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CREDITS ROLL
COREY
I don't feel anything.
D.C.
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.
EXTERIOR SEATTLE - DAY
D.C.
He wants to leave things on a good note.
COREY
Well, when Mr. Carroll uses the word 'love', I look for a new word.
INTERIOR COREY'S ROOM - DAY
(Lloyd Dobler, Corey Flood and D.C. are talking together.)
D.C.
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 at the 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.
D.C.
No it's not. A scam is lusting.
LLOYD & COREY
Then, what's a date?
D.C.
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.
D.C.
Trapped in the body of a gameshow hostess.
COREY
Diane Court does not realize 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.
D.C.
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!
EXTERIOR SEATTLE HIGHWAY - DAY
(There are a lot of cars going towards the city.)
INTERIOR 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.
EXTERIOR SEATTLE - DAY
(Lloyd is on his way to the graduation. He takes a timed photo of himself with his camera.)
INTERIOR JIM'S CAR - DAY
(Diane sees a group of statues dressed in the gowns and mortarboards of her school, with balloons tied to them.)
INTERIOR 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.)
INTERIOR 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.
EXTERIOR 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. Six kegs. Be there.
PRINCIPAL
Thank-you Joe.
(He silences the audience.)
PRINCIPAL
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.
EXTERIOR SCHOOL, WOODED AREA - DAY
(Lloyd is taking a photo of Corey, D.C. 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 until I get around 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.)
INTERIOR 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 lots going on, 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 up.)
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.
INTERIOR 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 jewelry 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.)
DIANE
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'm... 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.
EXTERIOR 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?
INTERIOR DIANE'S HOUSE - DAY
JIM
Sorry, Diane isn't here at the moment.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
Uh... okay... um...
JIM
Is this the guy with the Mustang?
LLOYD
No.
INTERIOR DIANE'S HOUSE - DAY
JIM
The guy with the Datsun?
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
No.
INTERIOR DIANE'S HOUSE - DAY
JIM
The truck?
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
Uh, no, not really, no actually, basically, you don't know me. I'm a friend of your daughter; well I sat with her yesterday at the mall.
INTERIOR DIANE'S HOUSE - DAY
LLOYD
I drive a blue Chevy Malibu. I don't know...
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
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.
INTERIOR DIANE'S HOUSE - DAY
LLOYD
555-1342. 555-1342. 555-....
JIM
Okay, I'll give here the message.
INTERIOR 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?
INTERIOR DIANE'S HOUSE - DAY
JIM
Yeah, she is. Good luck.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
Okay. Good afternoon. Goodbye.
INTERIOR DIANE'S HOUSE - DAY
JIM
Jim Court... no, this is her father. I'll take...
(He reaches for the notepad.)
JIM
What?... No, I didn't get the letter... yes... yes, right away... yes, thank-you, goodbye.
EXTERIOR SEATTLE - DAY
(Jim is driving to the 'Golden Seasons' nursing home, which he is in charge of. He runs up the front steps.)
INTERIOR NURSING HOME - DAY
JIM
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.)
JIM
Is Diane here? I gotta talk to her.
SECRETARY
She's upstairs, Mr. Court.
INTERIOR NURING HOME KITCHEN - DAY
JIM
I gotta tell you this carefully. Uh 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 Reid 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.)
INTERIOR DIANE'S HOUSE - DAY
(Diane looks at the messages that her father's taken for her while she was out.)
INTERIOR LLOYD'S HOUSE - DAY
(Constance answers 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.)
CONSTANCE
Too bad!
(Jason is standing in the doorway. Lloyd sees him there.)
LLOYD
No noise, no sound, no movement, nothing! Hello, Diane?
INTERIOR DIANE'S HOUSE - DAY
DIANE
Hi. You called me?
INTERIOR 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.
INTERIOR DIANE'S HOUSE - DAY
DIANE
Thank you very much.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
Whoah, what a day, huh?
DIANE
Yeah. What a day.
LLOYD
Yeah.
INTERIOR DIANE'S HOUSE - DAY
DIANE
Yeah.
INTERIOR 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?
INTERIOR DIANE'S HOUSE - DAY
DIANE
No, I read it on the message.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
Okay, um, so it's Lloyd and... uh... uh... let's go out. Do you wanna go out?
INTERIOR DIANE'S HOUSE - DAY
DIANE
Oh, thanks, but I'm busy.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
Busy?
DIANE
Yes. Things are pretty hectic right now, but thanks.
LLOYD
Are you busy on Friday?
INTERIOR DIANE'S HOUSE - DAY
DIANE
Yeah, I have to help my father.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
Are you busy on Saturday?
INTERIOR DIANE'S HOUSE - DAY
DIANE
Saturday, I have some things to do around the house.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
So you're monumentally busy?
INTERIOR DIANE'S HOUSE - DAY
DIANE
Well, not monumentally.
INTERIOR 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...
INTERIOR DIANE'S HOUSE - DAY
LLOYD
And he makes this drink called the 'Purple Passion'.
DIANE
Actually, I think that I...
INTERIOR 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,
INTERIOR DIANE'S HOUSE - DAY
LLOYD
And my parents are in the army you know, so they live in England and Germany, and...
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
I could give you an enormous amount of tips. Many tips. English tips.
INTERIOR DIANE'S HOUSE - DAY
DIANE
Well...
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
No tips. I won't give you any tips of any kind.
INTERIOR DIANE'S HOUSE - DAY
DIANE
I'll go.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
Pardon me?
INTERIOR DIANE'S HOUSE - DAY
DIANE
I'll go.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
You will? Excellent, alright, this is great. You will, really?
INTERIOR DIANE'S HOUSE - DAY
DIANE
I'll go.
INTERIOR 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?
INTERIOR DIANE'S HOUSE - DAY
DIANE
Eight.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
Eight. Eight o'clock.
INTERIOR DIANE'S HOUSE - DAY
DIANE
Goodbye.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
Goodbye.
INTERIOR DIANE'S HOUSE - DAY
(Diane picks up her yearbook, looking for Lloyd. When she finds his entry, she looks slightly ill at ease.)
INTERIOR 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.)
LLOYD
Now, work that bag, work that bag J-man. Left hook, right hook, hook up the jab yeah, 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.
INTERIOR 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 entertain 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 for a date.)
INTERIOR LLOYD'S CAR - NIGHT
DIANE
What are these?
LLOYD
They're Bavarian-style Old-Dutch 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.)
INTERIOR 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.)
LLOYD
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?
INTERIOR VALHERE'S HOUSE - NIGHT
(Corey has her guitar. D.C. 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.
D.C.
You did try and kill yourself because of the guy.
REBECCA
What was it like after it happened? I've always wanted to know.
D.C.
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.)
EXTERIOR 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.
EXTERIOR VALHERE'S HOUSE - NIGHT
SHEILA
I know we were 'ultra-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.)
INTERIOR 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.)
DIANE
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.
INTERIOR 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.)
COREY
No. Never. No, never, ever, ever. Don't you ever even think it!
INTERIOR 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.)
EXTERIOR 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.
INTERIOR VALHERE'S HOUSE - NIGHT
(Corey is on the sofa again.)
COREY
"Joe lies, Joe lies,
Joe lies, when he cries
When he cries."
EXTERIOR 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.)
INTERIOR 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.)
JOE
Have sex with me.
COREY
No. Goodbye Joe.
(Corey walks away.)
EXTERIOR VALHERE'S HOUSE - NIGHT
(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.
INTERIOR 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.
INTERIOR 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.
EXTERIOR SEATTLE - NIGHT
(Lloyd's car is driving around.)
LLOYD
Recognize anything yet? Anything?
INTERIOR 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.
EXTERIOR 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.)
INTERIOR 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.
EXTERIOR SEVEN-ELEVEN - DAY
DIANE
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?
EXTERIOR 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.
INTERIOR 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. He is blowing kisses to the "audience".)
DIANE
Goodnight.
JIM
Goodnight.
INTERIOR COREY'S ROOM - DAY
(Corey, D.C. and Rebecca are sitting talking.)
COREY
Lloyd is doomed.
D.C.
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?
D.C.
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.)
COREY
Yeah.
D.C.
Yeah.
REBECCA
Yeah.
INTERIOR 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, hesitates, 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.)
DIANE
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.)
LLOYD
I'd better get downstairs, huh?
DIANE
Yeah, I gotta change.
(Close up on the juke box, which is playing jazz)
INTERIOR 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 airplane.
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.)
LLOYD
Stellar jukebox, sir.
JIM
Thanks Lloyd.
LLOYD
How much do you pay for one of those?
JIM
Well, we pay what they ask. 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.)
INTERIOR 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.)
MRS. COURT
Hi honey.
RAY
Hello pretty ladies. Hello Diane.
DIANE
Hi Ray.
INTERIOR 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?
INTERIOR DIANE'S HOUSE - DAY
DIANE
I know you think my job is strange. You don't like old people, do you?
INTERIOR 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.
INTERIOR DIANE'S HOUSE - DAY
LLOYD
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,
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
So that's the reason I was, um... but I'm not sure I'm right about any of that.
INTERIOR 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.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
Really? Um... I... well... you're really turning me around here...
INTERIOR DIANE'S HOUSE - DAY
LLOYD
I was looking at it the wrong way, I think.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
Shall I come by later?
INTERIOR DIANE'S HOUSE - DAY
DIANE
Stop by later.
LLOYD
Okay, bye, I will.
DIANE
Okay, bye.
INTERIOR LLOYD'S HOUSE - DAY
LLOYD
I'll see you there. Bye.
INTERIOR 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.)
DIANE
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.)
BESS
She likes you.
(Diane smiles nervously.)
INTERIOR 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.)
LLOYD
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.)
LLOYD
Was that okay?
DIANE
That was good.
INTERIOR 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.
EXTERIOR 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 through 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.)
LLOYD
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.)
EXTERIOR PARK - DAY
(Lloyd and Diane are walking along, they stop, then kiss.)
EXTERIOR STREET - DAY
(It is raining. Lloyd and Diane are kissing.)
EXTERIOR COAST - NIGHT
(Lloyd's car is parked on the coast, overlooking the waves. 'In Your Eyes' is playing on his car stereo.)
INTERIOR 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.
INTERIOR 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.
(Diane pauses.)
DIANE
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 this 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.)
DIANE
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.)
DIANE
But then I attacked him anyway.
(Jim looks slightly alarmed, which passes quickly when Diane looks for his reaction.)
DIANE
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.
INTERIOR GUITAR SHOP - DAY
(Lloyd, Corey and D.C. are in the shop together; Lloyd is strumming a riff on a guitar.)
COREY
Did you sleep with her?
LLOYD
I admit nothing.
D.C.
Lloyd, it's us.
COREY
Look at his face, he did the deed.
D.C.
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.
D.C.
Wait a minute.
COREY
You've got to show her respect, you've got to show her that you're not like Joe...
D.C.
Wait a minute.
COREY
And above all, just because this happened gives you no right whatsoever...
D.C.
You know I just sit here listening, and you never let me talk.
COREY
What? I'm sorry, talk.
D.C.
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?
D.C.
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.)
INTERIOR 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.
INTERIOR 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?
INTERIOR 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.)
JIM
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.)
JIM
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.)
INTERIOR 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.
INTERIOR 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 D.C. 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.)
DIANE
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.)
EXTERIOR DIANE'S HOUSE - DAY
(Diane gets into her car, tears pouring down her face. She starts the car, and starts to cry.)
INTERIOR LLOYD'S CAR - DAY
(Lloyd is alone in his car. He has been crying.)
EXTERIOR 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.
INTERIOR LLOYD'S HOUSE - NIGHT
CONSTANCE
Lloyd, honey, just come home, okay?
EXTERIOR SEATTLE - NIGHT
LLOYD
I'll be home soon.
(Lloyd hangs the phone up.)
INTERIOR LLOYD'S HOUSE - DAY
(Lloyd is watching television with Jason. An advertisement for the Army is showing.)
EXTERIOR SEATTLE - NIGHT
(Lloyd is driving around in his car.)
INTERIOR 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
LLOYD
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.
EXTERIOR 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 economics.
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?
(There is 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 kegger. Lloyd. We're going to a kegger 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 Kegger. 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.)
JOE
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!
INTERIOR 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.
INTERIOR COREY'S ROOM - DAY
D.C.
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.
D.C.
Visit her at the home.
LLOYD
I'm not going back there. I don't even know who you're talking about.
D.C.
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.
INTERIOR DIANE'S HOUSE - DAY
(Close up on the 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 the sun, 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.)
INTERIOR 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.)
ASSISTANT
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.
INTERIOR 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.)
INTERIOR DIANE'S HOUSE - DAY
(Diane is lying on her bed, upset. We hear music coming from outside. Diane lifts her head slightly.)
EXTERIOR 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'.)
INTERIOR DIANE'S HOUSE - DAY
(Diane lets her head drop back onto the pillow when she realizes where the music is coming from, and who it is.)
EXTERIOR DIANE'S HOUSE - DAY
(Lloyd is still there, in the same position as before.)
INTERIOR DIANE'S HOUSE - DAY
(Diane turns away from the window, trying to ignore the music.)
EXTERIOR 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.)
INTERIOR IRS OFFICE - DAY
(Diane is waiting in a chair.)
SECRETARY
Regarding James Court.
(Diane gets up.)
SECRETARY
Room fourteen.
INTERIOR 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 hover 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.
INTERIOR 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.)
DIANE
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.)
EXTERIOR SEATTLE - DAY
(Diane is driving very quickly to the retirement home.)
INTERIOR 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...
INTERIOR 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, breaking his nose and 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.)
DIANE
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.
INTERIOR 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.
INTERIOR LLOYD'S HOUSE - DAY
(Lloyd and Diane are sleeping in Lloyd's bed.)
EXTERIOR 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 realized 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.)
LLOYD
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.)
DIANE
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.)
INTERIOR 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.)
INTERIOR PLANE - DAY
(Close up of Lloyd and Diane's hands, clasped together. There is a sound.)
LLOYD
Wing adjustment.
(The plane takes off.)
LLOYD
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.)
LLOYD
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, personalized 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.)
DIANE
Where's the ding?
LLOYD
It's coming... any second now... any second now.
(The ding sounds.)
BLACKOUT
CREDITS ROLL
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