Faces Page #8

Synopsis: Richard Forst has grown old. One night, he leaves his wife for Jeannie Rapp, a young woman who does not like friendship. Meanwhile, Richard's wife, Maria, is seduced by Chet, a kind young man from Detroit... A film about the meaningless of life for a certain kind of wealthy middle-aged people.
Genre: Drama
Director(s): John Cassavetes
Production: Criterion Collection
  Nominated for 3 Oscars. Another 5 wins & 6 nominations.
 
IMDB:
7.7
Rotten Tomatoes:
84%
R
Year:
1968
130 min
1,473 Views


- Billie-May...

what difference does it make

who said it?

[Chet]

What difference does it make who said it?

It could have been, uh

It could have been him.

It could have been Gandhi.

It could have been Buddha.

It could have been "spoodah."

It could have been your daddy.

It could have been your mama.

It could have been your uh-uh.

Could have been your huh-huh.

What difference, man?

[Laughs]

Hey, listen, man. It's a very good way

to express yourself.

[Billie-May]

What do you mean?

What?

I said, "What do you mean?"

Well, I said, like, take a guy my age.

I gotta have some kind of a release.

Now, do you wanna

Well, I can't very well

hold up a bank for kicks.

- That's against the law, right?

- [Louise] Right.

- [Florence] Right, Chettie.

- Then everybody agrees with me.

- Christ. So what do you do?

- [Louise] You dance.

- You dance.

- [Billie-May] You dance.

You have a few belts and go up

to some chick's pad and make it, baby.

Make it?

Just make it, baby.

You out-and-out lay down and

And I

Or you can sit around,

have a drag and, uh...

think about what's wrong

and all, you know?

Oh, I know what you mean.

- I think you do.

- [Billie-May] Oh, sure she does.

Sure she does.

- [Billie-May] Well!

- Well!

Aaah!

[No Audible Dialogue]

[Florence]

Yeah, boy.

[Billie-May]

Well, Louise, Maria, Florence, there it is.

This is it.

The, uh, new generation.

The one our husbands

[Chet Laughing]

That's fun

[Laughing]

That's funny as hell.

Billie-May, how'd you happen to get

on the subject of our husbands again?

Well Oh

Because they're scared.

They're scared men. I mean

Well, they're

They're They're scared of you.

They're... scared of you. They're, uh

- Really?

- Mm-hmm.

They are scared of your youth...

and your, uh...

spirit...

and your build.

They think that

they are the kings of the earth...

and they do not want

you takin' their place, see?

Well, I don't want it.

I mean, not

Well, I just don't want the hang-up.

Chettie!

You're a damn good-looking kid

for only 23.

- Florence.

- Let's dance.

# Florence from Torrance

She's got the "inshorance" #

# Florence from Torrance

The men all want Florence #

#The happiest chick

that I ever did see #

# Until I met a girl

named Billie-May #

# Come on, Billie-May

I want it your way #

# Come on, Billie-May

Make it any day #

# Come on, Billie-May

I wanna do the thing #

#Do the little bell, babe

Turn me on like hell, babe #

# Come on, Billie-May

Hit the ray, you and me, Billie-May #

# Come on, now

You will see everything for you and me #

# We will do all the things

that we did before, my dear #

[Laughing]

# Florence from Torrance #

# The hotheaded Florence

Just what they can't see #

#The girl named Florence

is groovy, you see #

# But all they want to do

is spend her money #

# 'Cause she's got the "inshorance"

The girl from Torrance, Florence #

#Send all her allowance

Florence from Torrance ##

- No.

- Come on.

- No.

- Come on. It's easy.

- No. No, Chet. I don't wanna.

- Right shoe.

Right shoe. Yeah, baby.

Put it right there.

- No.

- Come on.

#Put on the red meat, baby

I want the red meat, baby #

#I like the rare meat, baby #

#Don't want no seasonin', baby

No taters or no onions #

#All I wanna do is "tonion"#

- Come on. That's it.

- [Laughs]

- Where are you go Come here.

- No.

Right here, baby. It's easy.

#I need your red meat, baby #

#It grooves me like

your white meat, baby #

#Put it in the oven

Want it big and round #

#Put it in the oven

Eat it off the ground #

# Come on and do

the slip and slide #

- #I ain't had no goodies

since your granny died #

- [Laughter]

#Put on the red meat, baby #

#Don't want no taters or onions #

#I just want a "tonion"

Come on and put on the red, baby ##

[Laughs]

Come on.

# I like the red meat, baby #

Oh, I I think we're makin'

fools of ourselves.

- What?

- Yeah.

I'm making a fool of myself?

Well, we are. Yeah.

- Well, who are you to criticize me?

- I'm not criticizing. I'm just saying

You don't have to tell me

I'm making a fool of myself.

Look, I know how to dance my way.

I don't need you

to tell me about it.

I come from a musical background.

- I take care of a family of five.

- Okay. Okay.

I have a college degree, and I don't need you

to tell me I'm making a fool of myself.

- Hey. Wait a minute I'm sorr

- Don't touch me!

Chettie, you criticized her, honey.

Criticize me.

At my age I'm willing

to learn, honey. Please.

Okay, you wanna cool it

just for a moment?

[Florence]

#Hotheaded Florence, she's from Torrance #

#The "inshorance" for Chettie-boy #

# Oh, Billie-May

She makes love in the hay #

#Hotheaded Florence #

#She's from Torrance

with all the "inshorance"#

# Hotheaded Florence

Zoom, zoom, da-ditty #

# Oh, Maria

You can't see Maria #

# Oh, you can't talk to Maria

Oh, Maria ##

[Florence]

#Louise, Louise, Louise, don't pee in the trees #

## [Humming]

Well.

Well, I think that I maintained my dignity

throughout the entire thing.

I mean, hell, it isn't as if

we did anything wrong.

All anybody has to do

is just to look at the four of us

I mean, to know that there was

nothing wrong.

And if old Malcolm

is gonna get upset over a

over a silly thing like that,

then where are we?

But you know Louise.

She is gonna go home and talk about

how vulgar it was...

and how terrible we all behaved and how

she went home the moment it all began.

But I don't Well, if she does,

I'm just gonna tell her she's full of it.

But I don't think she will. Do you?

I mean, not that I give a damn anyway.

You know, this is gonna put her

back on the couch...

for another 25 years.

I'll tell you something else funny, honey.

I love Malcolm.

Yes, I am in love with my husband.

How about that?

I think he's nice.

Don't you?

You know my Louie.

So short.

Those awful glasses.

And he can't carry a tune,

much less dance.

What's the matter?

Are you tired?

Oh, come on. Don't be tired.

The evening's young, you know.

You know, these dances

these wild, crazy dances

I think they've succeeded

where science failed.

'Cause, you know, I can go to a beauty parlor

and sit there for hours...

having my hair done

and my nails polished, but...

I don't feel any younger.

I might look it.

But these dances

these wild, crazy dances

they do something to me inside.

[Chuckling]

Well, to hell with Louie.

Because do you know

one of these days I'm gonna croak?

And I'm gonna flop down on the ground,

and some goddamn preacher's...

gonna preach a goddamn sermon

over my goddamn body!

Oh, Chettie,

Chettie, Chettie.

Ohhh! Oh, Chettie.

Let's put on another record

and dance some more, shall we?

Shall we?

## [Humming Waltz]

[Florence Chuckling]

Oh. Oh, Chettie.

I'm so exhausted.

Oh! I'm I'm so exhausted.

- I'm

- Oh. Wait.

[Chet Growling Playfully]

[Laughing]

Oh, Chettie!

- ## [Humming Waltz]

- Oh, Chettie. Chettie.

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John Cassavetes

John Nicholas Cassavetes (; December 9, 1929 – February 3, 1989) was a Greek-American actor, film director, and screenwriter. Cassavetes was a pioneer of American independent film, writing and directing over a dozen movies, which he partially self-financed, and pioneered the use of improvisation and a cinéma vérité style. He also acted in many Hollywood films, notably Rosemary's Baby (1968) and The Dirty Dozen (1967). He studied acting with Don Richardson, utilizing an alternative technique to method acting which privileged character over traditional narrative. His income from acting made it possible for him to direct his own films independently.Cassavetes was nominated for three separate Academy Awards: Best Supporting Actor for The Dirty Dozen (1967), Best Original Screenplay for Faces (1968) and Best Director for A Woman Under the Influence (1974). His children Nick Cassavetes, Zoe Cassavetes, and Xan Cassavetes are also filmmakers. more…

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Submitted on August 05, 2018

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    "Faces" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/faces_7920>.

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