Happiness Page #11

Synopsis: Happiness is a 1998 American comedy-drama film written and directed by Todd Solondz, that portrays the lives of three sisters, their families and those around them. The film was awarded the FIPRESCI Prize at the 1998 Cannes Film Festival for "its bold tracking of controversial contemporary themes, richly-layered subtext, and remarkable fluidity of visual style," and the cast received the National Board of Review award for best ensemble performance. The film spawned the pseudo-sequel Life During Wartime which premiered at the 2009 Venice Film Festival.
Genre: Comedy, Drama
Production: Trimark Pictures
  Nominated for 1 Golden Globe. Another 12 wins & 25 nominations.
 
IMDB:
7.8
Metacritic:
81
Rotten Tomatoes:
83%
UNRATED
Year:
1998
134 min
1,566 Views


KRISTINA grabs a napkin to cry into. Pause.

The WAITRESS comes by.

WAITRESS:

All finished?

ALLEN:

Yeah.

KRISTINA:

I guess so.

WAITRESS:

Would you like to see a dessert menu?

KRISTINA:

What kind of ice cream do you have?

WAITRESS:

Chocolate, vanilla, and strawberry.

KRISTINA:

I'll just have a plain chocolate fudge

sundae with strawberry ice cream.

WAITRESS:

And you, Sir?

ALLEN:

Just the check, please.

The WAITRESS smiles and leaves.

KRISTINA:

So anyway, everything suddenly got

quiet and I thought, well, at least

the worst is over.

106.INT. KRISTINA'S PLACE - NIGHT.106.

PEDRO lies on top of KRISTINA.

PEDRO:

How do you feel now?

KRISTINA:

Kiss me again.

KRISTINA (V.O.)

Well, of course, that was just an act.

I let him kiss me one last time, and then�

BACK TO ALLEN AND KRISTINA in the restaurant.

KRISTINA:

�Grabbed hold of his neck and�

twisted it�backwards.

The WAITRESS comes by with the dessert.

WAITRESS:

Here you are.

KRISTINA:

Thank you.

(while eating her sandae)

Anyway, so then I had to cut up

his body, plastic bag all the parts�

I've been throwing it out gradually

ever since. There's still a little

left in my freezer.

Pause.

ALLEN:

So you did cut off his�

KRISTINA:

No, I left it attached. I didn't

want to have to touch it again.

(a beat.)

Oh, I feel so terrible. You must

think I'm a monster. But what else

could I have done?� Anyway, I couldn't

help myself. I hate�sex. I'm sorry,

but just the idea of it�of someone

all over�inside�me�I know it's not

right, but� Can we still be�friends?

ALLEN:

Um� I guess� Yeah� I mean, we all

have our�you know�pluses and minuses�

Pause.

KRISTINA:

It was a crime of passion.

(a beat.)

I'm a passionate woman.

107.INT. APARTMENT HALLWAY - NIGHT.107.

ALLEN and KRISTINA come out of the elevator.

ALLEN:

Well�

KRISTINA:

I had a lovely time, Allen.

Thank you. I hope we can do it again.

ALLEN:

Good night.

KRISTINA:

Good night.

ALLEN has entered his apartment and is about to close the

door behind him, when KRISTINA suddenly interrupts:

KRISTINA:

Oh, and Allen!

ALLEN:

Yeah?

KRISTINA:

You're a very good dancer.

ALLEN smiles weakly, then shuts his door, locking and

double-bolting it. Pause. KRISTINA returns to her

apartment.

108.INT. ALLEN'S PLACE - NIGHT.108.

ALLEN stares at his telephone. Finally, he plugs it in.

Instantly it rings. He answers it. At first, just

breathing. Then:

HELEN (V.O.)

I've had you on auto-redial all night.

ALLEN hangs up and unplugs the phone again. He sits down

and stares at it.

109.INT. APARTMENT BUILDING HALLWAY - NIGHT.109.

ALLEN comes out of his apartment and walks bravely down

towards HELEN's apartment. He stops outside her door.

Pause. He buzzes.

A moment passes. ALLEN covers the peephole with his hand.

HELEN (O.S.)

Hello?

HELEN opens the door, sees ALLEN.

HELEN:

Yes?

Pause.

ALLEN:

I'm the one.

HELEN:

I'm the one.

(a beat.)

Oh.

She cannot disguise her disappointment, but tries.

HELEN:

Come in.

ALLEN:

Okay.

110.INT. HELEN'S PLACE - NIGHT.110.

HELEN and ALLEN sit opposite each other. A long silence.

Finally:

HELEN:

Drink?

ALLEN:

No�thanks.

Pause.

HELEN:

This isn't working.

ALLEN:

No.

HELEN:

You're not my type.

ALLEN:

No.

HELEN:

I'm sorry.

ALLEN:

It's okay.

HELEN:

I made a mistake.

ALLEN:

Me too.

HELEN escorts him out.

HELEN:

Good night.

ALLEN:

Good night.

111.INT. APARTMENT BUILDING HALLWAY - NIGHT.111.

ALLEN walks back towards his door, pauses, looks at the

other end of the hallway: he decides to go visit KRISTINA

instead.

He buzzes KRISTINA's door.

After a few moments, the door opens. ALLEN looks at the

ground. KRISTINA's eyes are full, her hands coated with

M&M's. he walks inside.

112.INT. KRISTINA'S PLACE - NIGHT.112.

ALLEN and KRISTINA lie in bed, facing different directions.

113.EXT. FLORIDA/ARIZONA GOLF COURSE - DAY.113.

It is hot and sunny. LENNY is golfing alone, isolated.

Suddenly, from afar, he hears a woman's cries. He looks up.

LENNY'S POV:
An older woman is running around, hysterical.

An older man lies on the ground. Ambulance men haul him

onto a stretcher and into a waiting ambulance.

After the ambulance has left, a young caddie picks up the

strewn golf equipment and transports it away.

114.INT. DOCTOR'S OFFICE - DAY.114.

LENNY sits across from the DOCTOR.

LENNY:

Are you sure?

DOCTOR:

Look, you see this?

(illuminates an x-ray)

You're the picture of health.

LENNY:

So no tumors.

DOCTOR:

Nope.

LENNY:

�And my heart?

DOCTOR:

Like an ox. Lenny.

You're gonna live to a hundred.

LENNY:

Oh. That means I still have

another 35 years.

DOCTOR:

(smiles)

Just stay off the salt!

LENNY:

(musters a return smile)

You bet!

115.EXT. CONDO ROADWAY - DAY.115.

MONA is driving along.

116.INT. MONA'S CAR - DAY.116.

MONA notices someone up ahead.

MONA'S POV of DIANE jogging.

BACK TO MONA contemplating murder. She aims for DIANE. But

as she gets closer, a SECURITY GUARD suddenly appears. She

waves with a friendly smile at DIANE instead.

ANGLE ON DIANE waving back in a pleasant manner.

117.INT. MONA AND LENNY'S CONDO - NIGHT.117.

LENNY and MONA are preparing for bed, watching TV.

MONA:

I met with Steven Zimmer this morning.

LENNY:

You like him?

MONA:

Yeah. I'm gonna hire him.

LENNY:

Good. I'm gonna use Marty Blau.

MONA:

Good. I feel so much better now.

LENNY:

Yeah. It shouldn't take too long.

Pause.

MONA:

Lenny?

LENNY:

Yeah?

MONA:

Can you sleep on the living room sofa?

LENNY:

Why?

MONA:

Steven Zimmer thought it would be

a good idea.

Pause.

LENNY:

Okay.

LENNY starts off for the living room, gets extra pillow and

blanket. Pause. MONA then gets up and follows him into the

living room.

MONA:

Lenny?

LENNY:

Yeah?

MONA:

You don't have to sleep there.

You can stay with me if you want.

LENNY:

Nah. It's okay. Good night.

MONA:

Good night.

Pause. MONA turns back towards her bedroom.

LENNY:

Close the door behind you.

MONA closes the door behind her.

118.INT. DIANE'S CONDO - DAY.118.

LENNY rings the doorbell. DIANE opens the door.

DIANE:

Oh, hello.

LENNY:

I thought I'd say hi.

DIANE:

Please come in.

LENNY follows DIANE into her living room. She fixes a

couple drinks, turns on a cd.

DIANE:

Gin and tonic?

LENNY:

Okay. Thanks.

She returns with the drinks, sits beside him on the sofa.

DIANE:

Uch, it's so bright outside.

It gives me a headache just

looking out the window.

LENNY:

It's supposed to rain tomorrow.

DIANE:

I don't want to talk about the weather.

Pause.

LENNY:

Well, it was good for playing golf.

DIANE:

I hate that game. It's so slow and tedious.

LENNY:

Still, it passes time.

DIANE:

I like to travel.

LENNY:

I wen to Europe once.

DIANE:

Have you ever been to Tahiti?

LENNY:

No.

DIANE:

What about Tunisia? A night in Tunisia!

LENNY:

No.

DIANE:

Vincent never liked to travel.

LENNY:

I guess I'm like Vincent.

DIANE:

(laughs)

You know, when I was a child I always

imagined I'd marry the man I fell in

love with, have a son and daughter who

loved me as much as I hated my mother,

then die tragically and suddenly,

young and beautiful. Later, when

Vincent left me, I imagined I'd finally

be happy.

Rate this script:3.7 / 3 votes

Todd Solondz

Todd Solondz (born October 15, 1959) is an American independent film screenwriter and director known for his style of dark, thought-provoking, socially conscious satire. Solondz has been critically acclaimed for his examination of the "dark underbelly of middle class American suburbia," a reflection of his own background in New Jersey.[1] His work includes Welcome to the Dollhouse (1995), Happiness (1998), Storytelling (2001), Palindromes (2004), Life During Wartime (2009), and Dark Horse (2012). more…

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