyd; you should go on the seven hundred club or something.
LLOYD Alright, alright, alright, calm down, alright, calm down. Nothing's different.
COREY Lloyd, listen to me. EVERYTHING has changed. You've had sex. No matter what you might think, nothing will ever be the same between you two. You might be sixty. You might be walking down the street, and you'll talk to her about something, whatever. But what you'll really be thinking is 'We had sex'.
LLOYD So, what's your point?
COREY You've got to do something special. You've got to make a statement.
DC Wait a minute.
COREY You've got to show her respect, you've got to show her that you're not like Joe...
DC Wait a minute.
COREY And above all, just because this happened gives you no right whatsoever...
DC You know I just sit here listening, and you never let me talk.
COREY What? I'm sorry, talk.
DC I've forgotten what I was going to say... okay, okay, I remember. Let him do what he wants.
LLOYD Alright.
COREY Lloyd, send her flowers, write her a letter. Something.
LLOYD I already did.
He removes a letter from his coat pocket.
COREY What does it say?
LLOYD Read it.
Corey carefully opens the letter and reads it aloud.
COREY "Dear Diane, I'll always be there for you, all the love in my heart, Lloyd." I've never gotten a letter like this, have you?
DC I dream about it.
LLOYD So what do you think? Is it... do you think I'm...
Corey nods.
COREY Get ready for greatness, Lloyd.
Lloyd walks away, strumming another riff.
INT. NURSING HOME - DAY
AGENT SIMS The, uh, Cynthia Branson estate was worth how much? Because her family...
JIM What family? We never heard from them. I sold her house for them, made them money.
AGENT SIMS Hmmm. Your income, Mr Court, hasn't changed substantially in seventeen years.
JIM That's right.
AGENT SIMS Why would you stay so long with an operation that is so clearly not a growth enterprise?
JIM Taking care of people isn't a growth enterprise, Mr Sims. I hope you write that down in your report, I'd like your bosses to read it.
INT. DIANE'S HOUSE - DAY
Diane is writing something in a book on a desk, when Jim walks through to her.
JIM Diane, your ticket to England came today.
Diane looks at the letter and the letter that Lloyd sent.
DIANE Dad, maybe I shouldn't go with all that's happening to you.
JIM You're going.
DIANE But listen, if I had a friend in the same position, I would tell her to delay a year.
JIM You're going.
DIANE It doesn't feel right to me. I, I don't even have the right luggage yet.
JIM Bon voyage.
DIANE You're not listening to me.
JIM Diane! Alright, let's stop this right now. Let's not put our energy into something ridiculous. This isn't even smart thinking.
DIANE Dad, why are you acting this way? Is this because of the other morning?
INT. DIANE'S HOUSE - DAY
They are in the kitchen. Diane is sitting at the table while Jim clears up.
JIM Do you love him?
DIANE I like him a lot.
JIM Well listen to me. Now, I know you like him, I know he's nothing like those frat kids you can't stand, but honey, after the excitement wears off, then what, huh? What are you going to talk about? What do you have in common? You're going to be part of an international think-tank, and he's going to be kicking punching bags.
Later. Jim is making food.
I just think you should break up with him.
DIANE Unbelievable. This is a nightmare.
JIM Diane, you owe it to yourself to get on that plane with no attachments, no strings, because after you get over there, things are going to change. People change.
DIANE Dad, you and I have talked about this. Lloyd and I have talked about this. Believe me, this is well-covered territory.
JIM Diane, I'm not asking you to sever all relations with the boy. Give him a present, here, let him know you still care. Give him this pen.
He hands her a pen.
DIANE Dad, in a million years, I would never give him a pen. What's wrong with having some fun? I like him.
JIM 'I like him'? Diane, I'm talking about being honest with people, being decent...
DIANE Dad, I love him.
Jim momentarily stops what he is doing.
JIM Great. No, that's great, I... it's great to hear you say that because, I don't know, am I being selfish? Why am I so fixated? I guess it's 'cause I got a lot of troubles with... is that it? Am I being selfish? I just want you to have everything. Is that wrong? No. I owe you an apology. I've just got a handful of weeks left with you, and we should... I don't know what I'm trying to say. They think I'm guilty.
Diane walks over to him.
Some computer spits out your name, and another honest man... I feel so goddammed foreign. Live your life. I love you.
DIANE I'm sorry.
Jim walks away.
INT. SPORTS CENTER - DAY
Lloyd is teaching a class of six to eight year olds basic kicks.
LLOYD Power left, power right...
The phone rings.
VOICE Lloyd, telephone.
LLOYD Hello?... Hi, how you doing?... Yeah, they actually pay me for this... yeah... sure, I'll pick you up in an hour... see you later.
INT. LLOYD'S CAR - DAY
Lloyd is driving; Diane is sitting in the passenger seat.
LLOYD Check your mail tomorrow. I sent you a letter, a letter.
DIANE Your letter came yesterday.
LLOYD It did?
DIANE Uh-huh. It was wonderful.
LLOYD Why didn't you tell me?
DIANE It was wonderful.
LLOYD I've never sent a letter like that, you know? I mean, I felt like I wanted to tell you something, but I didn't put it in the letter, and I didn't say it, but I want to say it now, I'm not sure if I should say it, you know, 'cause people always say it and don't mean it, but I think that I mean it, so, um, I just wanted to tell you...
DIANE No, we don't have to say it.
LLOYD How do you know what I'm going to say?
DIANE I don't know what you're going to say, but I think that...
LLOYD I was just going to tell you that I love you. I said it.
DIANE I know. Lloyd, let's not start putting things on this level.
LLOYD What? This is a good level, isn't it?
DIANE How can I look at you and say this?
LLOYD Say what?
He leans over, kisses her, and smiles.
DIANE I think that we should spend some time apart.
LLOYD What's wrong?
DIANE Well, I need to study, and...
LLOYD You need to study?
DIANE Yeah.
LLOYD Okay, how much time do you need? I mean, you know, I mean you'll be leaving in a little while, so that's answered some questions. (?)
DIANE We'll see.
LLOYD Okay. It's good knowing this.
DIANE Yeah, uh-huh.
Lloyd brings the car to a full stop.
LLOYD Okay, what did we just decide?
DIANE We decided...
LLOYD 'Cause I'm worried, did you just break up with me?
DIANE No, no.
LLOYD It sounded like you did.
DIANE No. We decided that we're friends. I mean, I know it's a terrible word...
LLOYD Well, if we're friends, why can't we see each other?
DIANE I think that we should stop going out on dates.
LLOYD I feel like a dick. You must think I'm a dick.
DIANE No, I don't, I don't.
LLOYD Yeah you do.
DIANE Lloyd, we shared the most intimate thing two people can share.
LLOYD You shared it with a dick.
DIANE No I didn't.
LLOYD Is this because of your dad?
DIANE No.
LLOYD Did you talk to Corey?
DIANE Why, did you tell Corey what happened?
LLOYD She figured it out. I'm sorry if that upsets you.
DIANE No, that's fine. She'll tell everybody, but that's fine.
LLOYD Did you tell anybody?
DIANE Just my dad.
LLOYD You told your dad?
DIANE You have Corey and DC. I have my dad.
LLOYD What, I'm sorry I said that. Forget I said it, it's what I thought I meant, but forget it.
DIANE Lloyd, I love you, okay?
LLOYD What is that? What are you doing with your hands? Talk to me, you're talking like that girl Sheila.
DIANE Don't be mean, this is hard for me too.
LLOYD Then don't do it.
DIANE Oh shit.
She turns away from him and takes the pen from her coat pocket.
Just take this pen please, and write me?
She puts the pen on the car dashboard, and turns away again.
LLOYD I can't believe this; you just broke up with me.
They both sit in silence.
EXT. DIANE'S HOUSE - DAY
Diane gets into her car, tears pouring down her face. She starts the car, and starts to cry.
INT. LLOYD'S CAR - DAY
Lloyd is alone in his car. He has been crying.
EXT. SEATTLE - NIGHT
It is raining. Lloyd is in a phone box, dripping with water.
LLOYD Hello Constance. It's me, Lloyd... nothing, I'm just driving around... she broke up with me... what do I do? Can't she come back? How can I get her back?... I can't think, talk to me... I fucked up... I feel like crying... she gave me a pen. I gave her my heart and she gave me a pen.
INT. LLOYD'S HOUSE - NIGHT
CONSTANCE Lloyd, honey, just come home, okay?
EXT. SEATTLE - NIGHT
LLOYD I'll be home soon.
Lloyd hangs the phone up.
INT. LLOYD'S HOUSE - DAY
Lloyd is watching television with Jason. An advertisement for the Army is showing.
EXT. SEATTLE - NIGHT
Lloyd is driving around in his car.
INT. LLOYD'S CAR - NIGHT
Lloyd is recording a message for Corey.
LLOYD It's me. I know I haven't called you lately. I guess I didn't want to be reminded of the Diane nightmare. By the way, I hardly remember her. I've wiped her from my mind. I don't remember the time or place when I knew her. This is it. The site of our controversial first date. I met her in a mall.
DRIVE-BY VIEW OF THE MALL
I should have known our relationship was doomed. And to our left we have the street where she broke up with me, and there's the path we took... Corey, I guess in a way I blamed you, held it against you for letting me send that letter. I don't know, I thought it was the right thing to do. I think I know too many girls. I should hang out with more guys. I should be like one of those guys who hangs out at the AM-PM (?), or the Gas 'n' Sip on a Saturday. I don't know, guys like that really know the answers.
EXT. GAS 'N' SIP - NIGHT
All of the guys are sitting against a wire fence drinking and eating crisps. As each of them talks, the rest agree with him.
JOE Lloyd man, no babe is worth it, you know. Listen, hang with us man, we'll teach you [?].
GUY 1 Right. Lloyd man, you can't even trust them man, because you know what it's about? They spend your money, and they tell their friends everything man, it's bigonomics. (?)
GUY 2 Man, all you gotta do is find a girl who looks just like her, nail her, and then dump her man, get her off your mind.
MARK Your only mistake is that you didn't dump her first. Diane Court is a showpony. You need a stallion, my friend. Walk with us and you walk tall.
LUKE Bitches, man! Hey dude, I'd better bail. See you later.
They all say goodbye.
MARK Later for you, Luke.
LLOYD I got a question. If you guys know so much about women, how come you're here at like the Gas 'n' sip on a Saturday night completely alone, drinking beers, no women anywhere?
Silence.
JOE By choice, man!
GUY 2 Yeah man, conscious choice.
They all agree.
GUY 1 I'm choosing it.
JOE Dude, where'd she dump you man?
LLOYD My car.
JOE Your car?
GUY 1 Ah, man, ditched in the Malibu?
GUY 2 Ah, heinous.
MARK It's your castle, man.
GUY 2 Man, you never had a chance with a girl like that.
MARK Hey man, I was in love once. I got hurt really bad. I never wanna go through that again.
GUY 2 Man, you're bringing me down!
GUY 1 Shutup man. We're going to a Keger (?) Lloyd. We're going to a Keger and we'd like you to come. We're going to find you a girl. We're going to find you a babe. We're gonna find you one hot- lipped babe, instantly promised.
LLOYD No, no.
GUY 1 Right. One hot-lipped babe instantly promised.
LLOYD Look, I'm not going to meet somebody like Diane Court at a Keger. This girl was different, man. We'd go out, we wouldn't even have to go out, you know? We'd just hang out. This girl made me trust myself, man. I was walking around and I was feeling satisfied. Can you imagine that? Then she cuts me loose. I don't know why. She won't tell me. Who knows the real reason? Maybe it's because of her father, I don't know. She won't talk to me. She won't even look at me.
He throws his bottle against the fence and it smashes. The others get up.
MARK Come on!
GUY 1 Christ Lloyd, what's happening to you man?
GUY 2 You're freaking out here man.
MARK You've gotta get her out of your head, man.
JOE Chill man, come on.
The others start rapping in the background.
Dude, I don't even feel that way about my car, man. Dude, name a babe, alright? Any babe in Seattle and I'll set you up with her.
LLOYD Diane Court.
JOE Dude, I can't do it!
INT. LLOYD'S CAR - NIGHT
Lloyd is recording his message to Corey again.
LLOYD That was a mistake. The rain on my car is a baptism. The new me. Iceman, power Lloyd. My assault on the world begins now. Believe in myself, answer to no one... You probably got it all figured out, Corey. If you start out depressed, everything's kind of a pleasant surprise.
INT. COREY'S ROOM - DAY
DC Look, why don't you just call Diane again?
Lloyd shakes his head.
LLOYD I draw the line at seven un-returned phone calls.
COREY Lloyd, you have to understand her family is being ripped apart. Like you and she were ripped apart. Like Joe and I were ripped apart.
DC Visit her at the home.
LLOYD I'm not going back there. I don't even know who you're talking about.
DC Lloyd, why do you have to be like this?
LLOYD 'Cause I'm a guy, I have pride.
COREY No, you're not a guy.
LLOYD I am.
COREY The world is full of guys. Be a man. Don't be a guy.
LLOYD If she wants me, she can come to me.
INT. DIANE'S HOUSE - DAY
C.U. answering machine. The 'record' light is flashing.
LLOYD Hi, Lloyd. This is my eighth and final call...
JIM Go ahead, pick it up if you want.
LLOYD I just wanted to say that I've thought about everything, and I've decided something. I'm going to give you another chance. Maybe no one's listening, or maybe your father's listening. Mr Court, if you're listening to this, hello, how are you?
DIANE If I pick it up, we'll only get back together.
JIM Well then don't pick it up. You know what's best.
Diane listens to the rest of the message intently, while Jim pretends not to.
LLOYD I've been thinking, maybe I didn't know you; maybe you're a mirage. Maybe the world is a blur of food and sex and spectacle, and everyone was just hurtling towards a [?], in which case, it's not your fault, you know? I mean, maybe there's a good side to all this, I don't know, I've been thinking about these things, you're probably standing there monitoring, so just one other thing. The letter, the letter I wrote you? Could you please rip it up? Nuke it, flame it, destroy it. It hurts me to know it's out there. Will you do that for me? Alright, later.
Diane runs to pick the phone up.
DIANE Hello?
The engaged tone sounds. Lloyd has hung up. She puts the phone back.
INT. LUGGAGE SHOP - DAY
Jim is looking at a set of bags, and an assistant approaches him.
JIM Hi.
ASSISTANT Is it a gift for your wife? Are you getting a set together? (?)
JIM No, I'm not married. It's for my daughter.
ASSISTANT For going to school?
JIM Yeah, she won a fellowship.
ASSISTANT Good for her.
JIM I'll take the whole set.
ASSISTANT Excellent.
She walks over to the cash register.
JIM I gotta tell you, you've got the best smile I've seen all weekend.
He hands her his credit card.
ASSISTANT Thanks, I like yours too.
JIM Listen, I don't know your name, but what are you doing for lunch?
The machine beeps. Jim's card has been rejected.
ASSISTANT I'm sorry, but they turned down your card.
JIM Oh yeah, let me give you another card.
ASSISTANT Okay, thanks.
The machine beeps again, for longer.
I'm afraid I can't accept this one either. There's a decline code on your account. I'm supposed to confiscate your card, but why don't you just go ahead and take it?
JIM Keep it.
ASSISTANT You're sure?
JIM Yeah, I don't want it. Um, thank you very much. You're very kind.
INT. DIANE'S HOUSE - DAY
Jim is sitting in the bathtub, fully clothed, visibly shaken. There is a knock at the door.
DIANE Dad, are you okay in there?
JIM Just finishing up in here.
Jim climbs out of the bath, and goes into the hall, where Diane is waiting. He walks straight past her.
INT. DIANE'S HOUSE - DAY
Diane is lying on her bed, upset. We hear music coming from outside. Diane lifts her head slightly.
EXT. DIANE'S HOUSE - DAY
Lloyd has driven over, and is holding a boom box high above his head with both hands. It is playing 'In Your Eyes'.
INT. DIANE'S HOUSE - DAY
Diane lets her head drop back onto the pillow when she realises where the music is coming from, and who it is.
EXT. DIANE'S HOUSE - DAY
Lloyd is still there, in the same position as before.
INT. DIANE'S HOUSE - DAY
Diane turns away from the window, trying to ignore the music.
EXT. DIANE'S HOUSE - DAY
Lloyd is still there, raising the box slightly at times, getting uncomfortable, but still stays there. The camera slowly zooms into his face.
INT. IRS OFFICE - DAY
Diane is waiting on a chair.
SECRETARY Regarding James Court.
Diane gets up.
Room fourteen.
INT. OFFICE - DAY
Diane is sitting down, talking to an agent about herself and her father.
DIANE I'm supposed to be leaving on a fellowship that I worked for my entire life. I don't even care. I met this boy over the summer, and I, I can't see him because of this, I can't talk to him, I can't talk to my father about... I wore these clothes, I thought, I thought that if I looked right and if I acted right then someone would talk to me. But I look awful and I feel awful, could you, could you please talk to me? Be a little decent.
AGENT We believe that your father operates in a large pool of cash that comes from phoney billings, phoney patients. We've been investigating him for five years. We believe that when they die, he takes their money.
DIANE Pardon me?
AGENT Look, why don't you check it out for yourself? See if your father fits the profile.
DIANE What's the profile?
AGENT Well, take a look around the house. Is everything nice, but not too nice? Are there lots of, uh, rugs, pieces of art, stereo equipment, uh, furniture, a lot of things bought with cash? Does he give a lot of gifts? Do the major items in your house cover around the nine thousand-dollar range?
DIANE You're trying to get me to say something, that's why you're telling me all of this.
AGENT Don't let your father's business infect your life.
DIANE How can you, how can you say that?
AGENT Because he's guilty.
DIANE No, no he's not.
AGENT We have records. We have proof. I'm sorry to be the one to have to tell you this, but it's going to get worse. Now, if I were you, I would take that fellowship.
INT. DIANE'S HOUSE - DAY
Diane walks through the front door.
DIANE Dad? Anybody home?
There is silence. Diane sits down and looks around. She looks at the ring on her finger that her father gave her as a graduation present, and goes into different rooms of the house, looking through drawers. She finds nothing.
They made me doubt you.
She looks up and sees the wooden box that her father got the ring out of when he gave it to her. She picks a letter opener up from the desk, and opens the box. Inside, there are several bundles of cash. Diane picks some of it up, a look of disbelief on her face.
EXT. SEATTLE - DAY
Diane is driving very quickly to the retirement home.
INT. RETIREMENT HOME -DAY
Jim is in the kitchen, preparing some flowers. Diane walks through the door. She has been crying.
JIM What happened to you?
DIANE Dad, did you do it? Did you take that money?
JIM Sweetheart, no. Don't be ridiculous.
DIANE Swear to god, I need to know the truth.
JIM Honey!
DIANE Swear to god.
JIM I swear to god.
DIANE But I found the money.
JIM Honey, it's not what you think.
DIANE What am I supposed to think?
JIM Honey, about what?
DIANE You stole from them, you lied to me. How do you think that's supposed to make me feel?
JIM You think you know what this money is?
DIANE Yes, I...
JIM No, you don't know what it is. It's not for me. This money's for you, for when you come back from England with honors to set you up, so you don't have to depend on anybody again. Diane, I take better care of these people than their families do. I care for them, I give them flowers, I feed them, I wipe their mouths...
DIANE No, but you stole from them.
JIM I made their lives better.
DIANE You let me believe you. You knew you were guilty, and you let me become a part of it. God, how... how could you...
JIM Alright, alright. Go ahead. When I'm old, give me someone like me, but go ahead.
DIANE I trusted you. I stood up in court five years ago and I picked you.
JIM Why are you being so hateful to me? Is this because of Lloyd?
DIANE No. I told you everything, you lied to me. I would have done anything for you.
JIM That's right, work it out.
DIANE No, I will. I don't want to leave something out because I know I can say anything to you. You're a liar, and a thief.
JIM Take it easy how mad you make me, I'm the only dad you've got.
DIANE I'm so ashamed dad.
JIM Don't say that, it's not good for you. You're...
DIANE You're right.
She leaves the room.
JIM No, talk, Diane! Wait, Diane. Wait a minute, now talk...
INT. SPORTS CENTER - DAY
Lloyd is kickboxing in the ring. He appears to be winning.
TRAINER Hey Lloyd, someone's here to see you.
Lloyd looks up; his opponent kicks him in the face, knocking him down. We see his nose being fixed, he sneezes and sits up, and then he is given a towel to hold to his nose to catch the blood. Diane goes over to him.
DIANE Lloyd?
Lloyd sits up.
Lloyd, I'm sorry.
He turns away and gets up. Diane follows him.
LLOYD What do you want?
DIANE I'm sorry.
LLOYD What do you want?
DIANE My father's guilty. He lied to me, he lied to everybody. I just left home... I need you.
LLOYD You do?
DIANE Everything else means nothing to me. If I hurt you again, I'll die.
LLOYD Hurt me again? Not a chance, don't worry about it.
DIANE I love you.
LLOYD What?
DIANE I love you. How many more times do I have to say it?
LLOYD One more time would be nice.
DIANE I love you. Please, I love you.
She moves to kiss him; he pushes her away.
LLOYD One more question, you're here because you need someone or 'cause you need me? Forget it, I don't care.
He kisses her, they embrace.
DIANE I need you.
INT. COURTHOUSE - DAY
COURT'S ATTORNEY Seventy-five thousand dollar fine and no jail.
U.S. ATTORNEY I can't give you that. This guy's been ripping off grandma and grandpa for seventeen years. He's been getting it from every end. I'd love to hear his story.
COURT'S ATTORNEY One hundred thousand dollar fine and three months?
U.S. ATTORNEY One hundred and twenty-five thousand and nine months.
COURT'S ATTORNEY I can accept that.
U.S. ATTORNEY And I want to turn the home over to the state.
COURT'S ATTORNEY He'd like to start serving immediately.
U.S. ATTORNEY I can put that together.
COURT'S ATTORNEY Confirm this with my office and my client.
U.S. ATTORNEY I'll put this past my boss
COURT'S ATTORNEY Alright.
INT. LLOYD'S HOUSE - DAY
Lloyd and Diane are sleeping in Lloyd's bed.
EXT. PRISON - DAY
Lloyd's car is parked outside. Lloyd is visiting Jim in the prison grounds.
LLOYD She wouldn't get out of the car. I brought her all the way here, she said she was going to come here, and she wouldn't get out of the car. But I thought that is was important, that she come to see you, because I know that if you go somewhere and you don't deal with your family stuff, then you're just gonna, she's gonna, um...
JIM Are you going to England with her Lloyd?
LLOYD That's one of the things I wanted to talk to you about sir.
JIM Are you?
LLOYD Am I going? Am I going to England? I've thought about this quite a bit, and I've realised what I probably should do is just carve out a goal for my future and find out what I wanna do with my life, do all the stuff that I've been avoiding in a big way. I mean, Diane and I can wait for each other, right? What's she gonna... she's gonna run off with some English guy? There's no way.
JIM Well Lloyd, I admire you for not hitching a ride. You know, my daughter's a lot different to you.
LLOYD I know.
JIM She's very successful.
LLOYD I know
JIM Very talented.
LLOYD I know. But then I reconsidered. 'Cause I figured out what I really wanna do with my life, what I want to do for a living is I wanna be with your daughter. I'm good at it.
JIM You're not a permanent part of her life. You're a distraction.
LLOYD I'm the distraction that's going to England with her sir. Are you alright sir? Are you okay?
JIM I'm incarcerated, Lloyd! I don't deserve to lose my daughter over this. I don't deserve to have you as my go-between. And I can't for the life of me figure out how she could choose to champion in mediocrity the way she flirts around you.
Jim turns his back to Lloyd. Lloyd removes a letter from his coat pocket.
LLOYD I have a letter from your daughter. You want it?
Jim turns around and takes the letter.
I don't know which version she sent.
JIM "You can't know the horrible disappointment I feel..."
LLOYD I know this part, keep reading.
JIM She can't still be angry at this, it's gotta get better.
LLOYD It does, it does if it's the version signed 'I still can't help loving you'. Read that.
JIM Just her name.
LLOYD Just knowing a person like that exists, knowing that for a minute that she felt that and wrote 'I still can't help loving you'. That's gotta be a good thing, right? That's gotta be a good thing.
Jim suddenly looks up; Lloyd follows his gaze. Diane is walking towards them. Lloyd walks away to give them some privacy.
DIANE Hello.
JIM Hi.
DIANE I don't know what to say to you, except goodbye.
They hug.
You could have told me the truth.
JIM I'm so sorry.
Lloyd checks on them, sees the hug, and turns away again, smiling.
DIANE I love you dad. Write me.
She gives him the pen that he gave her to give to Lloyd. Lloyd and Diane leave.
INT. LLOYD'S HOUSE - DAY
Constance is helping Lloyd to pack. Lloyd gets up, looks around, turns the volume on the stereo past the red mark, and says his goodbyes to Constance and Jason. They all go through the front door together.
INT. PLANE - DAY
C.U. Lloyd and Diane's hands, clasped together. There is a sound.
LLOYD Wing adjustment.
The plane takes off.
It's like a big rollercoaster. Everybody likes rollercoasters, right? Blink twice if you're fine.
DIANE I'm fine.
LLOYD Okay, good, this is all very noble.
There is another noise, and the plane shakes slightly.
Very standard for a seven forty-seven.
DIANE Okay.
LLOYD Alright, high level air safety tips. If anything happens, it'll usually be in the first five minutes of the flight, right?
DIANE Okay.
LLOYD So when you hear the smoking sign go 'ding', you know everything's going to be okay.
DIANE Good to know.
LLOYD Right, I'm just going to keep talking until that ding happens, which is going to be soon.
DIANE Okay.
LLOYD Alright, personalised flight care from Corey. Books, cassettes, magazines, anything?
DIANE Not right now, thanks.
Diane suddenly kisses Lloyd. The old woman next to Diane is staring at them.
LLOYD How's it going?
DIANE Nobody thought we'd do this. Nobody really thinks it's going to work, do they?
LLOYD No. You just described every great success story. Alright, it's alright.
DIANE I know.
They look at the smoking sign.
Where's the ding?
LLOYD It's coming... any second now... any second now.
The ding sounds.
BLACKOUT.
CREDITS ROLL.