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Jerry Maguire (1996) screenplay

by Cameron Crowe

 
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 of new Nikes by the door.

			WAITER
	Dude, you're like a God.
_
										59.


			CUSH
		(immediately)
	God, you're like a dude.

It's a great line, and the room breaks up.  This is charisma,
the future of the NFL.  Waiter exits, as Cush continues
strumming. And now Jerry speaks, importantly.

			JERRY
	Cush, Matt -- we have a decision
	to make.

			CUSH
	"It's okay to eat fish, 'cause
	they Don't have any feelings...

			JERRY
	Okay. San Diego just came in with
	a last-minute scenario.  It's big.

			CUSH
	"Something in the way.  Yeah."

			MATT
	Well, he's gotta go number one.

			CUSH
	"Ooooooo."

			JERRY
	He still goes number one, but San
	Diego wants to trade up with New
	England -- they want him bad.

Cush turns to his curiously ambivalent father, who walks to
the window and looks out at the big Jumbotron with Keith.

			MATT
	What happened to Denver?

			JERRY
	Denver got very silent about a day
	ago.  San Diego's got a fever for
	Cush.  This stuff tends to happen
	the night before a draft.  People
	get crazy.  And San Diego, you
	should know, is crazy to the tune
	of seven years for thirty. Signing
	bonus of eight.
		(beat)
	Million.

Anne-Louise whistles loudly.  She is instantly embarrassed,
and puts a hand up.  Sorry.  In the next room, the phone is
ringing.
_
										60.


			MATT
	I don't know, Jerry.

			KEITH
	Should I unplug the phone?

			CUSH
	Reporters, Jerry.  They been
	callin' all night.

			JERRY
	Just be friendly and say "no
	comment."

			CUSH
	Talking and saying nothing, man,
	it's an art I have not mastered.

Jerry holds up a finger -- watch me.  Jerry picks up the
ringing phone. He offers a near-perfect imitation.

			JERRY
	"This is Cush."

Suddenly, everyone is, laughing.  The room lightens.

INT. BOB SUGAR'S HOTEL ROOM -- DAY

Bob Sugar talks on his hotel phone.

			SUGAR
	It's Sugar.  He must be there,
	right? Just sniff or something if
	he's there.
		(Jerry sniffs,
		 panicked)
	Alright, buddydude.  Just
	remember. You're swimming with the
	big boys now. You let your dad do
	all the talking.  I'm the one who
	got you the deal you needed.  This
	is business not friendship. Be
	strong.  You're global now.

Sugar hangs up.

			JERRY
	"No comment.

Jerry hangs up.  The room is still laughing.  His head is
spinning.

			KEITH
	Hey, it's Cush on the big t.v.
	again!
_
										61.


			CUSH
	Hell, I'm already sick of me. I
	got "Cushlash."

More laughs. Jerry sits across from Matt, reeling quietly. He
speaks casually, directly.

			JERRY
	Look, before I go back to Denver.
	I think we should put something
	down on paper.  Something that
	says, "hey, I'm with Jerry
	Maguire."

He pulls out a yellow legal tablet.  He scribbles a few
lines, as Matt looks increasingly nervous.

			MATT
	Not right now, Jerry.

			JERRY
	Do I know everything there is to
	know here?
		(silent beat)
	You fellas aren't talking with Bob
	Sugar, are you?

More silence.

			MATT
	Apparently, Denver wanted to deal
	with him instead of you.

			JERRY
		(quickly)
	Said who?  Sugar?

			MATT
	Hey, I'm learning as I go.

			JERRY
	So you empowered Bob Sugar to deal
	with Denver behind my back?

			MATT
	I'm sorry, I --

			JERRY
	I brought Denver to twenty
	million. Denver deals with me all
	the time. You listened to Sugar?
	You let that snake in the door.

Jerry touches the coffee table.  Calms himself.
_
										62.


			JERRY
		(continuing)
	It's okay.  You want Denver. I'll
	fix this up.  You didn't sign
	anything with Sugar, right?

Another rough silence is broken by little brother Keith.

			KEITH
		(blurts)
	Mr. Maguire, someday I'm gonna be
	a famous athlete and I'm gonna
	sign with you'.

			JERRY
	Shut up!
		(beat)
	I'm sorry... sorry.

			KEITH
		(sympathy for Jerry)
	S' cool.

Shot moves in on Jerry.

			JERRY
	Now.  Wait.  You didn't actually
	sign with Sugar, did you? Tell me
	you didn't sign.
		(beat)
	Because I'm still sort of moved by
	your "my word is stronger'n oak"
	thing --

			MATT
	We signed an hour ago.  You were
	in the lobby with the black fella.

Jerry moans. Silently, he rises and begins to gather his
things. Cush hangs on to his guitar.

			CUSH
	I'm sorry, Jerry.

			MATT
	They say it's show "business,"
	Jerry, not show friends.

Jerry takes a breath before he exits. He surveys the room,
settling on Cush.  Visible behind Maguire is Times Square, in
all it's neon logo glory.
_
										63.


			JERRY
	Well. Okay. Of course. You're
	twenty years old, and I'm just
	another guy in a suit.  It's all
	business. It didn't work out.  You
	didn't buy my product, which is,
	unfortunately, mm. Let me see,
	there's a speech that I'm supposed
	to make -- right! -- "I'll be out
	there cheering for you." "The door
	is always open!"  See? I'm a class
	act.
		(breath, directly)
	But maybe this would have all
	worked, us being real human
	beings, coming through for each
	other, really, and now I'll never
	know. You'll never know. Weren't
	you curious?
		(they aren't)
	No.  Okay, well, I'll be fine.
	And you'll be fine.  And Keith I
	bope you do call me.

Flushed and embarrassed, he exits.  We hang a beat on the
silent Cushman hotel livingroom, as Cush now continues on
guitar.

INT. LOBBY -- NIGHT

Jerry exits elevator dazed, at full trot.  The Marriott lobby
is packed.  He is looking for Avery.  Beat reporter Patricia
Logan reappears.  She relishes asking brutal questions,
innocently.

			PATRICIA LOGAN
	Jerry, is it true that Tidwell's
	had three concussions?

			JERRY
	I'm sorry... excuse me...

INT. BALLROOM -- NIGHT

Jerry enters the grand ballroom, looking for Avery.
Endorsement placards in evidence everywhere.  NFL reps and
media workers move tables and work out camera and seating
arrangements.  Elevated in a open ESPN booth six feet off the
ground, host Chris Berman records voice-overs for tomorrow's
draft.  Fans heckle him by singing the ESPN theme.  He rolls
with it, expertly.  Jerry spots Avery across the empty
ballroom, moving fast, passing out media packets on the empty
tables.
_
										64.


INT. ADJACENT BUFFET ROOM -- NIGHT

Jerry finally catches up with Avery in the empty side-room.

			AVERY
	I just heard.

			JERRY
	What do I do?  How do I spin this?

			AVERY
	Oh honey.  It's spun.

She keeps moving, adding an extra snap to the packets.

			JERRY
	What did I do to you?

She is furious with his question.  Doesn't he know?

			AVERY
	It's all about you, isn't it?
	Soothe me, save me, love me --

			JERRY
	Could you just stop moving?

			AVERY
	I have to finish my job --

			JERRY
	Everything's on the fucking run!
	Everything --

She stops.  Walks to him, framed by a bank of t.v. monitors.

			AVERY
	Jerry.  You and I are salespeople.
	We sell --

			JERRY
	Look, I don't want a --

			AVERY
	It's not "love me."  It's not
	"trust my handshake."  It's make
	the sale. Get it signed.  There
	shouldn't be "confusion" about
	that.

			JERRY
	Go ahead.  Jump right on into my
	nightmare.  The water's warm.
_
										65.


			AVERY
	So honesty is outlawed here, I
	can't be honest?

She turns and exits again.  He follows.

			JERRY
	Tell you what -- I'd prefer
	loyalty..

			AVERY
	What was our deal when we first
	got together?  Brutal truth,
	remember?

			JERRY
	I think you added the "brutal."

She stops, slaps down another media packet.  Blows a
troublesome piece of hair out of her face.

			AVERY
	Jerry, there is a "sensitivity"
	thing that some people have.  I
	don't have it.  I don't cry at
	movies.  I don't gush over babies.
	I don't start celebrating
	Christmas five months early, and
	I don't tell a man who just
	screwed up both of our lives --
	'oh, poor baby.'  That's me.  For
	better or worse.  But I do love
	you.

Jerry looks at his fiancee.  Standing here, watching Avery
coldly clasping her media packs to her chest, she looks
different to him.

			JERRY
	Avery --

She knows what's coming.  She moves fast to avoid him.

			AVERY
	Don't say it.  We're both ragged
	out right now.

			JERRY
	-- stop --

She exits back into the main ballroom.  For a moment, she
stops. They face off.  This is it.  They are quickly
interrupted by overweight, talk-show voiced CURTIS WEINTRAUB,
45.
_
										66.


			CURTIS WEINTRAUB
	Hey!  Curtis Weintraub from the
	Sports Popper!  Haven't seen you
	two since the Cuervo Gold Rock 'n
	Sock Charity Six Flags Budfest!
	Hello!

Neither look at him, they remain fixed on each other.  Curtis
gets a whiff of what he walked into.

			CURTIS WEINTRAUB
		(continuing; exiting
		 quickly)
	Goodbye!

			AVERY
	I'm warning you.  Don't say it.
	You won't have another chance.



			JERRY
	Listen to me!

			AVERY
	No.

			JERRY
	It's over --

She continues moving into the next room.

			AVERY
	Didn't hear it.

			JERRY
	There is something missing here.

			AVERY
	You've never been alone and you
	can't be alone --

			JERRY
	Listen to me, it's over.

She can barely believe it.  She blinks.

			AVERY
	No one has ever dumped me.

			JERRY
	I'm not trying to make history.
_
										67.


			AVERY
	I did the 23 hour nose-route to
	the top of El Capitan in 6 hours!
	I can make this work.

			JERRY
		(it slips out)
	No.

She takes a breath.  It sinks in.  From somewhere, the small
voice of her vulnerability.

			AVERY
	Oh Jerry.

			JERRY
		(steps closer)
	You know I didn't ever want to
	hurt you.

She gets an odd look, shaking her head.  Starts to step away,
then thinks better of it.  She WALLOPS him in the face with
the back of her hand.  Jerry stands like a woozy boxer. She
hits him again with a fist, then again in the chest.  He
sinks to the floor, sagging. backwards.  She straddles him,
addresses him fully, right in his bruised face.

			AVERY
	I won't let you hurt me, Jerry.
	I'm too strong for you.  Loser.

INT. JFK AIRPORT -- NEXT MORNING

Jerry moves through the crowded airport with Rod Tidwell.
Both wear sunglasses.

			TIDWELL
	You love me now, don't you?

			JERRY
	Very much.

ON TV MONITOR -- ROY FIRESTONE

is leaning forward, expressively, talking with a weepy
athlete.

INT. RED CARPET LOUNGE -- DAY

Tidwell watches next to Jerry, as they wait for the flight.
Jerry nurses a stiff drink.

			TIDWELL
	Everybody on this show cries now.
_
										68.


			JERRY
	Rod --

			TIDWELL
		(off t.v. )
	You feel bad you tested positive?
	Quit doing blow!  You feel bad
	about your baby girl? Why did you
	leave the mother?

			JERRY
	What are you doing with me, Rod?

			TIDWELL
	Huh?

			JERRY
	Don't you even see -- I'm
	finished. I'm fucked. Twenty-four
	hours ago, I was hot. Now... I'm
	a cautionary tale!

Tidwell looks at Jerry, impassive.

			JERRY
		(continuing)
	See this jacket I'm wearing?  You
	like it?  I don't really need it,
	because I'm CLOAKED IN FAILURE.
	I lost the number one draft pick
	the night before the draft. They
	will teach my story to other
	agents on "do not do this" day in
	agent school. Why? Let's recap.
	Because a hockey player's kid made
	me feel like a superficial jerk,
	I had two slices of bad pizza,
	went to bed, grew a conscience and
	wrote a 25-page Manifesto of Doom!

			TIDWELL
	Well, boo-fucking-hoo.

			JERRY
	The least you could do is nod and
	act sympathetic --

			TIDWELL
		(shaking head)
	No.

			JERRY
	It's a quality that might come in
	handy for a commercial sometime.
_
										69.


			TIDWELL
	You are not allowed to act this
	way.

			JERRY
	Why not?

INT. AIRPLANE -- LATER DAY

They sit together. Jerry holds another drink.

			TIDWELL
	Man, I got a shelf life of ten
	years, tops!  My next contract's
	gotta bring me the dollars that'11
	last me and mine a very long time.
	I'm out of this sport in five
	years.  What's my family gonna
	live on? What you get me.  So I
	don't want to hear about ya shit,
	your "nya nya nya."

			JERRY
		(ruefully, to
		 attendant)
	Another drink please.

			TIDWELL
	Anybody else would have left you
	by now, but I'm sticking with you.
	I said I would. And if I got to
	ride your ass like Zorro, you're
	gonna show me the money.

			JERRY
		(the hell that never
		 ends)
	Oh my God.

He looks straight ahead, at the airphone in front of him.

EXT. PORCH -- NIGHT

Dorothy finds Laurel on their small porch.  There is only
room for a miniature garden and one comfortable seat. Laurel
sits in it.

			DOROTHY
	He's coming over.

			LAUREL
	At eleven at night?
_
										70.


			DOROTHY
	He just lost his best client.  He
	called from the plane.  I invited
	the guy over.

			LAUREL
	Dotty -- this is not "guy.". This
	is a "syndrome."  It's called
	Early Midlife, About-To-Marry,
	Hanging Onto The-Bottom-Rung Dear-
	God-Don't-Let-Me-Be-Alone, I'll-
	Call-My-Newly Long-suffering-
	Assistant-Without Medical-For-
	Company Syndrome.  And if, knowing
	all that, you still allow him to
	come over, more power to you.

			DOROTHY
	Honey, he's engaged.  And for the
	first time in my professional
	life, I'm a part of something I
	believe in.

Dorothy exits.  Laurel shakes her head, calls to next room.

			LAUREL
	Okay, but he better not be good
	looking!

INT. RAY'S BEDROOM -- NIGHT

Dorothy puts Ray to bed.

			DOROTHY
	'Night buddy.  This is my favorite
	part of your head.

She kisses the corner of his forehead, rising up into the
mirror.

She checks her look, in spite of herself. Visible on the wall
above Ray's bed, is her ex-husband's photo. Music.

INT. CAB -- NIGHT

Jerry in back of a cab, wearing sunglasses, three drinks
later, post-flight, rolling with anything.

			JERRY
	Okay, turn here!  Sharp right
	turn. 8831 3/4 Waterloo.

The cab turns onto a very small street.  Cars parked on both
sides. Down the street, another pair of headlights.
_
										71.


Jerry's cab refuses to give in, in fact he floors it.  Same
with the oncoming car.

			JERRY
		(continuing)
	Yes, good, floor it, kill us!!

EXT. DOROTHY'S FRONT PORCH -- NIGHT

Door opens to reveal Jerry Maguire with brown bag, shoulder
hang-up bag, disheveled hair and sunglasses.

			JERRY
	I'm Jerry Maguire.

			LAUREL
		(super pleasant)
	You seem just the way I pictured
	you. I'm her disapproving sister
	Laurel.

			JERRY
	Honesty.  Thank you.

INT. LIVING ROOM

Jerry enters, as Dorothy rounds the corner.

			DOROTHY
	Hey you.

			JERRY
	Hi.

The lights are low and his glasses are very dark.

			JERRY
		(continuing)
	Thanks for inviting me over.
	Where's the little guy?

			DOROTHY
	He's asleep.  Watch out for that
	lamp.

			JERRY
	I'm glad you're home.  That
	"alone" thing is... not my
	specialty...

He ducks the lamp, barely. Laurel exits through his shot,
miming "drinking" behind his back. Jerry takes off his
glasses, revealing a welt and a cut below his eye.
_
										72.


			DOROTHY
	Oh my God.

			JERRY
	Yeah.  That too.  I broke up with
	Avery.

Dorothy's entire body chemistry changes in ways she doesn't
quite understand.

			DOROTHY
	Too bad.

			JERRY
	Better now than later.  We'll
	still be friends. I'm dying here.

			DOROTHY
	Jesus, it's a real gash, isn't it?

			JERRY
	And just think if I got her the
	ring she really wanted.

Dorothy laughs.  He looks at her strangely.  Suddenly she
feels very nervous, as he sets down his bags.

			DOROTHY
	Sorry.  Uh, let me see, have a
	seat. I'll get you some aloe vera
	for that cut too.

			JERRY
	Do you have something to drink?

			DOROTHY
	Sure --

She moves to the kitchen door.  She is about to exit, when
Jerry begins to unburden.

			JERRY
	My brother works for the White
	House. He pretends he's an
	intellectual.  He pretends he's
	from the east coast.

She turns, not quite sure what his point is.  She waits
politely for Jerry to finish before exiting into the kitchen.

			JERRY
		(continuing)
	I was supposed to be the
	successful one.
			(more)
_
										73.


			JERRY (cont'd)
	But I don't want to talk about it.
	And yet!  My family.  I grew up
	with repression as a... a
	religion --you don't bitch.  No
	moaning!  Head down.  Do it,
	whatever "it" may be. My dad... he
	worked for the United Way for 38
	years!  You know what he said when
	he retired? He said, "I wish I'd
	had a more comfortable chair." 38
	years he sat in it!  Do you know
	what I'm saying, Dorothy?
	Repression as a religion. I'm
	almost as old as his chair.

He rubs his face.  She looks at him, and the situation
slightly overwhems her. Here he is, wide-open, ripe for the
taking.

			DOROTHY
	Beer okay?

			JERRY
	Yeah, thanks.

INT. KITCHEN

Laurel smokes a cigarette and blows it out the window.
Dorothy goes for the refrigerator, finds a couple beers.

			LAUREL
	I heard.

			DOROTHY
	No kidding.  I looked over and saw
	the shadow of two curious shoes in
	the doorway of the kitchen.

			LAUREL
	This guy would go home with a
	gardening tool right now if it
	showed interest.
		(off Dorothy's look)
	Wait.  Use the frosted glasses.

			DOROTHY
		(surprised)
	Thank you.

			LAUREL
	Look, here's some of that chicken
	with salsa too, I warmed it up --
_
										74.


			DOROTHY
	That's the girl I love.

			LAUREL
	But you just gotta hear me out on
	one thing.  You're very
	responsible with Ray and you know
	it's not right for a little boy to
	hear some strange man's voice in
	the house.

			DOROTHY
	As opposed to twenty angry women?

Dorothy turns quickly and the beer, sisters and chicken
collide in the small kitchen.  Dorothy deftly catches the
food in her t-shirt, and dumps it back onto the plate.  But
her shirt is now stained. She starts to quietly implode, and
Laurel takes command.  They know each other well.

			LAUREL
	Come on, let's get you another
	top --

They exit to nearby laundry room.

EXT. HOUSE/WINDOW OUTSIDE LAUNDRY ROOM -- NIGHT

Now camera starts to move around the house, from this window
showing the two sisters in the laundry room, to the living
room where Jerry sits alone.  We see Ray wander into the room
and stare at Jerry.

INT. LIVING ROOM -- NIGHT

Jerry, who is playing with a kaleidoscope on the table, looks
up to see Ray.

			RAY
	Hi.

			JERRY
	Hi Ray.

INT. LAUNDRY ROOM -- SAME TIME

			LAUREL
	All I'm saying.  You don't have
	the luxury of falling for some
	drowning man.  Be practical.  Now.
	Which top?

She holds up two tops.  One is sexier with a dipped down
front. The other is striped, cute, functional.
_
										75.


			DOROTHY
	Okay, you want to talk about
	practical? Let's talk about my
	wonderful life. Do you know what
	most other women my age are doing
	right now? They are partying in
	clubs, trying to act stupid,
	trying to get a man, trying to
	keep a man... not me. I'm trying
	to RAISE a man.

She grabs the sexier top, and puts it on.

			DOROTHY
		(continuing)
	I've got a 24 hour a day reminder
	of Roger, for the rest of my life.
	I have had three lovers in four
	years, all boring, all achingly
	self-sufficient all friends of
	yours I might add, and all of them
	running a distant second to a warm
	bath.  Look at me, Laurel, look at
	me.  I'm the oldest 26 year old in
	the world!  How do I look?

			LAUREL
	Good.

			DOROTHY
	Thanks.

INT. LIVING ROOM -- NIGHT

Jerry and Ray have a great conversation, playing tug with a
piece of rope.

			RAY
	And then my dad died and my mom
	took me to the zoo and I love the
	zoo. Do you hate the zoo or do you
	love the zoo?

			JERRY
	Wait.  I want to tell you more
	about my dad.

			RAY
	Let's go the zoo.

			JERRY
	Okay.  I've been hogging it.
	You're right.
			(more)
_
										76.


			JERRY (cont'd)
	All my life I've been trying to
	talk, really talk, and no one
	wants to listen.  You know that
	feeling?

Ray nods vigorously.

			RAY
	Let's go right now.  Let's go to
	the zoo.

			JERRY
	Aw, the fucking thing... I mean,
	the zoo is closed.

			RAY
	You said "fuck".

			JERRY
	Yeah I know.  I did.

Ray loves this guy.  He pats Jerry's knee.

			RAY
	I won't tell.

			JERRY
	We'll go to the zoo sometime.
	Okay? I think I might have some
	time on my hands.

Ray looks at Jerry's hands.

			RAY
	I don't see any.

			JERRY
		(points respectfully)
	Funny.

			RAY
	Funny...
		(imitates him)
		(hears mom
		 approaching)
	I better go to bed.

Ray hugs Jerry and exits.  Jerry sits contemplating the kid
for a moment.  The door swings open and a harried Dorothy
appears in the sexier top, but with a distinctly less sexy
attitude, and a tray.
_
										77.


			DOROTHY
	Drinks.  Food.  Plus, I called you
	a cab.

			JERRY
		(slightly confused)
	Good idea.  Thank you.

And we should keep our voices down a little.  I have a little
boy asleep.

			JERRY
		(continuing)
	Right.  Of course.

Jerry tries to twist open the beer, ripping at his palm. It's
not a twist-off.  She hands him an opener.  He opens it,
inelegantly.

			DOROTHY
	So.  Our company.

She watches the drunken man, who drinks. Then coughs a
little. Then stands.

			JERRY
	Okay.  Lil' speech before I go.

He gets up, woozy, but loose.  Powerfully:

			JERRY
		(continuing)
	Do.  Not.  Worry.  About.  Your.
	Job.
		(beat)
	Our company is in good shape. You
	and your son... we... are just
	fine.  You still have a job. I
	want you to feel confident!  In.
	Me.  And I have a problem with
	people who talk about themselves
	in the third person, but let me
	tell you something about Jerry
	Maguire.

His confidence nicely fueled, Jerry reaches for a fireplace
poker. He begins to joust with an imaginary opponent.

			JERRY
		(continuing)
	Come after me and you will lose I
	am a survivor!  Do not
	underestimate Jerry Maguire!  I've
	got wits!
			(more)
_
										78.


			JERRY (cont'd)
	I've got the instincts of a
	panther!
		(joust)
	I've got Dorothy Boyd on my side!

			DOROTHY
	Don't worry about me.  I can get
	jobs --

			JERRY
	We will be fine!

			DOROTHY
	-- especially one like this.

			JERRY
	And I am...

He becomes very aware of himself. Acting out in a virtual
stranger's small-but-comfortable living room.

			JERRY
		(continuing)
	I am drunk.

He collapses onto the sofa, embarrassed.  Shaking his head.
Dorothy scoots closer in an adjacent chair.  She breaks the
personal barrier, carefully touching his wound with the wet
tip of the aloe vera plant.

			DOROTHY
	Truth?

			JERRY
	Sure.

Dorothy turns to see that Laurel's two shoes are still very
visible at the kitchen door.  Decides to ignore them.  She
gets closer.

			DOROTHY
	Sure, I care about the job.  Of
	course.  But mostly...
		(very honest)
	...  I want to be inspired.

There is something inspiring about the way she says the word
"inspiring."

			JERRY
	Me too.

			DOROTHY
	What you wrote inspired me.
_
										79.


He is catching a scent of that most ancient elixer.  A
woman's affection.  Their heads inch closer together.

			DOROTHY
		(continuing)
	I'm working with you because of
	that memo...

			JERRY
	Mission... statement...

They kiss.  It turns rather passionate.  She places a cool
hand on his cheek.   He places a hand on her breast.  The
taxi beeps outside.  She pulls away.  Both regard the hand on
her breast.

			DOROTHY
	Well.

			JERRY
	Sorry about this hand.
		(he rises unsteadily)
	You know that feeling -- you're
	not completely embarrassed yet,
	but you glimpe tomorrow's
	embarrassment?

			DOROTHY
	Don't worry about it, boss.

			JERRY
	Oh shit.  You said "boss."

			DOROTHY
	Yeah, I did.

			JERRY
	Now I feel like Clarence Thomas.

			DOROTHY
	No.  No don't feel like Clarence
	Thomas.

			JERRY
	No, I do.  I feel like Clarence
	Thomas.
		(the worst day ever)
	I'm like... harrassing you...
	right now.

			DOROTHY
	I may not sue.

He laughs a little.  Music.  Unsure what more to say, Jerry
rubs his face.  And then:
_
										80.


			JERRY
	Well, good evening.

			DOROTHY
	Good evening.

He stands, returns the fireplace poker to her, and exits.
Stumbling slightly on the first step leading down from the
front porch, he recovers with style.

			JERRY
	We'll be okay.  And I'm going to
	take my... one client and we're
	gonna go all the way.

He takes a few more steps, re-balancing bags, coughs a
little.  He is a mess, and he knows it.

			JERRY
		(continuing; loving
		 the dark humor)
	Hey. I'm back.

She laughs, waves, and exits back into the kitchen.  She
regards the poker still in her hand. Laurel watches her
conflicted, slightly lovesick sister.

INT. CAB -- NIGHT

Jerry in the back of the cab.  He turns for a moment, looking
back at the warm house he's just left. Something is
scratching at his soul, trying to get in. Music continues. He
was strangely comfortable there, as the house disappears from
his view.

								FADE TO

EXT. TEMPE PRACTICE AREA -- DAY

Rod Tidwell races to catch up to a wobbly, overthrown pass.
He snags it out of the air, and moves gracefully downfield.
He turns back to shout at the quarterback for the wobbly
pass, and slams into a padding post.  Dennis Wilburn, the GM
we met earlier, crosses in front of Maguire, giving him a
look.  Maguire forges ahead anyway.

			JERRY
	We gotta talk about his contract,
	Dennis.

			WILBURN
	Your timing is impeccable,
	Maguire. Gee, I can't imagine how
	you ever lost Cush...
_
										81.


Wilburn moves on, scoffing loudly.

INT. LOCKER ROOM SHOWER AREA -- DAY

Jerry stands in pre-season locker-room.   Off-stage we hear
a shower.  In the b.g., one of those locker-room psych-up
signs like: Injuries happen first in the mind.

			JERRY
	I started talking with Dennis
	Wilburn about your renegotation.

Rod emerges naked, dripping wet, pissed.

			TIDWELL
	Did you tell him about the "ten
	million for four years?"

			JERRY
	Uh, not today, but --

			TIDWELL
	John Taylor.  J.J. Stokes.  Andre
	Rison.  I SMOKE all these fools,
	and yet they're making the big
	sweet dollars. They're making the
	money, and I got an agent that
	ain't even put the number on the
	table.

			JERRY
	I understand your anxiety.

			TIDWELL
	Maybe you don't.  Because it's not
	just the money I deserve.  It's
	not just the "coin."  It's the...

He says this next word royally, as if it's fine silk.

			TIDWELL
		(continuing)
	--  the kwan.

			JERRY
	That's your word?

			TIDWELL
	Yeah, man, it means love, respect,
	community... and the dollars too.
	The package.  The kwan.

			JERRY
		(impressed)
	But how did you get "kwan?"
_
										82.


			TIDWELL
		(irritated)
	I got there from "coin," dude.
	Coin, coin... kwaaaan.

			JERRY
	Great word.  Towel?

			TIDWELL
	No, I air-dry.

			JERRY
	Rod, I say this with great
	respect, but those players you
	mentioned are marquee players
	and --

A portable phone beeps.

			TIDWELL
	Is that your porty or mine?

			JERRY
	You.

Tidwell rummages in his bag.  Finds one of two porties and
answers the one with a Polaroid of Marcee taped to it.

			TIDWELL
	Hi baby. Yeah, I'm just breakin'
	in the new agent.  He says I'm not
	marquee.  I know... I know...

Tidwell holds up the phone so Jerry can hear the sound of
Marcee going off.

			TIDWELL
		(continuing)
	My wife is upset with you.

INT. LOCKER ROOM MIRROR -- DAY

The conversation continues as Tidwell fixes hair in the
mirror. Jerry  speaks  to  the  reflection,  taking  him  on,
gesturing passionately.  Tidwell, still naked, may or may not
be listening.

			JERRY
	Here's what I'm saying.  This is
	a renegotiation.  We want more
	from them, so let's show them more
	from us. Let's show them your pure
	joy of the game, let's bury the
	Attitude a little, let's show
	them --
_
										83.


			TIDWELL
		(irritated)
	You're telling me to dance.

			JERRY
	No, I'm saying to be --

He mimes a dainty little showboat-touchdown dance.

			TIDWELL
		(little voice)
	"Love me love me love me... put me
	on t.v."
		(pissed)
	That's the iconography of rascism,
	man!

			JERRY
	Rod, I'm not a rascist.  I'm
	telling you to be the best version
	of you, to get back to the guy who
	first started playing this game.
	Way back when you were a kid.  It
	wasn't just about the money, was
	it?

Tidwell gives him a look.  Money was always a factor.

			TIDWELL
	Do your job, man, don't tell me to
	dance.

			JERRY
	Fine.

He begins gathering his things.

			TIDWELL
	I'm an athlete, not an
	entertainer. These are the ABC's
	of ME.  Get it? I don't dance.

Jerry rubs face.

			TIDWELL
		(continuing)
	What's wrong.

			JERRY
	Forget it.  Forget it.

			TIDWELL
	No tell me.
_
										84.


			JERRY
	I'm out here for you!  You don't
	know what it's like to be me out
	here for you. It is an up-at-dawn
	pride-swallowing seige that I will
	never fully tell you about! Okay?!
	Help me help you help me help you.

			TIDWELL
	You're hanging by a very thin
	thread, dude.  And I dig that
	about you.

Jerry has had enough for one day.

			JERRY
		(loopy, punch-drunk,
		 arms flailing)
	Hey.  I'm happy to entertain you!
	I'll see you in L.A.!

Tidwell watches his agent lurch off, muttering and swaying.

			TIDWELL
	See, man, that's the difference.
	between us.  You think we're
	fighting, I think we're finally
	talking!

INT. LAX AIRPORT -- DAY

Jerry moves slowly through crowded airport, preoccupied with
thought.

INT. JERRY'S HOME OFFICE -- LATER DAY

Jerry enters, carrying bags, weary.  Dorothy greets him. They
are stuck in his small condo, and the scent of their previous
encounter is still in the air.  She hands him a list of his
calls.

			DOROTHY
	Dennis Wilburn called from Arizona
	to say he's faxing in the new
	Tidwell offer on Thursday morning,
	and you'll be happy.

			JERRY
		(jolted into
		 happiness)
	Happy. He said "happy?"

			DOROTHY
	Actually he said "glad."
_
										85.


			JERRY
	Good.  Good.  Glad is good.

			DOROTHY
	Plus, you could use that
	commission.

She hands him a financial report she's done.  He takes a
quick look, seeing the thorough work she's already done.

			JERRY
	I sunk most of what I had into
	this condo, which devalued, and --

			DOROTHY
	You don't have to explain.

			JERRY
	Look, the other night, I want to
	apologize.

			DOROTHY
		(can't read her)
	Yeah, what happened there.

			JERRY
	We're two people working together
	and we can't have an atmosphere.

			DOROTHY
	I'm relieved you said that.

			JERRY
	I mean, the other night was... I
	felt like you understood something
	I could barely even say, something
	way down deep in the murk --
		(beat)
	-- but we have a company here to
	think about.  I won't ever take
	advantage of you in that way again.

			DOROTHY
		(evenly)
	Oh good.

			JERRY
	You walked out on a job for me,
	and I won't ruin that.

			DOROTHY
	Exactly because I know this is a
	time when you need to be alone
	with your thoughts.
			(more)
_
										86.


			DOROTHY (cont'd)
	Think about everything that's gone
	wrong, how to fix them, and just
	be... alone, alone, alone.

Dorothy in the background of the shot, watching his reaction.

			JERRY
	You want to go out to dinner?

INT. DOROTHY'S LIVING ROOM -- DAY

Dorothy looks for a jacket as Laurel helms the Divorced
Women's group in the living room.  Jan speaks through her
whistly braces, gesturing with a too-full glass of red wine.

			JAN
	I broke up with the Cowboy. And
	now he's stalking me...

			ALICE
	What's the current definition of
	stalking?

			WOMAN # 1
	Coming over uninvited.

			JAN
		(thoughtful)
	So Romeo under the trellis... was
	a stalker.

Meaningful sounds of revelation, as Dorothy finds the jacket.

INT. HALLWAY -- NIGHT

Dorothy stops in the hallway to see that Jerry Maguire has
arrived at the back-kitchen door.  She watches unseen as
Maguire shakes hands with Chad the Nanny and is hit suddenly
by a flying hug from Ray.  He gives the kid an athletic bag,
which is filled with state-of-the-art promotional athletic
wear, etc. ("Brought you some swag.")  Ray continues hugging
Jerry.

INT. KITCHEN -- NIGHT

Jerry is a little embarrassed by the affections of the kid.
Dorothy enters.  Expertly breezy.

				DOROTHY
		Hey, looks like you've got a fan.
_
											87.


				JERRY
			(outdressed)
		Wow.  That's more than a dress.
		That's an Audrey Hepburn movie.

				DOROTHY
		Yeah -- guess I got revved up at
		the idea of an evening among
		adults -- no offense buster.
			(then)
		You meet Chad the nanny?

				JERRY
		Yeah, I did -- am I dressed okay?
		I guess I didn't realize we were...

He doesn't finish the words "going out on a date."  The
cacaphony of the Boyd home swirls around Maguire.  It's a new
sensation for this bachelor.

				DOROTHY
		Don't let him stay up too late.

				CHAD
			(grandly)
		Hey, man, tonight I'm going to
		teach Ray about jazz.

				DOROTHY
		Good, that'll put him to sleep
		early. No offense.

She twirls toward the door, grabbing her purse.

				CHAD
		You know, you people have a jazz
		problem in this house.

Laurel enters, adding to the chaos, adlibbing hellos.

				RAY
		I wanna go too.

Laurel gives Ray a look.  Ray backs down, as Jerry hears
snatches of the Women's group going full blast in the living
room.

				DOROTHY
		We'll see you soon, honey. Bye.

				JERRY
		Bye you guys.
_
											88.


Ray extends his arms, he wants a hug.  Jerry bends down
awkwardly to give him one, and Ray plants a kiss on Jerry's
cheek.  All are surprised, especially Jerry.  Dorothy is
struck and moved.  Shot falls on Ray who watches Jerry exit
with wonder. Even at his age, he knows a prize when he sees
one.

INT. KITCHEN-- NIGHT

Laurel looks out the window, watches her sister exiting. She
is equal parts jealous and protective.  She spots keys on
counter. She grabs them and runs out to catch her sister on
the lawn. "All Shook Down."  Replacements.

EXT. DOROTHY'S HOUSE -- NIGHT

Jerry and Dorothy exit through the many cars which we now see
are parked on the street and the front lawn.  The sound of
the Women's group is heard in the warmly glowing house behind
them.

				LAUREL
		Hey!

As Jerry moves ahead to the car, Dorothy retreats so she can
have privacy with her sister.

				LAUREL
			(continuing)
		Forgot your keys --

				DOROTHY
			(privately)
		That's the first time I ever saw
		him kiss a man, like a dad, wasn't
		that just... thrilling?
			(eyes tear up)
		I mean, he must have been needing
		that.

Women's group laughter in the distance as Laurel attempts to
glue her emotional sister back together.  She holds her arm.

				LAUREL
		No no.  Don't cry at the beginning
		of the date.

				DOROTHY
			(laughing, wiping
			 tear)
		Oh, knock it off!
_
											89.


				LAUREL
			(can't help it)
		And don't be a shoulder for him to
		cry on either.

We stay with Laurel as she watches her sister exit.   Music
continues.  Lit by streetlight, Dorothy runs like a young
girl, across the lawns of this car-filled neighborhood,
slapping away the leaves of a tree, running to Jerry down the
street.

INT. ANTONIO'S RESTAURANT -- NIGHT

Jerry and Dorothy sit at the table of this Mexican
restaurant. In the background, Mariachis play.

				JERRY
		It was laziness1 my whole breakup
		with Avery. You know that thing
		you say, "it's nobody's fault."
		It's one of the great lies, right?
		Someone is always to blame -- if
		you go for it, go for it like you
		do a job, work at it --

				DOROTHY
		Maybe love shouldn't be such hard
		work. I know, but --

Mariachis approach the table.

				HEAD MARIACHI
		A song for the lovers?

				JERRY/DOROTHY
			(too quickly)
		No.  No thanks.

				DOROTHY
		We work together.

Jerry slips the guy a few bucks to go away. They do so,
reluctantly.

				JERRY
		See, you choose. If you fall for
		someone, if you make a commitment,
		you should make it work.  It's
		only when "options" entered the
		picture that things got bad. I'm
		speaking historically now.  It's
		a modern day concept,
		nueroticism -- how do I feeeeeel?
		-- I think the only good thing to
				(more)
_
											90.


				JERRY (cont'd)
		come from this period in history
		is probably the movie "Annie Hall."

				DOROTHY
			(evenly)
		Maybe you should call her.

				JERRY
		No no no.  I just underestimated
		her...
			(touches wound)
		her temper, I guess.  Why are we
		even talking about this?

A FLOWER GIRL approaches the table with an armful of roses.

				FLOWER GIRL
		A rose for the lady.

				JERRY
		You want a --

				DOROTHY
		_(_   (scoffs)
		No.  No way.

Jerry gives her few bucks, she exits.

				DOROTHY
			(continuing)
		Yeah.  It wasn't like my marriage
		to Roger was so great, even
		before --
			(stops herself)
		Jerry?

				JERRY
		What?

				DOROTHY
			(simply)
		Let's not tell our sad stories.

Jerry laughs to himself. He admires her directness.

				DOROTHY
			(continuing)
		I'll be right back. Quit thinking
		those murky thoughts, okay? We're
		young, we're semi-successful. Life
		is good.

She exits and we hang on him for a moment.
_
											91.


INT. BATHROOM -- NIGHT -- MINUTES LATER

Dorothy on the phone outside the bathroom.

				DOROTHY
		No, now... come on... let Chad
		catch the bee in a glass.  He
		won't hurt it. Aw, buddy, you got
		such a good heart. I love you,
		I'll be home soon.  Can't wait to
		see you.

EXT. BATHROOM

Sbe exits the bathroom and stops at the sight of what is
happening at the table. Jerry, hand on face, is
embarrassingly being serenaded by the Mariachis, who now play
a mournful "Tears in Heaven."  She smiles at the image, in
fact the poetry charms her. Dorothy moves forward, grinning,
fishes some bucks out of her pocket, and sends the Mariachis
in another direction.

				DOROTHY
		Come on, let's take a walk.

INT. DOROTHY'S PORCH -- NIGHT

Music feathers into sounds of night.  A bug buzzing from the
nearby light, Jerry swats it away.

				JERRY
		Well -- this would be goodnight.

				DOROTHY
		Good night.

They don't kiss.  They take great care not to touch too much.

				JERRY
		I'll see you tomorrow.

They don't move. On impulse, she grabs him and pulls him
close. Kisses him.  It's a good one.

				DOROTHY
		Good night.

But they don't move.  He pulls her closer by her straps.
They break.  She holds them up, nervous now. His lips travel
down. He kisses her upper chest. She sighs deeply, she's
missed this feeling.  Jerry rises to kiss her lips again,
tying her straps back on. Her expression says there is a
decision to make. She concentrates on the styrofoam container
she's brought back from the restaurant.
_
											92.


				DOROTHY
			(continuing; breath)
		I think you should not come in, or
		come in depending on how you feel.

				JERRY
		Same to you.

				DOROTHY
		No.  I have to go in.  I live here.

				JERRY
		Right.  I'll come in.

				DOROTHY
		Okay. Wait here a second.
			(beat, then)
		Do we really want to do this?

				JERRY
			(half-unsure)
		Oh hell yes.

She exits, as shot lingers on Jerry.  That odd moment when
you've crossed the line.  He takes a breath.

INT. LIVING ROOM -- NIGHT

Dorothy enters to find Chad watching t.v.  The house is now
quiet, the remains of the Divorced Women's group is still in
evidence.

				DOROTHY
		He's asleep, right?

				CHAD
		Yeah, how'd it go with Sportboy?

				DOROTHY
		Still going.

Chad raises his eyebrows.

				DOROTHY
			(continuing)
		Shhh.

EXT. PORCH -- NIGHT

Jerry on the porch, as Chad exits.  Chad now fully plays the
part of friend with seniority.  Looks the taller Jerry up and
down.

				CHAD
		Treat her right, man.  She's...
_
											93.


				JERRY
			(self-conscious)
		Yeah... well...

				CHAD
		She's great.  And I know this is
		a little awkward, but I want you
		to use this.

Chad ruumages in bag for a moment.  Jerry is somewhat
horrified at what Chad might be giving him.  Out comes a
cassette tape.

				CHAD
			(continuing; intense)
		This... is Miles Davis and John
		Coltrane. Stockholm.  1963... two
		masters of freedom, playing in a
		time before their art was
		corrupted by a zillion cocktail
		lounge performers who destroyed
		the legacy of the only American
		artform -- JAZZ.

Jerry takes the tape, as the front door squeaks open.
Dorothy shoos Chad away, quietly leads Jerry inside.

INT. BEDROOM-- NIGHT

Fierce, driving jazz. Dorothy and Jerry making out on bed.
Getting hotter. The music gets wilder. Finally it is
impossible to ignore, and Jerry collapses backwards on the
bed laughing.  She is left frozen, her arms open but he is
gone.

				DOROTHY
		What is this MUSIC?

They both crack up, and she kisses him as the music plays. He
looks at her. She turns away, then back again, he's still
looking at her. It's a powerful moment for her.  Laughter
continues, the music is ridiculous. (Their sex is a big
difference from the let's-be-intense sex with Avery.)

INT. KITCHEN -- NIGHT -- SAME TIME

Laurel just home from work in nurse uniform, has a late-night
joint and carefully blows the smoke out the window.  Laughter
from the next room.  She pops open the styrofoam appetizers
her sister brought back from dinner.

									DISSOLVE TO:
_
											94.


INT. DOROTHY'S BEDROOM -- MORNING

Radio clicks on.  It's still dark.  Only the glow of the
digital lamp.  Jerry alone in bed.  He gets up, coughs, pulls
on some pants.  Manuevers through a strange bedroom, steps on
toys.

INT. KITCHEN -- MORNING

Dorothy and Laurel in the kitchen, waiting far the first
possible drops of coffee.

				DOROTHY
		I'm getting him up, don't worry.'
		Ray will never see his mother's
		raging physical needs.

She starts to exit, but Laurel pulls her back far a second.

				LAUREL
		First you gotta tell me something.

				DOROTHY
		No--

INT. HALLWAY -- MORNING

Jerry moving dawn the hallway, hears voices.

INT. KITCHEN -- MORNING

				LAUREL
		Because I'm worried that you're
		putting your faith in this guy
		who, because of the way things are
		going, may not have an emotional
		marble in his head.

				DOROTHY
		Please, if I start talking --

				LAUREL
		Guys are just different people
		when they're hanging onto the
		bottom rung.

ON JERRY

listening.  Pinned to the wall, listening to the kind of
honesty an agent rarely hears.

				DOROTHY
		... so what am I, for taking the
		opportunity, Laurel?
				(more)
_
											95.


				DOROTHY (cont'd)
		Maybe I am taking advantage.  Am
		I a bad person? All I know is that
		I found someone who was charming
		and popular and not-so-nice to
		me -- and he died.  Okay?  So why
		should I let this guy go, when
		everything in my body says This
		One is The One.

				LAUREL
		Easy, hon, I was just looking for
		fun details --

				DOROTHY
		Oh, well, why didn't you say so?
		And oh, I don't know if you're
		interested in this detail, but I
		was just about to tell you that I
		love him.  I love him, and I don't
		care what you think.  I love him
		for the guy he wants to be, and I
		love him for the guy he almost is.
		I love him.

They look at each other. The cat is way, way out of the bag.

ON JERRY

rubbing his face.

				RAY
		Hi Jerry!

Dorothy leans into the hallway now, sees Jerry standing
there, well within earshot.  As Ray pounds down the hallway
in his new over-sized shirt, brought by Jerry, Dorothy begins
to crumble. The lack of control in her life is overwhelming
her.

				DOROTHY
		Oh God.

				JERRY
		Easy, easy --

Jerry enters the kitchen, stands near Laurel.

				JERRY
			(continuing)
		I could pretend I didn't hear, but
		I won't, I heard everything.
			(to Laurel)
		Thank you for your honesty, as
		always.
_
											96.


				LAUREL
			(frozen polite)
		Coffee, Jerry?

				JERRY
		Oh, no thanks.  We bottom-feeders
		prefer cereal first --

				RAY
		Let's have Apple Jacks!

Apple Jacks it is.  Dorothy, good morning, darling. He kisses
her on the cheek, in full view of Ray.  Dorothy, still
embarrassed, not sure what is going on, reaches for cereal.
Jerry sits down for breakfast.  They are an odd, but fairly
complete-looking family.

				RAY
			(continuing)
		What's going on, Jerry?

				JERRY
		A lot.  We got a big fax today...
		we need this commission, buddy.

The sisters look at each other.  Ray looks around, he feels
happy, but there is something else in the room.  He shrugs
and continues to feel happy.

INT. JERRY'S HOME OFFICE -- LATER DAY

Jerry and Dorothy prepare for the Tidwells, cleaning up the
cramped office, unstacking chairs and making room.

				DOROTHY
		That was great of you this morning.

The Tidwells honk, arriving in the driveway.

				JERRY
			(friendly, dismissive)
		Look, let's just root for a big
		offer so we can move out of this
		room to a real office.

She feels slightly slapped down, but covers.  She opens a
window quickly, and busies herself with the clutter at hand.

ON FAX

Connecting.
_
											97.


FOUR FACES

waiting for the results.  Everybody has a stake in this fax.
Lives are very clearly hanging on this results.  Marcee shuts
her eyes.

				MARCEE
		Read it to me, and don't say
		anything unless it's over nine.

There is a stunning disappointment on the fax.  Jerry's heart
sinks.  His face slackens.

				JERRY
		Aw shit --

Rod turns away.  Dorothy shuts her eyes, as Marcee opens hers.

				MARCEE
		One-point-seven for three years.
		That's below average.  We owe more
		than that...

It is so very painful for her, as Tidwell slinks off to sit
in a seat too small for him.

				JERRY
		I'll go back to them.

				MARCEE
			(explodes)
		And say what?  "Please remove your
		dick from my ass?!"

Both men look at her. The outburst has surprised even Marcee.

				MARCEE
			(continuing)
		I'm sorry.  I'm a little pregnant
		right now.

				TIDWELL
		I feel like crying.  I feel like
		breaking the room up.

				JERRY
		Okay, we don't take this
		emotionally. We roll with this
		problem.

				MARCEE
		What are you talking about --
		"don't get emotional." If you ask
		me, you haven't gotten emotional
		ENOUGH about this man.
_
											98.


				JERRY
		Marcee --

				MARCEE
		What DO you stand for???

Dorothy looks right and left, can't hold back.

				DOROTHY
		How about a little piece of
		integrity in this world that is so
		filled with greed and a lack of
		honorability that I don't know
		what to tell my kid except take a
		look at a guy who isn't shouting
		"show me the money," he's quietly
		broke and working for you for free!
			(off Jerry's pained
			 look)
		Well, I'm sorry, I'm not as good
		at the insults as she is.

				MARCEE
		No, that was pretty good.

				TIDWELL
			(impressed)
		No shit.

				DOROTHY
		In fact, you should read something
		that meant the world to me...

She opens a drawer, and withdraws the Mission Statement. She
is headed across the room to give it to Marcee, when Jerry
swiftly intercepts it.

				JERRY
		Another time, okay Dorothy?

				DOROTHY
		Fine, I just --

				JERRY
		And I appreciate that impulse.

Jerry throws the Mission Statement into a bottom drawer.
Camera moves to Tidwell, and we see him for the first time
without his protective shield of attitude.  Scared.

				TIDWELL
		Tell me what to do, Jerry.  You
		tell me to eat lima beans, I'll
		eat lima beans.
				(more)
_
											99.


				TIDWELL (cont'd)
		If you say take the shitty deal,
		that's all we can get --

				MARCEE
		"All we can get?"

				TIDWELL
		Can I SPEAK with my agent here?

Marcee is passionate.  Focused on Rod.

				MARCEE
		You know what you're qonna do,
		Rodney. You're gonna reject this
		shitty contract. You're gonna play
		out your existihg shitty contract
		and go be a free agent next year
		and the hell with Arizona. This is
		us, and we determine our worth.
		You're a fine, proud, surviving,
		splendid black man.

Beat.  Truer words...  The big man looks into his wife's eyes.

				TIDWELL
		Honey, you are just --

No one else in the world exists.  They are focused totally on
each other.  Jerry and Dorothy in the background, just
watching the intricate machinery of this marriage.

				TIDWELL
			(continuing)
		-- the shit.

She caresses the back of his neck.  He pulls her to him.  He
gives her a small kiss.  Dorothy and Jerry look at the
couple, fascinated and somewhat uncomfortable.  There is a
palpable forcefield around the Tidwells.  They are a couple
in every passionate sense of the word.  After a beat:

				JERRY
		If you get injured, you get
		nothing.

				TIDWELL
		Won't happen.  I'm strong in my
		mind.

				JERRY
		It's a risk.

Jerry looks over to Dorothy, who grits her teeth at the
implications of the decision.
_
											100.


				TIDWELL
		Bet on me, dude.  Bet on me like
		I bet on you.

Tidwell puts his hand out.  Maguire is conflicted, but he
takes a breath and shakes.

EXT. JERRY'S HOME OFFICE -- LATE AFTERNOON

Tidwell and Marcee exit.  Dorothy and Jerry on the lawn.

				JERRY
		I'll get you some quick work --

				TIDWELL
		Good deal, man.

				MARCEE
		I'm sorry what I said back there.

				JERRY
		Don't be silly.

				MARCEE
		My husband believes in you.  We're
		gonna make it.  Bye bye Dorothy.

				DOROTHY
		Take care you guys.

Tidwells exit.  Finally, Dorothy and Jerry are alone.  The
Tidwell situation has left an ominious feeling in the air.

				DOROTHY
			(continuing)
		Look...  I was up for a job in San
		Diego before I left SMI. It's with
		the Chargers.

AIRPLANE WHEELS

touching down.

				JERRY
		Don't even talk about that yet.
		I'll find something fast for
		Tidwell. We'll stay afloat.

EXT. COMMERCIAL SET/TAYLOR CHEVROLET/ARIZONA -- DAY

Tidwell stands on the set of a regional Arizona car
commercial. It is a hot day.  Three other bored, large
Arizona athletes wait by a coffee machine, as Jerry's friend,
director Bill Dooler appears ready to implode.  Dooler is
arguing with Tidwell.
_
											101.


Maguire stands slightly away, acting as referee.  Nearby, a
camel.

				DOOLER
		Look, Rod, just get on the camel!

				JERRY
		Bill, Rod, wait --

				TIDWELL
		Dude, know your art form.  If you
		put the camera down here, looking
		up, I look more powerful.  There's
		no need for a camel... you got ME.

				JERRY
		Rod, get on the camel.

				DOOLER
			(shoots look to Jerry)
		The sponsor wants a camel --

				TIDWELL
		Jerry, back me up.  It's either
		the camel or me...

Tidwell waves his arms, spooking the camel, who spits and
stormps. Several crew members scatter in various directions.

				JERRY
			(takes the bullet)
		Airight.  Enough.  I'm pulling him
		out of this.  This isn't what I
		had in mind anyway.

				DOOLER
		Then you shouldn't have begged me
		to hire him.

EXT. SET -- LATER

Jerry and Tidwell walk quickly from the set.  In the
background, another athlete rides the camel.

				TIDWELL
		There you go, dude.  You're
		learning how to represent me.  We
		ain't gonna bring Nike to their
		knees with some regional camel
		ad --

Jerry rubs his face.
_
											102.


				JERRY
		Can I ask you a question totally
		unrelated to your career?

				TIDWELL
		Oh, we gonna be friends now?

				JERRY
		What do you know about dating a
		single mother?

Tidwell warms to the personal question.

				TIDWELL
		Oh I know plenty.  I was raised by
		a single mother.

				JERRY
		Tell me, because it's been a
		month, and she's about to take
		another job in San Diego.

Tidwell is always happy to hold forth.

				TIDWELL
		First, single mothers don't
		"date." They have been to the
		circus, you know what I'm saying?
		They have been to the puppet show
		and they have seen the strings.
		You love her?

				JERRY
		How do I know?

				TIDWELL
		You know when you know.  It makes
		you shivver, it eats at your
		insides. You know?

				JERRY
		No, I don't know.

				TIDWELL
		Then you gotta have The Talk.

				JERRY
		But I sure don't like that she's
		leaving.

				TIDWELL
		Well, that ain't fair to her.  A
		single mother, that's a sacred
		thing, man.
_
											103.


				JERRY
		The kid is amazing.

				TIDWELL
			(shaking head)
		No.  A real man does not shoplift
		the "pooty" from a single mom.

				JERRY
		I didn't "shoplift the pooty."  We
		were thrown together and -- I mean
		it's two mutual people who --
			(a look)
		Alright, I shoplifted the pooty.

				TIDWELL
		Shame on you.  SHAME on you.

INT. ZOO -- DAY

Jerry, Dorothy and Ray at the zoo.  Ray straining at Jerry's
arm. Life-changing decisions in the air.

				DOROTHY
		They offered me everything I asked
		for, it's only 2 hours away. I
		think it's good for us.

Jerry feels tugged in many directions, and not just by Ray.
They approach the reptile house.

				RAY
		Show me the animal, Jerry!

				JERRY
		Right up ahead, buddy --

They approach the Reptile House, where a small crowd is
gathered.

				JERRY
			(continuing)
		-- I give you my favorite animal
		in the zoo.  Are you ready for the
		weirdness, the strange perfection
		and truth of...

				RAY
		I'm scared.  What is it?

				JERRY
		It's in a cage.  Do not be scared
		of...

A few people peel away, revealing...
_
											104.


				JERRY
			(continuing)
		The Two-Headed Corn Snake.

THE TWO-HEADED CORN SNAKE

A friendly but confused looking reptile.  The snake has two
heads, both identical, both twisting and battling each other
for direction.  Aw-ed chatter around the animal ranges from
"weird" and "wow" to "mira mira!  Dos cabezas!"  Few can turn
away.

				RAY
		Whoa.

				DOROTHY
			(quietly)
		Two heads.  My God...

Jerry is happy to play tour-guide.

				JERRY
		Both heads have brains.  Both
		heads eat, both heads battle for
		direction all day long.
			(meaningful)
		Man, can I relate.

The odd animal moves forward, fighting itself constantly.

				RAY
		Me too.

Dorothy just looks at the two men in her life.  She turns to
Anonymous Man standing nearby, staring at the animal.

				DOROTHY
		Is this a guy thing?

				ANONYMOUS MAN
		It is, and it isn't.

ON THE TWO-HEADED CORN SNAKE

strangely endearing, jittering and moving around the cage.

EXT. DOROTHY'S FRONT YARD -- DAY

A U-Haul is parked in the driveway.  Inside the cab, a very
sad Ray.  Jerry approaches carefully.  Ray does not look at
him.  He opens the door, scoots the kid over, and sits next
to him.
_
											105.


EXT. DOROTHY'S LIVING ROOM -- DAY

Laurel and Dorothy say goodbye.

				LAUREL
		You're doing the right thing. I
		mean, come on.  You need to start
		your life and he... he needs a
		warm body to cushion the fall.
		Check out exhibit A on the front
		lawn --

POV -- THE SISTERS

We see Jerry, following Chad back to the house, saying
goodbye too many times. He's anxious not to be left alone.
Finally Chad grabs him by the shoulders, says goodbye, as a
sad Ray trudges to the cab of the U-Haul.  Jerry now follows
Ray to the car.

EXT. DOROTHY'S PLACE -- DAY

Jerry scoots a very sad Ray over, and talks to him in the car.

				JERRY
		I'm not good at this.

Ray begins to cry. Jerry is incapable of dealing with it.

				JERRY
			(continuing)
		I'll see you this weekend, okay?
		Promise.

Ray wails.  Jerry squeezes his shoulder, it does nothing, so
he exits. He rises and faces Dorothy, keys in hand.

				JERRY
			(continuing)
		Sure you're okay to drive this?

				DOROTHY
		This rig? Phht.  No problem.

				JERRY
		So I'll see you this weekend.

She accepts it casually, with a shrug.

				DOROTHY
		Airight, so goodbye and --
			(simple, with shrug)
		I love you.

Jerry blinks.
_
											106.


				JERRY
			(too quick, weirdly)
		... I love you too, you know.

She reacts with an odd look.  The words don't sound right,
and he knows that she knows.

				JERRY
			(continuing)
		What --

				DOROTHY
		Look, just in case this weekend
		becomes next month and next month
		becomes... whatever...
			(beat)
		Don't make a joke of your life.
		Go back and read what you wrote.
		You're better than the rest of
		them, better than the Bob Sugars,
		and don't forget it.

He shudders a little with the intimacy of her words.  She
kisses him, and moves quickly toward the car, leaving him
alone in frame. He grows increasingly uncomfortable.  He
watches her leave.

				JERRY
		Wait a second.

ON DOROTHY

moving to her car.  She hears him.  It's not loud enough for
her.

				JERRY
		WAIT A SECOND!

She stops, smiling very slightly to herself , biting her lip.
She turns and he is now close to her.

				JERRY
			(continuing)
		I know a way to s... to save on
		Medical and rent and... look...

He grips one hand with the other.  Dorothy looks at his
strange behavior.  He looks over to the cab, where Ray is
making a sad face at him through the window.

				JERRY
			(continuing)
		...  what if we stayed together?
		What if we uh... got married.
_
											107.


She looks at him.  It's an odd proposal.

				JERRY
			(continuing)
		If I said that, would you stay?

				DOROTHY
		No no.  Don't do that.  Don't say
		that if you don't...

				JERRY
		Will you marry me?

She looks at him, full of love, dabbing at her mascara.

EXT. DOROTHY'S BACKYARD -- DAY

Rod Tidwell sings Marvin Gaye's "What's Going On" at the
wedding for assorted guests gathered here in the backyard.
Contrary to his own belief, Rod is not a gifted singer.  In
the wedding band, standing on a small stage in the corner,
are Chad and Dooler.

ON JERRY

who stands watching, smile pasted on, with stoic FATHER and
well-dressed BROTHER.

				BROTHER
		Where are all your friends?

				JERRY
			(looking around)
		In the band.

INT. DOROTHY'S LIVING ROOM -- NIGHT

We are close on Ray now as we hear the sound of a Reverend
reading wedding vows.  Ray holds the ring, and waits for his
cue to offer it.  But he has forgotten the cue.  And every
time the Reverend pauses, he starts to offer the ring.

Dorothy's leg and hand are visible in frame.  She calms him
with a hand on the shoulder.  And finally the cue comes and
he offers the ring.

INT. DOROTHY'S HALLWAY/KITCHEN -- NIGHT

The bride and groom catch each other, post-wedding, in the
hallway of the small home where the event has taken place.

				DOROTHY
		Wow.  We actually --
_
											108.


				JERRY
		Yeah, we did.

Giddy, Dorothy heads into the living room where Friends and
relatives watch the video of the wedding. And now the
enormity is evident on Jerry's face. Warm laughter in the
b.g.  More laughter and family noise in the background now.
He holds onto a table for a moment, steadies himself.  Jerry
takes a breath and moves into the kitchen.  Finds a beer.  He
turns and finds himself alone with Laurel, for the first
time.  She raises her beer.  They toast, warily.

				LAUREL
		If you fuck this up, I'll kill you.

				JERRY
			(as she exits)
		Glad we had this talk!

Nearby, Tidwell watches all.  He moves to Jerry.
Confidentially:

				TIDWELL
		You never had The Talk, did you?

				JERRY
		No.

				TIDWELL
		Well, this was another way to go.

Jerry smiles.  Dorothy brings Jerry a Poloraid someone took,
and for a moment the couple stands awkwardly together.
Tidwell rubs Jerry's shoulders a little, announcing to the
room:

				TIDWELL
			(continuing)
		This is my agent, man!  And we're
		all gonna have a great season!

He pounds Jerry on the back, hard, shaking him like a pinata.

									FADE TO

EXT. PHILADELPHIA PLAYING FIELD -- DAY

Tidwell catches the ball, takes a vicious hit. The season is
on.

INT. PHILADELPHIA PRESS BOX -- DAY

Across the room, he sees GM Dennis Wilburn standing with
Avery.
_
											109.


He turns away, passing a monitor where elsewhere in the
country, Frank Cushman is having another sensational Sunday.

INT. TIDWELL LIVING ROOM/PHOENIX -- DAY

This is the Tidwell family ritual of watching Rod's games on
the big-screen home t.v.  At the center is Marcee Tidwell.
Everything flows from her.  Next to her is Tyson, and then
the cousins, the neighborhood friends.  At this particular
moment, they are all screaming for Rod, who is taking a
beating, but is having a hell of a game.  In front of the
t.v., Tyson does the "Daddy Dance," a dance of pure joy.

				TYSON
			(proudly, to family)
		That's my motherfucker!

Marcee reaches out and collars her dancing son.

				MARCEE
		Why don't you be the first man in
		your family not to say that word?
		And then we'll let you live.

Tyson nods, wide-eyed.

				MARCEE
			(continuing)
		Now go kiss your daddy, quick.

				TEE PEE
			(cooly)
		That's why they cheer, you know.
		The white man sending the black
		man into battle...

Marcee shoots him a look, as Tidwell takes another rough hit.

INT. STADIUM HALLWAY -- NIGHT

Jerry stands waiting.  Bob Sugar nearby, greeting quarterback
JOHN SWENSON.  Still no Tidwell.

EXT. PHILADELPHIA LOCKER ROOM -- NIGHT

Finally, here comes Tidwell, moving very slowly with garmet
bag.

				JERRY
		How's your head? Bubblicious.
_
											110.


				TIDWELL
		Tidwell moves to a tan in a
		wheelchair, signs an autograph and
		moves on.  Jerry alongside. The
		quarterback sucks, man.  He's
		gonna get me killed.

				JERRY
		I'm a little worried --

				TIDWELL
		I'm worried too.  I'm worried that
		the only reason I'm here getting
		my brains blown loose is that you
		weren't asshole enough to get my
		ten million three months ago.

				INSANE FAN
			(interrupting loudly)
		FUCKIN ROD TIDWELL YOU RULE YOU
		RULE!  I WON A FUCKIN, A FUCKIN
		MUG ON YOU IN MY ROTISS...
		ROTLISS...

With great skill, Tidwell pats the fan and moves him along to
other tired players.

				TIDWELL
		Peace, my drunken brother.  Ahd
		don't discuss gambling with me.

Insane fan moves to another player.  Jerry proceeds carefully.

				JERRY
		We can still take the offer, Rod.

				TIDWELL
			(stops)
		No.

Jerry regards his slightly befuddled friend.

				JERRY
		Well, just stay healthy. I will
		show you the kwan.

				TIDWELL
			(irritated)
		Hey, that's my word, okay?

Tidwell wearily heads for the bus.  Jerry stands in the
parking lot.

				JERRY
		I'll see you in Arizona.
_
											111.


				TIDWELL
		I'm gonna have the game of my life
		on Monday Night Football, and show
		all these motherfuckers.

				JERRY
		Take care, okay? You're my entire
		client roster.

				TIDWELL
		Don't I know.  Now go home to your
		wife.

				JERRY
		What's that supposed to mean?

				TIDWELL
		Why are you even here, man? You
		could have told me all this over
		the phone.

				JERRY
		I don't know -- how's "dedication"
		for an answer?

				TIDWELL
		You don't want to go home, do you?

				JERRY
		Why are you doing this to me, Rod?

				TIDWELL
		I'm asking you a question --

				JERRY
		No, you're --

				TIDWELL
		I'm trying to talk to you.  How's
		your marriage?

Jerry looks at Rod for a moment.  It is the simplest
question, and one in which he has no quick answer.

				JERRY
		Not everyone has what you have.

				TIDWELL
		Then why'd you get married?  I'm
		asking you as a friend.

				JERRY
			(shaking his head)
		You're jabbing at me.
_
											112.


				TIDWELL
		I'm sorry I asked.

				JERRY
		No, I'm going to answer you.  You
		want an answer?  I'll give it to
		you.
			(beat)
		Loyalty.  She was loyal.
			(unconvincing)
		Everything grew from there.

				TIDWELL
		That's an answer.

				JERRY
		Damn right.

				TIDWELL
			(jab)
		For loyalty, you buy a dog.  For
		love, you get married.

				JERRY
		Look.  I'm happy to entertain you,
		as always, but I have a question
		for you.  Are we really "friends?"

				TIDWELL
		Why not --

				JERRY
		Well, friends can tell each other
		anything, right? If we have our
		"friends" hats on --

				TIDWELL
			(wary)
		I think so.

				JERRY
			(intense)
		Airight.  Here's why you don't
		have your ten million dollars yet.
		You are a paycheck player.  You
		play with your head.  Not your
		heart.  In your personal life?
			(points)
		Heart. But when you get on the
		field --
				(more)
_
											113.


				JERRY (cont'd)
			(finger rises to
			 Tidwell's head)
		-- you're a businessman.  It's
		wide-angle lenses and who fucked
		you over and who owes you for it.
		That's not what inspires people.
		I'm sorry, but that's the truth,
		can you handle it? Just a
		"question," Rod.  Between friends.

				TIDWELL
		I don't want to be friends anymore.

				JERRY
		Fine.

				TIDWELL
		Beautiful.

				JERRY
			(angry)
		We still having dinner in L.A.?

				TIDWELL
			(anqry)
		Only 'cause my wife likes your
		wife!

Jerry exits.  Tidwell is pissed.  And hurt.

				TIDWELL
			(continuing)
		"No heart."  "No heart?"
			(yells after him)
		I'm all heart, motherfucker!

He gets on the bus.

INT. CRAB RESTAURANT -- NIGHT

The Tidwells and the Maguires.  Tyson and Ray run around the
table of this family-style restaurant. Marcee is very very
pregnant. They crack crabs for each other, seasoning for each
other, feeding each other like one many-armed and loving body.

				MARCEE
		-- so I go to see a so-called
		"black" film the other day --
			(then)
		-- honey, no more salt for you, I
		don't want you dehydrated for
		Monday Night Football.  Most
		important game of your career.
				(more)
_
											114.


				MARCEE (cont'd)
			(then)
		-- TWENTY minutes of coming
		attractions. All black films, all
		violent, I'm talking about
		brothers shooting brothers, Wesley
		Snipes with guns the size of our
		house, killing, blood flowing,
		cars crashing... blood blood blood
		blood. Is this all they think we
		want to see? Come on!  I enjoyed
		Shindler's List.  Give me a little
		credit, I mean hooo --

				TIDWELL
		I hate you going to movies alone
		withoutme --

				MARCEE
		Oh baby --

He cracks more crab, gives her the biggest piece.

SHOT OF JERRY AND DOROTHY

Sitting across the table, stunned, just watching this
intricate and perfect marriage.

SHOT OF MARCEE

She takes a breath and gets a weird look.

				TIDWELL
		What baby?

				MARCEE
		Baby.  Baby.  Baby...

INT. HOSPITAL ROOM -- NIGHT

Marcee gives birth, Rod assisting.  Jerry and Dorothy watch
from behind thick glass.  She hangs her arm on his shoulder,
looks at him.  Jerry stares straight ahead. Mortified, with
dry throat.

INT. DOROTHY AND JERRY'S BEDROOM -- NIGHT

Jerry and Dorothy exhausted, alone, getting ready for bed.
Dorothy sits down near him on the bed.

				DOROTHY
		What were you thinking tonight?
		Watching them go through the
		complete human emotional
		experience?
_
											115.


				JERRY
		I was thinking I hope he doesn't
		get injured. I felt responsible.

				DOROTHY
		Sometimes I can't tell at all,
		what's going through that head of
		yours.

He makes a noise. As in -- it's no big mystery.

				DOROTHY
			(continuing)
		And I really don't know your
		noises yet.

				JERRY
		Well, when you wonder, ask me.

				DOROTHY
			(unsatisfied)
		Okay... I will...

Beat.  He feels inadequate.

				JERRY
		Why do you love me?

				DOROTHY
		Why do you love me?

It is, of course, the better question.  And before he can
answer, there is a pounding at the door.

				RAY
		Jerry, can I come in and watch
		t.v.?

		 DOROTHY			  JERRY
	I'll come visit you in a	 Just for a few minutes,
	second --			buddy --

The door flies open and Ray comes bounding in, onto the bed,
stations himself in the center and begins wrestling Jerry for
the remote control.  Dorothy watches, disconnected.  A
steeliness comes over her that we have not yet seen.

INT. PRESCHOOL -- NEXT DAY

Dorothy drops Ray at preschool, and stands in the doorway of
the playroom.  She watches the boys and girls playing
together in a room full of bright colors and games.  Music.
Anxiety building.
_
											116.


EXT. RAY'S PLAYHOUSE -- NIGHT

Jerry sits finishing a phone call to an advertising account
exec. He has come here, to Ray's playhouse for privacy.

				JERRY
		Tonight.  Yeah, the red-eye, I'll
		be in Arizona on Monday...

Jerry adlibs some salesmanship on Tidwell's behalf.   Dorothy
approaches.  She gives him a few phone messages, sits down.
Beat of silence.  He sees a look on her face that is
unfamiliar.

				DOROTHY
		It's my fault.

				JERRY
		What --

				DOROTHY
		It's not fair to you.  This
		whole --

				JERRY
			(instant crisis mode)
		Tell me -- let me help --

				DOROTHY
		I took advantage of you and worst
		of all, I'm not alone. I did this
		with a kid.  I was just on some
		ride where I thought I was in 1ove
		enough for both of us.  I did
		this.  And at least I can do
		something about it now.

				JERRY
			(damage control)
		Well -- I'm not the guy who's
		going to run.  I stick.

				DOROTHY
		I don't need you to "stick."

				JERRY
		You want...

				DOROTHY
		I don't know --

				JERRY
			(it slips out)
		...my soul or something.
_
											117.


				DOROTHY
		Why fucking not!  I deserve it.

				JERRY
			(direct)
		Dorothy -- what if I'm just not
		built that way?

				DOROTHY
		I think we made a mistake here.

But now he can't stop.

				JERRY
		What if it's true?  "Great at
		friendship bad at intimacy." I
		mean, come on.  It's the theme of
		my bachelor film --

				DOROTHY
		I know.  I watched it.  I sort of
		know it by heart.

				JERRY
			(absorbs it)
		I don't like to give up.

				DOROTHY
		Oh please.  My need to make the
		best of things, and your need to
		be what, "responsible"... if one
		of us doesn't say something now we
		might lose ten years being polite
		about it. Why don't we call this
		next road trip what it is.  A nice
		long break.

				JERRY
		What about Ray?

She notes the only real glimpse of ache, in that question.

				DOROTHY
		There's no question you'll be
		friends. Of course you'll be
		friends.

				JERRY
		So this break... is a break-up.

				DOROTHY
		Come on, Jerry.  You know this
		isn't easy for me.
				(more)
_
											118.


				DOROTHY (cont'd)
		I mean, on the surface, you'd
		almost think everything was fine.
		See, I've got this great guy who
		loves my kid --
			(resolute, no tears)
		-- and he sure does like me a lot.

Jerry Maguire, a man who speaks for a living, has nothing to
say.

				DOROTHY
			(continuing)
		I can't live that way.  It's not
		the way I'm "built."

He moves to embrace her.  She pulls away first.

INT. RAY'S ROOM -- NIGHT

Jerry kisses sleepy Ray goodbye.

				JERRY
		Don't wake up...

And then faces the exotic fish who now resides on Ray's
table.  He once lived in a tank the size of a Cadillac.  The
fish now hangs in a too-small bowl, looking at him.

				JERRY
			(continuing;
			 defensive)
		...  it was just a Mission
		Statement...

INT. AIRPORT --  DAY

Jerry Maguire stretches his arms out.  A security wand passes
over him.  Deadness in his eyes. The glaze of the road on
him.  Music.

EXT. SUN DEVIL STADIUM -- ARIZONA

We are hovering in the sky, just above Sun Devil Stadium.

The classic Monday Night Football shot from the blimp.

INT. TIDWELL LIVING ROOM -- NIGHT

Tidwell's family in the living room.  A buzz in the air.  The
pregame show is on, sound-muted. Old-school on the stereo.
Everybody is happy.  Marcee sits in the position of honor,
her new baby KAYDEE in her arms.   She is a tired mother, and
the family celebrates her.
_
											119.


				TEE PEE
		He'd better not mess up on Monday
		Night Football.

Marcee shoots Tee Pee a look.

				TEE PEE
			(continuing)
		What did I say?  He gets nervous
		for the t.v. games... it's not a
		secret.

INT. TUNNEL AREA/PRE-GAME -- NIGHT

Nervous Tidwell chews a toothpick as he stands checking out
the field.  Nearby, some cheerleaders and a man in a Pickle
suit.

				PICKLE MAN
		Nothing like Monday Night, huh?
		What is it, 2 billion viewers?

				TIDWELL
			(irritated)
		Shouldn't you be out there doing
		some pickle dance or something --
		Pickle Man nods and goes out to
		dance for the crowd.

				VOICE
		Hey Rod -- hey Buddydude --

Tidwell turns.  It's Bob Sugar approaching. Laser-like, ready
to feed on his insecurity.

				SUGAR
		Listen, I spoke to your
		quarterback. He's my client, you
		know.  And I said, "take care to
		get those passes down, let Tidwell
		look good on t.v."

Tidwell looks at him, chews his toothpick.

				SUGAR
			(continuing)
		You should let me do more for you.
		I would have had you your deal by
		tonight.  Al Michaels is a friend
		of mine. I would have had him on
		the air, talking about you,
		tonight, when it counts.

				TIDWELL
		Get outta here.  Go.
_
											120.


				SUGAR
		Where's your agent tonight?

				TIDWELL
		Don't know.

				SUGAR
		Rod.  I know this is "uncool" to
		do this now, but you belong with
		the big boys.  You belong with the
		money. You belong with --

Here comes Jerry Maguire.

				JERRY
		Get the fuck away from my guy,
		Sugar.

Tidwell can't help it.  He beams as he sees his agent
approach.

				TIDWELL
		Jerry!  You made it --

				JERRY
			(off Sugar)
		Go.  Flee.

Sugar retreats, offering one final look to Rod, think about
what I said.

				TIDWELL
		Thanks for coming.

				JERRY
			(bittersweet)
		I missed ya.  What can I say?

INT. TIDWELL HOME -- NIGHT

They watch the game.

				GIFFORD (ON T.V.)
		It's a bruiser out there tonight.

				MICHAELS (ON T.V.)
		Arizona refusing to go into the
		quiet night of this rough football
		season. Come on, I'm trying to be
		poetic here.

Tidwell takes a rough hit, and they respond loudly.
_
											121.


				DIERDORF (ON T.V.)
		Ooof.  Another rough hit across
		the middle on Rod Tidwell.
		Nothing poetic about that.

INT. PRESS BOX -- NIGHT

Maguire moves through the box.

INT. FIELD -- NIGHT

Tidwell takes a hit.  Hangs onto the ball.

INT. TIDWELL LIVING ROOM -- NIGHT

The Tidwell clan are banging on t.v. trays and whooping
loudly. But in the middle of the cheers, Marcee sees the
unsettled look on young Tyson's face.   She pulls him over to
her, giving him preference over baby Kaydee.  He is the only
thing in her world, as she says:

				MARCEE
		What does daddy say?

				TYSON
		"It looks worse than it is...

Marcee gives him a kiss, as Tidwell makes another grueling
gain on the field.

				FRANK GIFFORD'S VOICE
		They don't pay enough for a man to
		take that kind of ugly hit --

				MARCEE
			(to others)
		Boy, no s-h-i-t.

Big laughs from the living room.  Except Tee Pee.

				TEE PEE
		He's gonna have nothing left for
		next season.  They're letting him
		kill himself.

				MARCEE
		Can you be quiet?

				TEE PEE
		What'd I say?

INT. PRESS BOX -- NIGHT

Maguire watches as Arizona's quarterback John Swenson drops
back for a pass, and is sacked.
_
											122.


Philadelphia fans cheer wildly.  The game is turning uglier
by the minute.  Jerry looks up to the monitor for a closet
look at the next play.

ON PRESS BOX MONITOR

Swenson, the Arizona quarterback, throws a wobbly pass into
the end-zone.  Tidwell leaps for the catch, tucks the ball in
and is promptly and brutally hit by two defenders from two
different sides.  This hit is bad.  Worse than bad.  Tidwell
flips and comes down like a sack of potatoes, with a thud,
ball still in his hands. His head hits the astroturf, hard.
Tidwell is out cold.  And the ripple effect of the injury
shoots through the stadium.  Jerry stares at the monitor,
stunned by the sudden brutality.

EXT. ARIZONA FIELD -- NIGHT

We are thrust into the vortex, inside the game.  Tidwell lies
still on turf.  Overhead, the fight music continues for a few
seconds before disappearing abruptly. Players and coaches
begin to gather around the still body of Rod Tidwell.

TV MONITOR -- SLO-MO

The hit in replay.  It is brutal.  And we can see a flash of
his pride as he catches the lousy pass, and then... like two
bulls, the Philadelphia defenders enter from each side.  One
cuts his legs out from under him, and Rod's taut body
literally flips.  The second defender then hits him at the
shoulders.  Tidwell lands on the back of his neck, crumpling
downwards.  Still holding the ball.  Still.

INT. TIDWELL LIVING ROOM -- NIGHT

Silence.  Utter silence.

				GIFFORD'S VOICE
		--   you sure hope his family
		wasn't watching that.

And then, in a cry that gurgles from way down deep, Marcee
begins to sob.  Camera catches the face of Tyson, now
panicked.  Scared, he embraces his mother.

INT. BOWELS OF SUN DEVIL STADIUM

Maguire sprints through the inner bowels of the stadium.  He
turns the corner, into the tunnel, talking his way past a
guard, heading into the bright t.v. light of the football
field.
_
											123.


INT. TIDWELL LIVING ROOM -- NIGHT

Gathering around the television, the family waits through a
commercial for more information on Rod's injury.

				TEE PEE
		He should have kept his head
		tucked down.

				MARCEE
			(immediately)
		Shut up!!!

				TEE PEE
		I'm not putting him down, I just
		have a commitment to the truth.

Marcee lunges for him.

				MARCEE
		Can't you be loyal to your brother
		who LOVES you??
			(she is held back)
		Get out of my house!

Across the room, the phone starts ringing.  A COUSIN answers.

				COUSIN
		It's Jerry Maguire!

EXT. ARIZONA FIELD -- NIGHT

Jerry Maguire on the portable.

				JERRY
		He took a shot.  He's unconscious.

				MARCEE
		I'm freakin out.  Oh God I'm --

				JERRY
		Keep the phone open.  I'll call
		back. Stay calm. He's got some
		good doctors out there.

				MARCEE
		"Stay calm?"  I'm freakin...

				JERRY
		Alright, I'm freaking too.  But
		they need you to stay calm.  I'll
		call back.
_
											124.


				MARCEE
		My whole life is this family,
		Jerry. It doesn't work without him.

She takes a big gulp, as Jerry watches an overzealous Trainer
run out onto the field to join the cluster around the fallen
Tidwell. Jerry covers phone and yells onto the field.

				JERRY
		DON'T TOUCH HIM!!!

EXT. CENTER OF PLAYING FIELD -- NIGHT

We're now just a few inches in front of his peaceful,
sleeping face.  They are all. YELLING, trying to pull him out.

SHOTS OF NATIONAL TELEVISION AUDIENCES

1)   A full sports bar in arizona silently watches Monday
Night Football.

2)   Generic living room of sports fans, all watching Tidwell
pinned to the screen.

3)   Generic outdoor bar-b-que as white fans watch t.V.

4)   Tidwell living room.  All gathered around the television.

5)   Maguire straining at the sideline.

ON TIDWELL -- CLOSE

Dead to the world as sound disappears. There is now only
silence.

POV TIDWELL - SLO-MO -- SILENCE

The Doctors and the Trainers are now truly panicked.  We
don't hear them.   We see them, their motions increasingly
manic. Shoving fingers in front of him.  Screaming.  We read
their lips.  ("Rod!" "Rod can you hear us!")  We see the
anguish and escalating fear on their faces.  The Trainer
leans in close, bellowing, he spreads his hands wide to clap
right in front of Rod's still face.  His hands head toward
each other... closer... bringing with them the first inkling
of sound...  getting closer and then finally coming together,
bringing with him the sounds of the stadium.

ON TIDWELL

who blinks back to life.  Concerned men are yelling very
loudly, right in his face.  Tidwell becomes aware he is the
absolute center of attention of the entire stadium.  As crowd
noise begins to rise.
_
											125.


				TRAINER
		Let's get you off the field!

				TIDWELL
		Wait.

				TRAINER
		Can you feel your legs?

				TIDWELL
		Yeah.  Just let me enjoy this for
		a minute.

ON JERRY

who watches.  Only marginally relieved.  Is he okay?

ON FANS

Crowd noise rises.  Is he okay?

ON TIDWELL

Can he move?  Is he okay?

ON TIDWELL'S LIVING ROOM

Not a breath is taken.  Is he okay?

He rises.  Stadium explodes.  At first on wobbly feet, he
raises the football and for the first time -- salutes the
crowd.  Crowd noise doubles.

ON MAGUIRE

gasping for breath.

ON TIDWELL

Has never felt like this before in his life.  It is the pure
and absolute love of the spotlight.  And his fans.

And then... it's real and he feels it.  Tidwell breaks out in
a small but unmistakable move -- a flutter step.  He does a
high-stepping move, all his own, for about ten yards.

ON JERRY MAGUIRE

who watches, now in complete disbelief. Tidwell will not let
go of the spotlight.

ON TIDWELL'S LIVING ROOM

Going absolutely nuts.  Marcee hysterical, laughing and
crying.
_
											126.


				MARCEE
			(to Tee Pee)
		You ain't talking now, are you???
		You're a silent motherfucker!

Tyson watches in silent awe of his mother.

BACK ON TIDWELL -- CLOSE

Finishes his small but heartfelt dance.  It is a personal
catharsis he is sharing now with 2 billion people.

				TIDWELL
			(to himself)
		Nike.

He moves past Jerry Maguire on his way off the field. Jerry,
casually thumps his heart twice. Jerry Maguire is overcome
with emotion.  He sits down on a camera case, head in his
hands.  Behind him, a stadium cheers a new hero.

				OVERHEARD FAN
		I always knew he was great.

Maguire rubs his face.  Overcome. Photographers and others
rush past to be closer to Tidwell.

INT. TUNNEL -- LATER

Jerry Maguire surrounded by well-wishers and backslappers and
Sportswriters.  Success has returned, in all of it's
superficial grandeur.  He is a star again, by association.
We catch the look on Maguire's face.  Try as he might, he
can't manufacture the joy of the moment.  There is a void.
Over the heads of the heatseekers we see Dennis Wilburn
nodding, holding a thumbs up.  He tries to get to Maguire,
but cannot.  And then a commotion behind them all.

				REPORTER
		It's Tidwell!

Tidwell exits the locker room.  Press and media surround him.
Even the grizzled old-time stadium workers reach in to
squeeze him, to slap him, to touch him.  He works his way to
Maguire.

They hug. Cameras flash.  Tears roll down from beneath his
purple shades.

				TIDWELL
		We did it.

And now, in the middle of this emotional union, a portable
phone rings.  Both men reach for their porties.  It's
Maguire's.  With anticipation, he answers.
_
											127.


				JERRY
		Hello.
			(beat)
		It's Marcee.  She says she
		couldn't get through on your phone.

Tidwell grabs the phone, and joyously shares the moment with
his wife.  Jerry watches, as Tidwell leans on his shoulder.

ON SUGAR AND SWENSON (WATCHING THEM)

Bob Sugar watches from the nearby wall where he stands with
his client, quarterback John Swenson.

				SWENSON
		Why don't we have that kind of
		relationship?

INT. ARIZONA KAROAKE BAR -- NIGHT

Rod Tidwell sings karoake, on stage.  He's struggling through
U2's "One."  In the audience are many Arizona players, as
well as most of Tidwell's family.

				TIDWELL
		One love... you got to share it...

INT. TIDWELL HOME -- NIGHT

Tee Pee is stuck at home, babysitting twenty kids.

INT. KAROAKE BAR -- NIGHT

We move past many Big Men celebrating Tidwell, singing along,
sharing their Monday Night victory, onto melancholy Jerry
Maguire. He watches, cellular at his side, as a YOUNG AGENT
approaches.

				YOUNG AGENT
		Jerry Maguire.  I'm Tommy Bendis.
		You don't know me, I'm a new
		agent, just getting started.  I
		represent that place kicker over
		there.
			(indicates kicker)
		I wondered if you would sign this
		for me. Because it inspired me.

He withdraws a well-thumbed copy of Jerry's Mission
Statement.  The blue cover is ripped along one edge.  It
clearly has served as a manifesto for this younger man's
career.
_
											128.


ON JERRY MAGUIRE

He feels the cover, flips through it a little.  Memories
flood with the passing pages.   Shot holds on Jerry's face,
as Tidwell continues singing in the background.  Suddenly, an
odd feeling.  A shiver runs up and down his spine.  His
forehead tingles.  He rubs his face.  All he can do is think
of Dorothy.

				AGENT
		Just make it out "To Tommy".

				JERRY
		Tommy.  I love you.

INT. AIRPORT -- NIGHT

Jerry Maquire sprints through the empty airport, heading for
the last flight out of town.  Music.

INT. DOROTHY'S LIVING ROOM -- NIGHT

The Divorced Women's Group in session.  Laurel stands near
the doorway, blowing cigarette smoke into the night.  Dorothy
is now a part of this group.

				DOROTHY
		I've listened to you all tell a
		thousand sob stories, and I have
		been very judgmental. Frankly, I
		think you've all been waaaay too
		comfortable with your pain.  Plus,
		Jan, you always spill your red
		wine on the couch.
			(off Jan's guilty
			 look)
		I've not been fair to you.  Women
		need to stick together, and not
		depend on the affections of a man
		to "fix" their lives.  Maybe
		you're all correct. Men are the
		enemy.

Murmurs of agreement.

				DOROTHY
			(continuing)
		But I still love the enemy.

Murmurs of disappointment.
_
											129.


EXT. DOROTHY'S HOUSE -- NIGHT

Jerry exits cab, holding hang-up bag.  Looks at the house.
On the other side of that window is a world he hopes he's
still a part of.

INT. LIVING ROOM -- NIGHT

Jerry enters.  Dorothy is seated toward the back.

				JERRY
		Hello.  I'm looking for my wife.

Dorothy looks up, robbed of words.  Stunned, she does not
move.

				JERRY
			(continuing)
		Alright.  If this is where it has
		to happen, then this is where it
		has to happen.

Dorothy says nothing.

				JERRY
			(continuing)
		I'm not letting you get rid of me.
		How about that?

He shares a look with some of the other women.  She's not
going to say a word.  Neither do they.

				JERRY
			(continuing)
		This used to be my specialty. I
		was good in a living room.  Send
		me in there, I'll do it alone. And
		now I just... I don't know... but
		on what was supposed to be the
		happiest night of my business
		life, it wasn't complete, wasn't
		nearly close to being in the same
		vicinity as complete, because I
		couldn't share it with you.  I
		couldn't hear your voice, or laugh
		about it with you.  I missed my
		wife.  We live in a cynical world,
		and we work in a business of tough
		competitors, so try not to laugh --
			(directly)
		I love you.  You complete me.

				DOROTHY
		Aw, shut up.  You had me at hello.
_
											130.


He moves to her.  They embrace.  Ray watches in b.g.  Jerry
has given this room hope.  It's on their faces. At last, even
Laurel gets off on her sister's happiness, as she shares a
look with Chad.

				JAN
			(sloshing wine)
		I think we'd better go...

INT. ROY FIRESTONE SHOW -- NIGHT

Roy Firestone leans forward.

				FIRESTONE
		...your father who left the family
		on Christmas eve, the mother who
		cleaned the steps of a prison to
		make your tuition. The older
		brother who lost a leg in that
		tragic bass fishing accident --

Tidwell is wearing glasses now, in a somewhat scholarly mode.

				TIDWELL
		No, Roy.  I'm not gonna cry.

				FIRESTONE
		-- well, Rod, your agent passed me
		a note before the show. He says
		that your deal memo has been
		signed by the Arizona Cardinals.
		Four years for ten-point-two
		million dollars.  Playing in the
		state where you grew up.

ON TIDWELL -- WEEPING

				TIDWELL
		I... I love everybody, man.  I
		love my wife.  My kids.  Little
		Tyson. My new baby Kaydee.  My
		brother Tee Pee. I love my
		friends, my teammates, who am I
		leaving out?

				FIRESTONE
			(laughing)
		It's only a half-hour show, Rod.

ON TIDWELL'S FRIENDS AND FAMILY

watching off-camera.  Marcee crying too.  Shot takes us to
Jerry, Dorothy and Ray.
_
											131.


				TIDWELL
		Wanna send some beautiful love out
		to my offensive line, just a
		beautiful bunch of dudes, wanna
		thank a beautiful individual --
		God, and of course the entire
		Arizona organization, a little
		slow, but they do come around.
		I'm leaving somebody out...

Amused and finally glimpsing the end of a long journey, Jerry
leans over to Marcee.

				JERRY
		Take care, Marcee.  We'll see you
		at the restaurant.

She nods, emotionally, biting her lip.

				TIDWELL
		Oh yes.  Jerry Maguire!  My agent!
		This is a fierce, loving
		individual, I love this man, he is
		love, he is about love -- my
		ambassador of kwan.

				FIRESTONE
		Ten seconds, Rod.

				TIDWELL
		And I love my fans, of which he is
		one. Wanna thank them for all my
		Sundays, and of course my Monday
		nights too.  That about says it...

Jerry watches wonderously at the monitor before leaving. TV
credits are rolling on the show.

				TIDWELL
			(continuing)
		Wait!  And thank you Melvin from
		the Casual Man, thank you for the
		suit...

EXT. PARKING LOT -- DAY

Jerry, Dorothy, Ray exit into the daylight.  They walk to
Jerry's car. From across the fence, a stray baseball from a
pick-up game flies into the parking lot and bounces ahead of
them.  Ray picks it up. In an easy fluid motion, he whips it
back over the fence to the game on the other side.  A few
kids on the other side of the fence shout their approval of
a great little throw.
_
											132.


Jerry and Dorothy stop, looking at Ray who has just shown
shocking natural ability.  They are quiet for a moment,
turning slowly to look at each other.  And then, not ready to
deal with it, not even close to ready to deal with it, they
say quickly to the boy:

		 JERRY					DOROTHY
	Come on, Ray.		 Ray, let's go.

Happily Ray joins them as they walk to the car.  A family.
Music.

									FADE OUT

THE END

 
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