JERRY MAGUIRE
EARTH FROM SPACE
The blue marble as seen from space. We hear the calm voice
of Jerry Maguire, talking just to us.
JERRY'S VOICE
Airight so this is the world and
there are five billion people on
it. When I was a kid there were
three. It's hard to keep up.
AMERICA FROM SPACE
The great continent through mist and swirling skies.
(Satellites and other pieces of skycasting equipment float
by.)
JERRY'S VOICE
That's better. That's america.
See, America still sets the tone
for the world...
KID ON BASKETBALL COURT
A puberty-ravaged kid dribbles a basketball, stares straight
at us.
JERRY'S VOICE
In Indiana -- Clark Hodd. 13.
The best point guard in the
country. Puberty hasn't been easy.
Discreetly, his hand slips into his pants and scratches.
Girl on a high dive she's poised. A faraway look in her eyes.
JERRY'S VOICE
(continuing)
Becky Farling. You'll see her in
the next Olympics.
She launches her dive into mid-air, into nothingness.
ON TEENAGE GIRL BOXER
throwing punches toward the camera.
2.
JERRY'S VOICE
Seattle, Washington. Dallas
Malloy. Went to court to be
allowed to box professionally.
She's 16.
ON A YOUNG BASEBALL PLAYER
at bat.
JERRY'S VOICE
Art Stallings, Indio, California.
Check out what pure joy looks like.
He swats a pitch -- not out of the park, it's much sweeter
than that. He drills it over the first baseman's head, just
out of reach of his glove. Art runs to first, laughing. Pats
the first baseman's butt. Gotcha.
ON GOLDEN BOY QUARTERBACK -- FRANK CUSHMAN
A line of NFL scouts watch a dazzling pass from a future star.
JERRY'S VOICE
In Odessa, Texas, the great Frank
Cushman. Cush is 20.
Quarterback, role model, my
client. He'll probably go number
one in the draft this year.
Cush turns into a closer shot. He's a living magazine cover.
A YOUNG CHAMPIONSHIP GOLFER
eyeing a long but level putt.
JERRY'S VOICE
There's genius everywhere, but
until they turn pro, it's like
popcorn in the pan. Some pop...
The kid misses the shot, whips his club at his coach.
JERRY'S VOICE
(continuing)
... some don't.
Hold on the kid, he's all youthful adrenalin, breathing hard.
Portrait of an intense young competitor.
SMASH CUT TO:
3.
INT. NFL OWNERS MEETING/PALM DESERT FOUR SEASONS -- DAY
A wall of new NFL merchandise. Television monitors blink
with the latest endorsement films. Into frame moves JERRY
MAGUIRE, 35. He walks briskly and smoothly, yellow legal
tablet in hand, at home in this lobby filled with Athletes
and Sports Team Owners. We hear Herb Alpert's epic
instrumental, "The Lonely Bull."
JERRY'S VOICE
Now I'm the guy you don't usually
see. I'm the one behind the
scenes. I'm the sports agent.
INT. NFL OWNER'S MEETING LOBBY -- MINUTES LATER
Jerry sits in a red leather chair, across from an agitated
General Manager. He cooly works out figures on a yellow
legal tablet.
JERRY
Easy now, we can spread these
numbers over five years...
JERRY'S VOICE
You know those photos where the
new player holds up the team
jersey and poses with the owner?
Flash of photo
Anonymous Athlete holds up jersey, standing next to Team
Owner. Zoom in on someone's shirt-sleeve on left of frame.
JERRY'S VOICE
(continuing)
That's me on the left.
ON ANONYMOUS NEWPORT BEACH BUILDING
JERRY'S VOICE
Inside that building, that's where
I work. Sports Management
International.
INT. SMI CONFERENCE ROOM -- DAY
The SMI agents are a fierce, happy bunch. They sit in a
carefully appointed conference room.
Sports photos and posters are framed on the walls. The signs
of global marketing are omnipresent. Each agent has a silver
tray containing soft drinks and a glass pitcher of water.
Through the glass window, we see a large office divided up
into many cubicles.
4.
JERRY'S VOICE
Thirty-three out of shape agents
guiding the careers of 2,120 of
the most finely-tuned athletes
alive...
Near the end of the table sits Jerry Maguire. The word
"millions" appears often and easily in his conversation.
Shot moves in.
JERRY'S VOICE
(continuing)
... in this economy, sometimes
emotions run a little high.
INT. UNDERGROUND PARKING GARAGE -- HOUSTON -- DAY
An unmarked car pulls into the underground parking facility
of the Houston Police Department. A cluster of chattering
media members move in on the car. ("Baja!!" "Baja, over
here!!") Back doors open, and out steps Jerry Maguire with
huge offensive lineman, BOBBY "BAJA" BRUNARD, 22. He is
angry, and he is handcuffed.
WOMAN REPORTER
Was the girl 16 or seventeen?
MAN REPORTER
Were you aiming at anyone when you
fired the shot in the 7/l1?
Jerry whips in between Baja and the taunting media, blocking
him off and forcing him through the glass doors into the
police department. Professional smile in place, Maguire
attempts spin.
JERRY
Listen, there's no proof of
anything except that this guy is
a sensational athlete.
In the background, we hear baja bellowing insults at the
press.
INT. ATLANTA RED CARPET ROOM -- ANOTHER DAY
Jerry now sits next to a towering white 27 year-old
basketball player with a bad haircut. He is CALVIN NACK.
They are signing a contract in the airport lounge. A little
BOY approaches the player with a basketball trading card.
LITTLE BOY
Are you Calvin Nack? Could you
sign my card?
5.
Nack bends down with a kindly-looking face.
CALVIN NACK
I'm sorry little fella. I can't
sign that particular brand of
card. I can only sign Pro-Jam
Blue Dot cards.
The Little Boy looks confused. As Calvin Nack turns to grab
an orange juice from a barmaid, Jerry smoothly dishes off a
business card to the little boy.
JERRY'S VOICE
Lately, it's gotten worse.
INT. HOSPITAL BEDROOM -- NIGHT
Hockey Player STEVE REMO, 33, is a big man in a small bed.
He is in traction, with concussion. DOCTOR stands nearby,
shoots Jerry a look of concern. Family is nearby.
DOCTOR
Do you know your name?
STEVE REMO
I uh... wait. Wait, here it
comes. I have it. My name is
Steve Remo. I play for the
Blackhawks.
(now on a roll)
You are my son. This pretty lady
is my wife. And you are...
Jerry nods encouragingly, presents his best "familiar" face.
STEVE REMO
(continuing)
My agent!
JERRY
Yes!
STEVE REMO
And I gotta play this weekend,
Doc. If I play in 65% of the
games, I make my bonus.
EXT. HOSPITAL HALLWAY -- NIGHT
Remo's 14 year-old SON (JESSE) confronts Jerry outside the
hospital room. He's a hulking kid, a Pop Warner football
player himself. His voice is in the process of changing.
6.
SON
This is his fourth concussion.
Shouldn't somebody get him to stop?
As he talks, Jerry's cellular phone rings in his bag.
JERRY
(glib, easy)
Come on -- it'd take a tank to
stop your dad. It would take all
five Super Trooper VR Warriors,
right?
The kid stares at Maguire. It feels as if the kid is peering
into his soul... and all he sees is trash.
SON
Fuck you.
The kid turns and exits in disgust. He leaves Jerry standing
in the hallway. Devastated. Music.
EXT. RENTAL CAR SHUTTLE -- DAY
Jerry Maguire upset in a rental shuttle. Passing through
frame. Music. Phone still ringing.
INT. MIAMI HOTEL ROOM -- DAY
Jerry sleeps.
JERRY'S VOICE
Two nights later in Miami at our
corporate conference, a
breakthrough. Breakdown?
Breakthrough.
Jerry's eyes open. Breathing strangely. Trembling, he holds
onto the nightstand for grounding.
He gets up, takes a few gulps of air, walks to mini-bar.
Gathers some tiny ice cubes in his hand, smears them across
his face. This feeling is new to him.
JERRY'S VOICE
(continuing)
It was the oddest, most unexpected
thing. I began writing what they
call a Mission Statement for my
company. You know -- a Mission
Statement -- a suggestion for the
future.
7.
INT. MIAMI HOTEL ROOM -- NIGHT
Jerry types, a pot of coffee and tray of room service nearby.
we watch his face, alive now.
There is a direct line from the deepest part of him to the
words he's typing. His fingers fly. Even his eyes grow
moist.
JERRY'S VOICE
What started out as one page
became twenty-five. Suddenly I was
my father's son. I was
remembering the simple pleasures
of this job, how I ended up here
out of law school, the way a
stadium sounds when one of my
players performs well on the
field... I was remembering even
the words of the late Dicky Fox,
the original sports agent, who
said:
SHOT OF DICKY FOX
DICKY FOX
The key to this job is personal
relationships.
As Jerry continues typing, his voice is excited now.
JERRY'S VOICE
And suddenly it was all pretty
clear. The answer was fewer
clients. Caring for them, caring
for ourselves, and the games too.
Starting our lives, really.
SHOT OF SENTENCE: We must embrace what is still virginal
about our own enthusiasm, we must crack open the tightly
clenched fist and give back a little for the common good, we
must simply be the best versions of ourselves... that
goodness will be unbeatable and the money will appear.
He pauses, and wipes his eyes, still considering the sentence.
JERRY'S VOICE
(continuing)
Hey, I'll be the first to admit
it. What I was writing was
somewhat "touchy feely."
He deletes it. And then -- zip -- he restores it and
continues on, boldly.
8.
JERRY'S VOICE
(continuing)
I didn't care. I had lost the
ability to bullshit. It was the
me I'd always wanted to be.
INT. KINKO'S COPIES -- NIGHT
Jerry in T-shirt stands proudly watching copies pumped out.
Wired college students, band guys, other Copy People of the
Night nearby.
JERRY'S VOICE
I printed it up in the middle of
the night, before I could re-think
it.
Industrial, multi-pierced Kinko's copy guy examines the first
printed copy of the Mission Statement. He nods approvingly,
taps his heart in tribute. He slides a copy across the
counter, for Jerry's approval.
THE THINGS WE THINK AND DO NOT SAY
(The Future of Our Business)
KINKO'S GUY
That's how you become great, man.
You hang your ba11s out there.
Jerry nods. It's 3 AM, and this guy sounds and looks like a
prophet. In fact, everyone in Kinko's at 3 AM does.
JERRY
(self-effacing)
Thanks.
ON MEMOS
being stuffed into mail-slots.
INT. HOTEL ROOM -- MORNING
Jerry splashes water onto his face. The sun is coming up.
He looks younger, lighter.
ON TV MOVIE (JERRY WATCHING)
Suddenly, dramatic movie score. It's Dana Andrews, showing
Gene Tierney the newspaper reports of her death in Laura.
("Someone was murdered in this room last night... any idea
who it was?") Camera whips to Jerry, standing watching as he
packs. A slight concern on his face. He moves to the phone,
and dials with urgency.
9.
JERRY
Hi, it's jerry maguire. Uh,
listen did those manuscripts
get... Oh they did... No no no no
no, that's fine...
INT. ELEVATOR -- DAY
JERRY
Jerry in suit, alone with his
luggage. Dry throat. clammy,
holds onto the handrail to steady
himself.
INT. LOBBY -- DAY
The lobby is filled with SMI agents. The blue Mission
Statement is in evidence everywhere. Jerry inconspicuously
turns the corner, yearns to blend in. It's impossible, the
recognition ripples through the lobby. Underling agent BOB
SUGAR, 25, is the first to grab Maguire by the shoulders.
("Finally, someone said it!") Suddenly another agent begins
to clap, then reluctantly, another. Soon, the ovation rocks
the lobby. (In a three-shot near the front desk, we see a 26
year-old female employee of SMI applauding with Mission
Statement in hand, her sleepy son at her side.) Jerry
motions for them all to stop, but clearly he could listen
forever. It is a watershed moment in his life.
JERRY'S VOICE
I was 35. I had started my life.
Swing off Maguire to find two agents standing clapping
enthusiastically near the elevator. One offers gum to the
other.
AGENT # 1 (RACHEL)
How long you give him?
AGENT # 2 (CHRIS)
Mmmm. A week.
ON AIRPLANE WHEELS
folding up into a plane, as music and credits end.
INT. AIRPLANE/FIRST CLASS -- NIGHT
We move past a snoring businessman, onto tired but
adrenalized Jerry Maguire. He sits in first-class, working
on his laptop, a pile of newspapers and magazines nearby.
The WOMAN PASSENGER next to him, 3oish, finishes up a spicy
phone conversation with her boyfriend.
10.
WOMAN
Monkeyface... monkeyface,
listen... I'm not going to say it
here.... no...
Jerry continues to work, as his laptop now beeps. Battery's
low.
WOMAN
(continuing)
... oh listen, I got you the
perfect white shirt, at this out
of the way place... no... quit
trying to make me say it!
Jerry shuts off his laptop and prepares for sleep. Trying
not to listen.
WOMAN
(continuing)
how about if I do it and don't say
it... mmmm... see you soon...
She laughs seductively and hangs up. She is still buzzed
from the conversation. Jerry turns to her, surprising her.
JERRY
I have to ask.
WOMAN
(protective)
What --
JERRY
Where'd you find the perfect white
shirt?
She laughs, it's an infectious laugh -- two strangers
enjoying the good life -- as we DRIFT BACK three rows, past
the panel separating the cool comfort of first class from the
stuffy airless and uncomfortable world of coach.
We meet DOROTHY BOYD, 26. A harried passenger on this bus in
the sky. Her clothes are part-contemporary, part mother-
functional. She is never as composed or in control as she
wants to be. Right now she is devoted to the sneezing kid in
the wrinkled white-shirt sitting next to her. It is RAY, her
five-year old son. Dorothy is covered in toys and books.
Stuffed into the side pocket is Jerry's Mission Statement.
The easy laughter from three rows ahead washes over her like
cold water, as she rings again for a Flight Attendant. The
overworked ATTENDANT arrives, pissed, snapping off the bell.
11.
DOROTHY
Look, my son is allergic to the
material in these blankets -
ATTENDANT
That's all we have.
The Attendant offers a bundle of soggy cocktail napkins and
is about to exit as Ray makes a gagging noise. He's about to
get sick. Both women reach for an airsick bag, and get it to
his mouth just in time. Their faces are now inches apart.
ATTENDANT
(continuing)
I'm sorry I was rude just then --
DOROTHY
It's okay. We're in it together
now...
The Attendant now exits helpfully with the bag.
WOMAN'S VOICE
Don't take anything I say
seriously! I love to flirt!
Dorothy, irritated, leans out into the aisle to look for the
heads that belong to these voices.
BACK TO JERRY AND WOMAN
WOMAN
You're with the sports people on
the plane, right?
JERRY
Jerry Maguire. SMI.
WOMAN
Bobbi Fallon. BPI. I'm producing
the Coke commercials for the
playoffs.
JERRY
Well. Good luck with that --
He nods, as he reaches up to shut off the light. Politely
stifles another yawn. He shuts his eyes, settles into sleep.
Bobbi leans into his darkness.
WOMAN
Can I just get a quick "man's"
opinion from you on something?
DISSOLVE TO:
12.
INT. FIRST CLASS SEATS -- LATER
Bobbi is intense now, unburdening, as tired Jerry listens
like a priest.
WOMAN
And I can't say his name without
laughing I want to eat him up. I
want to say goodbye to every bad
thought I ever had about
relationships. I mean, I crave
this guy... and yet... why... why
did I have that affair this
weekend? Does that mean I'm not
in love with my boyfriend?
JERRY
I think you'll know when you see
him at the gate.
WOMAN
It's the death rattle of my
singlehood, right? Because I
finally see the white picket fence
looming and I love it/hate it/love
it/hate it/ love it... you're
right, I'll know when I see him.
Why is it so easy to talk with
you?! Tell me about your fiancee.
Maguire fights another yawn.
JERRY
I uh... don't think we're quite at
your pitch yet.
WOMAN
Tell me, and then you can sleep.
JERRY
She's an NFL publicist... amazing
sense of style... former
athlete... volleyball... world
class... really knows how to live
every moment of her life, which is
why I should take a nap now...
BACK TO DOROTHY
Her sleeping son now silent, she can't help but listen.
WOMAN'S VOICE
Tell me how you proposed. I
collect romantic proposal stories.
13.
JERRY
No no...
DOROTHY
(impatient)
Oh, tell the story.
WOMAN
Oh, tell the story.
BACK TO JERRY -- LATER
JERRY
--so our first date, she told me
about her favorite place in the
world, the seven pools of Hana on
the island of Maui...
WOMAN
Gorgeous.
JERRY
A year-and-a-half later, we were
both in Hawaii for the Pro Bowl.
Now I've always hit a wall at 18
months. Every serious girlfriend
lasts 18 months. It's like --ka-
boom. The curse of 18 months.
WOMAN
That's when you need to cement,
and define define define.
JERRY
Exactly. And the world does not
need another 35 year-old bachelor.
I knew I wanted to propose, so I
took her there.
WOMAN
To the pools?
JERRY
To the pools. Now she's Miss Rock
Climber, and I'm more the Non-Rock
Climber, but we're hiking up
through the pools and there's a
fine mist in the air, and I have
the ring in my pocket, and I'm a
little nervous, I'm lagging
behind, and she says to me, get
this -- "Hurry up, klutz."
WOMAN
Oh no --
14.
JERRY
Well, it bothered me somewhat.
And I got quiet. And now she's
quiet and we're both pouting a
little, you know. And I decide
I'm not going to propose. The
mood is not right. Why be
impulsive? Now at this point I
know she knows that I was going to
propose and didn't. And she knows
I know. So the entire sixty mile
ride back to the airport, we don't
speak. And we're both good at
that. We fly to Honolulu in
silence. We check into the Pro
Bowl hotel --
WOMAN
How sad --
JERRY
But wait...
BACK TO DOROTHY
She is now craning out into the aisle to hear this story.
The plane is now quieter. She listens to the easy sound of
Jerry discussing his charmed life.
RAY
(waking up)
Mama --
DOROTHY
Shhh. Mommy's eavesdropping.
He sneezes, three big ones in a row. She hands him more
kleenex, riveted on the story. And listens.
JERRY'S VOICE
Now little do I know that my
assistant. has assumed that I've
now proposed. So she has gotten
the lounge band to actually play
"Here Comes The Bride" when we
walk back in.
Dorothy laughs to herself, somewhat derisively. She tries to
share the laugh with her son, who stares at her.
15.
BACK TO JERRY -- LATER
JERRY
Which they do. And we're standing
there. All the football guys are
in the lobby, watching, there's
even an ESPN crew. So I turn to
her and sort of grandly say,
"Well, this is me, Klutz, asking
you, Goddess of Rock Climbing, to
marry me." And I took out the
ring, and I don't much like big
scenes, but she said "yes" right
there in the lobby and some of the
toughest men in football wept like
babies. We're getting married in
February.
WOMAN
Jerry. You two will be together
forever.
BACK TO DOROTHY
She takes one of her son's kleenex sheets, as an elegant
Flight Attendant shuts the curtain to first class. Dorothy
blows her nose, moved against her will.
RAY
What's wrong, mom?
DOROTHY
First class is what's wrong. It
used to be a better meal. Now
it's a better life.
She pulls out the Mission Statement, aware that she's been
listening to its author. She opens it and begins to read.
INT. LAX AIRPORT TERMINAL -- MORNING
Jerry Maguire exits the plane a few steps behind Bobbi Fallon.
JERRY
(quietly, like a
coach)
You'll know when you see him.
You'll know when you see him.
Bobbi scans the crowd. She spots Monkeyface, large and burly
in tiger-print sweats. He looks like Mickey Dolenz. He
holds flowers.
16.
WOMAN
Oh my God, you're right. I know.
(Jerry smiles)
He's not The One. He's not the
One.
Jerry's face falls. Bobbi Fallon moves into the embrace,
faking it. Jerry moves ahead, turning back to see the doomed
couple. Melancholy now, he continues forward through the
crowded airport and the expectant faces of those waiting for
loved ones. Music.
INT. LUGGAGE AREA -- MORNING
Dorothy looks through the rubber flaps of the luggage
conveyor belt. She clutches a cup of coffee. In the
background, other SMI agents' grab their bags and exit.
DOROTHY
Ray! Ray!
Maguire enters picture, joining her as she looks into the
dark depths behind the flaps.
JERRY
Can I help?
DOROTHY
Oh. Hi. I work in your office.
I was on the junket to the
conference. I'm --
JERRY
I know who y6u are. You're
Dorothy Boyd. You're in...
wait... you're in Accounts. You
have the middle cubicle toward the
back with that poster of Albert
Einstein morphed onto Shaquille 0
Neal's body.
DOROTHY
(surprised)
Hmm. Pretty good.
JERRY
Now what did you lose?
DOROTHY
My son... my mind...
Over her shoulder, Maguire sees Ray rounding the corner,
riding the luggage conveyor belt like Washington crossing the
Delaware.
17.
JERRY
Well, while I go look for him, why
don't you hang onto this curious
gentleman behind you --
Dorothy turns, is greatly relieved to see Ray, and snatches
him off the belt. She bends down into his face. She speaks
softly but intensely, with no frills.
DOROTHY
Remember "imagination?"...
remember what that means? Well,
this is one of my bosses so you
will now IMAGINE me screaming at
you right now. Do NOT do that
again. Ever ever EVER.
She rises, shifting back to being a somewhat relaxed young
woman of 26. It's a transition she makes, oh, 500 times a
day.
DOROTHY
(continuing)
Well, thanks.
JERRY
Well, take care.
DOROTHY
And have fun at your bachelor
party.
Jerry pauses just a moment, but it's long enough. Dorothy
freezes.
DOROTHY
(continuing)
Oh no.
JERRY
No no. I knew.
DOROTHY
(slow sigh)
Nnnnn. I just killed the surprise.
JERRY
No, I'm just... anxiously looking
past it. I already had my
bachelor party. It was called "my
twenties." See you later.
Jerry takes off.
18.
DOROTHY
I loved your memo, by the way.
He stops. Turns. She flashes the well-thumbed copy in her
purse. Jerry takes a step closer, interested and flattered.
JERRY
Thanks... actually, it was just a
"Mission Statement."
Ray has taken Jerry's free hand, and begun swinging on him.
DOROTHY
I think in this age, optimism like
that... it's a revolutionary act.
JERRY
(eager for feedback)
You think so?
DOROTHY
Oh tsht. Yes.
JERRY
I appreciate that, because some of
that stuff... you know, it was two
in the morning and...
DOROTHY
-- the part about "we should
embrace what it is still virginal
about our enthusiasm" --
Jerry looks slightly edgy at the naked vulnerability of his
words.
DOROTHY
(continuing)
-- "and we should all force open
the tightly-clenched fist of
commerce, and give a little back
for the greater good.". I mean, I
was inspired, and I'm an
accountant. Ray, don't spill my
coffee.
Jerry looks more nervous, as Ray has now taken his mother's
hand. He is now swinging on both of them.
RAY
One-two-three... swing.
19.
DOROTHY
Hey. To respect yourself enough
to say it out loud, to put
yourself out there, so openly...
(shakes her head)
... I don't know, it got me.
Now Jerry looks concerned, as Ray continues swinging happily.
RAY
One-two-three, swing.
JERRY
Thanks. May I offer you both a
ride?
DOROTHY
Oh no. I'm sure it would just
make your day to drive us all the
way to Manhattan Beach, taking
that left down to little tiny
Waterloo street where you have to
play chicken with oncoming
traffic, and your life flashes
before your eyes, but -- hey, I've
obviously had too much coffee and
all -- here's my sister Laurel to
pick us up. Thanks, though. Bye.
JERRY
(amused)
Dorothy. Ray. A pleasure.
RAY
One-two...
Jerry lets Ray down easy. The kid is a little disappointed.
But Maguire bows, always courtly, and exits to get his bag.
He then realizes something amiss and returns quickly, pulling
Ray's hand up again and completing the swing.
JERRY
... three, swing.
Ray is now happy, in love even, as Jerry exits. Dorothy
laughs, as her sister arrives. LAUREL BOYD is 36. No make-up,
no bullshit. Laurel has a pin on her sweater, which catches
on dorothy's shirt as they hug.
LAUREL
Come on, I'm double-parked.
Dorothy returns to the world of motherhood, bending down,
gathering Ray's toys. She wipes at Ray's hair.
20.
("Don't put food in your hair.") She is surprised that
she's a little jazzed from her encounter with Jerry Maguire.
She can't help but look back at Jerry, who catches her
looking. He salutes her, with mock circumstance. She
returns it with a guilty smile. He disappears, and she finds
herself oddly short of breath.
DOROTHY
(to herself)
Hmmph. Whoever snagged him must
be some classy babe --
INT. AVERY'S BEDROOM -- NIGHT
AVERY BISHOR, 29, makes love to Jerry Maguire at fever pitch.
They are standing on the bed, which is in the corner.
AVERY
Don't ever stop fucking me!
JERRY
Sooner... or later... I'll have to
stop.
AVERY
Oh Gawd, oh yes, it's never been
better. Never BETTER!!
Nearby, a large and sleepy German Shepard yawns.
AVERY
(continuing)
Never BETTER!!
The dog snaps awake, a little shook. Avery suddenly yanks
away. Breathing hard, she just looks at Jerry. Sex is a very
serious business with Avery.
AVERY
(continuing)
Open your eyes.
(he does)
If you ever want me to be with
another woman for you, I would do
it. I'm not interested in it.
There was a time, yes, it felt
normal for me, but it was a phase,
a college thing, like torn Levi's
or law school for you... people
change, but if you ever feel like
being adventurous in that way, I
would do it for you. You want
anything from the kitchen I'm
going to get some fruit --
21.
She skips off like a colt. Jerry digests what he's just been
told.
JERRY
(to the next room)
You know. I don't think we need
to do the thing where we tell each
other everything!
AVERY (O.S.)
(laughing)
Jerry, this is what intimacy is!
Jerry rubs his face, as he does often when processing complex
information.
AVERY (0.5.)
Oh -- don't forget tomorrow we
have dinner with Wade Cooksey.
JERRY (0.5.)
I know about the bachelor party.
Avery returns. Her robo body, half-lit now in the hallway,
is a glorious life-long project.
AVERY
Who told you?
JERRY
One of the accountants.
She makes a pissed-off sound. She then walks over, taking
his shoulders and bending them forward. She is an expert at
body manipulation, loosening him as she talks.
AVERY
Jerry. Your buddy Dooler worked
his ass off to make you a tribute
film. All those guys from the
office are coming. Everybody
loves you. Just calm down, relax,
act surprised, and have an amazing
time. And you'll never guess who
narrates your bachelor movie.
INT. FANCY HOTEL SUITE -- NIGHT
Jerry enters the hotel suite and over-acts surprise. He
falls down, clutching his heart, feigning an attack. He looks
around for a bigger reaction than he actually gets.
THE FILM -- SHOWN ON BIG-SCREEN T.V.
It is hosted by MICHAEL JORDAN.
22.
MICHAEL JORDAN
I have often wondered where my
career would have been had Jerry
Maguire been my agent. The
answer -- Yugoslavia.
Tepid laughs, as many of the agents turn and grab furtive
looks at Maguire, who stands at the back of the room with his
friend BILL DOOLER. Dooler, husky, 30, looks like a beatnik
on steroids.
DOOLER
You hear those courtesy laughs,
Jerry? There is a seething
wrongness at the edges of this
party.
JERRY
Oh come on --
DOOLER
This is fuckin Michael Jordan,
man! They should be screaming.
JERRY
(eying crowd)
You're imagining it.
They are joined by unctuous agent Bob Sugar. Sugar is a
Maguire wannabee. Puts an arm on Jerry's shoulder.
SUGAR
We still having lunch tomorrow,
Jerry? Looks like Carl Denton
tested positive for marijuana.
That moves Cush solidly up to
numero uno in the draft.
DOOLER
Oh, that'll really help this
party! Let's all talk business!
JERRY
Dooler, you know Bob Sugar.
SUGAR
(smoothly)
The best commercial director in
the business. I hail you.
DOOLER
Sorry I yelled. You have
exquisite taste.
23.
SUGAR
Everybody's having a great time.
You're both nuts -- the movie's
great.
Sugar moves on, cheerfully.
DOOLER
I like that guy.
(The movie, which plays simultaneously with the conversation,
is a Hi-8 confessional of Jerry's former girlfriends.
MICHAEL JORDAN is cut into this, nodding, as if he were
actually interviewing. The effect is funny, but the
confessions are brutally honest. There is The One He Was Too
Good For, The One He Wasn't Good Enough For ("He hated being
alone.") The Still in Love Girlfriend, The Punk Rock
girlfriend ("Sports makes me ill"), The Now Married With Kids
Girlfriend, The Cynical Girlfriend ("Beneath the cute
exterior, more cute exterior.") The Purely Sexual Girlfriend,
The Brainy Girlfriend, ("Great at friendship, bad at
intimacy") and even the Girlfriend Who Does A Great Jerry
Imitation (rubbing her face, she does a flawless Jerry-on-his-
way-to-the-airport). All seem to agree on some basic points
(and if necessary maybe Jordan narrates the following
information to underscore it.) Jerry always has a
girlfriend, and many met him on the first day he'd broken up
with the last one. The relationship always competes with his
job, and the job always wins. The final confrontation
happens somewhere around the 18-month mark. Sequence ends
with Avery in character, wielding a blowtorch, threatening to
burn all these old phone numbers.)
JERRY
(wounded good sport)
... this is... uh... too funny...
DOOLER
They ain't laughing, man.
Something's wrong.
Jerry nods, takes a swig of beer. He knows the response is
little more than polite. None of the other agents can keep
eye contact with him. Dooler is right. On the screen, the
finale features a good-humored collage of Jerry photos, cut
to music.
INT. SMI OFFICE -- DAY
Elevator doors open. Maguire is now paranoid. He walks
through the buzzing SMI headquarters, heading for his corner
office. He is like an FBI man searching treetops and corners
for the Gunman. Everywhere he looks is a potential Grassy
Knoll.
24.
He passes Fellow Agents, always smiling, giving a word of
encouragement to an Agent having an emotional hallway
conversation with an Athlete, even bends down to check the
sheet of slides being approved by a very large but seated
Basketball Player. Moving forward. There is trouble in the
air, but only he seems to sense it. He turns corner and is
met by assistant WENDY, who hands him a long list of calls.
The sheet flaps against his leg as she moves with him toward
his back office.
WENDY
(as in 'get ready')
Marcee's here. She's already in
your office.
JERRY
Thanks, Wendy.
INT. JERRY MAGUIRE'S OFFICE -- DAY
Jerry enters his corner office overlooking both the shiny
waters of Newport Beach and a large mall parking lot. Already
standing, reading the mail on his desk is lively MARCEE
TIDWELL, 25. African-American, gorgeous, a heat-seeking
smartbomb. She is also five months pregnant.
JERRY
Marcee. How's my favorite
player's wife?
MARCEE
Jerry, Rod is very very upset.
Tyson, no!
Across the room, 4 year-old menace TYSON ceases trying to pry
a plexiglass case off the wall.
JERRY
Tyson, hello.
Tyson just stares at Jerry. Jerry has little luck with kids.
He gives Marcee a quick peck and heads for the fridge. He
grabs a two-pint bottle of orange Gatorade -- another
habit -- and sits down at his desk. He slips into crisis
mode like an old shirt.
JERRY
(continuing)
How can I make your life better?
MARCEE
I know you say to take the Arizona
offer, but my husband needs more
recognition.
(more)
25.
MARCEE (cont'd)
He is the biggest, fastest,
raddest wide-receiver in the
league. Now I don't know what you
do for your four-percent
--The door opens, Bob Sugar pokes his head in.
SUGAR
Cronin's okay for lunch?
JERRY
Marcee -- this is one of our
agents. This is Bob Sugar, who
needs to learn to knock.
SUGAR
Pleasure.
MARCEE
You've called our house, right?
SUGAR
Sorry to interrupt you guys.
Sugar exits. Marcee resumes at the exact point, at the exact
level of intensity.
MARCEE
Now I don't know what you do for
your five-percent, but this man,
my husband has a whole plan, an
image... we majored in marketing,
Jerry, and when you put him in a
Waterbed Warehouse commercial,
excuse me, you are making him
common. He is pure gold and
you're giving him "Waterbed
Warehouse" when he deserves the
big four -- shoe, car, clothing-
line, soft-drink. The four jewels
of the celebrity endorsement
dollar.
Jerry finds himself admiring her drive, and she commands the
best in him. The desk buzzes, and Jerry ignores it.
MARCEE
(continuing)
You gonna get that --
JERRY
Not a chance.
She smiles.
26.
JERRY
(continuing)
Marcee, things are changing around
here. You and Rod will have my
total personal attention.
MARCEE
(upping the ante)
Damn right, and you can start by
taking Rod's poster and putting it
where people can see it!
JERRY
(it's infectious)
Damn right.
He climbs up on the edge of his sofa, and reaches for the
poster with his hanging device. True to Marcee's complaint,
the poster hangs in the upper Siberian region of his wall.
MARCEE
Look at that handsome man, trying
to build a life up there by the
air-conditioner. We're coming to
get ya, darlin! We are so close
to having it all!
ON THE POSTER -- CLOSE
It is the kind of poster that is strictly the domain of
second-tier players. Commanding wide-receiver ROD TIDWELL,
27, stands shirtless, hands on hips, looking vaguelyl
uncomfortable. Emplazoned above his head: IN ROD WE TRUST.
Elsewhere in the room, we hear the inevitable crash
("Tyson!").
EXT. CRONIN'S GRILL -- AFTERNOON
Crowded outdoor restaurant in the business district. Jerry
sits down opposite Bob Sugar, still making a few notes.
JERRY
Gimme a second here... Tidwell...
Arizona contract... new glass
cabinet...
SUGAR
You okay?
JERRY
(looking up)
I'm fine. What's up?
SUGAR
I came here to let you go.
27.
JERRY
Pardon me?
SUGAR
Came here to fire you, Jerry.
For a long moment there is only silence. They study each
other. These are two smart boys, each one anticipating the
other's next three or four moves.
SUGAR
(continuing)
It's real, Jerry. You... you
should say something.
Suddenly he's flushed, a little embarrassed.
JERRY
Aw shit...the crowded
restaurant... so there's no
scene...
SUGAR
I know. It sucks. I suck.
In a back room, the waiters are singing the restaurant's
"Birthday Song" to someone else. Jerry is dying.
JERRY
You...
SUGAR
(razor sharp)
You did this to yourself. You
said "fewer clients." You put it
all on paper. Scully was very
upset. Heart attacks make some
people sweeter, but not him. You
did this to yourself --
Jerry's mouth opens to finish his sentence, but before he can
speak, Sugar continues.
SUGAR
(continuing)
-- although I do gotta hand it to
you. For about five minutes you
had everyone applauding smaller
revenues.
Quietly, Maguire finishes the sentence he started earlier.
JERRY
You... ungrateful... unctuous...
28.
SUGAR
(unctuous)
... dick?
JERRY
Dick.
Maguire reaches for water. The sound of the ice cubes
jangling is suddenly very loud to him. He is drowning.
SUGAR
Give me a little credit for doing
this face-to-face! What I went
through knowing I was going to do
this to my mentor! Can you get
past yourself for a second?
JERRY
You'll lose.
SUGAR
(musically)
You wanted smaller.
JERRY
I'm over it. Now I want all my
clients and yours too.
SUGAR
Jerry --
JERRY
-- and I'll get 'em.
SUGAR
(patronizing)
You'll always be my hero, Jerry.
Always always always. We're
bringing other elements in, we're
focusing on endorsements -- it's
not about handholding anymore.
We're no longer babysitters --
Jerry fights the desire to use his fists. Hangs onto the
table. He's starting to freak out now. Trying to calm down.
Sugar's mouth keeps moving, but we hear the music in Jerry's
mind. Rising percussive music.
EXT. STREET -- DAY
Jerry tries to move briskly down the street, through the
lunchtime businessmen traffic. Back to the office.
29.
INT. CRONIN'S -- DAY
Sugar dines alone now. Casually whips out a portable phone.
INT. SMI ELEVATOR -- DAY
Jerry in the elevator, eyes wide, mind racing. Dorothy Boyd
sees him, raises a hand to say hello. Decides this is not a
good time.
INT. SMI OFFICE -- DAY
Close on Maguire as he moves through the office, heading to
the back office. Music
INT. JERRY'S OFFICE -- DAY
Maguire rolls the fax machine over to his desk. He takes a
breath, and begins to go to work. From within his bottom
drawer, he withdraws a Powerbook. Then from another drawer,
a phone book. And then from his inner jacket pocket, a third
smaller phone book. They are lined in front of him now, as he
dials.
INT. CUSHMAN HOME/ODESSA -- DAY
Frank "Cush" Cushman picks up the phone. Today, the young
football God wears a yellow scarf on his head. He's still
playing NBA Jam on his Gameboy' as he talks.
EXT. CRONIN'S -- DAY
Sugar at the table. Chameleon-like, he adopts the
personality of whomever he talks to.
SUGAR
Cush. Hey Dudeboy! It's Bob
Sugar. Listen, I'm callin' ya
first 'cause you're the most
important guy in sports...
INT. JERRY'S OFFICE -- DAY
Maguire on the telephone, fighting hard, as he feeds a fax
into the machine at the same time.
JERRY
Carla, right now you're paying 25%
of your endorsments to SMI, I
would cut my commission by 7%...
As he talks, he takes a stack of his Mission Statements, once
proudly set on his desk, and sentences them to the bottom
drawer.
30.
EXT. STREET -- DAY
Sugar strolls back to the office, talking on the portable.
SUGAR
You read that memo I snuck to you,
the guy's tired of the job. Tired
of making you money.
INT. JERRY'S OFFICE -- DAY
Maguire feeds a fax, types another fax on his Powerbook, all
while he talks quickly on the phone.
JERRY
And when I got you that big
contract in Chicago, and the fan
poll in the Sun-Times was 93%
against you, who went and found
you that sympathetic journalist
who turned it all around, it was
me...
INT. SUGAR'S OFFICE -- DAY
Several other agents working the cause behind Sugar, who
breezes through the calls.
SUGAR
He's costing you money, Debra...
he's oldschool.
INT. JERRY'S OFFICE -- DAY
Jerry on the toilet. Not a minute to spare.
JERRY
SMI represents all three
quarterbacks on your team, where's
their loyalty going to be? You
stay with me, I'd fight for YOU
alone. You'd be my only client on
that team...
INT. SUGAR'S OFFICE -- DAY
SUGAR
I've got the clients. I've got
the juice.
INT. SMI OFFICE -- DAY
Dorothy walks the center hallway with some contracts. To the
right and left of her are the phones are ringing.
31.
Something is amiss. She stops at the desk of fellow Accounts
Exec CLEO, 32.
DOROTHY
What's going on?
CLEO
(no big deal)
They fired Jerry Maguire. Did it
at Cronin's.
Dorothy groans softly, as she lowers herself into her seat.
She is strangely affected by the news. She scoots back on her
roller chair, and looks down the hallway to Maguire's office
door.
INT. JERRY'S OFFICE -- DAY
The pace has accelerated.
JERRY
-- personal attention --
INT. SUGAR'S OFFICE -- DAY
Sugar talks faster.
SUGAR
-- more money, more endorsements --
INT. JERRY'S OFFICE -- DAY
Jerry talks faster than sugar.
JERRY
-- a family of athletes --
INT. SUGAR'S OFFICE -- DAY
Sugar talks faster than Jerry.
SUGAR
-- the millenium, eight-hundred
channels more endorsements. Think
of me, think of dollars.
INT. JERRY'S OFFICE -- DAY
Jerry shows signs of tiring.
JERRY
Kathy! Hi, it's Jerry Maguire.
INT. REHEARSAL ROOM -- DAY
32.
KATHY SANDERS, 22 year-old figure skater, sits on a couch.
Nearby are cardboard stand-ups, souvenirs of past
endorsements. Also, the famous gold-medal shot from the
Olympics. Kathy's adoring Mom and Dad sit next to her,
listening in on the extension. The Mission Statement is
folded open on Dad's lap. Kathy chokes on every other word,
such is her anguish.
KATHY
I already heard from Bob Sugar.
Jerry I want to cry for what they
did to you at SMI. You helped me
win that gold at the Olympics, we
have history, and... oh Jerry...
if we weren't in the middle of the
Accura deal, you know I'd go with
you!
(starts to break down)
Oh Jerry, oh God...
There is a click on the line. She is pained and outraged.
KATHY
(continuing)
... Call Waiting... who could be
calling me now?...
She clicks the phone once. Her voice is suddenly cheery.
KATHY
(continuing)
Hiyee.
INT. JERRY'S OFFICE
JERRY
Still me, Kathy.
She instantly starts "crying" again.
KATHY
Ohhhhhhhh...
INT. SUGAR'S OFFICE -- DUSK
Sugar crosses off another name on his list.
SUGAR
It's not show "friends". It's show
business.
INT. JERRY'S OFFICE -- DUSK
Jerry on the phone. It's getting harder to crank it up.
33.
JERRY
Rod! How ya doing? Jerry Maguire.
INTERCUT
INT. TIDWELL KITCHEN/HOUSE -- DAY
ROD TIDWELL, 27, begins this conversation in the kitchen. He
is a powerful physical presence, and he holds a hot new
cellular phone. He fixes young son Tyson a bowl of cereal as
he talks. In the background, monitoring the crisis is Marcee
Tidwell.
ROD TIDWELL
"How am I doing?" I'll tell you.
I'm sweatin, dude! That's how I'm
"doin." I'm sweatin my contract.
I'm sweatin' Bob Sugar calling and
telling me I'm blowing the big
endorsements if I stay with you.
I'm sweatin'. You hear what I'm
saying?
JERRY
I hear what you're saying...
TIDWELL
No. I hear that you hear what I'm
saying. But do you hear what I'm
saying?
INT. SUGAR'S OFFICE -- SAME TIME
Sugar works off a wristwatch. He spends no longer than three
minutes on each call.
SUGAR
I'll bet he hasn't even called you
yet, right Jennifer? Wait, I need
to cough...
He covers the phone, as another agent hands him a cellular
with another call on it.
SUGAR
(continuing)
Hi, Ben, it's Sugar, hold on a
second, have you heard from
Maguire? You haven't???? Well,
that tells you a lot. Hold on,
gotta cough...
Back to the other call.
34.
SUGAR
(continuing)
So Jennifer...
INT. JERRY'S OFFICE
Jerry is still on the same Tidwell call. Looking at his
watch.
TIDWELL
Alright, we're just getting
started on my list of things you
need to know. Take notes if you
want to.
JERRY
(dying)
Okay.
INT. TIDWELL HALLWAY -- NIGHT
Tidwell walks down the hallway, past clippings and citations
from his career. Marcee follows, always listening.
TIDWELL
Good, 'cause see, I am a valuable
commodity. I go across the
middle. I see the ball and a dude
coming right at me, wanting to
kill me, I tell my brain "get
killed, catch the ball." That's
New York Steak, baby. Rare. And
yet, nobody's giving me LOVE.
Nobody's giving me PROPS. Nobody.
I went to Arizona State, I'm from
Arizona, I break Arizona records,
I'm a Sun Devil, man!!!
JERRY
Now you want Arizona dollars.
TIDWELL
Exactly. And I'm sitting here
with an ant problem, look! And my
brother Tee Pee's room is flooded
with water. Say hello to Jerry
Maguire --
We meet the messy-haired and slightly overweight brother of
Tidwell, TEE PEE, 24. Tee Pee, who lives free of charge in
Rod's house, is a nakedly jealous and more political version
of his brother. He says into the phone:
TEE PEE
Hello Jerry Maguire.
35.
Tidwell takes the phone back, and continues through the
house, with Tee Pee now following the procession of family
monitoring the important call.
TIDWELL
-- the house is fallin' apart, we
don't even know where we're gonna
live in a year, and I'm supposed
to be a "superstar," man! Are you
catching my flow, here?
Jerry looks at his watch. Doomed.
JERRY
I need a decision from you, Rod.
INT. SUGAR'S OFFICE -- NIGHT
Sugar has three phones going.
SUGAR
Killer, Steve, good decision.
(next call)
So it's yes, right? Excellente.
(next call)
Tell me it's yes... yes? YES!
Tidwell enters bedroom. Marcee, Tyson and Tee Pee in tow.
TIDWELL
-- now to recap, I want to stay
in Arizona, I want my new
contract, I like you, you're nice
to my wife, I will stay with you,
that's what I'm doing for you, but
here's what you're gonna do for
me. You listening?
JERRY
(dying)
Mmm. Hmm.
TIDWELL
It's a very personal, very
important thing. It's a family
motto. So I want to share it with
you. You ready?
JERRY
Yes.
TIDWELL
Here it is. "Show me the money."
(pause)
Show. Me. The. Money.
36.
JERRY
I got it.
TIDWELL
Now doesn't that just make you
feel good to say it? Say it with
me.
The lights have gone down in the city, and he hasn't had a
chance to turn his own light on. He sits in the oncoming
darkness, watching the blinking white lights on the phone
bank on the desk.
JERRY
Show. Me. The. Money.
TIDWELL
Congratulations. You're still my
agent.
Tidwell hangs up. Feeling good about the decision, he enters
his closet and adds today's shoes to an enormous shoe
collection. Nearby, Tee Pee shakes his head.
TEE PEE
An African-American man running
with a little ball, working for
white owners and white agents.
It's the iconography of rascism...
(off Tidwell's
dismissive look)
... but I woulda stayed at the
bigger company.
INT. SUGAR'S OFFICE -- DAY
Sugar crosses the last call off his sheet, and throws himself
on the sofa. He lands in reclining mode with a soft pooof.
The younger turks watch their new leader. Victory is his.
INT. JERRY'S OFFICE -- NIGHT
Jerry stands at the door, holding some belongings. He looks
back and symbolically flips the light switch off.
Unfortunately he hasn't realized the lights are already off.
So, in his final gesture, surprising himself, he has weirdly
turned the lights on.
EXT. CORNER OFFICE -- NIGHT
Bam. Jerry's door opens. He exits his office with box. He
is now in a state of advancing melancholy, slightly unhinged.
Many of the other agents now try not to watch him leaving.
37.
JERRY
Well, don't worry! I'm not going
to do what you think I'm going to
do, which is FLIP OUT!
JERRY
(continuing)
Jerry goes to a water dispenser, calming himself, and fills
a small Dixie cup. Downs it and fills it again, rubbing his
face..
JERRY
(continuing)
But let me just say, as I ease out
of the office I helped build --
sorry, but it's a fact --
ON DOROTHY -- WATCHING
from her cubicle.
JERRY
-- that there is such a thing as
manners. A way of treating
people...
He notices the fish tank nearby. He attemps to be profound.
JERRY
(continuing)
These fish have manners! They
have manners.
And now Jerry feels bravado, mixed with a wave of anger.
Another cup of water as he finds power.
JERRY
(continuing)
In fact. They're coming with me!
I'm starting a new company, and
the fish will come with me and...
you can call me sentimental.
He begins dipping into the tank, grabbing the one exotic fish
that failed to escape his cup. It's a fire-tailed Peruvian
beauty. He grabs a baggie from an assistant's desk, shakes
out some crumbs, and dumps the fish inside.
JERRY
(continuing; to fish)
it's okay... it's okay...
Nearby, a Xerox Repair Guy watches the human train wreck.
38.
JERRY
(continuing)
But if anybody else wants to come
with me, this moment will be the
ground floor of something real and
fun and inspiring and true in this
godforsaken business and we will
do it together! Who's coming with
me besides... "Flipper" here?
But clearly even Flipper is not happy with the new
arrangement. Panicked, he whips around the small baggie.
JERRY
(continuing)
Anybody going with me?
Silence, someone coughs, as agents and office personnel look
on with equal parts pity and embarrassment. Jerry downs
another small cup of water. His lid is blowing off with each
second.
JERRY
(continuing)
Wendy? Shall we?
Assistant Wendy looks at Maguire. Painfully polite:
WENDY
I'm three months away from the pay
increase, Jerry. I have to, uh...
you know, stay.
Jerry absorbs the blow, and takes the keys from the top of
her desk. She can't look at him. Jerry stands alone, the
blue Mission Statement on Wendy's desk sits accusingly in
frame. There is only silence now, the loudest kind.
JERRY
Okay, anybody else?
ON DOROTHY
She looks around. Doesn't anybody believe in the very thing
they were applauding three days ago? She has an odd
reaction, a muscle twitch of the soul. Before she knows it,
she stands boldly, unfortunately knocking a cup of coffee
onto herself in the process.
DOROTHY
I'll go with you.
(quietly, on her
coffee mess)
Wonderful...
39.
She dabs at her pants. Next to her, Cleo looks on sadly.
ON JERRY
halfway across the office.
JERRY
Dorothy Boyd! Thank you!
She gathers her things, increasingly aware of what she's done.
JERRY
(continuing)
We will see you all again. Sleep
tight!
He walks to Dorothy, and together they exit down the hallway
corridor, past the framed posters and awards.
WIDE-SHOT
rising over the huge office. For the first time, we see the
full expanse of the huge SMI headquarters. And down in the
corner of the frame, two small figures leave carrying boxes.
JERRY
(to Dorothy)
Let's see how they do without us.
A beat of silence, then noise returns to its normal
commercial roar. A couple of fleas have been swatted off the
carcass of an immense beast.
INT. ELEVATOR -- NIGHT
The tragic-sounding beep of the elevator passing floors.
Jerry Maguire stands with Dorothy, both still charged with
adrenalin. And then the first pangs of dread. There is
silence. The elevator stops. A young, amorous Couple
enters. Both are about 24, and the Guy presses a number five
flights down. In a moment, we realize they are deaf. They
sign to each other, murmuring noises of love. And then the
Guy signs something, obviously powerful, because the Girl
emits a delighted gasp, as does Dorothy. The Couple are
truly in their own world. They kiss before exiting on their
floor. And suddenly the elevator seems empty without them.
JERRY
Wonder what he said.
DOROTHY
My favorite aunt is hearing
impaired. He said "you complete
me."
40.
They continue on in silence.
INT. BUILDING LOBBY -- NIGHT
Jerry and Dorothy pass through another office's party. Loud
music. It's a pre-Easter party thrown for the building
employees and their children. Jerry and Dorothy squeeze
through with boxes and fish.
EXT. SMI PARKING LOT -- NIGHT
Jerry and Dorothy walk to their cars. Music in distance.
DOROTHY
So I know this is a bad time,
but -- you will have a medical
program, right?
JERRY
Sure. Yes. Medical, I don't know.
He spaces out for a moment. Awkwardly, she touches him
briefly.
DOROTHY
And I guess we didn't talk about
money. So, I'll just dive in --
JERRY
Give me your number. I'll call
tomorrow. I'm just a little. I'm
a little insane right now.
(off her look)
But it's going to be great.
DOROTHY
No no, I know --
They arrive at her red Camry. She writes her number on the
back of a business card.
JERRY
But I mean really... wonderfully...
(out of steam)
great.
DOROTHY
(unsure)
Absolutely.
She climbs into her car, rolls down the window.
JERRY
And when you think about what
you've done later, don't panic.
41.
DOROTHY
Me? No. My sister -- it's a good
bet.
She starts the engine.
DOROTHY
(continuing)
That took guts.
JERRY
Same to you.
She salutes him as she drives off. His own move, played back
to him. Camera moves away from Jerry, as he stands alone in
the parking lot. Salutes her in return. Herb Alpert. "The
Lonely Bull." Stripped of power, his once mighty theme now
seems puny.
FADE TO
EXT. DOROTHY'S HOME -- NIGHT
Lights glow inside this small-but-cozy home on a side street
in Manhattan Beach. Windows open. The sound of women's
voices.
INT. LIVING ROOM -- NIGHT
A living room filled with ten earnest, talkative Divorced
Women. This is their talk group. We meet JAN, 30, who speaks
shyly, thoughtfully, covering her braces often as she speaks.
She holds a too-full glass of red wine. (Much of the talk in
this Women's Group will be improved by our cast of actresses)
JAN
I love men. I respect men. But
that doesn't change the fact that
most of them belong in cages...
The other nine women nod with deep understanding.
INT. KITCHEN -- NIGHT
Dorothy does the dishes. Across the room, Laurel has her
nightly cigarette, blowing smoke out the window. She is a no-
frills woman. She has some time ago shut off those aspects of
her life spent pursuing the opposite sex. They are in mid-
argument.
LAUREL
What about medical?
DOROTHY
Of course, medical!
42.
LAUREL
(unconvinced)
You are a single mother. You have
given up the right to be frivolous.
DOROTHY
(irritated)
If you'd read what he wrote, you
would have left with him too.
LAUREL
(more irritated)
You know how much those Well Child
exams cost --
DOROTHY
(overlapping)
Of course I know --
LAUREL/DOROTHY
A hundred and fifty dollars.
LAUREL
And that's just when he's well --
They talk over each other arguing for a moment and then:
DOROTHY
Wait. Where is he?
LAUREL
He's in the living room asleep.
Dorothy dries her hands, flicking in a hurry.
DOROTHY
Wonderful. Next time you lecture
me, don't leave my little boy in
a room with your Divorced Women's
Group...
She exits in a hurry, as Laurel throws her cigarette into the
garbage disposal. She has a hard time saying this, so she
says it so nobody can hear:
LAUREL
Sorry.
INT. LIVING ROOM -- NIGHT
Ray dreams sweetly in the middle of this rockbed of Women's
Woes. Dorothy strokes his head, as she plucks him up. In
frame another woman, ALICE, 50, speaks passionately to the
group.
43.
ALICE
Okay I've finally, finally, gotten
my anger straight here. I'm going
to visualize Carl being here and
finally tell him --
DOROTHY
Shhhh!
Dorothy exits, protectively stroking her son's head.
DOROTHY
(continuing)
Come on, buddy, we're going to bed.
INT. HALLWAY-- NIGHT
She stops for a moment, little boy in her hands. The
enormity of the day arrives with a thud.
DOROTHY
(to herself)
What did I do?
INT. JERRY'S CONDO -- NIGHT
Jerry is quickly packing for a road trip. Avery looks on.
They are both in a manic state.
JERRY
The power move is to go
unannounced.
(sotto)
Black suit, right?
AVERY
(sotto)
And the egyptian cotton shirt that
works with or without the jacket.
(full volume)
Tell me again, how was it left
with Cush?
JERRY
(perfect imitation)
"Dad says we gwan sleep on it.
AVERY
Ugh!
JERRY
(turns, with clothes)
Seventy-two clients. ONE stayed.
(sotto)
Jacket on, tie in pocket.
44.
AVERY
(sotta)
Good.
(full volume)
They're all heatseekers! All of
them, everybody. You keep one
superstar and they'll all follow.
There's no real loyalty, and the
first person who told me that,
Jerry Maguire, was you.
JERRY
I think I was trying to sleep with
you at the time.
AVERY
Well, it worked, and I will not
let you fail. You are Jerry Ma-
fuckin-guire.
JERRY
That's right.
AVERY
King of the Housecalls! Master of
the Living Room!
JERRY
Okay, this is working.
AVERY
You are not a loser.
Jerry stops, turns. The way she says "loser" is the most
elegant of disses. She wraps her lips around it like a cheap
hot dog.
JERRY
Who said anything about "loser?"
Where do you get this word "loser?"
AVERY
I'm sorry. I was on a roll. I
meant something else. When do you
want to leave?
Jerry zips his brown travel bag shut. He is packed and ready.
JERRY
Now.
AVERY
Let's go. I'll drive you.
45.
JERRY
(stops, an odd
thought)
What if I don't get him?
Avery takes his bag, heads for the door.
AVERY
Function function function.
Forward motion is everything.
Cush saves all.
Jerry takes a breath, exits. Music.
AIRPLANE WHEELS
folding up. Music continues.
INT. RENT-A-CAR -- MORNING
Jerry drives the bumpiest Texas backroad ever.
Music continues.
EXT. CUSHMAN DOOR -- DAY
Jerry exits car. Adjusts the jacket. Takes the tie off too,
returns to the car and tosses it inside. He walks to the
front door with purpose. Suddenly an intercom crackles,
jolting him with a booming and cheerful voice:
MATT CUSHMAN'S VOICE
No sports agents allowed! Ha ha.
Jerry spots the small electronic camera pointed at him from
the upper-corner of this rustic home. The door buzzes.
INT. CUSHMAN HALLWAY/DEN -- DAY
Jerry follows the voice down a hallway loaded with Cush
memorabilia. Righteous indignation building.
MATT CUSHMAN'S VOICE
I'm in the back den, Jerry.
He moves into the den, finding MATT CUSHMAN, 40, who stands
at the living room bar. Two framed game jerseys on the wall.
A large draped American flag above the bar. He is a J. Crew
cowboy.
MATT
You like a Bloody Beer, Jerry?
Beer and tomato juice --
46.
JERRY
No thanks.
Maguire takes a breath, and sharply begins his pitch.
JERRY
(continuing)
Matt, I came here because in all
honesty your son is just another
piece of cattle to SMI. But to
me --
MATT
(overlapping)
We decided to stay with you.
On pure instinct, he hugs Matt Cushman. The move surprises
them both. And somewhere out of nowhere, come a few
surprising tears of relief. He has been spared.
JERRY
Oh, thank you.
MATT
Told myself -- if he shows up,
we'll stick with him.
JERRY
You know, I'm not a hugger and
yet... I can't let go.
Matt laughs, as Cush lopes in from the kitchen. Little
brother KEITH, 14, enters with him.
CUSH
Hey, Jerry, what's been going on?
INT. DEN -- LATER DAY -- HANDHELD
Cush, Matt and Jerry brainstorm around the ceremonial "wagon-
wheel table" where decisions are made in this house. Jerry
is giddy, charged up, a part of the human race again.
MATT
I want him to go number one in the
draft, and I want him to play.
JERRY
It's either going to be Denver or
San Diego trading up to take him.
CUSH
(big grin)
Hell, I'll either surf or ski. I
don't care.
47.
MATT
Denver is where he should be.
JERRY
I'll give it everything.
MATT
You know I don't do "contracts."
But'cha do have my word, and it's
stronger than oak.
Jerry toasts Matt with a bloody beer. A good day.
INT. RENT-A-CAR/TEXAS -- DAY
Jerry drives back on the same bumpy road. On the radio, it's
the Rolling Stones. He wants to sing along. He thinks he
knows the words, but...
JERRY
(sings)
Feelin...
He realizes he doesn't know the words at all. He switches
channels. Finds a Rush song, with ornate lyrics. No one will
ever know what the words are. He switches again and finds
"Let's Groove Tonight" by Earth, Wind and Fire. Excellent.
He begins singing nonsense noises, passionately. Switches
again. All he wants is to sing along with a song he knows.
Finally he finds Tom Petty and the Heartbreakers' "Refugee."
He drives through the countryside, singing the call and
response of the song, like a happy idiot.
INT. DALLAS/FT. WORTH AIRPORT -- DAY
Jerry turns into shot. He's on the pay-phone. He's jacked.
JERRY
Dorothy? Jerry Maguire! Is Avery
there? Where can I reach her?
INTERCUT
INT. DOROTHY/LAUREL'S HOUSE -- DAY
Dorothy is at her home work desk. Curious and nervous about
the new arrangement.
DOROTHY
Uh, she had to fly to Atlanta,
didn't leave me her hotel number.
48.
Through the back kitchen door comes CHAD THE NANNY, 29, red
hair cropped above the ear. Baggy overalls. Slipping through
life with little turbulence. He's with Ray, who holds pieces
of wood and a hammer.
CHAD
The new playhouse rocks, Dotty.
RAY
(jumping)
Yeah!
DOROTHY
Honey -- later, okay?
(Ray jumps on her)
Whoop. Wait.
JERRY
Hello?
DOROTHY
(back to phone)
Sorry, that's my son and the
nanny. I had the calls transferred
to my home so I could go over your
stuff.
Chad now notices the slight excited tone in her demeanor. He
sits down nearby and listens to her talk to Maguire.
JERRY
No, that's fine. What calls came
in today?
DOROTHY
Wait. That's yesterday, from the
other office. Today is...
She flips the call record from yesterday --150 calls -- to
today, which is blank.
DOROTHY
(continuing)
... light.
JERRY
Shit, it's just so frustrating to
not be able to talk to Avery --
AVERY
Wait a minute, it has to be one of
the NFL hotels we do business
with -- let me look -- but in the
meantime, about this job --
49.
She reaches over Ray to get to her laptop and buzzes through
a list of phone numbers. Jerry can't help but share the qood
news:
JERRY
(importantly)
Dorothy, let me tell you
something, we are back. We are so
very very back. I re-signed Cush.
We're set.
DOROTHY
We are?
JERRY
It's all going to work.
DOROTHY
I just got goosebumps.
She examines her own skin with surprise.
JERRY
(manic, quiet)
It's all going to work. We're
going to save the world.
DOROTHY
Well, I'm happy for you.
JERRY
Happy for us.
Oddly, the phrase affects her physically.
DOROTHY
Happy for us... okay. Here's the
number. 404-453-2222.
JERRY
Thanks.
DOROTHY
Call me later, hon.
She hangs up, and looks over to Laurel and Chad. Both of them
stare at her.
DOROTHY
(continuing)
Wait. Did I just say "hon" to him?
CHAD
(laughing)
Yeah, Dotty. You did.
50.
DOROTHY
Twenty six years old. I'm already
saying "hon". Hug your mother
quickly --
Chad looks at her, something is different about Dorothy.
Laurel walks away, sharing a look with Chad.
INT. DALLAS AIRPORT -- DAY
Jerry is now teeming with energy, professional and sexual.
JERRY
Avery, I signed Cush. Again.
INTERCUT
INT. ATLANTA HOTEL SUITE -- DAY
Avery in mid-conference with four other NFL men in background.
AVERY
YA-HOOOO-SIE!
It is the victory call of the competitive girl, and she falls
back into a chair, kicking her expensive shoes onto the bed.
In the b.g. we see the hungry look of her male co-workers.
Part of them lusts after her. The larger part knows she
would demolish them, and pick her teeth with their bones.
JERRY
I know. Sorry I threw a scare
into our lives there --
AVERY
Don't worry about it -- I never
told you what I thought of that
memo either --
JERRY
Well, no you didn't --
AVERY
You lost your head, it happens.
(quickly)
I'm so fuckin jazzed! Listen.
I'm going to have to fly to
Chicago tomorrow, how 'bout if we
meet in the Dallas airport and we
all fly into New York together for
the draft?
JERRY
It's a plan -- --
51.
AVERY
I'll set it up with your girl.
Woo! This is when it's good,
Jerry. Enjoy it. Live it. Love
it. And when I see you, I'm going
to give you the best blow job of
your life.
He hangs up, staring at the phone. In the room with Avery,
the co-workers look at each other. She is far, far out of
their league.
INT. DOROTHY'S CAR -- LATER MORNING -- DRIVING
Dorothy Boyd speeds Jerry to the airport, the electricity
fills the car. On the radio, a sports station debates the
future of Cushman. as Jerry whips through a stack of sports
pages.
DOROTHY
Avery'll meet you at the B gate at
4:15. Don't be late. Tidwell will
already be there.
JERRY
(nods to Ray)
Hey, man, you know they have big
balloons built into cars?
RAY
No.
JERRY
They do, my brother.
RAY
(giggling)
I'm not your brother!
Dorothy continues, business on her mind.
DOROTHY
... I put Tidwell on the same
floor at the Marriott Marquis. I
think it's great you're taking him
to the draft. He doesn't smoke,
right? I have no idea.
52.
JERRY
I have no idea.
(continuing to Ray)
So Ray, if there's an accident or
something, it goes pwoooooooof --
(simulates air-bag)
-- and you go booooong. And
you're safe.
Jerry bounces against the imaginary balloon. Ray is
delighted by Jerry. Dorothy notes that he's great with her
son. She pats Jerry on the shoulder. Her hand lingers
perhaps a millisecond too long. She pulls away quickly,
always feeling on the edge or embarrassing herself around
this guy.
DOROTHY
Okay, have we gone over
everything? Back on Tuesday, right?
JERRY
Yep. Have a good time at school,
Ray. Wish me luck.
DOROTHY RAY
Luck. LUCK!
Jerry nods and exits. They watch as Jerry inches into the
crowded airport. Into frame, obscuring their view of Jerry,
enters another Couple, who embrace each other and their small
girl. It's a genuinely sweet goodbye, and we linger on
Dorothy and Ray who both watch with private fantasies of the
goodbye they didn't get. Mother and son look at each other,
communicating volumes. They pull back into traffic.
INT. DALLAS AIRPORT -- DAY
Jerry struggles through the Dallas airport, is the last, of
his party to arrive at the B gate in Dallas. Avery, tall and
cool in plaid skirt and shades, is in combat mode. Nearby,
Cush is surrounded by fans and fawning Airline Employees.
("Where do you think you're gonna end up, Cush?" "You gonna
be rich, dude!") Tidwell looks jealous and ingnored as he
leans against the airline counter, unnoticed. A lone kid
approaches Tidwell.
KID
Are you Hootie?
TIDWELL
(irritated)
No man, I'm not Hootie.
Kid leaves disappointed. Tidwell sinks lower. Doesn't anyone
know his stardom, his essence, his power?
53.
BOARDING ANNOUNCEMENT
All those disabled, and Frank
Cushman can board now...
INT. AIRPLANE -- DAY
Jerry sits next to Cushman, who is reading Bukowski's Notes
of a Dirty Old Man. Across the aisle is Tidwell, who sits
next to Avery. They are a small family, and Jerry feels at
home with his operation. Cush looks up suddenly.
CUSH
(a big thought)
Jerry. Why does God sometimes
reward the evil and punish the
good?
Jerry shares a look with Avery, who is on the other side of
Cush. Her stockings swish as she crosses her legs.
JERRY
Let me think about that. Want
something to drink?
CUSH
(thoughtful pause)
I see what you're saying.
JERRY
Wait. What do you mean?
The two men have now totally confused each other. Tidwell
leans across the aisle to Cush, attempting comraderie.
TIDWELL
Hey man, I wish I had a
quarterback like you in Arizona.
You're the shit.
Cush looks up. Compliments blow off him like a summer breeze.
CUSH
Thank ya.
Tidwell waits for a compliment of his own, but Cush doesn't
offer one. He returns to the book. Tidwell feels slighted.
TIDWELL
(loud mumble)
Well you ain't that mothafuckin
good.
CUSH
Say what?
54.
TIDWELL
I said -- last I heard, Jesus
Christ was still in heaven. And
you ain't even played in the NFL.
Cush throws his book away, ready for anything, as Tidwell
rises. Nearby passengers begin to panic.
JERRY
This can't be happening to me.
AVERY
Jerry! Do something --
Jerry throws himself in front of Cushman.
JERRY
HEY. Knock it off. What are you,
five years old? Am I taking the
kids to Chuck E. Cheese here? Grow
up, both of you! We are a family.
And we go to the draft in an
ORDERLY FASHION.
Beat. Jerry wonders if he's pushed his mealtickets around too
much.
TIDWELL
Hey, man, I dig Check E. Cheese.
CUSH
Me too, dude. Especially that big
old singin' Elvis Monkey. That's
just insanity, man.
TIDWELL
Heard that.
Tidwell reaches over, he and Cush exchange a fingertips five.
Briefly, the two clients bond. Past Tidwell, Avery smiles
engagingly at Jerry. He handled the situation well. She
crosses her legs, stockings swishing. The workplace excites
her.
EXT. MARRIOTT MARQUIS -- NIGHT
The headquarters for the NFL draft is buzzing with activity.
Limo doors open and out pours Maguire and company. Media
lights flick on, bathing Cush. Reporters chatter. ("Is it
San Diego or Denver, Cush?N "Cush!") Fans at the outskirts
are calling out to the young star ("Go get the big chi-ching,
Cush!") Avery smoothly pulls ESPN into the front position.
Telegenic Cush shrugs and smiles. ("I'll either surf or
ski.") Jerry admires his fiancee. There is nothing more
attractive than a person burningly efficient at their job.
55.
Shot drifts off this media bubble to find Tidwell watching at
the outskirts. He turns and exits unnoticed.
INT. GIFT SHOP -- NIGHT -- LATER
Tidwell hides out in the gift shop, thumbing through
magazines. The chip on his shoulder grows by the minute.
Elsewhere in the gift shop, he sees the very real and
emotional scene of a young athlete and his mother. Both wear
self-promoting colorful homemade t-shirts with the young
athlete's face on it. Something about them, their pure
enthusiasm, rubs Tidwell in an odd way. He almost cries, for
himself, for humanity, as Jerry enters. Tidwell is
embarrassed to have been caught in this misty state.
JERRY
At last I find you.
TIDWELL
(sharply)
Why the fuck am I here? I feel
like I'm five years late for the
Prom.
In a look, Jerry sizes up the situation. With a hand on
Tidwell's large shoulder, he smoothly pumps up the big man's
ego.
JERRY
Come on. Come with me. We're
going to take a walk through this
lobby. I want every media guy,
every player rep, everybody to see
you for what you are. The best-
kept secret in the NFL. The
biggest wide-receiver in the game.
Let 'em see ya, Rod. And Whatever
you do, don't sit down. Let 'em
see how big you are. You ready?
Let's do it.
He is privately thrilled, but offers only:
TIDWELL
(begrudgingly)
A'right. Let's walk.
We hear the ripping guitar explosion of The Who's "Magic Bus"
from Live at Leeds.
56.
INT. MARRIOTT LOBBY -- NIGHT
Maguire and Tidwell move through the brightly-lit lobby, past
the reporters, the competing agents, the team
representatives, the already blasted Jets fans, past even a
Nike crew filming an NFL spot in the lobby. Portable phones
everywhere, in every hand.
There is a heavy white media light bathing everything -- as
if life had become a t.v. show, and everything within it
concerned making other t.v. shows. Jerry works hard,
introduces Tidwell around. And Tidwell is natural, polite and
charming, as they move through the pre-draft crowd. He does
not sit down. Music continues.
INT. MARRIOTT BAR -- DAY
Tough red-headed beat reporter PATRICIA LOGAN watches Maguire
and Tidwell from the opposite corner.
PATRICIA
Dennis, try not to laugh. Jerry
Maguire brought Rod Tidwell to the
draft...
INT. ARIZONA CARDINALS WAR ROOM PHOENIX) -- NIGHT
Arizona General Manager DENNIS WILBURN, 48, is on the phone
here in the command center for the Arizona Cardinals. All
around him, we see the boards and graphs for their upcoming
draft selections.
WILBURN
Good, I hope he unloads him so I
can buy a decent quarterback.
Who's he talking to?
PATRICIA
Right now, Dallas. Ha ha.
WILBURN
They don't look interested do they?
PATRICIA
Actually...
Wilburn looks concerned.
INT. MARRIOTT ESCALATOR -- NIGHT
Jerry and Tidwell rise triumphantly to the mezzanine level
above the bright-white lobby. Maguire looks down at the
scene. He breathes in the commotion. In another twelve
hours, he will be at the very epicenter with Cushman.
57.
TIDWELL
I came all the way here for that?
To walk the lobby?
JERRY
Yeah. And it might have even
worked too.
TIDWELL
Let's do it again.
Jerry doesn't respond. Down in the lobby, Jerry catches a
glimpse of a familiar-looking agent. It's Sugar. Jerry is
consumed with a thousand other thoughts, but Tidwell
continues talking.
TIDWELL
(continuing)
You believe they're shooting a
Nike ad down there? Did I ever
tell you my Nike story?
JERRY
I gotta get back to Cushman.
TIDWELL
Okay, I understand. I'll boil it
down for ya. Fuck Nike. All they
do is ignore me...
Jerry turns to Tidwell, finally focusing totally on him.
JERRY
You know what was great about you
down there? For about five
minutes, you unloaded that rather
expansive, let me just say "large"
chip that resides right there on
your shoulder, and you know what?
You were brilliant. Take care.
Jerry starts to exit.
TIDWELL
You're loving me now, aren't ya?
JERRY
(mock serious)
I'm not about love -- I'm about
"showing you the money."
Tidwell nods deeply, respectfully.
58.
TIDWELL
Good. I was just testing ya.
(beat)
But just you saying that? Makes me
love ya.
JERRY
Get some sleep. See you tomorrow.
TIDWELL
Sure you don't want to go out and
find some karoake? I'm a very
good singer, man --
JERRY
Call me tomorrow.
TIDWELL
I might call you later!
Tidwell moves off, still feeling good about the walk. A
small pack of diehard Jets fans pass, looking for autographs.
INT. CUSH'S SUITE -- NIGHT
We glide into Frank Cushman's suite overlooking Times Square.
It's filled with NFL swag -- free t-shirts, athletic bags,
sweatpants, and more. Half-finished room service food
abounds. Matt, Keith and Cush's stylish college girlfriend
ANNE-LOUISE mill about the room, basking in the glow of the
man of the moment. Cush, who holds a guitar in his lap,
wears the odd combination of a Nirvana t-shirt and a NFL
jacket. He signs for more room service and continues
strumming the only song he knows on guitar, Cobain's
"Something In The Way." Jerry enters on a rush of adrenalin.
CUSH
(to hotel waiter)
Hey, what size are you?
WAITER
Eleven.
CUSH
(grandly)
Why don't you grab a couple pairs
of them new Nikes by the door --
Waiter spots a very tall stack