Happiness Page #9

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


84.EXT. MAPLEWOOD HOME - NIGHT.84.

Bill's car pulls into the garage.

85.INT. MAPLEWOOD HOME - NIGHT.85.

BILL takes a half-gallon of milk out of a plastic bag and

puts it in the refrigerator.

TRISH (O.S.)

Hon, is that you?

BILL:

Yeah.

TRISH (O.S.)

You remember the milk?

BILL:

Yeah.

BILL walks by the TV room where TRISH is sitting watching TV

alone, like Ronald Farber: same position, same channel.

TRISH:

How was the meeting?

BILL:

Okay.

TRISH:

Bill, are you alright?

BILL:

I think I have to lie down.

TRISH:

Oh, sh*t. I hope you're not

coming down with whatever that

Johnny boy had.

BILL:

I don't think so.

BILL stops by BILLY's room. Back issues of Boy's Life lie

piled on his desk.

BILLY is asleep. A Playboy magazine sticks out from beneath

his pillow.

BILL goes over to BILLY and bends down. He kisses him.

BILLY:

Dad?

BILL:

Yeah?

BILLy

I almost came.

BILLY closes his eyes again.

86.INT. BILL AND TRISH'S BEDROOM -86.

LATER THAT NIGHT.

Lights out. BILL lies away, listening to TRISH's rhythmic

breathing.

BILL:

Trish?� Trish?

TRISH:

�Mmmyeah?

Pause.

BILL:

Do you love me?

TRISH:

Oh, Bill� Yes.

BILL:

I mean, do you really love me?

No matter what.

TRISH:

No matter what�what?

BILL:

No matter what�whatever�

TRISH:

Bill. You have me. And you always will.

She holds him closer. A long pause.

BILL:

I'm sick�

TRISH:

Aww� Take some Tylenol.

You'll feel better tomorrow.

87.EXT. STREET - DAY.87.

JOY walks along, despondent. Suddenly she hears a

Russian-accented voice calling her. she looks around and

sees a cab pulled up beside her. BORIS is inside.

BORIS:

Joy! Joy! I am Boris! Your student1

JOY:

Oh, hello, Boris. How are you?

BORIS:

I am fine. How are you?

JOY:

Oh, fine, fine.

Pause.

BORIS:

I not believe you.

JOY:

Really, Boris. I'm fine!

BORIS sees JOY is holding back tears. He gets out of the

cab.

BORIS:

Where you are go now?

JOY:

Oh, I'm just on my way home.

BORIS:

Tell me where do you live.

I take you home.

JOY:

No, no, I couldn't.

BORIS:

Joy. Come in my car.

I want give you ride.

JOY:

But I like walking. And the

train is right nearby.

BORIS:

No. No train. I drive you home.

JOY:

But Boris. I live in New Jersey!

BORIS:

Good. I take you New Jersey.

JOY:

Maybe you don't understand.

Boris. New Jersey is far.

BORIS:

Joy. You not understand. I am driver.

My taxi. You come. You understand?

You come.

Pause.

JOY:

Are you sure you know?

BORIS:

Boris knows. Come inside.

BORIS opens the door for JOY. She gets in. BORIS takes off.

88.INT. CAB - DAY.88.

They sit in the bumper-to-bumper traffic. JOY turns to

BORIS, turns away. MUSIC plays on the radio. Suddenly she

starts sobbing.

JOY:

I'm sorry.

BORIS:

Don't worry. Soon will be in New Jersey.

89.EXT. NEW JERSEY HIGHWAY - EVENING.89.

The MUSIC on the radio swells as BORIS's taxi speeds along.

They pass a Welcome to New Jersey sign.

90.INT. CAB - EVENING.90.

JOY changes radio stations. They listen. BORIS changes

back.

91.EXT. MCDONALD'S - EVENING.91.

BORIS and JOY share a little meal along the highway. The

MUSIC FADES.

92.INT. MCDONALD'S - EVENING. 92.

BORIS and JOY sit in a booth. They eat in silence.

Finally:

BORIS:

I love New Jersey.

Pause.

JOY:

Don't you miss Russia?

BORIS:

F*** the c*nt of Russia.

Pause.

JOY:

Well, I guess it's best to

feel that way.

93.EXT. JOY'S PLACE - NIGHT.93.

BORIS's cab arrives, parks in front.

94.INT. CAB - NIGHT.94.

JOY turns to BORIS.

JOY:

Well, thank you very much. That really

was very nice of you. I'm sorry about

before�um�it's very unlike me�

(a beat.)

So do you think you'll need any help

finding your way back?

BORIS is silent. He stares off at her place.

BORIS:

Why you not married?

JOY:

Oh, Boris. Life is different in America.

Here a woman can � I know this is hard

to understand � but a woman can fulfill

her potential. There are opportunities

here to do something, do good�really

improve the world.

Pause.

BORIS:

Do you like men?

JOY:

(a beat.)

Yes�but�it's not so simple.

BORIS:

Are you lesbian?

JOY:

(a beat.)

No.

BORIS:

It is alright if you are lesbian.

I like lesbians.

JOY:

I'm sorry, Boris. But I think

this conversation has become

a little strange for me.

Thank you for the ride, and�um�

JOY extends her hand for a handshake, but BORIS kisses her.

JOY:

Oh. Well�um�good night then.

I guess I'll see you�.

But BORIS grabs her for another, longer kiss instead.

Pause.

JOY:

Would you like to come inside

for a cup of tea?

BORIS:

(a beat.)

Okay.

95.INT. JOY'S PLACE - NIGHT.95.

Darkness. The sound of a key jiggling. A lock unbolted.

Finally the door opens and they walk inside. JOY turns on

the lights. An awkward pause.

JOY:

I'll turn on the kettle.

She goes to the stove. Turning back she observes BORIS take

off his shoes.

JOY:

Yes, well�um�please take off

your shoes. Make yourself comfortable.

BORIS wanders around, observing. JOY feels a little

uncomfortable.

JOY:

It's my parents' place.

I plan on moving out soon, though.

BORIS:

How long you live here?

JOY:

Since I was born. But really, there are

a lot of advantages to not moving.

(a beat.)

So what did you do in Russia?

BORIS:

I was thief.

JOY:

Oh. Do you mean�the mafia?

BORIS:

No. I am independent. I steal things

on my own. Although I have many offers.

(sees JOY's guitar.)

You are musician?

JOY:

Oh, no, not really. I just

write songs a little.

BORIS:

What kind songs?

JOY:

Oh, I don't know. They're all so terrible.

BORIS:

(a nod of understanding.)

Love songs.

(a beat.)

Play.

(JOY shakes her head,

terrified)

I play.

BORIS begins playing and singing a song, perhaps an Olivia

Newton-John love ballad. He sings with intense emotion. When

he finishes, the kettle whistles.

JOY brings the teapot to the table and pours for herself and

BORIS. BORIS comes to his place and drops a half dozen

teaspoons of sugar into his tea.

They sit and drink tea. Then:

JOY:

Would you like to see my

macrame collection?

(BORIS looks confused)

Come. Follow me.

She leads him into her bedroom to her showcase of macrame

dolls, pillows, and assorted knickknacks.

BORIS:

(impressed)

You make?

JOY:

Uh huh.

BORIS:

All by yourself?

JOY:

Uh huh.

Pause.

BORIS:

Beautiful.

JOY:

Thank you. I�I know it might seem

childish, but sometimes I like to play

with them and make up stories.

These two here �

(lifts a pair of figurines)

I call them Chuckle and Giggle.

They always make me laugh�

BORIS:

You should build store. Start business.

JOY:

Oh-h-h�

BORIS:

(pointing to a doll)

This? Two hundred dollars. Easy.

JOY:

Oh, but that's Punky!

I could never sell Punky.

I could never sell any of this.

BORIS lifts Punky, puts it back, dirty now.

BORIS:

(sorry)

Oh.

JOY:

Don't worry. They're all machine washable.

BORIS:

(smiles)

Ah. Machine washable.

JOY:

(a beat)

You know, your English is really

very good. You should be in a higher level.

BORIS:

(a beat.)

Your face is like love poem.

BORIS is very close to JOY. She lets him embrace her.

DISSOLVE TO:

96.INT. JOY'S PLACE - LATER THAT NIGHT.96.

Out of the darkness we hear heavy breathing, sounds of

nervous excitement from JOY.

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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