Big Eyes Page #17

DEE-ANN

Is Walter home??

Margaret has no answer.

The two friends look at each other... Dee-Ann waiting...

wondering if Margaret is going to lie to her...

62.

When..... SLAM!

WIDE:

Both women startle. FOOTSTEPS. Then... Walter strides in!

Margaret's eyes pop.

Walter's pop even bigger. He glares at the ladies.

WALTER:

What the hell's going on here?!!

MARGARET:

(TIMID)

Uh... Dee-Ann was just... she...

Margaret trails off. Walter thinks, then SNAPS.

WALTER:

You KNOW I don't like anyone seeing my

work before it's done!

Walter rushes to the Waif, then for show grabs up the wet

brush and quickly starts to "finish" the painting.

Suddenly -- an odd expression crosses his face. He eyeballs

the canvas, realizing he doesn't know what to do.

A furtive glance. Then, unbowed, he hastily dips the brush

and slaps a little black onto the shaded background.

Walter spins, victorious.

WALTER:

There!

CUT TO:

INT. LIVING ROOM - LATER

The three sit silently, tension thick, sipping gin fizzes.

Nobody speaks.

Walter finishes his drink and pours a fresh one.

CUT TO:

INT. FOYER - NIGHT

They are drunk and SCREAMING. Walter pushes Dee-Ann out the

door.

63.

WALTER:

You and your whole non-representational

crowd are FRAUDS!!

DEE-ANN

SHUT UP! You're so full of sh*t,

Walter!

WALTER:

Get outta my house! My big house!

(LIVID)

Go back to sellin' your coat hanger

sculptures on Fisherman's Wharf!

DEE-ANN

F*** you!

Dee-Ann staggers outside, then hops in her car.

OUTSIDE:

Dee-Ann GUNS the engine and squeals away. The car peels down

the very long driveway.

Margaret and Walter watch the car disappear into the distance.

Without looking over, Walter speaks.

WALTER:

I don't want her ever invited here

again.

Margaret nods, terribly sad.

MARGARET:

I won't.

CUT TO:

INT. MASTER BEDROOM - LATE NIGHT

Margaret and Walter lie in bed, awake. Arms crossed.

Unspeaking.

EXT. WOODSIDE HOUSE - ANOTHER DAY

Margaret and 13-YEAR-OLD JANE play on the lawn with the

poodle. Jane laughs as the dog chases in circles.

JANE:

Go, Rembrandt! Get the ball!

She tumbles, and Rembrandt licks her ear. She giggles.

MARGARET:

Okay, honey. I have to go work.

64.

JANE:

Can I come?

(an awkward silence)

No. I can never come. No! I

shouldn't even ask.

Jane glares glumly.

Margaret peers hopelessly at her daughter... then goes inside.

INT. WOODSIDE HOUSE

Margaret strolls to her studio. WE SEE the poodle scampering

behind her on its cute little legs. She enters the

INT. PAINTING ROOM

Margaret doesn't notice the tiny dog follow her in. She LOCKS

the door, then turns -- surprised.

MARGARET:

Where did you appear from? Didn't you

hear? No visitors!

Rembrandt wags his tail, his little eyes bright. Margaret

peers.

MARGARET:

Is this what it's come to? You're the

only living soul I can tell my secret?

(she lowers her voice)

Well -- I painted them all!

(she shudders with release)

It's TRUE! I did every single one --

She gestures, then catches sight of a Walter street scene.

MARGARET:

Well, every one except that street

scene.

(BEAT)

But I did the rest. Every Big Eye!

And nobody will ever know. But YOU.

Rembrandt pants and BARKS.

Margaret chuckles, then goes to work. She pulls a CURTAIN

across the sliding glass door. At her easel, she squirts a

tube into a well and starts mixing colors.

Rembrandt jumps on the couch.

MARGARET:

No you don't! It's nice to have

company, but that sofa is new.

(she pushes him off)

Let's find you some carpet to lay on.

65.

Margaret goes over to a CLOSET. Rembrandt follows, curious.

IN THE CLOSET:

Margaret turns on the bare bulb inside. It's filled with old

easels... cans... junk...

MARGARET:

I think there's a scrap back here...

She rummages, sliding the junk aside. In back is a TATTERED

WOODEN CRATE.

Hm?

MARGARET:

Well what's this?

Margaret swings the bulb closer. The crate is covered with

SHIPPING INSTRUCTIONS and international markings.

Margaret's interest is piqued. She tugs at the lid, pulling

it off. Revealing inside a STACK OF STREET SCENE PAINTINGS.

Ten or fifteen of Walter's canvases.

Or so it seems.

TIGHT - MARGARET

She peers closer.

TIGHT - THE PAINTINGS

The top painting is a typical Parisian street scene: Cobble

stones, a man carrying baguettes, an old lady selling roses...

But down in the bottom corner is the signature: "S. CENIC"

TIGHT - MARGARET

She sucks in her breath, shocked. She examines the painting.

Then, she hurriedly grabs the next canvas. It's another

sunlit scene:
A quaint Parisian cafe, a man playing accordian,

and in the bottom right corner... the signature: "S. CENIC"

WHAT?! Margaret grabs the next canvas. "S. CENIC"

The next canvas.

The next canvas!

They all are signed "S. CENIC"

Margaret starts hyperventilating.

66.

She thinks, then suddenly bolts from the closet.

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