PLEASANTVILLE
A Fairytale by Gary Ross
October 7, 1996
"He was part of my dream of course
but then I was part of his dream too."
- Lewis Carroll "Through the looking glass"
FADE IN:
INT. HIGH SCHOOL AUDITORIUM. DAY.
A college counselor stands at the Podium lecturing the high
school seniors about their future.
COLLEGE COUNSELOR
... For those of you going on to college
next year, the chance of finding a good
job will actually decrease by the time
you graduate. Entry level jobs will drop
from thirty-one to twenty-six percent,
and the median income for those jobs
will go down as well ...
There is some rustling in the audience.
COLLEGE COUNSELOR (CONT)
Obviously, my friends, it's a
competitive world and good grades are
your only ticket through. By the year
Two Thousand ...
INT. HIGH SCHOOL. HEALTH CLASS.
A different teacher lectures a different class of students.
HEALTH TEACHER
... The chance of contracting HIV from a
promiscuous lifestyle will climb to one
in one hundred and fifty. The odds of
dying in an auto accident are only one
in twenty-five hundred.
(beat)
Now this marks a drastic increase ...
INT. HIGH SCHOOL. SCIENCE CLASS.
Same angle. Different teacher.
SCIENCE TEACHER
... From just four years ago when ozone
depletion was at ten percent of its
current level. By the time you are
twenty years old, average global
temperature will have risen two and a
half degrees. Even a shift of one
degree can cause such catastrophic
consequences as typhoons, floods,
widespread drought and famine.
REVERSE ANGLE. STUDENTS.
They stare back in stunned silence. One of them, DAVID
WAGNER, sits in the front row with a pencil in his mouth.
Nobody moves ...
SCIENCE TEACHER
(chipper classroom tone)
Okay. Who can tell me what famine is?
CUT TO:
1958.
Birds are chirping. The sun is shining. All the hedges are
neatly pruned and the lawns are perfectly manicured. A sweet
stillness hangs over the SUBURBAN STREET, which is bathed in
beautiful BLACK AND WHITE.
MAN'S VOICE (OS)
Honey, I'm home.
SUBURBAN HOME.
GEORGE PARKER enters the front door and hangs his hat on the
coatrack. He sets his briefcase down and moves into the foyer
with a huge smile on his face. It's a frozen smile that
doesn't seem to be affected by too much in particular--like a
tour guide at Disneyland.
WOMAN'S VOICE (OS)
Hello darling.
WIDER.
MRS. GEORGE PARKER (BETTY) enters, untying the back of her
apron. She is a vision of '50s beauty with a thin figure and
concrete hair. Betty crosses to her husband and hands him a
fresh martini. She kisses him on the cheek.
BETTY
How was your day?
GEORGE
Oh, swell. You know, Mr. Connel said
that if things keep going the way they
are, I might be seeing that promotion
sooner than I thought.
BETTY
Oh darling that's wonderful!
(an adoring gaze)
I always knew you could do it.
WAGNER LIVING ROOM. NIGHT.
1996 -- (LIVING COLOR)
DAVID WAGNER sits on his couch watching this entire action on
a sleek new Sony T.V. He stares riveted at the set with a big
smile on his face. David wears black shoes, black pants,
black t-shirt and a black baseball cap, not a nerd exactly
... He reaches next to him into a huge bag of Doritos, never
taking his eyes off the show.
GEORGE (OS)
(on T.V.)
Hey, Pumpkin! What's that smell?
(sniffing)
Is that your meat loaf?
DAVID
(by rote)
"It might be ..."
BETTY (OS)
(shy smile)
It might be.
He leans over and kisses her--again on the cheek.
GEORGE (OS)
Oh Pumpkin! You sure know the way to
this man's heart.
There is a loud and inappropriate LAUGH TRACK. David smiles
wider and is just about to reach for more corn chips, when
his real MOTHER'S VOICE rings out from the other room.
DAVID'S MOM (OS)
... Bullshit Barry, that wasn't the
deal
INT. KITCHEN.
David's mom paces the room with the phone in her hand.
Between the plastic surgery and the make-up it's hard to fix
her age.
DAVID'S MOM
No--you have custody the first weekend
of every month and this is the first
weekend ...
(pause)
I don't care if yesterday was the
thirtieth, this is still the first
weekend.
INT. LIVING ROOM.
Her words drift in from the kitchen while David stares at the
show.
DAVID'S MOM (OS)
No I can't bail you out, I'm supposed to
go to La Costa ...
(beat)
Well if I want to get a mud bath, that's
really my business, isn't it?
He reaches out and TURNS UP THE SOUND. PLEASANTVILLE plays at
an unnaturally high volume.
GEORGE
(on T.V.)
Hey. Where are those kids?
DAVID
(reciting--a little louder)
"Right behind you father."
BUD AND MARY SUE TOGETHER
(on T.V.)
Right behind you father.
RESUME T.V. (BLACK AND WHITE)
The Parkers' son and daughter (BUD AND MARY SUE) enter the
foyer together. Mary Sue wears her hair in a pony tail. Bud
has on a Letterman's sweater.
MARYSUE
Mother ... Father ... Bud has a little
surprise for you.
BETTY
What's that Bud?
Bud hesitates for a moment, then folds up a shiny blue
ribbon.
BUD
First prize at the science fair. There
were lots of swell projects--guess mine
was just the "swellest".
BETTY
Darling that's wonderful. Except there's
no such word as "swellest".
BUD
Well gee whizz, Mom. lt wasn't the
"English" fair.
There is another jarring LAUGH TRACK.
CLOSE UP. DAVID.
He smiles right along with it. David stares transfixed at the
set despite the continuing conversation in the other room.
DAVID'S MOM (OS)
Well sure they can stay by themselves,
Barry, but that's not the point. You
said you'd take them.
(beat)
Well fine--they'll stay by themselves
then.
DAVID
(quietly)
What's a mother to do?
BETTY(OS)
(on T.V.)
Oh--what's a mother to do?
CLOSE UP. DAVID.
He grabs another handful of Doritos staring at the T.V ...
CUT TO:
EXT. HIGH SCHOOL. (SERIES OF SHOTS) DAY.
A cacophony of modem life. Beepers and nose rings--blue hair
and tattoos. Dissonant boom boxes compete with one another.
The hormones are running crazy.
SCHOOL COURTYARD.
lt is a large open area, alive at lunchtime. Groups of kids
hang out together, divided by their various cliques. The
music pounds in the background.
CLOSE UP. DAVID.
He stands at one end of the courtyard beside a chain link
fence. Beads of sweat form on David's forehead as he speaks
to someone in front of him.
DAVID
Hi. I mean ...
(pause)
... Hi.
REVERSE ANGLE.
A very pretty blonde girl smiles back at him. It's a warm,
welcoming smile.
CLOSE UP. DAVID.
DAVID
Look. You probably don't think I should
be asking you this. I mean--not knowing
you well and all ...
REVERSE ANGLE. GIRL.
She smiles wider at him, inviting him to continue.
CLOSE UP. DAVID.
DAVID
(pause ...)
I mean I know you--everybody knows you
... I just don't know you ...
technically.
REVERSE ANGLE. GIRL.
She nods at him ...
CLOSE UP. DAVID.
DAVID
Well--I was just wondering--'cause I see
you all the time in Algebra and I heard
you humming that Van Halen song and I
really like that song too ...
(pause)
Anyhow, I don't know what you're doing
this weekend but my Mom's leaving town
and she said I could use her car so ...
REVERSE ANGLE. GIRL.
She positively beams. The girl flicks her blonde hair and
stares back at him adoringly.
CLOSE UP. DAVID.
Instead of smiling back, David just stares, then looks at the
ground.
WIDE ANGLE. SCHOOLYARD.
For the first time WE SEE THAT SHE WASN'T TALKING TO HIM.
David stands a good hundred yards across the schoolyard,
rehearsing this speech while the young woman stands face to
face with a much cooler boy. He has a cell phone and a very
hip haircut.
ANGLE. DAVID.
David watches as the girl throws her arm around the boy's
waist and heads out of the playground ...
CUT TO:
EXT. "LUNCHEON COURT". DAY.
David and his friends are all gathered around the plastic
picnic tables and vending machines that form the luncheon
court. The chess club meets at one end and there are some
teachers at the other. All the cool kids are on the other
side of the fence but David and his friends eat lunch at the
same table every day.
HOWARD
Okay, whose window did Bud break when he
was playing with his father's golf
clubs?
DAVID
Easy. Mr. Jenkins. What JOB did Mr.
Jenkins have?
Howard looks at him, puzzled.
DAVID (CONT)
Salesman. What did Bud and Mary Sue name
the cat they found in the gutter?
HOWARD
Scout?
DAVID
Marmalade.
They all nod--and murmur with admiration.
DAVID (CONT)
Okay--here's one: Why did their parents
come home early from their weekend at
the lake?
Everybody thinks.
Nobody knows.
DAVID (CONT)
'Cause Bud didn't answer the phone and
they were worried about him.
It's quiet for a beat.
HOWARD
You're unbelievable. You'll win this
thing for sure. When is it on?
DAVID
Marathon starts at 6:30. Contest's
tomorrow at noon.
HOWARD
(weighing it)
A thousand dollars ... And it's on all
night?
DAVID
Of course it is Howard. That's why they
call it a Marathon.
CUT TO:
THE OTHER SIDE OF THE FENCE.
David's sister, Jennifer, hangs out with her friends in the
parking lot. All the girls are dressed in the exact same
uniform: Blue jeans, beeper on the belt, white V-neck T
shirt, car keys in their hand. (Even the girls WITHOUT a car
hold car keys in their hand). Jennifer is by far the
prettiest and, thus, is the leader of the group. They all
look toward the Luncheon Court where David and his friends
are hanging out.
KIMMY
Omigod, it's so mortifying, being
related to him. I can't believe you're
like--
JENNIFER
Only on my parent's side.
KIMMY
I know, but you're like ... twins and
stuff.
(beat)
You must be from like, the cool side of
the uterus.
A group of VERY HIP boys strut through the parking lot. They
bop up and down with the self-confidence of all cool sixteen
year olds. The girls freeze when they see them.
KIMMY (CONT)
Omigod, omigod--here they come.
CHRISTIN
Don't do anything. Just don't like--do
anything ...
JENNIFER
(cooly)
Hi Mark.
DIFFERENT ANGLE.
He pauses then looks over at her. Jennifer slides sinuously
off the fender of the car, flicking her hair like a young
racehorse. She has a perfect 16 year old body and the whole
parking lot knows it. Mark heads over to her, followed by his
lackies. The two groups meet at the tail-gate of the Nissan
Pathfinder like a small summit conference.
MARK
(to Jennifer)
Hey.
JENNIFER
(right back)
Hey.
Beat ...
MARK'S LACKEYS
(to Jennifer's lackies)
Hey.
JENNIFER'S LACKEYS
(back to them)
Hey.
MARK
Saw you at the mall yesterday.
JENNIFER
Yeah ... Saw you too.
Everyone nods for a moment or two. No one says anything.
JENNIFER (CONT)
So you watching Pearl Jam on MTV
tonight?
MARK
Yeah.
(beat)
Jennifer pauses, weighing the next statement.
JENNIFER
My mom'll be out of town.
Kimmy and Christin positively GASP while Mark's Lackeys
mumble and glance around. The import of the thing isn't lost
on anybody. Mark bobs up and down a little faster.
MARK
So uh ... Maybe we could uh ...
JENNIFER
(smiling)
Cool.
MARK
(nodding faster)
Cool.
VARIOUS LACKEYS
Cool.
Everybody bobs and shuffles for ” beat, when Mark nods,
summoning his flock.
CUT TO:
EXT. WAGNER HOUSE. DUSK.
lt is a south-westem version of "Leave it to Beaver." The
uniformity of Suburbia has been washed in earth tones. There
is a red tile roof gracing every home. All the houses have
the same anemic palm tree. It's a urban planner's version of
hell.
JENNIFER (VO)
... I know, I know--He's just like so
FINE ... I'm still like: "Omigod."
INT. WAGNER HOME.
lt is just as sleek and impersonal as before. Maybe more so
at night. Jennifer crosses through the living room with the
cordless phone attached to her ear.
JENNIFER
It was amazing, Daph ... I'm like:
"Well my Mom'll be out of town." And
he's like "Well then, maybe we could--
you know ..." And I'm like "Yeah, sure."
And he's like "Well, cool."
(beat)
I know, he's just so smart.
(pause ...)
I don't know. Maybe that black thing I
just got.
(pause ...)
It is not slutty, Daph, it's cute.
(pause ... )
Well, "hello?" He's not coming over
here to study ...
(beat)
I know. Well I'm jealous of you too
sometimes.
INT. DAVID'S BEDROOM.
lt is studious and academic--not joyless, but not colorful
either. David stands at his bedroom window, staring outside
with a cordless phone in his hand.
DAVID
... He's not homeless Howard, they just
don't say where he lives.
(pause ...)
Well it's a silly question.
(pause ...)
Because nobody's homeless in
Pleasantville.
REVERSE ANGLE. HIS POV.
His mother loads the final Louis Vuitton bag into her
Mercedes.
DAVID
... because that's just not what it's
like.
She fires up the car and pulls out of the driveway...
DAVID (CONT)
Listen Howard--it's almost six-thirty.
I gotta go.
INT. WAGNER LIVING ROOM.
The huge black TV sits like a monolith in the middle of the
room. All at once David comes bounding down the stairs making
a B-Iine for the couch. Jennifer enters just as quickly from
the other direction, fiddling with her clothes.
DIFFERENT ANGLE.
They hit the coffee table and reach for the remote control at
exactly the same moment. Both of them freeze then look up at
each other in shock.
JENNIFER
(stunned)
What are you doing?
DAVID
What are you doing?
Neither one moves. They clutch the remote together.
JENNIFER
David, cut it out. Mark Davis is gonna
like be here in five minutes.
DAVID
Well great. The Pleasantville Marathon
starts at six thirty.
JENNIFER
Pleasantville Marathon?
DAVID
(almost reverently)
Yeah. Every episode ever.
JENNIFER
(getting hysterical)
Omigod, I don't be-lieeeeve this! He's
gonna like beeeee here!
DAVID
Weil great. You can watch TV upstairs.
JENNIFER
Upstairs! Up-staiiirs! There isn't any
STEREO!
Jennifer gets panicked and yanks at the remote. David yanks
back and before they know it, the remote goes flying out of
their hands, CRASHING onto the hardwood floor. lt smashes
into a million tiny pieces.
DAVID
(breathless)
Oh my God ...
(sinking to his knees/
scooping up the remains)
Oh my God ...
JENNIFER
David, stop stressing, you can like--
turn it on normally ...
DAVID
No you can't, Jen! It's a new TV. It
doesn't work without a remote.
David cradles the pieces like a fallen comrade, when the
DOORBELL RINGS behind him.
JENNIFER
Oh my God! He's here!
Jennifer sweeps some of the pieces frantically under the sofa
and tries to adjust her outfit on the way to the door. David
just stares in shock at the shattered plastic. Jennifer
reaches the front door and wets her lips. She fluffs her hair
quickly, sticks out her chest then swings it open.
DIFFERENT ANGLE. FRONT DOOR.
Jennifer steps forward with her sexiest smile, but it isn't
Mark Davis on the other side. DICK VAN DYKE STANDS ACROSS THE
THRESHOLD IN A TV REPAIRMAN'S OUTFIT. Jennifer looks at him
puzzled. He steps forward, flashing her a chipper grin,
toolbox in hand.
DICK VAN DYKE
TV repair.
JENNIFER
(beat)
TV repair?
DICK VAN DYKE
Yeah. TV busted?
JENNIFER
(pause ...)
Yeah ...
DICK VAN DYKE
(smiling wider)
Well here I am.
REVERSE ANGLE. DAVID'S POV.
He glances out the front door toward a weird VAN parked at
the curb. It says TV REPAIR on the side but looks like
something from a medicine show. The antenna on top resembles
a weather vane and the mural beneath it depicts a happy
family from the 1950s, gathered around their TV set. Everyone
wears a smile, including the dog. The hand-painted motto
reads "Rob's TV Repair--WE'LL FIX YOU FOR GOOD."
INT. LIVING ROOM.
David looks back at Dick Van Dyke who smiles at him, then
crosses to the living room STEPPING NIMBLY AROUND THE
OTTOMAN. He heads toward the TV.
DICK VAN DYKE
(seeing the smashed remote)
Holy cow. Look at that. Had a little
disaster didn't ya fella.
DAVID
Yeah ... Sort of ...
DICK VAN DYKE
(setting down the toolbox)
We'll get you fixed up in no time.
He pops the top of the tool box while Jennifer and David just
stare. It's a strange looking box with the same happy family
painted on the side. Dick Van Dyke pulls out another remote.
DICK VAN DYKE (CONT)
I know how I'd feel if mine went out.
Almost like losing a friend.
DAVID
(tentatively)
You know, we didn't call any TV repair.
DICK VAN DYKE
Well that makes it a lucky day for both
of us, hunh?
Jennifer shuts the door and crosses down toward the living
room.
JENNIFER
You think you could do this like soon?
It's almost six thirty.
DICK VAN DYKE
What's the rush?
DAVID
(cutting her off)
The Pleasantville Marathon starts at six
thirty.
At that moment there is a huge FORK OF LIGHTNING and a
booming CLAP OF THUNDER. It literally rattles the walls of
the house as Dick Van Dyke turns toward David.
DICK VAN DYKE
Pleasantville?
David recoils slightly. Dick Van Dyke flashes him a smile.
DICK VAN DYKE (CONT)
Gosh, I loved that show. Watched it for
years.
JENNIFER
That's not the reason. I've got a date
at six thirty.
DICK VAN DYKE
(ignoring her/
leaning closer to David)
Hey--who did Muff in take to the
masquerade ball when her date came down
with the measles?
DAVID
(stunned)
... Her father.
DICK VAN DYKE
Right. And how did she dress him?
DAVID
(still staring)
... Like Prince Charming.
DICK VAN DYKE
(studying David/
nodding)
Nice ... Nice ...
JENNIFER
Um--hello? I've got like a social
emergency here.
DICK VAN DYKE
(ignoring her)
Remember the one where Bud lost his
cousin when he was s'posed to be
watching him?
DAVID
Yeah ...
DICK VAN DYKE
What department store did they go to?
DAVID
McIntire's.
DICK VAN DYKE
McGinty's.
DAVID
No. McIntire's. Remember:
(sings)
"For the very best in men's attire,
Head right down to McIntire's."
DICK VAN DYKE
(stunned)
That's right.
He stares at David, speechless, for a moment, then smiles
fondly and reaches beside him for his tool kit.
DICK VAN DYKE (CONT)
Say--why don't you take this remote
instead. It's got a little more "Ooomph"
in it.
DAVID
Ooomph?
DICK VAN DYKE
Sure. Big beautiful set like this--you
want something that'll put you right in
the show.
JENNIFER
(quickly)
We'll take it.
CLOSER.
He flashes them a big smile and holds out a weird looking
contraption that seems more primitive than space age. It's a
strange combination of an early transistor radio and Flash
Gordon ray gun. Dick Van Dyke extends it with pride, while
Jennifer and David stare at him warily ...
DAVID
(beat)
How much does it cost?
DICK VAN DYKE
Oh--couldn't charge you for something
like that. It's free.
JENNIFER
Free?
DICK VAN DYKE
Oh sure. Big fan like yourself. It's the
least I could do.
There is a SECOND CLAP OF THUNDER even louder than the first.
The house rattles for a moment then is quiet.
DICK VAN DYKE (CONT)
Well, I better get going. Your show's
almost on, and ...
(smiling at Jennifer)
It's almost time for your date.
He places the remote control gingerly on the coffee table and
smiles at them. Dick starts across the living room when he
suddenly catches his foot on the leg of the ottoman and
tumbles end over end. He rolls on the carpet, executes a
perfect somersault and comes right back to a standing
position. David and Jennifer stare at him stunned when he
looks back at them and smiles.
DICK VAN DYKE (CONT)
(grinning)
Take care now.
There is another flash of lightning as he reaches for the
doorknob. David and Jennifer look at one another while the
front door shuts with a THUD. It's quiet for a second or two
before there is another CLAP OF THUNDER. David cocks his
head.
DIFFERENT ANGLE.
David glances down at the strange contraption sitting on the
coffee table. It looks a little scary. Slowly, very slowy, he
reaches down and touches it. Nothing seems to happen so he
picks it up.
CLOSER.
David points the remote toward the TV set with an
apprehensive look on his face. He winces a little, then
pushes one of the buttons.
DIFFERENT ANGLE.
The TV set turns on. Oprah's face fills the screen as an
angry housewife screams at a transvestite!
DAVID
Hunh.
It ail seems normal as he pushes another button. This time
the channel changes.
DAVID (CONT)
(relaxing)
Great.
He continues to press the button, flipping through the
channels. Jennifer sees that everything is fine and reaches
for the remote.
JENNIFER
Lemme see that.
DAVID
No way.
He continues to flip through the channels, coming to rest on
the Pleasantville Marathon.
BUD'S VOICE fills the room.
BUD (OS)
(on TV)
Gee whizz, Mary Sue--why can't I borrow
your transistor radio?
MARY SUE (OS)
(on TV)
I promised Betty Jane she could use it
over the weekend.
FULL SHOT. TV SET. "PLEASANTVILLE" (BLACK AND WHITE)
Bud and Mary Sue clutch either end of a small transistor
radio. They seem to be in the EXACT SAME POSITION as David
and Jennifer, who are struggling over the remote control.
ANGLE. DAVID AND JENNIFER.
She tugs the remote while David yanks in the other direction.
JENNIFER
Do you mind. This is like the most
important moment of my whole life.
DAVID
Forget it Jen, I've waited a year for
this.
BUD (OS)
(on TV)
"But I told Mr. Miller I'd bring a
transistor in to electric shop."
MARY SUE (OS)
(on TV)
"And I told Betty Jean she could have it
for the picnic with Roy."
JENNIFER
(yanking at it)
God, David. Just give it to me!
DAVID
(yanking it back)
Get lost!
JENNIFER
YOU get lost!
WIDER. LIVING ROOM.
She tugs at the remote trying to wrestle it out of his hands.
David pulls in the opposite direction as they POINT IT
DIRECTLY TOWARD THE TV.
DIFFERENT ANGLE. SPECIAL EFFECT.
A huge white light emanates from the contraption, like their
own atomic blast wave. The entire room is filled with a
BLINDING AURA for a second or two, before it actually gets
sucked into the TV.
WIDE ANGLE. LIVING ROOM.
It is suddenly empty--illuminated only by the soft glow of
the picture tube. David and Jennifer are nowhere in sight.
INT. PARKER LIVING ROOM. (PLEASANTVILLE) DAY.
David and Jennifer are standing in the middle of the 1950's
living room, dressed in Bud and Mary Sue's clothing. They
still clutch the remote control in the exact same position
that was occupied by their fictional counterparts. David and
Jennifer glance at one another, then look horrified around
the room. THE WORLD HAS TURNED TO BLACK AND WHITE...
DAVID
(a whisper)
Oh my God.
JENNIFER
What happened?
DAVID
I'm not sure.
WIDER
George Parker (Bud and Mary Sue's father) enters from the
landing whistling a happy tune. He's dressed in a gray suit
with a gray shirt, and a dark gray tie with little gray dots.
GEORGE
(as if to his own children)
Hi Sport, hi Muffin ... Better get a
move on, you're gonna be late for school.
He continues to cross through the living room whistling into
the kitchen ...
JENNIFER
(desperately)
What did you do?
DAVID
I don't know.
JENNIFER
(examining her black and white skin)
Uchh! Look at me?! I'm like so ... pasty!
He glances down at the remote control that sits lifeless in
his hand. David frantically presses the buttons but nothing
happens. All at once, there is a voice behind them.
VOICE (OS)
Psst! Over here.
DIFFERENT ANGLE.
They whirl around to see DICK VAN DYKE'S FACE smiling at them
from the TV set in the comer. It's an old '50s set with a big
round picture tube. They run over to him as he smiles. His
face is the only color in the room.
DICK VAN DYKE
(beaming)
Told you it was your lucky day. Bet you
thought I was just a fan or something.
JENNIFER
What happened?
DICK VAN DYKE
A miracle.
They stare stunned at the TV set.
DICK VAN DYKE (CONT)
... See, every time I thought I'd found
someone they'd turn out to disappoint me.
They'd know the early episodes, but they
wouldn't know the later ones ... They'd
know all about Muffin but they wouldn't
know about Bud ...
DAVID
(to the TV set)
What the hell's going on!
DICK VAN DYKE
Shh! Can't talk like that now. You're
in ...
(smiles)
You know ...
David glances around at his black and white surroundings. His
"mother's" voice rings out from the kitchen.
BETTY (OS)
Bud. Mary Sue ... Breakfast is on the
table.
DAVID
We're in Pleasantville?
DICK VAN DYKE
(grinning)
Dream come true, hunh?
JENNIFER
(panicking)
This isn't funny! I happen to have a
very important date in like five minutes!
DICK VAN DYKE
Well, you don't have to worry about that
anymore.
FULL SHOT. TELEVISION SET. (COLOR)
All at once the scene on the TV changes and Dick Van Dyke's
picture gives way to a WIDE ANGLE SHOT of the WAGNER HOUSE.
Mark Davis is standing at the front door, BANGING on the
brass knocker. He checks his watch, shifts restlessly for a
moment or two, then turns and heads down the flagstone walk
never looking back.
MARK DAVIS
(under his breath)
... Bitch.
INT. PARKER LIVING ROOM. (BLACK AND WHITE AGAIN)
Jennifer flings herself at the screen, as Dick Van Dyke
appears all over again.
JENNIFER
Noooooo!
DAVID
You--you gotta get us out of here.
DICK VAN DYKE
(recoiling slightly)
Why would I do that?
DAVID
Because we don't belong!
DICK VAN DYKE
Oh sure you do ... "McIntire's
Department store" ... "Their father
dressed as Prince Charming." That was
gorgeous Bud.
DAVID
My name's David.
JENNIFER
(wailing on the floor)
Oh GOD ...
DICK VAN DYKE
(a little snippy)
You know--this is a pretty strange way
of showing your appreciation.
DAVID
Look--we appreciate it. We really do. We
just--we want to go home now.
DICK VAN DYKE
(hurt)
But you don't know how long I've been
looking for someone like you.
A long face slowly descends on him.
DICK VAN DYKE (CONT)
I'm very disappointed ...
(deep breath)
In fact ... I'm starting to get a little
upset.
David moves toward the screen.
DAVID
Don't get upset.
DICK VAN DYKE
(snapping back)
Weil wouldn't you! You look for someone
for years ... You pour your heart into
it ... This is a privilege you know.
(shakes his head)
I don't think I better talk about this
right now.
DAVID
Where are you going ...
DICK VAN DYKE
I don't think we should discuss this
until I'm a little bit more composed.
DAVID
WAIT A MINUTE!!
DICK VAN DYKE
(turning his back)
Maybe in a day or so when I'm not so
emotional ...
DAVID
COME BACK!!!
Dick Van Dyke shakes his head and walks out of the shot as
the screen goes completely BLACK. It cuts out entirely as
Jennifer and David just stare. David grabs the remote and
starts rapidly pushing buttons.
Nothing happens.
DAVID (CONT)
(dropping the gizmo)
Oh God.
JENNIFER
What's going to happen?
DAVID
I don't know ... It's not possible ...
(looking at her)
Is it possible?
BETTY (OS)
Bu-ud ... Mary Sue ... Your breakfast is
getting cold.
DAVID
It can't be possible.
DIFFERENT ANGLE.
Betty (their "mother") sticks her head into the living room
wearing her black and white apron. She has a great big
Pepsodent smile.
BETTY
Well, come on kids. You're not going off
to school without a hot breakfast inside
you ...
They just stare at her.
BETTY (CONT)
Forward march.
They exchange a strange little glance then slowly rise to
their feet. Jennifer waits for David who forces a smile then
starts toward the kitchen.
BETTY (CONT)
I just love you in that sweater Mary-Sue.
It's so flattering.
JENNIFER
(dazed)
Thanks.
INT. KITCHEN.
David and Jennifer walk two steps into the kitchen when they
suddenly freeze--agape at the spectacle in front of them:
THEIR POV. PARKER KITCHEN.
Every breakfast food imaginable has been laid upon the table.
There are hotcakes and sausages and biscuits and eggs.
Pitchers of orange juice are dwarfed by the mountains of ham.
The table literally sags under the weight of the food. George
Parker lowers his morning paper and smiles at his children.
GEORGE
(once again)
Morning kids. Better get a move on or
you're going to be late for school.
They nod, stunned, and wander forward into the room. Bright
sunlight streams through the kitchen window as a gentle
symphony of songbirds sings outside. David and Jennifer stare
straight ahead as their "mother" adds some waffles to the
heap.
DAVID
(under his breath)
I don't believe this.
JENNIFER
Neither do I.
GEORGE
Well, c'mon. Dig in.
David and Jennifer stare at her stunned as she puts two
heaping plates at their places. Neither one moves.
BETTY
(to Jennifer)
I put blueberries in them just the way
you like.
JENNIFER
Actually--I'm not real ... hungry.
BETTY
(big smile)
Oh nonsense young lady. You're going to
start your day with a nice big breakfast.
She takes Jennifer by the shoulders and "guides" her into the
chair. Jennifer looks down at a huge plate of GRAY WAFFLES.
BETTY (CONT)
(oppressively chipper)
Here. Why don't you have some waffle
cakes.
(beat)
And there's sausage and eggs and some
good crisp bacon ...
(beat)
... And a ham steak.
Betty drenches the waffles in syrup and slathers on a huge
slab of butter.
BETTY (CONT)
... And of course, a nice big bowl of
oatmeal.
Jennifer hesitates then glances over at her "mother" who
looks at her expectantly. She glances at David who just looks
stunned. Jennifer pauses then reaches down and takes a
forkful of the oozing mess ...
CUT TO:
FULL SHOT. PAT BOONE.
He stands facing the CAMERA in an actual Kinescope from 1958.
The backdrop is a painted pastoral landscape and the
background singers are all white debutantes. He wears a
letterman's sweater and button down shirt ...
PAT BOONE
"... Tooty fruity--oh rooty. Tooty Fruity
... Oh rooty."
He CONTINUES his homogenized version of Little Richard's
nasty hit, (all the nastiness gone). It becomes a slow and
lilting melody ...
PAT BOONE (CONT)
"... Tooty fruity--oh rooty ..."
SERIES OF SHOTS. PLEASANTVILLE.
The MUSIC CONTINUES as the CAMERA CUTS TO image after image
of this strange "Utopia." The effect is a weird, sanitizied
version of MTV--as if Ronald Reagan had shot a music video.
There are men tipping their hats and women walking their
dogs; cheery gas station attendants and smiling policemen.
PAT BOONE (VO)
(slowly ...)
"... A wap bop a loo bop--a wap barn boom."
Pruned hedges. Twin beds. BIG houses. The CAMERA CRANES DOWN
in the middle of a beautiful tree lined street to find David
and Jennifer walking up the sidewalk, holding their stomachs.
JENNIFER
I'm gonna hurl, David. I swear to God.
DAVID
Just take deep breaths.
JENNIFER
All that animal fat. I feel it in my
pores or something.
Jennifer clutches her stomach, but David's glance darts from
side to side--totally absorbed.
JENNIFER (CONT)
I still don't see why we're doing this.
DAVID
We're supposed to be in school.
JENNIFER
We're supposed to be at home David! We're
supposed to be in color!
(wailing)
Oh God ...
A man calls out from across the street.
MR. SIMPSON
Hello Bud.
DAVID
Hello Mr. Simpson.
MR. SIMPSON
Hear your Dad got a new car.
DAVID
Oh yeah. A Buick. It's swell.
JENNIFER
You know him?
DAVID
Owns the hardware store.
JENNIFER
Okay, now you listen to me! I don't know
what's going on but you'd better fix it!
I had a date with Mark Davis and I even
bought new UNDERWEAR!
DAVID
We just gotta play along for a little
while ... till that guy shows up again.
Then I'll talk to him and ...
JENNIFER
Play along?
DAVID
Well, yeah. I'm ... Bud Parker and
you're ... um--Mary Sue.
JENNIFER
(ripping the barette from her hair)
No! I'm not gonna do it! If I don't
dress like this for Mom I'm sure as hell
not going to do it for you!
DAVID
We don't have a choice Jen. We're stuck
until he comes back.
JENNIFER
Why can't we just EXPLAIN IT?
DAVID
To who?
Jen looks around this cheery little street, and the horror
starts to dawn on her. At that moment, they hear a screaming
SIREN and a bright GRAY FIRE ENGINE comes racing up the
block.
WIDER.
Jennifer and David step back on the curb as the firemen come
flying out of the truck, grabbing the ladder on the back.
DIFFERENT ANGLE. (FOLLOWING THE FIREMEN)
They work in perfect precision. Two firemen grab the base of
the ladder while a third takes the front. They go tearing
across one of the lawns, in full "emergency response"
anchoring the ladder into the ground and winging it up into a
tree.
FIREMAN
C'mere, kitty ...
He emerges a moment later with the cat who was stuck in the
tree. Jennifer sinks to the curb as he carries the kitten by
them, petting it gently as he goes.
JENNIFER
Oh God, we are. We're stuck in like
"Nerdville".
(shakes her head)
I always knew you'd pay a price for
this. I knew you couldn't be hopelessly
geekridden for this long without
suffering some like, really tragic
consequences.
(voice wavering)
... But it's just not fair. I mean--I'm
starting to get really--popular. Debbi
Russell transferred to another school
and my skin's been great since March and
Mark Davis is starting to come around
and ...
BOY'S VOICE (OS)
Hello Mary Sue.
Jennifer turns to see a strapping blonde seventeen year old
driving by in his convertible. He is extremely handsome with
Jack Armstrong features and a Letterman's sweater. Despite
her crisis, Jennifer's jaw drops open as he slows to a crawl.
Biff Martin flashes a huge Pepsodent smile. The guy is a
"dreamboat".
BIFF (CONT)
What's all the commotion? Where's the
cat?
JENNIFER
Um ... It's ...
Biff turns to see the fireman climb into the truck, with the
kitty in his arms.
BIFF
Ah, right ...
(smiling at her again)
Well--guess I'll see ya later Mary Sue.
He takes off down the street with the sun glinting on his
really keen convertible. Jennifer gapes as he disappears
around the corner.
JENNIFER
Who's that?
DAVID
Biff Martin. Captain of the basketball
team.
JENNIFER
(still gaping)
Does he--you know--like "me"?
DAVID
As a matter of fact he does.
JENNIFER
(flicking her hair)
Hunh.
CUT TO:
EXT. PLEASANTVILLE HIGH SCHOOL. DAY.
Streams of impeccably kept youngsters file through the double
doors. All cheery and very pleasant looking. It looks like a
Leni Riefenstahl movie.
ANGLE. FROM ACROSS THE STREET.
David stands beside Jennifer looking at the entrance to the
school. Three girls huddle together by the front steps.
JENNIFER
Those are my friends.
DAVID
Peggy Jane, Lisa Anne and Betty Jean.
JENNIFER
(staring at them)
Can we do any better?
DAVID
I don't think so.
LISA ANNE
(seeing her)
Mary Sue. You're gonna be late for
Geography.
JENNIFER
Okay ...
She flicks her hair back--cops a first day of school
attitude, and heads across the street like she owns the
place.
CUT TO:
INT. GEOGRAPHY CLASS. LATER ...
It looks like a propaganda film from the Eisenhower
Administration. The boys all wear crew cuts and short sleeve
button down shirts. The girls all have lacy dresses buttoned
to the neck. Everyone stares straight ahead at the
blackboard.
ANGLE. FRONT OF THE ROOM. TEACHER.
Miss Peters stands in front of the class with a pointer in
her hand. She indicates a diagram that spans the length of
the blackboard.
MISS PETERS
Last week Class, we discussed the
geography of Main Street. This week,
we're going to be talking about Elm
Street. Can anyone tell me one of the
differences between Elm Street and Main
Street?
(pointing)
Tommy.
TOMMY
It's not as long?
Jennifer looks stunned as several students nod.
MISS PETERS
That's right, Tommy. It's not as long.
Also, it only has houses. So the
geography of Main Street is different
than the geography of Elm Street.
ANGLE. JENNIFER.
She glances around at several students who seem to be nodding
in agreement. All at once, she thrusts her hand into the air.
MISS PETERS
Mary Sue.
JENNIFER
What's outside of Pleasantville?
The teacher looks at her with a puzzled frozen smile on her
face. She looks vaguely troubled.
MISS PETERS
What?
(beat)
I don't understand ...
JENNIFER
Outside of Pleasantville ... What's at
the end of Main Street?
The class lets out a knowing groan--as if to say "Oh. We get
it now. Boy what a stupid question." Miss Peters gives a kind
but condescending look.
MISS PETERS
Oh, Mary Sue. You should know the answer
to that. The end of Main Street is just
the beginning again.
Miss Peters gives a big grin as a series of heads nod up and
down. Jennifer stares straight ahead, dumbfounded ...
CUT TO:
INT. GYMNASIUM. DAY.
There are fifteen to twenty boys scattered around the Gym.
Each is dressed identically in white shorts and black socks
with a "PLEASANTVILLE" jersey.
SHOT. DAVID.
He stands at the free throw line with a basketball in his
hand. (Not exactly an athletic image.) David lets go of a
jump shot that swishes effortlessly through the net. He looks
a little surprised.
DAVID
Wow.
He stares at the backboard slightly intrigued. David
retrieves the ball and fires again, this time chucking it
up blind. The ball sails through the hoop again, HITTING
NOTHING BUT NET.
FULL SHOT. OTHER SIDE OF THE GYM.
Ten to twelve of his teammates fire simultaneously at the
hoop. ALL OF THE SHOTS SAIL THROUGH THE HOOP, NONE EVEN
NICKING THE RIM. The boys retrieve their shots as the coach
claps his hands.
COACH
That's it men. Keep it up. Big game
tomorrow.
ANGLE. DAVID.
He gets the ball and turns his back on the basket completely.
David flings the ball wildly over his shoulder. It bounces
off all the walls of the gym, then glides through the net as
smoothly as the others. He stares in amazement.
BIFF (OS)
Bud ...
WIDER.
Biff Martin (the boy in the convertible) approaches from the
other side of the Gym. He is a classic All American Hero--
somewhere between 4-H club member and a future astronaut.
BIFF
(a little nervous)
Hi ya Bud.
BUD
Hi ya Biff.
He fidgets nervously for a moment looking down.
BIFF
Can I ask you a question?
BUD
Sure.
BIFF
Well ... If I was to ask your sister ...
What I mean is, if I was to go up to
Mary Sue ...
DAVID
Oh God! Are we in that episode?
BIFF
What?
DAVID
I don't believe it.
BIFF
What's the matter?
DAVID
You want to ask her out tonight, right?
And then you want to give her your
school pin ...
BIFF
Yeah ... How'd you know?
DAVID
(shaking his head)
Lucky guess.
(beat)
Look, Biff ... I don't think it's a real
good time for that right now ...
Biff's expression falls. He stands crushed in front of David.
DAVID (CONT)
What I mean is ... Mary Sue's been a
little "different" lately ...
BIFF
(stunned)
She won't go out with me?
DAVID
I didn't say that. It's just that right
now ...
BIFF
I don't know what I'd do if she wouldn't
go out with me ...
All at once, Biff takes the basketball he's been holding and
hurls it toward the hoop. The ball does a couple of
revolutions of the rim, and then amazingly pops out.
WIDE ANGLE. GYM.
Play comes to a halt. ALL THE PLAYERS TURN AND STARE,
DUMBSTRUCK AT THE SIGHT OF A MISSED SHOT.
SHOT. DAVID.
He retrieves the ball quickly then hurries back to Biff.
David pulls him aside as play slowly resumes on the other
side of the gym.
DAVID
(under his breath)
Look, I'm sure we'll work something out.
I'll talk to her or something.
Biff looks at him, troubled.
DAVID (CONT)
Honest. It'll be fine.
Biff nods, a little confused, as David pats him on the back.
CUT TO:
INT. CORRIDOR. LATER ...
David stands off to the side with his sister, while class
pours out around them.
JENNIFER
No way.
DAVID
One date, Jen--that's all I'm asking. If
you don't go out with this guy we could
throw their whole universe out of whack.
JENNIFER
It's too weird David. This place is
giving me the creeps. Did you know all
the books are blank?
DAVID
What?
JENNIFER
I looked in the library. They got covers
with nothing inside them.
DAVID
What were you doing in a library?
JENNIFER
I got lost.
(beat)
Oh here ... look at this!
She reaches into her purse and pulls out a book of matches.
Jennifer tries to light a Kleenex on fire.
DAVID
JENNIFER!
JENNIFER
Just watch. You know why those guys just
get cats out of trees? 'Cause nothing
burns around here, that's why! They
don't need any firemen ...
Sure enough the tissue has become flame retardant.
DAVID
Jen, listen ...
JENNIFER
(trembling)
I like--really need a cigarette, too.
DAVID
(putting his arm around her)
I'll get us out of here. I really will.
But if we don't play along we could
alter their whole existence. We may
never get home.
She looks over at him, slowly.
JENNIFER
You really think anybody's gonna, like,
notice if I don't have a chocolate malt
with this guy.
At that moment, three of Mary Sue's "friends" come tittering
around the comer. They skitter up to her like a group of
wind-up toys.
PEGGY JANE
(high-pitched--rapid fire)
You won't believe what we just heard.
LISA ANNE
Biff Martin's going to ask you out.
BETTY JEAN
And that's not all ...
PEGGY JANE
No, that's not all ...
ALL THREE TOGETHER
He's going to give you his pin!
They explode in a torrent of TITTERS all over again. Jennifer
looks over at David.
EXT. PARKER HOUSE. DUSK.
A lone streetlamp glows in the foreground. Jennifer's voice
plays OS.
JENNIFER
You sure I'm supposed to wear this?
INT. MARY SUE'S ROOM.
Jennifer emerges from the closet in a mohair sweater and a
poodle skirt. Under the sweater she wears a 1950's "bullet
bra" that turn her breasts into lethal weapons.
JENNIFER
(looking in the mirror)
I could like kill a guy with these
things.
DAVID
It's in your closet.
JENNIFER
(examining her profile)
I've worn some kinky stuff before ...
DAVID
He won't notice anyway.
JENNIFER
What do you mean?
DAVID
They don't notice that kind of thing.
JENNIFER
So what's the point?
DAVID
Jen please ...
JENNIFER
He-llo? I've got like three pounds of
underwire here ...
DAVID
Just go with the program--hunh? I'm late
for work.
CUT TO:
EXT. SODA SHOP. DUSK.
The flashing neon ice cream cone looks good enough to drink.
Underneath it, the swirling script spells "SODA SHOP". Johnny
Mathis drifts out into the evening air ...
CLOSER.
David comes sprinting up to the screen door and pauses to get
his breath. He adjusts a little soda jerk's hat, then plunges
inside.
INT. SODA SHOP.
Mr. Johnson, the owner and proprietor is wiping down the
counter. He is a "pleasant" looking man, in his early forties
wearing a white apron and black glasses. The strains of
"MISTY" get louder as Bud lets the screen door slam behind
him.
MR. JOHNSON
(looking up)
Bud?
DAVID
Sorry ... I had to help my folks and
then I couldn't find my hat ...
MR. JOHNSON
Oh.
He stops wiping for a moment, holding the towel in his hand.
MR. JOHNSON (CONT)
I didn't know what to do.
He stares at the rag a little troubled.
DAVID
What's wrong?
MR. JOHNSON
Well--I always wipe down the counter and
then you set out the napkins and glasses
and then I make the french fries ...
DAVID
(confused)
Yeah ...
MR. JOHNSON
But you didn't come so I kept on wiping.
He looks down at the towel clearly disturbed. David pauses
for a moment then starts toward him.
DAVID
I'm sorry.
He crosses to Mr. Johnson who has polished one section of the
counter right down to the wood. David takes the towel out of
his hand and folds it neatly in front of him.
DAVID (CONT)
(gently)
You know, if this ever happens again,
you can make the fries even if I haven't
put out the napkins yet.
MR. JOHNSON
I'm so glad you're here.
DAVID
I understand.
EXT. PARKER HOUSE. NIGHT.
Biff's convertible rolls up to the curb with Pat Boone
playing on the radio. He runs a comb through his short blonde
hair before grabbing the bouquet of flowers next to him and
heading up the walk. Biff rings the doorbell and, a moment
later, Jennifer's silhouette appears in the doorway ...
BIFF
Oh. Mary Sue ...
EXT. SODA SHOP. NIGHT.
The place is really hopping now. All the spots in the parking
lot are filled with vintage "jalopies" and several patrons
are streaming through the door. The SAME JOHNNY MATHIS SONG
is still PLAYING on the juke box, and the neon ice cream soda
sign blinks against the sky.
INT. SODA SHOP.
David is trapped behind the counter, furiously working to
keep up with the load. Several clean cut teenagers pepper him
with orders while he yanks at the pumps and spiggots. It's
clear he isn't used to this.
DAVID
(frazzled)
Peppermint shake, chocolate soda, two
orders of fries and a split?
TEEN AGE GIRL
Peppermint soda, two chocolate shakes,
order of fries, and we'll split it.
David nods quickly, wiping some sweat from his brow. He
scoops some ice cream into the metal blender as Mr. Johnson
comes up beside him.
MR. JOHNSON
There aren't any cheeseburgers.
DAVID
(turning)
What?
MR. JOHNSON
Well, usually I put out the burger and
then you finish with the lettuce ...
DAVID
Listen to me!
Mr. Johnson recoils slightly.
DAVID (CONT)
Do you have the lettuce?
MR. JOHNSON
... Yeah.
DAVID
Have you cooked the burgers?
MR. JOHNSON
(quieter)
Yes.
DAVID
Well you can just put on the lettuce,
finish the burger and pretend it was me
doing it all along.
Mr. Johnson stares at him.
DAVID (CONT)
Really. It's fine.
DIFFERENT ANGLE. SODA SHOP ENTRANCE.
The screen door swings open and is held there by the end of a
Letterman's sweater. A moment later, Jennifer sashays
through, parading her new Jane Russell profile. Her
"girlfriends" TITTER from the comer as Biff rushes up to a
table, and pulls out a chair. She sashays into it, brushing
against him as she goes.
ANGLE. DAVID.
He stares motionless at the spectacle--concerned and
apprehensive. David holds a hot fudge sundae under the soda
spiggot and jerks back on the lever blowing ice cream all
over his chest.
FULL SHOT. TABLE.
Biff stares across the table at Jennifer with the wholesome
devotion of a labrador retriever. He looks like a cross
between Troy Donahue and a mannequin.
BIFF
(haltingly)
I sure am glad you said you'd come out
with me tonight Mary Sue.
JENNIFER
(full blown "Mary Sue")
Well "gee whizz" Biff. I sure am glad
you asked me.
He guffaws for a moment or two before speaking again.
BIFF
I don't know if I ever said this to you
before, but, well ... I think you're
just about the keenest girl in the whole
school ...
JENNIFER
Really Biff? The keenest?
BIFF
Oh yeah.
JENNIFER
(all sarcasm)
Gosh. I hardly know what to say.
DAVID (OS)
What can I get you two?
WIDER.
He stands at their table holding a little white pad of paper
and a pencil. Jennifer looks up at her brother and almost
bursts out laughing. He wears his soda jerk hat at a jaunty
angle with large white apron tied around his neck.
BIFF
Oh, I dunno Bud. Guess I'll have my
usual cheeseburger and a cherry coke.
More goony laughs. David turns to Jennifer who puts on the
same dopey countenance.
JENNIFER
Oh, I dunno Bud. Guess I'll just have a
salad and an Evian Water.
He shoots her a dirty look. Jennifer just smiles at him.
JENNIFER (CONT)
Cheeseburger it is.
ANGLE. FOLLOWING DAVID.
He glowers at her all the way back to the counter. David
posts the order in the little carousel clip board, keeping an
eye on the table the entire time ...
RESUME. TABLE.
Biff gazes across the table at Jennifer with an adoring look
on his face. His hands are properly folded in front of him.
She's still trying to do her best "Mary Sue."
BIFF
See the whole time we were in civics
together, I really wanted to sit next to
you--but you were always sitting between
Peggy Jane and Lisa Anne.
There is some TITTERING behind her. Jennifer doesn't respond.
BIFF (CONT)
... And you always seemed so smart and
everything. Like that report you did on
"Our Town Hall." Gosh. I didn't know
what I'd talk to you about.
JENNIFER
Well, sometimes talking's over-rated.
Don't you think?
BIFF
Hunh?
(goony laugh)
Oh, right ...
He still doesn't understand. Biff GUFFAWS for a moment or two
then glances down at the table top. There is a momentary
break in the Music as Johnny Mathis' "MISTY" starts up all
over again. It's enough to make you shoot yourself.
BIFF (CONT)
So I know I haven't been steady with
anybody, but I just don't want to rush
it. You don't want to make a mistake
with something that important.
JENNIFER
Oh, gosh no.
BIFF
I mean, there's kids that are even
holding hands already but I figure
there's plenty of time for that kind of
thing later on. Don't you?
JENNIFER
Oh you bet.
(beat)
Will you excuse me for a sec?
Jennifer gets up in a daze and heads toward the bathroom.
ANGLE. DAVID.
He freezes behind the counter and watches as his sister
practically stumbles through the bathroom door.
INT. BATHROOM.
Of course there aren't any toilets. Jennifer gropes her way
to the sink and leans against the counter.
JENNIFER
Jesus Chirist ...
She turns and sits against the sink for a moment with a
dumbstruck look on her face. Jennifer shakes her head for a
moment or two, when the door to the bathroom bursts open.
GIRL'S VOICES
(overlapping)
"Did he give it to you ... Did he give
it to you ... I bet he gave it to her
... Did he give it to you?"
JENNIFER
(straight ahead)
I don't think he knows how.
They TITTER away, even though they don't get it either. It
sounds like an aviary.
LISA ANNE
I bet he's gonna take her to Lover's
Lane.
PEGGY JANE
I bet he is. I bet he is.
BETTY JEAN
I bet he's even gonna hold her hand!
They TITTER some more as Jennifer shakes her head.
INT. SODA SHOP.
David is standing beside their table as she retums from the
bathroom.
DAVID
(chipper)
Couple of cheeseburgers and two cherry
cokes.
(pointedly)
If you need anything, I'll be right over
there.
JENNIFER
(Mary Sue)
Gee whiz "Bud", what could we possibly
need when we have each other?
She flashes him a "sweet" smile then reaches out and TOUCHES
BIFF'S HAND. Both boys jump slightly as Jennifer gives her
brother a venomous grin then suddenly waves "bye bye." David
just stares at her panicked as he moves haltingly back to the
Soda fountain.
BIFF
(befuddled)
Anyhow ... I really wanted to come over
and sit next to you in civics but ...
JENNIFER
You want to get out of here?
BIFF
What?
JENNIFER
You wanna get out of here? You wanna
leave?
BIFF
(confused)
But where would we go?
JENNIFER
(shrugging)
... Lover's Lane.
BIFF
(swallow)
Lover's Lane!
There is an audible GASP from the booth behind them. Jennifer
ignores it.
JENNIFER
Yeah. Lover's Lane. You up for it?
CLOSE UP. BIFF.
He just stares at her with his mouth open ...
WIDER.
Jennifer reaches forward grabbing his hand.
JENNIFER
C'mon. Let's go.
FULL SHOT. SODA FOUNTAIN.
David is in the middle of making a hot fudge sundae when he
sees Jennifer leading Biff by the hand into the parking lot.
Everyone at the counter is enjoying their dessert, when David
lets out a blood curdling scream.
DAVID
NOOOOOO!
He vaults over the counter making a bee-line for the door.
Everyone turns and stares as he races toward the entrance ...
EXT. SODA SHOP.
Biff's car is just pulling onto the street when David sprints
into the parking lot. He takes off after the car, sprinting
down the street.
DAVID
YOU CAN'T DO THIS JENNIFER! HE DOESN'T
EXIST! YOU CAN'T DO THIS TO SOMEONE WHO
DOESN'T EXIST!
The tail lights recede in the distance as David slows to a
jog and then finally a walk. He pauses, winded, in the
street, then looks up toward Heaven with a pissed off look on
his face.
DAVID (CONT)
(to God)
Thanks a lot.
CUT TO:
EXT. LOVER'S LANE. NIGHT.
It is a beautiful tree-lined pond with a lush willow tree in
the foreground. The moonlight glistens silver across the
water. Several cars are parked in a row with their occupants
HOLDING HANDS. Biff's convertible is parked at the end.
SHOT. BIFF'S CAR.
He sits stiffly at the wheel staring straight ahead. Jennifer
is draped languidly across the seat beside him, making the
most of her mohair sweater. She stares at Biff in a not-so-
Pleasantville-kind-of-way. He glances over at her and
swallows.
BIFF
Sure is pretty.
JENNIFER
(staring at him)
Oh yeah ... Gorgeous.
BIFF
To be honest Mary Sue. I didn't think
you'd want to come here until we'd been
pinned for a little while.
JENNIFER
Oh, Biff. You can "pin" me any time you
want to.
She leans back a liftle more, draping her arm across the top
of the seat. Her tits point toward the sky.
JENNIFER (CONT)
(breathy)
Or maybe I should just "pin" you.
He looks over at her a little confused, then breaks into his
goony laugh.
BIFF
Oh, that's silly Mary Sue. How could you
possibly pin me?
CLOSE UP. BIFF.
He is still guffawing when he looks over at Jennifer and
suddenly freezes. Biff's eyes widen ...
CUT TO:
EXT. PARKER HOUSE. NIGHT.
David comes sprinting up to the porch, then doubles over
catching his breath. He clings onto the porch swing when the
door opens behind him.
BETTY
Bud?
WIDER.
His "mother" and "father" come out onto the porch. David
catches his breath then forces a smile.
GEORGE
Son, what's wrong?
DAVID
Have you seen Mary Sue?
BETTY
Why no. She's still on her date with
Biff ... is something the matter?
DAVID
(still panting a little)
No, I ... I was just ... worried about
her.
His mother and father exchange a "knowing" look. George rests
a hand on his shoulder.
GEORGE
(oppressively paternal)
Bud, your sister's a little older now
and she's naturally going to start going
out with boys.
(beat)
... In fact pretty soon--she's even
going to get married and make someone a
good little home-maker like your mother
here.
(smiles at Betty/
inside joke)
That's IF she can learn to bake.
BETTY
Oh, George ...
GEORGE
But your sister is a fine young woman
and she would never do anything for us
to be concerned about.
CUT TO:
EXT. LOVER'S LANE. NIGHT.
The low gutteral MOANS of two coupling animals drifts out
over the evening air. It is raw and primitive and desperate.
The CAMERA begins to TRACK behind all the other cars--their
occupants primly holding hands in a tender sillouhette. It
finally COMES TO REST on a convertible at the end, with a
girl's leg sticking out the window.
CLOSER.
A Letterman's sweater hangs over the door. The windshield is
completely fogged. Jennifer's sweater is draped over the
backseat. The car is rocking.
INT. CAR.
They are clenched in a mad embrace: all arms and hair. Biff
pulls back for a moment, GASPING for air. His face is covered
with lipstick and there is a crazy look in his eye. He's
stuck somewhere between passion and fear as he clings
desperately to the steering wheel.
BIFF
(some terror)
I think I better go home now Mary Sue ...
She holds onto his shirt as her knee rubs the dashboard.
JENNIFER
(breathless)
... Why?
BIFF
(more terror)
I think ... I might be ill ...
He glances down at his lap a little confused.
BIFF (CONT)
(a whisper)
I think something's happening to me.
He looks at his crotch then back at Jennifer. She reaches up
and grabs a handful of his hair.
JENNIFER
It's s'posed to happen, Biff.
BIFF
It is?
JENNIFER
Trust me ...
He looks at her completely confused as she pulls back down,
and OUT OF FRAME ...
CUT TO:
EXT. PARKER HOUSE. NIGHT.
A single light is burning in the kitchen window.
BETTY (OS)
Do you want some more cookies?
INT. KITCHEN.
David is at the kitchen table with a nauseated look on his
face. There are three empty bottles of milk and cookie crumbs
all over the table.
DAVID
(sick)
Oh no ... I'm fine.
BETTY
How 'bout some Marshmallow Rice Squares?
DAVID
I'm fine.
There is a knock behind them at the door. David springs up.
BETTY
Now who could that be.
FOLLOWING DAVID.
He crosses into the foyer ahead of his "parents." David
swings open the door revealing Mr. Johnson, standing on the
porch.
DAVID
Oh hi!
MR. JOHNSON
Hi there. You took off so quick. I
wasn't sure if you were okay.
DAVID
Oh, yeah. Sorry. I'm fine. I just ...
Had to get home early.
Mr. Johnson leans in closer and speaks in a CONFIDENTIAL tone
of voice.
MR. JOHNSON
Bud ...
DAVID
Yeah ...
MR. JOHNSON
(sotto)
You know how when we close up, I close
the register, then you lower the shades,
then I turn out the lights, then we both
lock the doors.
DAVID
Yeah ...
MR. JOHNSON
(proud)
Well you weren't around this time so I
did the whole thing myself.
CLOSER.
Mr. Johnson has a strange look of "manly pride" on his face.
His shoulders square back. His chest puffs out a little.
There is a sudden sparkle in his eye.
MR. JOHNSON
(more confidential)
Not only that, I didn't even do it in
the same order. First I lowered the
shades, then I closed the register.
He looks at David with pride then suddenly shifts his glance
behind him.
MR. JOHNSON (CONT)
Oh, hello Betty.
BETTY
Hello Bill.
Neither one says anything but neither one has to. David looks
on in horror as his mother locks eyes with Mr. Johnson and
his new found virility.
DAVID
(quickly)
Well, look, thanks for coming by. I ...
really appreciate it.
He turns and starts hustling him down the walk just as Biff's
convertible pulls up at the curb.
INT. CAR. CLOSE UP. JENNIFER.
She looks sweetly over at the driver's side of the car (OUT
OF FRAME).
JENNIFER
Well gee thanks Biff. I had a really
wonderful time.
ANGLE. BIFF. OTHER SIDE OF CAR.
He sits behind the wheel with a totally dazed look on his
face. Biff stares stunned at Jennifer, like he just got hit
with a couple of thousand volts.
BIFF
... Me too.
She leans over and kisses him on the cheek ... Then she bites
his ear lobe, gently, and flashes him a big smile. Biff
smiles back.
EXT. CAR.
She climbs out and shuts the door. Jennifer nods to Mr.
Johnson as she heads up the walk.
JENNIFER
(sweetly)
Hello Mr. Johnson.
MR. JOHNSON
Oh, hello Mary Sue.
She is wearing a big smile by the time she reaches the porch.
David grabs her arm.
DAVID
(urgent whisper)
What did you do to him?
JENNIFER
(innocently)
Nothing.
She starts up the staircase. David follows her and the CAMERA
follows them both.
DAVID
What do you mean "nothing?" That's not
nothing. That's ...
She reaches the top of the stairs and turns to him.
JENNIFER
Relax "Bud." We had a really nice time.
(mock YAWN)
... Now I'm really tired and we gotta
get up early for school in the morning
so ...
She flashes her brother an evil grin.
JENNIFER (CONT)
'Night.
She shuts the door softly in his face. David stairs at the
gray wood in front of him.
EXT. ELM STREET. NIGHT.
Biff pulls up at an intersection with the same dazed look in
his eye. The car rumbles at the stoplight for a moment or
two, before he glances over to his right.
CLOSE UP. BIFF.
The stunned look turns to one of sheer amazement:
BIFF'S POV. ROSE.
There, against a gray picket fence, on a black and white
street in a black and white neighborhood, A SINGLE RED ROSE
IS BLOOMING.
CUT TO:
AERIAL SHOT. PLEASANTVILLE. MORNING
It would be a stunning vista if it wasn't in black and white.
The church steeple gleams in the sunlight. The perfect little
houses look like a row of pretty toys ...
INT. PARKER LIVING ROOM. DAY.
David sits parked in front of the TV furtively turning
through the channels. He flips the dial frantically. No sign
of Dick Van Dyke.
BETTY (OS)
Bud. It's 7:30 in the morning. Are you
watching television?
He gives her a sheepish grin and sighs ...
CUT TO:
INT. SCHOOL GYM. DAY.
It is the same configuration as earlier. Everyone wears their
Pleasantville "Lions" jerseys, white sneakers and black
socks. David enters the Gym a little groggy. He hasn't had
much sleep.
CLOSER.
He looks up and stops. David cocks his head to the side,
staring across the gym.
HIS POV. BIFF AND OTHER BOYS.
They are huddled at the far end, each holding a basketball
under his arm. Biff is in the center of the group, animatedly
describing something that is holding their RAPT ATTENTION.
WIDER ANGLE. INCLUDING DAVID.
DAVID
(quietly)
Oh no ...
Biff continues his story while they stare at him with their
mouths open. The Coach blows his whistle.
COACH
Come on men. Let's go. Big game next
week.
The huddle breaks up as the basketball players all wander
toward the hoop. Ten shots go up at once but NOT ONE COMES
EVEN CLOSE. Several clang off the rim, a couple hit the edge
of the backboard. One slams into the side of the gym.
Everyone stares in disbelief.
DAVID
Oh my God ...
CUT TO:
INT. SCHOOL CORRIDOR. DAY.
David stands face to face with his sister in mid
conversation.
DAVID
You can't do this, Jennifer. I WARNED
you.
JENNIFER
So what's the big deal. Oh. Okay.
They're like not good at basketball
anymore. Like--omigod, what a tragedy.
DAVID
You don't understand. You're messing
with their UNIVERSE.
JENNIFER
Well maybe it needs to be messed with.
Did that ever like--occur to you?
(beat)
You know, they don't want to be like
this, it's just that nobody ever helped
them before.
PEGGY JANE
(walking past)
"MS". How you doin'?
JENNIFER
Kewl "PJ". How you doin'?
PEGGY JANE
(relishing her new word)
"Kewl."
Jennifer smiles at her friend as she goes by.
DAVID
You have no right to do this.
JENNIFER
Well if I don't who will?
DAVID
They're happy like this.
JENNIFER
David, nobody's happy in a Poodle skirt
and a sweater set.
(pause ...)
You like all this don't you?
David recoils slightly.
JENNIFER (CONT)
I mean, you don't think it's just like
dorky or funny or something ... you
really like it.
(shudders)
Oh God! I am just so personally
horrified right now ...
DAVID
I just don't think we have the right
to ...
JENNIFER
David, let me tell you something. These
people don't want to be geeks. They want
to be "attractive." They've got a lot of
potential, they just don't know any
better.
DAVID
They don't have that kind of potential.
JENNIFER
Um--hello? You want to like take a look?
Jennifer motions behind her to a boy and girt who are locked
in an intimate conversation. The girl wears bobby socks and
the boy wears a letterman's sweater, but the conversation is
sexually charged. They speak to one another in a close
whisper--their faces inches apart. All at once the girt gets
shy and glances away. She blows a big bubble with her gum,
but the BUBBLE IS BRIGHT PINK IN AN OTHERWISE GRAY FRAME.
BOY
Wow. What kind of gum is that?
CLOSE. DAVID AND JENNIFER.
He looks over in shock as she sucks the BRIGHTLY COLORED
BUBBLE GUM back into her mouth. Jennifer flicks her hair.
JENNIFER
I gotta go. I'm meeting Biff at the
flagpole.
EXT. LOVER'S LANE. NIGHT.
It is the exact same shot as before: The CAMERA STARTS ITS
LONG SLOW TRACK behind the vehicles, except this time ALL OF
THEM ARE ROCKING. Various limbs and articles of clothing hang
out the open windows. MOANS of pleasure waft out over Lover's
Lane as the pond glistens in the distance ...
CUT TO:
INT. DOCTOR'S OFFICE. DAY.
It is a typical '50s family practice right out of Norman
Rockwell. There is a jar of tongue depressors on the counter
and a jar of lollipops beside them. Lisa Anne (Mary Sue's
best friend) is being examined by Dr. Henderson. Her mother
sits at her side.
DR. HENDERSON
Let me see it again.
Lisa Anne opens her mouth and sticks out a BRIGHT RED TONGUE.
Everything else in the frame is Black and White, but her
tongue literally gleams with color.
DR. HENDERSON (CONT)
(examining it)
Well ... I don't think it's anything to
worry about ... It'll probably just
clear up by itself.
(to Lisa Anne)
Cut down on greasy foods and chocolate.
No french fries, that kind of thing.
(aside/
to the Mother)
It's just a "teenage" thing.
EXT. LOVER'S LANE. NIGHT.
It is really rocking now. More cars are lined up along the
edge of the lake as the REAL (AND NASTY) VERSION OF TOOTY
FRUITY (BY LITTLE RICHARD) PLAYS OS:
LIL RICHARD (VO)
"... Got a gal--her name is Sue. She
knows just what to do ..."
SERIES OF SHOTS. (MONTAGE)
PARKER LIVING ROOM.
TOOTY FRUITY CONTINUES AS DAVID FLIPS FRANTICALLY THROUGH THE
CHANNELS LOOKING FOR DICK VAN DYKE. THERE IS ONLY A PEPSODENT
COMMERCIAL. HE SHAKES HIS HEAD ...
INT. HIGH SCHOOL GYM (MUSIC CONT ...)
The Pleasantville Lions lose a game late in the second half.
The scoreboard reads 84 to 16 ...
INT. PARKER LIVING ROOM. (MUSIC CONT ...)
David examines the back of the TV set ...
INT. FURNITURE STORE. (MUSIC CONT...)
A large group of customers is huddled in a circle, staring at
an item on the display floor, like it is the monolith in
"2001". They seem both confused and absolutely mesmerized as
the CAMERA PUSHES IN TO REVEAL: a double bed ...
INT. PARKER LIVING ROOM. (MUSIC CONT ...)
David sits on the floor with a weird look of resignation as a
Brillcream commercial plays in front of him ...
LIL RICHARD (OS)
"... A wop bop a loo bop--a wop bam
boom!"
SODA SHOP. NIGHT. ON DAVID.
He heads toward work with his apron and his paper hat, but
he's clearly disconcerted. David stops and stares at A BRIGHT
RED HOT ROD parked at the front door of the restaurant. He
shakes his head.
SODA SHOP.
The place has been transformed. What was cheery and benign a
couple of days before, has gotten a little bit dangerous. The
letterman sweaters have been replaced by leather jackets. The
Pat Boone and Johnny Mathis have given way to real Rock and
Roll. There is a James Dean/Marlon Brando edge in the air.
Somebody has played the flip side.
ANGLE. DAVID.
He enters the soda shop adjusting his paper hat. A young
couple makes out passionately in the doorway--all tongues and
hands. When they break David sees that the girl's cheeks are
FLUSHED WITH RED. He stares at her for a beat as they return
to normal. David shakes his head.
FOLLOWING HIM.
He crosses to the counter and grabs his pencil and little pad
of paper. Various things have already GONE TO COLOR AROUND
THE ROOM: The JUKE BOX ... The COKE SIGN .. THE NAUGAHIDE
STOOLS ... David crosses to one of the booths where his
sister's arm is draped over Biff's shoulder.
DAVID
What'll it be?
BIFF
(still chipper as ever)
Gee whizz, Bud. Guess I'll just have the
usual. Cheeseburger and a cherry coke.
Bud has already written it down. He glances over at his
sister.
JENNIFER
Me too. Sounds swell.
DAVID
(pointed)
Really? It seems so fattening.
Before she can answer he smiles to himself and crosses behind
the counter. Bud posts the order and turns to Mr. Johnson.
DAVID (CONT)
Two cheeseburgers, two cherry cokes.
MR. JOHNSON
(staring straight ahead)
There aren't any cheeseburgers.
DAVID
(exasperated)
Look. I thought we talked about this, I
thought we said ...
MR. JOHNSON
Oh--what's the point, Bud?
CLOSER.
Mr. Johnson. looks up at him with a weird kind of emptiness
in his eyes. David grabs his arm.
DAVID
C'mere.
He pulls him along the counter toward a little office
storeroom in the back. He yanks him inside and shuts the
door.
INT. STOREROOM.
It is just as cheery as the rest of the place. There is a
small table with a telephone on it. A Texaco calendar shows a
happy family motoring in their Rambler.
DAVID
What did you say?
Mr. Johnson glances down with a little shame and confusion.
MR. JOHNSON
Well ... I'm not sure I see the point
anymore.
DAVID
What are you talking about! You make
hamburgers! That is the point!
MR. JOHNSON
No I know ... I know I do ...
(he pauses, then looks up)
But it's always the same, you know?
Grill the bun, flip the meat, melt the
cheese ... It never changes. It never
gets any better or worse ...
DAVID
Just listen to me ...
MR. JOHNSON
(not hearing him)
... Like the other night, when I closed
up by myself. That was different ...
DAVID
Forget about that!
MR. JOHNSON
Oh ... Okay.
(beat/
lower)
... But I really liked it.
Bud takes a deep breath. He stares at Mr. Johnson, then tries
to speak softly.
DAVID
Look, you can't always like what you do.
Sometimes you just do it because it's
your job. And even if you don't like it,
you just gotta do it anyway.
MR. JOHNSON
Why?
DAVID
(exasperated)
So they can have their hamburgers!
This sounds stupid even to David. He shakes his head.
MR. JOHNSON
(like a secret)
You know what I really like?
DAVID
(warily)
... What's that?
MR. JOHNSON
Christmastime.
David rolls his eyes. Mr. Johnson leans closer, speaking
furtively.
MR. JOHNSON (CONT)
See every year on Dec 3, I get to paint
the Christmas decorations in the window.
And every year, I get to paint a
different thing ...
(beat)
One year it's the North Pole. The next
I do Santa's workshop. Here I'll show
you.
He pulls a photo album from the back of the desk and opens
it for David.
DAVID
(impressed)
Wow ... That's pretty good ...
MR. JOHNSON
Thanks.
(continuing)
But this morning I was thinking about
it and I realized that I looked forward
to it all year. And then I thought "Gee.
That seems awfully silly. That seems
like an awfully long time to be waiting
for just one moment, don't you think?"
David looks at him speechless.
MR. JOHNSON (CONT)
Well don't you?
DAVID
I think you should try not to think
about this anymore.
MR. JOHNSON
Really?
DAVID
Yeah.
MR. JOHNSON
Oh. Okay. I'll try that then.
CUT TO:
INT. BARBERSHOP. DAY
The Barber Pole spins in three shades of gray. Several men
are gathered around the two chairs in the front of Gus' shop.
Besides being the barbershop, it is the bastion of all male
life in Pleasantville. Bud and Mary Sue's "father" (George)
sits in one of the chairs. "Big Bob" McGee, owner of the
drugstore, supermarket and Chevy dealership sits in the
other. He has a crew cut that's getting shorter.
GUS
Have they ever lost before?
GEORGE
Basketball? No they sure haven't.
BOB
Just feels "wrong", that's all.
There are several murmurs.
THIRD PATRON
Maybe that's where they get that saying,
"can't win 'em all."
GUS
Yeah. That's a good point, Ralph. They
do have that saying.
BOB
But they do win 'em all, Gus. They've
always won 'em all.
GUS
Well, yeah. That's true too.
More murmurs, Everyone looks straight ahead trying to figure.
CUT TO:
INT. PARKER KITCHEN. DAY.
The women's bridge club has assembled in the Parker kitchen
like it does every Wednesday afternoon. Four women are seated
around the kitchen table with a nice bowl of bridge mix
between them. Betty is sifting next to Marge Jenkins, the
woman who accompanied her daughter to the doctor's office.
MARGE
(dealing the cards)
... He said it would clear up on its
own if she just stayed away from fried
foods and sweets ...
BETTY
Well that makes sense.
MARGE
Except it's spread to her lips now too.
Oh, I don't know.
MARY
(a THIRD WOMAN)
And you say it's just "red?"
MARGE
Well--like red, only ... "redder."
MARY
Hunh. I know what you mean. That's like
the front of Bill Johnson's shop. I was
going by it the other day and it looked
green only "greener."
SHOT. BETTY.
She looks up quickly--then grabs some bridge mix.
MARGE
(lowering her voice)
Have you seen him lately? The man
doesn't look like himself. I was
getting my sewing machine fixed across
the street and he was sitting in the
window of his shop just staring.
Wasn't looking at anything in
particular--just staring off into space.
MARY
That is strange.
Betty reaches out and grabs her cards. She fans them out in
front of her, when her eyes go wide.
HER POV. BRIDGE HAND.
They are ALL HEARTS and all BRIGHT RED. It looks like a
fistfful of valentines.
CLOSE UP. BETTY.
She puts the cards down quickly and takes a sudden breath.
Betty keeps them like that for a moment or two, before
lifting them up and taking another look.
MARGE
Betty, it's your bid.
She swallows trying to keep her composure.
BETTY
Uh ... Seven hearts.
They murmur at the strength of the hand.
CUT TO:
EXT. PARKER HOUSE. NIGHT.
The SOUND of the television plays OS while a warm light burns
in the window.
INT. KITCHEN.
Jennifer and Betty stand at the sink finishing the dishes.
Betty washes while Jennifer dries and it's clear who's more
used to this. Jennifer examines a chipped nail as she places
a dish in the drying rack.
BETTY
Mary Sue?
JENNIFER
Yeah?
Betty hesitates. Rinses out a pot.
BETTY
Can I ask you a question?
JENNIFER
Sure.
She pauses for a long moment.
BETTY
What goes on up at Lover's Lane?
JENNIFER
(turning toward her)
What do you mean?
BETTY
Well, you hear all these things lately.
You know--kids spending so much time up
there ...
(she looks over)
Is it holding hands? That kind of thing?
JENNIFER
Yeah ...
(beat)
That--and ...
She stops herself.
BETTY
What?
JENNIFER
It doesn't matter.
BETTY
No. I want to know.
JENNIFER
(glances toward the living room/
lowers her voice)
... Sex.
BETTY
Ah.
Betty nods from the import of the tone but not the meaning. A
beat goes by ...
BETTY (CONT)
What's sex?
Jennifer looks over at her stunned, but Betty just looks at
her with a blank, curious expression. Jennifer hesitates.
JENNIFER
You sure you want to know this?
BETTY
Yes.
JENNIFER
Okay.
She crosses to the kitchen door and closes it. The sounds of
the TV in the living room disappear. Jennifer crosses back to
the kitchen counter and turns to her.
JENNIFER (CONT)
You see Mom ...
(softer and with understanding)
When two people like each other very
much ...
Betty looks at her and nods ...
DISSOLVE TO:
EXT. PARKER HOUSE. NIGHT.
The TV keeps flickering in the window.
INT. KITCHEN. LATER ...
The CAMERA PANS across the kitchen table where there is a
full quart of milk and some uneaten co6kies. It finally comes
to rest on Jennifer who is staring across the kitchen table
with a concerned look on her face.
JENNIFER
You okay?
REVERSE ANGLE. BETTY.
She nods--shaken but "fine." Betty stares long and hard at
the plate of chocolate chip cookies. She's far away.
BETTY
Yes ...
(softly)
It's just that ...
JENNIFER
(gently)
What?
BETTY
Well ...
(looking up)
... Your father would never do anything
like that.
SHOT. JENNIFER.
She bites her lip weighing her next sentence ...
JENNIFER
(leaning forward)
Oh. Hmm ...
(whisper/
woman to woman)
Well, Mom ... there's ways to "enjoy"
yourself without Dad.
ANGLE. BETTY.
She looks across the table, perplexed.
CUT TO:
INT. PARKER BEDROOM. NIGHT.
George crosses from the dresser to the TWO TWIN BEDS in the
middle of the room. He wears long sleeve pajamas that are
buttoned up to the neck. George puts his glass of warm milk
on the nightstand and climbs in his own single bed. It is
barely wide enough for his body and takes some maneuvering.
GEORGE
Sweetie? You coming to bed?
There is no answer.
GEORGE (CONT)
Betty?
INT. BATHROOM.
She stands in her bathrobe staring down at the tub. Her
dressing gown is buttoned to the neck as well.
BETTY
(calling out)
Yeah ... I'm just going to take a bath
first.
CLOSER. BETTY.
She swallows once as she stares down at the tub--then reaches
for the spigot and turns on the water. Betty's heart beats a
little faster as she HEARS the WATER THUNDERING DOWN.
CLOSER STILL ...
Betty reaches up and unties the little silk ribbon at the top
of her robe. She slips it off, and lets it drop to the floor,
standing naked in the middle of the bathroom. Betty glances
toward the mirror and then quickly glances away. She takes a
deep breath and steps into the tub.
EVEN TIGHTER. ON HER FACE ...
Betty slides down into the warm water, breathing in the
steam, and closing her eyes for a moment. She lingers like
that for a second or two, before settling a little lower in
the tub. Betty opens her eyes, but they only half open. There
is the slight trace of a smile.
EXTREME CLOSE UP BETTY'S FACE.
Her eyes close again as she bites her lower lip gently. The
water continues to THUNDER DOWN as she arches her back.
Betty's breathing seems to quicken as she opens her eyes all
over again:
HER POV. BATHROOM ...
ALL AT ONCE, EVERYTHING AROUND STARTS TO TURN FROM BLACK AND
WHITE TO COLOR. A BIRD OUT THE WINDOW BECOMES A RED BREASTED
ROBIN. THE TILE ON THE TUB TURNS OUT TO BE PURPLE. GREEN
TOWEL ... PINK ROBE ... BRIGHT YELLOW DAISIES ON THE PLASTIC
SHOWER CURTAIN.
CLOSE UP. BETTY'S FACE.
She stares in amazment. Beads of sweat form on Betty's
forehead as the world goes to TECHNICOLOR. The THUNDERING
WATER POUNDS IN THE BACKGROUND, but beneath can be heard the
beginnings of a faint, low, MOAN. Her eyes dart around the
room. Her breathing quickens: Faster ... Harder ... More
intense ... THEN SUDDENLY ...
EXT. ELM STREET. NIGHT.
The HUGE ELM TREE across the street suddenly BURSTS INTO
FLAMES. Fire shoots straight up into the sky as billowing
clouds of black smoke fill the air. BRIGHT ORANGE FLAMES
LIGHT UP THE NIGHT.
INT. PARKER LIVING ROOM. NIGHT.
David is staring at the television set when he notices a
weird orange glow. He glances behind him, out the living room
window ...
DAVID
Oh my God!
EXT. ELM STREET. NIGHT.
David comes racing out of the front door and down the walk. A
small CROWD has gathered in front of the fire. (They don't
seem frightened--just sort of amazed.) The street is still
BLACK AND WHITE but it is now bathed in a weird ORANGE LIGHT.
The flames leap higher and higher ...
DAVID
Jesus Christ ...
FOLLOWING DAVID.
He takes off down the block, as fast as he can run. The crowd
continues to stare as David turns the corner at Main
Street ...
EXT. FIRE STATION.
He races in the front of the building SCREAMING at the top of
his lungs.
DAVID
FIRE! FIRE!
INT. FIRE STATION.
There is no sign of life on the ground floor. David races up
the stairs toward the bunk room on the second story.
INT. BUNKROOM.
All the firemen are sitting around playing Gin Rummy when
David rushes in the front door. They can hear his voice from
down the hall.
DAVID
(entering)
FIRE ... FIRE ...
They still don't move. All the firemen just look at him from
their bunks with a perplexed expression.
DAVID (CONT)
(beat)
CAT!!!
All at once they spring to their feet grabbing their helmets
and their yellow slickers. They race to the landing just
outside the bunkroom and leap onto the pole ...
EXT. MAIN STREET. NIGHT.
The FIRE HAS SPREAD TO AN ADJOINING TREE as the FIRE ENGINE
comes SCREAMING toward the house from the top of the block.
David sits in the front of the truck next to the Fire Chief
who drives the vehicle at break neck speed.
DAVID
Right here!
The Fire ENGINE screeches to a halt. The Fire Chief looks
around ...
FIRE CHIEF
Where is it?
David shoots him a look then glances at the inferno. He
shakes his head and leaps from the truck.
FOLLOWING DAVID.
He races around to the back where the other firemen are
standing just as confused. David grabs one of the hoses and
begins to pull it from the truck.
DAVID
Here! Grab this nozzle.
FIREMAN
But where's the ...
DAVID
Just grab it!
He strips out about fifteen feet of hose, then grabs the
fireman and pulls him toward the curb. David parts the crowd
and positions the man right in front of the flames.
DAVID (CONT)
(shouting)
Okay! Now point this right at the
flames--like this.
The Fireman nods and does as he is told. David opens the
valve sending out a huge FLUME OF WATER.
FIREMAN
Whoa!
(beat)
So that's what these do.
A huge smile breaks out across the fireman's face--like a man
who has suddenly found his purpose in life. He beams from ear
to ear dousing the flames, while David runs to get another
hose ...
BOB (VO)
(fading in)
... In honor and in recognition of
your heroism ...
DISSOLVE TO:
EXT. TOWN HALL. DAY
David stands at a podium receiving a commendation from "Big"
Bob McGee (the man from the barbershop). He holds a large
plaque up for public display, while "David's" whole family
beams in the background.
BOB
... And with great appreciation from
the citizens of Pleasantville ...
WIDER.
A huge crowd is gathered on the town hall steps. There are
lots of balloons and bunting.
BOB
I am pleased to present You with this
special commendation, from the
Pleasantville Chamber of Commerce!
He hands the plaque to David as the entire town bursts into
APPLAUSE.
CUT TO:
EXT. MAIN STREET. LATER ...
David walks away from the center of town looking down at his
plaque. He takes his sleeve and starts to rub off a smudge
when a young woman comes up beside him.
GIRL'S VOICE
Hi Bud ...
WIDER.
She is MARGARET ANNE HENDERSON, the prettiest girl in school,
and one of the most popular. Margaret wears a frilly polka
dot dress, that only accentuates a bombshell '50s figure.
Nonetheless, she seems the image of girly innocence.
MARGARET
That was sure swell ...
DAVID
Oh. Thanks, Margaret.
MARGARET
(smiling)
I baked you my oatmeal cookies.
DAVID
(vaguely remembering an episode)
Oh, no ... You baked those for Whitey.
MARGARET
No. I baked them for you.
DAVID
No. You baked them for Whitey.
MARGARET
(low and gutteral)
No. I baked them for you.
All at once, Margaret grabs his arm and presses herself up
against him. Her breasts shove up against his chest. Her
mouth is inches away from his.
DAVID
Um ... thanks.
David can smell the weird combination of hot moist breath and
freshly baked cookies. He stares into her eyes for a moment,
unable to speak. Margaret flashes him a not-so Pleasantville
smile.
MARGARET
See ya.
She turns and heads around the comer, while David just
watches her dumbstruck.
CUT TO:
SODA SHOP. DUSK.
David heads toward work with his apron and little paper hat.
The BUDDY HOLLY music has given way to "hip" '50s JAZZ. DAVE
BRUBECK drifts out of the soda shop as David pauses for a
moment, takes a bite of his oatmeal cookie, and heads inside.
SODA SHOP.
The place has "morphed" even more. If it was a teenage
hangout before, it has become almost a Bohemian coffee house
now. Brubeck's "TAKE FIVE" plays in the background while
several patrons talk "intensely" in their booths.
DOORWAY.
David walks into the building and pauses. Next to him, one of
the boys from the basketball team plays along with the jazz
on a BONGO DRUM. There are several COFFEE cups on the table.
Jennifer gets up quickly and comes over to him.
JENNIFER
(in a whisper)
I had nothing to do with that fire.
DAVID
(quietly)
It's okay.
JENNIFER
Not directly anyhow ...
DAVID
It's fine.
David glances at the booth beside them and realizes that the
bongos have stopped playing. All the kids are staring up at
him, with a weird expression of awe.
JENNIFER
(still under her breath)
Um ... They like wanna ask you a
question ... I didn't know how to
handle it. So ...
DAVID
Sure.
He crosses to the booth where Biff and two others look up at
him. It's like Elvis has entered the building.
DAVID (CONT)
How you doin?
VARIOUS KIDS
Swell ...
They keep on staring. Several glances are exchanged back and
forth like they're sharing a secret. Finally ...
BOY
How'd you know about the fire?
DAVID
What?
BOY
How'd you know how to put it out and
all?
David hesitates, weighing his words.
DAVID
Well--where I used to live ...
That's just what firemen did.
This sends a MURMUR through the shop. The boy leans forward.
BOY
And where's that?
DAVID
(carefully)
Um ... Outside of Pleasantville.
This sends a much LOUDER MURMUR rifling through the kids.
It's like electricity. They glance excited at one another. A
hush descends.
BOY
What's outside of Pleasantville?
DAVID
Look it doesn't matter. It's not
important.
BOY
What is it?
David stops and looks out at the kids who are hanging on
every word.
DAVID
It's really not important.
GIRL'S VOICE (OS)
What's outside of Pleasantville?
REVERSE ANGLE. INCLUDING DOORWAY.
Margaret Henderson (the girl with the cookies) stands in the
doorway staring at David. She hangs on his words with the
same excitement as the others, it just means so much more.
MARGARET (CONT)
(hungry for knowledge)
C'mon. Tell us ...
She stares right in his eyes. She's ten feet away but might
as well be touching him.
DAVID
(slowly)
Well ... There are some places where
the road doesn't go in a circle.
There are some places where it keeps
on going.
There's an excited giggle. They lean forward.
MARGARET
(an exotic concept)
Keeps going ...
DAVID
Well--it all just keeps going.
Roads ... rivers ...
2ND BOY
(from the back)
Like the "Mighty Mississippi".
DAVID
... What?
He moves forward extending a book. The cover reads: "THE
ADVENTURES OF HUCKELBERRY FINN." David opens the first page.
There is printing inside.
BOY
(quoting)
"It was big 'n brown 'n kept goin'
an' goin' as far you could see."
DAVID
(turning to Jennifer)
I thought the books were blank?
JENNIFER
They were.
He looks over at her.
JENNIFER (CONT)
(quickly)
Okay look, this like--wasn't my fault.
They asked me what it was about and I
like didn't remember 'cause we had it
back in tenth grade, But I told them
what I DID remember, and the next
thing I knew the pages had filled in.
DAVID
The pages filled in?
JENNIFER
But like only up to the part about
the raft, because I didn't read any
farther.
CLOSER.
David flips through the book and sure enough only the first
chapter has print. The pages are blank after that.
2ND BOY
Do you know how it ends?
DAVID
(hesitating)
Well, yeah ... I do.
MARGARET
(breathless)
So how does it end?
She has moved closer and is gazing at him from a couple of
feet away. It's silent in the soda shop.
DAVID
Well--see ... they're both running
away--Huck and the slave ... And ...
They go up the river ... But--in
trying to get free they sort of see
that they're free already.
David looks immediately down to the blank pages of the book
that aren't blank anymore. Rows and rows of FRESH NEW TYPE
materialize in front of him. He turns to the back of the
book, that is complete with a COLOR illustration.
DAVID (CONT)
(quietly)
Oh my God.
2ND BOY
Wow!
3RD BOY
Do you know this one?
He shoves another book in front of David.
DAVID
Hunh?
(looks down at the book)
Oh yeah ... Well this is great.
(beat)
See--Holden Caulfield is like this
really lonely kid...
EXT. PLEASANTVILLE PUBLIC LIBRARY. DAY.
The CAMERA PANS down from the "PUBLIC LIBRARY' sign to find
the front door. A long line of kids waiting to check out
their books stretches onto the sidewalk ...
EXTREME WIDE SHOT. LIBRARY. FROM ACROSS THE STREET.
Several men from the barbershop lean against the wall next to
the spinning barber pole. They watch the spectacle for a
moment or two, as teenager after teenager exits with an
armful of books.
GUS
I don't know Phil. It's pretty strange.
PHIL
I'll say it's strange. Gettin' stranger.
Big Bob McGee nods and rubs his hands over his fresh haircut.
PHIL (CONT)
I mean goin' up to that lake all the
time is one thing, but now they're
going to a library! I mean what's next?
BURT
Oughtta be havin' an ice cream soda.
That's where they oughtta be.
WIDER STILL.
From the shadows of the Town Hall, up the block, David
watches the stream of kids emerge with their books. They
cradle them in their hands like a piece of newfound
treasure ...
INT. PARKER LIVING ROOM. NIGHT.
George sits on the edge of his Barka Lounger, across the
coffee table from "Big" Bob McGee. Even sitting down the man
is a looming presence. Besides owning the market, auto
dealership, hardware store, and gas station, he also owns the
insurance agency where George works. George sweats into his
collar.
GEORGE
Want some bridge mix?
BOB
Oh, no thanks ...
GEORGE
Betty's making some pineapple kabobs ...
BOB
I'm fine--but thank you.
George nods as Bob takes a belt of his Martini and leans
forward.
BOB (CONT)
George, you're probably wondering why
I asked if I could come over today ...
George shrugs--then nods--then shrugs ...
BOB (CONT)
I'm sure you've noticed the same
things we all have--certain "changes"
going on in the town.
(beat)
You know what I mean by "changes"?
GEORGE
"Changes."
BOB
(nodding)
"Changes."
(takes a belt of martini)
And it's not just the fire or big
stuff like that. It's little things.
(beat)
Did you hear about Bill Miller?
GEORGE
(concerned)
No. What?
BOB
Wife wants him to get one of those
new beds.
GEORGE
One of those ... big beds?
Bob nods.
GEORGE (CONT)
Oh my gosh. What's he gonna to do?
BOB
I really don't know.
(beat)
Ben Miller's son just quit his job as a
boxboy at the market.
GEORGE
... How?
BIG BOB
Said he didn't want to do it anymore.
Just took off his apron in the middle
of an order. Mrs. Thompson had her
groceries spread all over the counter
... Took 'em four hours to sort the
whole thing out.
GEORGE
Holy cow.
Bob takes a belt of his drink ...
BIG BOB
George, everyone likes you.
GEORGE
Oh well ...
BOB
No. They do. And it isn't just 'cause
you're a great bowler ... They respect
you ...
GEORGE
(heartfelt)
Thank you very much.
BOB
And it's important for them to see
someone they respect, stand up for
what's right. If you love a place,
you can't sit around and watch this
kind of thing happen to it.
GEORGE
No. Of course not.
BOB
(big patriarchal smile)
And that's why I want you to be on
the Pleasantville Chamber of Commerce.
GEORGE
(stunned/
moved)
Oh my Gosh. I hardly know what to say.
BOB
(smiling)
Why don't you start by saying "yes,"
and then getting me one of those swell
pineapple kabobs.
GEORGE
Oh sure ... You bet.
(calling out)
Betty ...
There is no answer.
GEORGE (CONT)
(louder this time)
BETTY ...
Still no answer.
GEORGE (CONT)
BETTY--BOB WANTS TO TRY ONE OF YOUR
GREAT HORS D'OEUVRES ...
WIDER.
George turns around to see David, standing on the landing,
listening to the entire conversation. Their eyes lock for a
moment ...
DAVID
I'll get her.
He moves quickly to the kitchen shutting the door behind him.
INT. KITCHEN.
David gets a couple of steps in and stops. He looks across
the room to see:
REVERSE ANGLE.
Betty standing at the kitchen sink, just staring out the
window. Her back is to him. She grips the formica kitchen
counter.
DAVID
(approaching slowly)
Are you okay?
She doesn't answer. David moves up to her and rests a hand on
her shoulder.
DAVID (CONT)
Are you alright?
Betty turns around to face him. HER FACE HAS TURNED
COMPLETELY TO COLOR. THE EYES ARE GREEN. THE LIPS ARE RED.
SHE HAS A NATURAL BLUSH IN HER CHEEKS. In fact the whole
thing looks like a beautiful color portrait except for the
tear stains on either side of her face.
BETTY
(fighting tears)
What am I going to do?
David moves closer and looks at her. Her lip is quivering.
DAVID
It's okay. It's alright.
BETTY
(trembling)
I can't go out there. How can I go out
there?
She looks right up at David.
BETTY (CONT)
(quieter)
Look at me ...
DIFFERENT ANGLE.
He stares at her for a second. Big green eyes full of fear
and confusion. David pushes a reassuring smile.
DAVID
Have you got any make up?
BETTY
In my handbag.
He crosses to the counter and grabs her purse. David sits
Betty on a kitchen chair and fishes inside the handbag for
her compact. He finds it along with a wadded up Kleenex.
DAVID
Okay--first we'll dry you out a little.
He dabs at the tears, while she smiles at him in gratitude,
Then David opens the compact and takes out the large GRAY
powder puff.
CLOSER.
It is a truly amazing sight. As David smears on the makeup,
she returns gradually to BLACK AND WHITE. The skin tones
disappear. The flush of her cheeks goes. David takes out a
DARK GRAY lipstick, obliterating the bright red of her lips.
REVERSE ANGLE. OVER BETTY'S SHOULDER.
He works on her for a second or two, then takes a step back.
All at once, David seems to wince:
REVERSE ANGLE. HIS POV. BETTY'S FACE.
The life is gone from her face. In an instant Betty has gone
from three dimensions to two. She stands in front of him, the
fictional version of herself all over again.
BETTY
(off his reaction)
What?
David shakes his head and forces a smile. He hands her the
compact so she can examine herself. Betty holds it up to her
face, turning her head first right, then left.
BETTY (CONT)
(beat)
Does it look okay?
DAVID
Looks just like it did.
BETTY
And they won't be able to tell?
DAVID
(even quieter)
No ... They won't be able to tell.
Betty takes a deep breath and fluffs her hair. She grabs the
plate of Pineapple kabobs and heads for the door. Just before
she goes in, she pauses, then plasters on a big wide
"stewardess" smile ...
DAVID (CONT)
Wait.
BETTY
(turning back)
What?
He wants to say something, but doesn't. David shakes his
head.
DAVID
It's fine.
She smiles again and balances the tray in front of her.
BETTY
Thank you.
DAVID
(sadly)
Sure.
He watches as she opens the door, and marches in the room,
extending the little tray of hors d'oeuvres in front of
her ...
CUT TO:
INT. SODA SHOP. DAY.
Mr. Johnson is all alone in the shop, setting up the napkin
dispensers. He whistles BRUBECK'S "TAKE FIVE" when the screen
door slams behind him. Mr. Johnson looks up with a start.
MR. JOHNSON
Oh, hi.
DAVID
(entering)
Hi.
MR. JOHNSON
Aren't you a little early?
DAVID
(quietly)
I brought you something ... From the
library.
CLOSER. FOLLOWING DAVID.
He has a large book tucked under his arm that is easily three
feet long. Mr. Johnson looks at him a little intrigued as
David crosses to the counter.
DAVID
It's an art book.
MR. JOHNSON
Oh my Gosh, Bud ...
DAVID
Open it.
Mr. Johnson reaches out and opens the cover. After a beat,
his eyes widen.
DAVID (CONT)
I just thought since you liked
painting it might help to ...
Mr. Johnson gasps. It's quiet, and subtle, but it's still a
gasp. David looks over at him but he's lost in the pages.
HIS POV. (INSERT) ART BOOK ...
Massacio's "Expulsion of Adam and Eve' leaps off the pages in
vibrant, tortured color. The beauty of the garden is offset
by their agony and their shame. HE TURNS THE PAGE ...
Titian's "Venus to Utano". Soft, fleshy, in a rich golden
light. She is utterly real and entirely nude. The folds of
her flesh almost seem to glow ...
Rembrandt's "Self Portrait." Dark reds, umbers, blacks and
browns. He looks back at Mr. Johnson with pain and wisdom.
There's a brilliant light on his hair.
MR. JOHNSON (OS)
Mmmmgh ...
Faintly, almost imperceptibly, the SOUND of a rich ARIA
begins to UNDERSCORE THE IMAGES. It's so faint you can't be
sure you even hear it at all ... like you're hearing it with
your eyes.
He TURNS THE PAGES faster. Breugal's "Harvesters" ... Tumees
"Steam Train" ... Monet's "Cathedralo" ... Cezanne's
"Oranges" ... Mr. Johnson shuts the book.
WIDER. SODA SHOP.
They sit like that for a beat.
MR. JOHNSON
It's beautiful, Bud ...
He looks up at David, troubled.
DAVID
What's wrong?
MR. JOHNSON
I'll never be able to do that.
DAVID
Oh, well--you're just starting out.
I mean, you can't do it ...
MR. JOHNSON
No, that's not it.
Mr. Johnson shuts the book gently.
MR. JOHNSON (CONT)
Where am I going to see colors like
that?
ANGLE. DAVID.
What can he say. David looks over at Mr. Johnson who just
smiles and shrugs.
MR. JOHNSON
Must be awfully lucky to see colors
like that. I bet they don't even know
how lucky they are.
CLOSE UP. DAVID.
He just stares for a second.
EXT. MAIN STREET. LONG SHOT. DAY.
Margaret walks up the center of Main Street toward the CAMERA
with her books pressed against her chest. She passes the
drugstore, then the hardware store ... Far off in the
distance, a young man comes racing out of the soda shop,
pulling off his little paper hat as he goes. He comes running
up behind her as fast as he can.
CLOSER.
He takes a deep breath and tries to quiet the panting.
DAVID
Hi.
MARGARET
(turning/
lighting up)
Oh ... Hi.
DAVID
(pause)
Look, I probably shouldn't be asking
you this--not knowing you that well
and all ...
Margaret stops in the street and turns to him.
DAVID (CONT)
It's just that my folks are gonna
stay home and they said I could use
their car.
(moment of truth/
abandoning his speech)
... You want to go out with me
tonight?
He wants to turn away but doesn't. David forces himself to
stare at her and all of a sudden she beams. It's the whitest,
pearliest smile in the world.
MARGARET
(breathless)
Sure ... Where would we go?
DAVID
(swallows)
... Lover's Lane?
CUT TO:
EXT. ELM STREET. DAY.
David comes flying around the corner in complete jubilation.
He vaults over a parking meter, swings around a lampost and
leaps off the bumper of a parked car. David hi-fives into the
air at no one in particular and sails over Mr. Simpson's
hedge almost decking him in the process.
DAVID
(calling back)
Sorry ...
FOLLOWING DAVID.
He races across the street bobbing and weaving like an All
American fullback. David bounds up his front steps two at a
time flinging open the door.
INT. PARKER HOUSE. FOYER.
DAVID
"Oh when the Saints ... Go Marching
in ..."
He lets the door slam behind him as he takes off his apron
and tosses it on the coat rack. David starts up the stairs,
when he HEARS a MAN'S VOICE coming from the living room.
MAN'S VOICE (OS)
Bud ...
He pauses a second and glances back.
MAN'S VOICE (CONT)
David ...
He peers into the living room. David goes a little grayer ...
HIS POV. TELEVISION.
Dick Van Dyke is looking back at him from the middle of the
TV screen. He seems to have a bit of a stubble.
DICK VAN DYKE
Hello there.
DAVID
(wary)
... Hi.
DICK VAN DYKE
(stage whisper)
Well c'mere, young fella.
INT. LIVING ROOM.
David crosses slowly over to the TV set.
DICK VAN DYKE
(big smile)
You know I've been thinkin' ... I
might have been a little "hasty"
the other day when you asked to come
home--just took me by such surprise,
ya know--ha ha ...
He gives a goony laugh. David just looks at him ...
DICK VAN DYKE (CONT)
So even though I can't make any
promises, well--I figured if you
asked me real nice--I might just be
willing to talk about it again.
DAVID
(quickly)
I can't.
DICK VAN DYKE
What?
DAVID
Talk about it. Right now, I mean.
I got to ... um ...
The look turns suddenly dark and ominous.
DICK VAN DYKE
Bud--I thought you wanted to come
home.
DAVID
Oh ... I do. Yeah. It's just that I
told my "dad" I'd clean out the
rain gutters and Mr. Johnson wanted
me to ... to change the tape in the
register ...
DICK VAN DYKE
(getting testy)
I'll be honest with you Bud. I'm
getting sorta concerned about what
I'm seeing in some of these
re-runs ...
DAVID
Re-runs?
DICK VAN DYKE
Like when Margaret Henderson makes
her cookies for Whitey.
(losing it a little)
... Those aren't your cookies Bud.
DAVID
Oh, I know they're not. But I mean--
they're just "cookies" after all ...
DICK VAN DYKE
Excuse me?
DAVID
Well they're not just cookies. I
mean, they're great cookies ...
Look, I'd love to get into this
whole thing but I'm really running
late. Why don't we hook up tomorrow?
DICK VAN DYKE
BUD.
DAVID
Terrific. I'll talk to you then.
He swttches off the TV sending Dick Van Dyke to electronic
limbo. David stands in the middle of the living room,
breathing hard ...
INT. JENNIFER'S (MARY SUE'S) ROOM.
She sits on the bed staring down at the front cover of a
book. (It's an alien experience.) Jennifer is just about to
open it when she senses something and glances toward the
door.
REVERSE ANGLE.
Bud is standing in the doorway just staring at her. He seems
to be out of breath.
JENNIFER
What's wrong?
DAVID
Nothing.
JENNIFER
Nothing?
He keeps breathing hard in the doorway. David holds the
remote in his hand.
DAVID
Listen ...
He takes a couple of steps into the room and then suddenly
stops.
DAVID (CONT)
You're reading?
JENNIFER
(glancing at the book)
Yeah. Can't believe you started such
a dorky fad.
She holds up the cover.
JENNIFER (CONT)
D.H. Lawrence. You ever heard of him?
DAVID
(amazed)
... Yeah.
JENNIFER
Seemed kinda sexy. Look. I read 35
pages.
DAVID
(still stunned)
That's great.
He just stares at her for a second as his mind seems to
drift ...
JENNIFER
So what is it?
DAVID
Well ... I just ...
(out of the blue)
Can I ask you a question?
JENNIFER
Sure.
DAVID
Remember when you told me that Lisa
Rosenberg liked me?
JENNIFER
Yeah ...
DAVID
Well--did she really like me or were
you just making that up.
JENNIFER
No. She really liked you.
DAVID
You weren't playing a joke? She
woulda gone out with me?
JENNIFER
Gone out with you. She woulda like
rearranged your tonsils.
DAVID
Wow.
He looks at her amazed--reliving the missed opportunity.
JENNIFER
Can I ask you a question?
DAVID
Yes.
JENNIFER
How come I'm still in black and white?
DAVID
(back to earth)
What?
JENNIFER
Well I've had like ten times as
much sex as these girls and I'm
still like this. They have one hour
in the back of a car and suddenly
they're in technicolor.
DAVID
Oh, I don't know. Maybe ...
(thinks)
... it's not just the sex ...
JENNIFER
(looking up quickly)
What?
She stares at him wide-eyed like someone who has just heard
their name called. Jennifer's eyes dart around like she's
calculating a math problem. After a moment or two, her
expression changes: a vague look of recognition.
JENNIFER (CONT)
No, it's not just the sex, is it?
She glances down at her book. It's a big book. Jennifer takes
a deep breath and stares at the gray skin of her hand. After
a second or two, she looks back. David looks at her for a
beat ...
CUT TO:
EXT. MARGARET HENDERSON'S HOUSE. (MAPLE STREET) DAY.
David gets out of his "dad's" convertible, carrying a dozen
"gray" roses. He takes a deep breath and heads up her front
walk ...
INT. CAR. NIGHT. LATER ...
David sits behind the wheel of the borrowed car with Margaret
Henderson by his side. He concentrates hard on the road,
holding the wheel at "10 and 2" as he steals a glance to his
right.
HIS POV. MARGARET.
It's not quite evening yet, and late afternoon light makes
her glow. Margaret smiles as she turns her face into the warm
wind that swirls inside the convertible ...
SHOT. DAVID.
He studies her for a moment or two, then suddenly swerves to
avoid a parked car on his right ...
WIDER.
They pass a sign with a happy family on it that reads:
"NOW LEAVING PLEASANTVILLE"
Main Street turns into a winding country road as they leave
the town behind and head off into the woods. They wind
through the dense woodland for a moment or two before a
second sign appears, much like the first:
"NOW ENTERING PLEASANTVILLE"
DIFFERENT ANGLE. THROUGH THE WINDSHIELD.
Sure enough, the town emerges in front of them again,
completing the 4 dimensional circle. David looks confused.
MARGARET
Um ... You gotta turn off Main Street.
DAVID
Oh ... Right.
He looks over at her and smiles. Margaret turns on the radio.
EXT. CAR. DUSK.
SAM COOKE sings for them as David turns from Main Street onto
a smaller unmarked lane. The car starts to rise up a small
hill, with Dogwood trees blooming on either side of the road.
It continues to climb up the narrow gravel lane toward the
crest in the hill. David looks over at Margaret who takes a
deep breath shutting her eyes. He glances down at the seat
between them ...
HIS POV. CAR SEAT.
THE ROSES THAT WERE GRAY HAVE SUDDENLY TURNED TO COLOR. They
sit next to him on the seat: a deep, rich RED ...
INT. CAR.
David looks up and out the windshield. The same thing seems
to be happening around them ... Many of the Dogwoods have
started to turn PINK. Not all of them, but at least fifty
percent of the petals have "bloomed" in some weird false
spring. The road twists and turns on its way to the top, as
they finally reach a crest in the hill.
DAVID
Wow.
THEIR POV. LOVERS LANE.
There, sitting in front of them, is a whole world gone
Technicolor: THE LAKE IS BLUER THAN BLUE. THE WEEPING WILLOW
IS GREENER THAN GREEN. THE DOGWOOD PETALS (all "turned" now)
SWIRL IN THE WIND LIKE SOME STRANGE PINK SNOWSTORM. A LONG
LINE OF PASTEL CARS STRETCHES OUT ALONG THE SHORE.
SAM COOKE (VO)
(over the car radios)
"Cupid, draw back your bow ..."
SHOT. CAR.
Slowly, David rolls the convertible forward. Many of the kids
have left their cars and sit down along the grassy bank by
the edge of the water. A few of them have books open. It
almost looks "Athenian."
INT. CAR.
David looks at the whole scene for a moment then suddenly
cocks his head to the side.
DAVID
What's that smell?
Margaret looks at him and smiles. She leans well out of the
convertible, and plucks a Gardenia from a bush that is
blooming beside the car.
MARGARET
Aren't these great?
David takes the flower, then puts it up to his nose. He takes
a long deep breath then all at once, his posture seems to
relax. As the fragrance enters his body his eyes drift like
some strange narcotic is washing over him. David lowers the
flower ...
EXT. MAIN STREET. DUSK.
Betty is walking down Main Street with a shopping bag on
either hand. From a block away, she looks like any other
homemaker in Pleasantville. You don't even notice the gray
make-up.
CLOSER. FOLLOWING BETTY.
She nods to Mrs. Filmore in the bakery and smiles at Don in
the Post Office. Betty is just about to turn on Elm Street
when she glances up, and suddenly stops.
HER POV. ACROSS THE STREET.
There, in the middle of the block, sits Mr. Johnson's soda
shop. The whole scene is still black and white, except for
the large CUBIST PAINTING THAT FILLS MR. JOHNSON'S WINDOW. It
is rendered in bright PINKS, YELLOWS AND ORANGES, and looks
like a Braque or a Picasso except for the unusual subject
matter. Upon closer examination you see that all the spheres
and cones add up to an avante garde snow scene, with a Cubist
Santa hovering over the roof tops.
SHOT. BETTY.
She stares at it, mesmerized for a moment, then starts to
wander across the street. It's late afternoon and the
business district is empty. Betty crosses in the middle of
the block, staring straight ahead.
INT. SODA SHOP.
The door opens and she sticks her head inside. Most of the
place is dark except for one streak of sunlight shining
through the window near the back of the store. Betty glances
around. The little bell JINGLES as she enters.
MR. JOHNSON (OS)
We're closed right now ...
DIFFERENT ANGLE.
He sits in front of a small easel near the back, staring at a
board which doubles as a canvas. Mr. Johnson glances over his
shoulder and recognizes Betty in the doorway.
MR. JOHNSON
Oh, hi ...
BETTY
(turning to leave)
I'm sorry ...
MR. JOHNSON
No, no ... Come on in.
REVERSE ANGLE.
He gets up from his stool and crosses toward the door, still
holding the palette in his hand. Betty stares at the "Cubist
Christmas" in the window.
BETTY
I just thought ... It's beautiful.
MR. JOHNSON
Thanks.
Their eyes lock for a second. Sort of a clutzy silence. Mr.
Johnson motions toward his easel.
MR. JOHNSON (CONT)
I was just trying to do one of these
"still lifes."
He sighs and looks behind him. Next to the easel is a bowl of
GRAY FRUIT.
MR. JOHNSON (CONT)
Having kind of a tough time.
BETTY
I think it looks nice.
MR. JOHNSON
Well ...
(shrugs)
Here's what it's s'posed to look like.
He leads her over to the table and points down at the art
book. It's open to a Cezanne that nearly burns off the page.
BETTY
Oh my ...
CLOSER.
They are standing almost on top of each other gazing down at
the book. Neither one of them moves. Betty almost disappears
into the pictures--drawn by a strange new world.
MR. JOHNSON
Here. Look at this.
He turns to Kandinsky--a massive swirl of color. The image is
nearly electric.
BETTY
(breathless)
Where'd you get this?
MR. JOHNSON
Bud brought it to me.
BETTY
Bud?
MR. JOHNSON
Here's my favorite.
INSERT. BOOK.
He turns the page near the back to one of Picasso's "Weeping
Women." The woman is rendered in pink and red and green. Her
head is a large sphere, laying "peacefully" on her own
shoulder.
MR. JOHNSON
What do you think?
She doesn't answer ...
MR. JOHNSON (CONT)
Isn't it great how she's resting like
that?
BETTY
(faintly)
She's crying.
WIDER.
Mr. Johnson looks down at the painting.
MR. JOHNSON
What?
BETTY
She's crying.
MR. JOHNSON
No she's not.
BETTY
Yes she is.
He looks up at her ...
REVERSE ANGLE.
A single tear is running down Betty's cheek. She senses it
and reaches up to wipe it quickly away, but instead of just
wiping the tear, she takes off a huge swath of GRAY MAKE-UP.
A long strip of PINK FLESH is revealed underneath.
ANGLE. MR. JOHNSON.
He stares up at her in amazement.
ANGLE. BETTY.
She senses something and glances down at her hand. Her
fingertips are covered in GRAY MAKE-UP. Betty turns and bolts
for the door.
WIDER.
MR. JOHNSON
(following her)
Wait ...
BETTY
I've got to go ...
MR. JOHNSON
It's alright.
He stops her near the door and she turns her face toward the
wall. Mr. Johnson touches her shoulder.
MR. JOHNSON (CONT)
It's alright. Let me see.
BETTY
(shame)
No ...
He reaches up and gently touches her chin. Mr. Johnson moves
around to glimpse the other side of her cheek.
MR. JOHNSON
It's beautiful.
CLOSER ...
She freezes like that for a moment, then slowly, haltingly,
turns toward him. THE COLOR of her real flesh is revealed
underneath. Betty stands there exposed.
MR. JOHNSON
(a whisper)
... It's beautiful.
She swallows, not sure what to do. Betty glances down.
MR. JOHNSON (CONT)
You shouldn't cover that up.
Mr. Johnson reaches over to the little napkin dispenser on
the counter and pulls one out. He leans forward and dabs at
the tears beneath Betty's eyes. Then slowly, gently, he
starts to wipe the makeup off her cheek.
CLOSER STILL ...
She recoils a bit, tensing up, then just looks at him. Mr.
Johnson is gazing at her "true color" with wonder and
acceptance. She hesitates for an instant, then seems to make
a decision. Betty slowly turns her face to the side, exposing
her flesh all the way down to the neck. Mr. Johnson continues
to wipe off the make up in larger and larger strokes as the
beautiful pink flesh begins to emerge ...
CUT TO:
INT. JENNIFER'S (MARY SUE'S) ROOM. NIGHT.
She lies on her bed, reading the same book she was browsing
earlier. Jennifer seems strangely engrossed as she flips the
pages, lying on her stomach, scouring every word. After a
moment or two she gets restless and shifts position, lifting
the book. The cover is plainly visible: "LADY CHATTERLY'S
LOVER."
CLOSER.
She doesn't have enough light so Jennifer rises from the bed
and crosses to "her" desk. She sits in the chair and flattens
the book in front of her. Jennifer is deep into the plot and
doesn't even look up as she flicks on the desk lamp. She
could almost be studying algebra as she sits upright at the
little desk.
DIFFERENT ANGLE.
She flips the page and peers more intently. Her hair is
bothering her so she pulls it back and knots it in a pony
tail. After a little while her eyes begin to get more tired
and she looks up and blinks a couple of times. Jennifer
notices something across the desk.
REVERSE ANGLE.
A pair of Mary Sue's glasses are neatly folded in front of
her. Jennifer reaches out, puts them on her head, glances
back down at the print.
JENNIFER
(impressed)
Hunh.
She can see much clearer now. Jennifer folds her hands in
front of her and doesn't even realize that she has mimicked
the PHOTOGRAPH OF MARY SUE THAT SITS BESIDE HER IN A SILVER
FRAME. The face is the same, but that's to be expected. So is
the pony tail, the glasses, the posture and the studious look
on her face. Jennifer turns the page engrossed in her novel
when there is a loud TAP on the window.
She rises from the desk and pulls back the curtain. Jennifer
slides open the window.
EXT. PARKER HOUSE.
Biff stands on the front lawn tossing pebbles at the window.
BIFF
Mary Sue--C'mon ...
JENNIFER
(leaning out the window)
What are you doing?
BIFF
(jiggling in anticipation)
It's six-thirty ...
JENNIFER
So.
BIFF
We were gonna ... You know ...
He jiggles some more.
JENNIFER
Oh.
(remembering)
I can't.
BIFF
Why not?
She glances down at her book.
JENNIFER
I'm busy.
BIFF
(surprised)
With what?
INT. JENNIFER'S ROOM.
She hesitates for a second then glances back at the desk. Her
own image in the silver frame stares back at her. The hair is
pulled back in a pony tail. The glasses sit on the front of
her nose.
JENNIFER
(turning to Biff)
I'm studying.
She thinks about it for a moment, then suddenly smiles. Biff
stands dumbfounded on the sidewalk as Jennifer reaches up and
quietly closes the window ...
CUT TO:
EXT. LOVER'S LANE. NIGHT.
David and Margaret sit on the edge of the grass, looking out
across the water. Even in the moonlight, the COLORS are
vivid. David still clutches the gardenia in his hand, taking
a long hit like an Opium addict.
DAVID
(inhaling)
Mmmmgh.
MARGARET
Do they have those ... Where you come
from?
DAVID
Yeah ... I guess.
(beat)
I don't know.
MARGARET
You don't know?
Margaret laughs like that isn't even possible. She shifts on
the grass hiking her skirt up above the knee. It reveals a
long tan leg beneath it. David watches as she kicks off her
shoes, rubbing her feet through the long cool grass.
MARGARET (CONT)
So what's it like?
DAVID
What?
MARGARET
(a whisper)
Out there.
She clings onto the words like they could transport her by
themselves. David thinks for a moment.
DAVID
Oh. don't know ... It's different.
She leans forward.
MARGARET
How?
DAVID
Well it's louder ... And scarier I
guess ... And ... and a lot more
dangerous ...
MARGARET
Sounds fantastic. You know some kids
came up here the other night to go
swimming--took off all their clothes.
She giggles. David looks at her in amazement.
MARGARET (CONT)
Do they have an Ocean? I've heard
about the ocean.
DAVID
Yeah.
MARGARET
What's that like?
DAVID
Well it's big. And it's blue ...
(as if realizing it for the first time)
... It's really really blue.
MARGARET
Mmmm.
(beat)
Boy. It's hot up here.
Suddenly and without warning Margaret unbuttons her cardigan
sweater. She slips it off, arching her back like the
figurehead of a ship and David just stares at her breasts.
She wears a light cotton blouse and even in the moonlight it
forms a translucent silhouette ... She lays the sweater
across the grass and leans back on it.
MARGARET (CONT)
You want some berries?
DAVID
Hunh?
She unfolds a handkerchief revealing a handful of berries in
REDS AND BLUES AND PURPLES.
MARGARET
I picked them myself. They grow wild
up here.
(eating one)
Mmm. So sweet.
DAVID
(looking at them)
They just grow like that?
MARGARET
(looking straight up)
Oh yeah. There's a lot of stuff.
Currants and strawberries ... Here.
I'll show you.
She hops up and scampers across the grassy bank, kicking her
heels behind her. Margaret reaches a tree in the distance and
reaches toward an upper limb, stretching out her body like a
piece of statuary. She picks a piece of fruit and scampers
back toward him, hiking up her skirt as she goes ...
MARGARET (CONT)
Here.
CLOSER.
Margaret sticks out her hand, offering him a BRIGHT RED
APPLE. It's brilliant and shiny and glistens in the
moonlight.
ANGLE. DAVID.
He hesitates just looking at it. Margaret speaks in a
whisper.
MARGARET
Go on. Try it.
HIS POV.
She is lying on her stomach now, and behind the outstretched
apple he can see an ample view of her cleavage. Margaret is
smiling at him as the apple shines in the foreground. David
reaches out and takes it.
WIDER. DAVID AND MARGARET.
For this instant, they seem alone in the garden. He looks
down at it, then glances over at Margaret. David hesitates
for a split second then takes a bite of the apple ...
CUT TO:
EXT. ELM STREET. NIGHT.
George heads home with his briefcase in hand whistling a
happy tune. He smiles at Mr. Simpson and swings the attache
case as he turns and heads up his front walk.
INT. FOYER.
George opens the door and sets the briefcase by the stairs
like he always does. He hangs his hat on the hatrack, his
coat on the coatrack, and beams as he hollers his nightly
greeting:
GEORGE
Honey--I'm home.
There is no response. He looks a little perplexed but smiles
as he calls out again:
GEORGE (CONT)
Honey--I'm home ...
There is more silence. George looks around a little confused
when there is a BOOMING CLAP OF THUNDER ...
CUT TO:
INT. SODA SHOP. NIGHT.
Betty sits in a comer of the shop, next to the gray bowl of
fruit. She holds her head to the side, sitting gracefully
with her chin in the air. Mr. Johnson sits behind his easel,
painting her portrait from a few feet away. Betty looks
radiant with no trace of the makeup, the warm PINK OF HER
FLESH TONES lit softly by a bare forty watt bulb ...
CLOSER.
She looks over at Mr. Johnson when they hear the BOOMING CLAP
OF THUNDER. Each of them freezes. There is ANOTHER, LOUDER
BOOM ...
ANGLE. WINDOW.
The "Cubist Snowscene" lights up brightly, illuminated by the
sudden flash of lightning behind it. Betty leaps up from the
chair and crosses to the window looking out.
BETTY
(frightened)
What is that?
MR. JOHNSON
I don't know.
Betty looks back at Mr. Johnson and suddenly sees the
painting. She flinches for a second. Her eyes go wide.
REVERSE ANGLE. INCLUDING THE PAINTING.
It is Cubist (like the rest of his recent work) but that
isn't the shocking part. Even though she sits in front of him
fully clothed, Mr. Johnson has painted a beautiful, sensual
nude. Betty just stares at the canvas, stunned to see herself
revealed like that. The COLORS are all hot pinks and oranges
and yellows--like some Fauvist celebration of summertime.
There is another even LOUDER PEEL OF THUNDER.
WIDER. BETTY AND MR. JOHNSON.
She looks over at Mr. Johnson and he glances down. After a
moment or two he looks back at her, but she doesn't turn to
run. Betty just stares at him, then without even realizing
it, moves slightly closer.
CUT TO:
EXT. LOVER'S LANE. NIGHT.
David and Margaret are locked in a deep passionate kiss. At
first they don't separate when they hear the BOOMING CLAP OF
THUNDER. It is only when they hear the SECOND ONE and the
RAIN starts to fall, that Margaret pulls back and looks up in
the sky.
MARGARET
What is that?
ANGLE. DAVID.
He is still in an amorous daze and doesn't even feel the
increasing rain. It starts to pound harder and Margaret looks
to him in terror.
MARGARET
What's going on?
DAVID
Rain.
MARGARET
Real rain?
DAVID
Yeah ... You don't have rain either?
She looks at him frightened. David smiles.
DAVID (CONT)
Right. Of course you don't ...
He puts his jacket around her and starts to lead her up the
grassy slope. A dozen other couples go scurrying up the bank,
looking in terror at the water falling from the sky.
MARGARET
What do we do?
DAVID
(reaching the car)
We'll just put up the top.
He goes fishing around the boot of the car, looking for the
catch to release it. David leans into the back seat fishing
around as the rain starts to pound harder.
MARGARET
What top?
He looks back at her. No top either. David smiles, drenched
in rain and puts his arm around Margaret who is starting to
shiver.
DAVID
It's fine. Come on.
He leads her back to a thicket of bushes where several of the
kids are clustered together. They look at one another,
terrified, as they huddle for shelter beneath the ledge of an
overhanging rock.
DAVID (CONT)
It's alright. There's nothing to be
afraid of.
They look a little reassured and Margaret looks up at him
positively adoringly. She clings to his shoulder as the storm
howls a few feet away ...
CUT TO:
INT. JENNIFER'S ROOM. NIGHT.
She stands at the window looking out at the driving rain.
Jennifer still holds the D.H. Lawrence book in her hand.
There is a huge flash of lightning and another clap of
thunder.
JENNIFER
Cool ...
She flops back down on the bed and continues to read ...
PARKER LIVING ROOM.
George wanders through the empty and darkened house
completely perplexed and utterly disoriented. He looks around
for his family, but all he can find are the darkened rooms
and the sound of the driving storm.
GEORGE
(a little frightened/
a little petulant)
Honey, I'm home ...
He still can't find her and he crosses into the DINING ROOM.
The lights are dark there as well and he looks around
confused.
GEORGE (CONT)
(baffled)
Where's my dinner?
He sniffs a couple of times but there are no familiar cooking
smells. George flings open the door to the kitchen but that's
empty as well.
KITCHEN.
He crosses into the darkness ...
GEORGE
Where's my dinner ...
INT. FOYER.
George comes reeling out of the kitchen into the foyer. He
slams his shin on the coatrack but keeps on going ...
GEORGE
(insistent)
Where's my DINNER ...
EXT. HOUSE.
It's really blowing now. The rain is coming down in heavy
sheets, being swirled and driven by the wind. The front door
opens and George wanders out onto the front porch, still
dressed in his shirtsleeves.
GEORGE
Where's my DINNER!
ON GEORGE.
He stumbles down the front walk in a state of complete
confusion. The rain pounds against his body and within
seconds his shirt is soaked through to the skin.
GEORGE
(over the storm)
WHERE'S MY DINNER ...
EXT. ELM STREET.
A tree limb crashes to the ground but he keeps stumbling
through the torrent. George reels down Elm Street screaming
skyward in the distance.
GEORGE
... WHERE'S MY DINNER! WHERE'S MY
DINNER!
SERIES OF SHOTS. FOLLOWING GEORGE ...
He turns on Main Street and goes reeling past the insurance
agency where he works. George howls into the wind and he
passes the hardware store, the gas station, the bakery ...
Finally he pauses outside the barbershop. It's empty as well
with the spinning barber pole being buffeted by the rain.
George lowers his arms and just stares into the darkened
shop. His voice grows quieter bewildered and shivering ...
GEORGE
(plaintively)
Where's my dinner?
He wraps his arms around himself and shivers on the sidewalk.
INT. BOWLING ALLEY. NIGHT.
The regular occupants of the barber shop spread out across
three lanes. Each wears a Pleasantville bowling shirt,
sponsored by one of Big Bob's businesses.
The NOISE from the crashing pins is deafening and there
aren't any windows so the storm has gone unnoticed ...
ANGLE. BIG BOB.
He picks up a 7-10 split and claps his hands in delight. He
starts to cross back to the scorer's table when he looks up
and suddenly stops.
REVERSE ANGLE. HIS POV.
George is standing in the doorway to the bowling alley cold
and shivering. His shirt is soaked through to the skin. His
hair is drenched and dripping.
BOB
What happened?
He doesn't answer. George clutches his body and keeps
shivering.
WIDER.
The men stop bowling and rush to George's side. He blinks a
couple of times, still soaked to the bone.
BOB
Are you alright?
(looking at him)
What is it?
GEORGE
(faintly)
Rain.
BOB
(beat)
Real rain?
George nods. Bob rushes to the glass door of the bowling
alley and sees the driving storm. A huge fork of lightning
lights up the sky.
BOB (CONT)
Oh my God ...
He turns back to George.
BOB (CONT)
... We had no idea. Burt was rolling
a 250 and ...
(beat)
Are you alright?
George shivers and Bobs leads him over to one of the benches
and guides him into the seat ...
BOB (CONT)
What happened?
GEORGE
(still shivering)
Well, I ... I came home like I always
do, And I came in the front door. And
I took off my coat. And I put down my
briefcase and I said "Honey. I'm home."
ANGLE. MEN.
They all nod in recognition.
ANGLE. GEORGE.
GEORGE
... Only no one was there.
A MURMUR goes through the men.
GEORGE (CONT)
So I went into the