Magnolia Page #29

Synopsis: Magnolia is a 1999 American ensemble drama film written, co-produced and directed by Paul Thomas Anderson. The film stars Jeremy Blackman, Tom Cruise, Melinda Dillon, Philip Baker Hall, Philip Seymour Hoffman, Ricky Jay, William H. Macy, Alfred Molina, Julianne Moore, John C. Reilly, Jason Robards and Melora Walters, and is a mosaic of interrelated characters in search of happiness, forgiveness and meaning in the San Fernando Valley.
Genre: Drama
Production: New Line Cinema
  Nominated for 3 Oscars. Another 28 wins & 53 nominations.
 
IMDB:
8.0
Metacritic:
77
Rotten Tomatoes:
83%
R
Year:
1999
188 min
Website
1,376 Views


He takes one of the KEYS from the key chain and uses it to

get in a door in back. He enters.

CUT TO:

INT. SOLOMON AND SOLOMON ELECTRONICS - THAT MOMENT

Donnie in a back corridor. He walks down through some BOXES

and assorted MERCHANDISE towards another door. He pulls his

hat down some more, moves swiftly.

He arrives at another door and does a KEY PAD CODE thing and

also uses ANOTHER KEY from the key chain.

ANOTHER BACK CORRIDOR

Donnie enters, walks towards Solomon's office and does another

Key Pad Code and Lock thing and enters --

SOLOMON'S OFFICE

Donnie enters, takes a quick beeline to behind the desk and

under the floor, under a rug he kneels down....

DONNIE'S POV

he pulls the rug back and there's a SAFE. He does the combination

and opens it up.

IN THE SAFE.

There's five stacks of five thousand dollars for a total of

$25,000. In addition, some jewelry and some papers, etc.

CU - DONNIE

he starts to take the money, putting into a plastic shopping bag.

CUT TO:

INT. EARL'S HOUSE - THAT MOMENT

Frank and Phil stand in the foyer. They're quiet a moment, then:

FRANK:

So....Phil....um...I think I'm gonna

step in and try and see him and say

something if he can...talk...I mean:

PHIL:

...ok...

FRANK:

Can you stand...back...maybe, I mean...

just a little bit...in the room is

ok, but back from us a little...

PHIL:

yeah.

Frank walks slowly into the Living Room and over to Earl's

bedside. He's holding back his tears. He sits. Earl

is eyes closed, breathing a bit irregular....HOLD.

FRANK:

...Dad...Dad...hey...Earl?

He tries to wake him a bit, but Earl is not moving.

FRANK:

...hey...Dad...Dad can you wake up

a minute Dad?

He turns to Phil, crying now, says:

FRANK:

He's not waking up.

CUT TO:

INT. JIMMY'S HOUSE - THAT MOMENT

CAMERA holds CU on Jimmy.

ROSE:

How many times....it's ok...just say...

Just say...

JIMMY:

I don't even remember...many...twenty...

maybe more...not much more...twenty times.

BEAT.

ROSE:

I don't hate you, Jimmy. But I have

a couple questions that I wanna ask....

JIMMY:

I'll answer anything.

ROSE:

Was there anyone that I know?

JIMMY:

Yes.

ROSE:

Who?

JIMMY:

Rose, I don't --

ROSE:

hey.

JIMMY:

Paula. Ellen.

She laughs a bit, rolls her eyes.

JIMMY:

That's it.

ROSE:

No one else that I know?

JIMMY:

No.

ROSE:

How long with Ellen?

JIMMY:

Just once.

ROSE:

How long with Paula?

JIMMY:

Two years...three years...

ROSE:

What about now?

JIMMY:

It's over. I talked to her

this morning.

ROSE:

Is it over 'cause you're sick?

JIMMY:

It's over becuase...for all the the

right reasons I hope, what I said.

ROSE:

Do you have any children with anyone?

JIMMY:

What? No, Rose, jesus, no --

ROSE:

Well maybe.

JIMMY:

I don't.

ROSE:

Do you feel better now that you've said this?

JIMMY:

I don't know....

ROSE:

I'm not mad. I am, but I'm not. Y'know?

JIMMY:

I love you so much.

ROSE:

I'm not through asking my questions.

Jimmy laughs a bit, smiles.

ROSE:

Why doesn't Claudia talk to you, Jimmy?

JIMMY:

Why, well I think we've, we both

don't know...what do you mean?

ROSE:

I think that you know.

JIMMY:

Maybe...I don't...

BEAT. HOLD.

CUT TO:

EXT. VENTURA BLVD. - THAT MOMENT

CAMERA tracks with an AMBULANCE rushing down the street.

CUT TO:

INT. LAMPLIGHTER - THAT MOMENT

Through the window, the AMBULANCE passes in the b.g., heading

nearby...and OC we hear the siren throughout scene;

Stanley looks up at Worm, who's crying harder now, they make

another moment of eye contact. BEAT, THEN:

WORM:

Hi.

STANLEY:

Hi.

WORM:

..sorry...

STANLEY:

It's ok.

BEAT.

STANLEY:

Are you alright?

Worm looks up.

CUT TO:

EXT. EMPTY PARKING LOT - THAT MOMENT

The AMBULANCE arrives at Linda's Mercedes and the PARAMEDICS

hop out, open the doors, call direction and try to speak with

her and revive, etc. CAMERA is HAND HELD and moving frantically

with them;

PARAMEDICS (various)

Hello, hello, can you hear us, huh?

Stay with us, can you hear me...etc. etc.

ANGLE, ACROSS THE PARKING LOT.

Dixon is hiding way across the way in the shadowed, hidden

parked car, watching the paramedics. All the while he counts

the money from Linda's wallet.

CUT TO:

INT. BILLINGSLEY'S BATHROOM - THAT MOMENT.

CAMERA with Claudia, she snorts some coke off her hand in the stall.

She takes a quick look in the mirror, walks out --

CUT TO:

INT. BILLINGSLEY'S - THAT MOMENT

CAMERA tracks with Claudia as she walks back to the table...she

comes up from behind Jim Kurring and leans in quick...KISSES

HIM ON THE CHEEK and then quickly sits down across from him;

CLAUDIA:

I wanted to do that.

Jim Kurring smiles, shaken a bit.

JIM KURRING:

Well.

CLAUDIA:

That felt good to do...to do what

I wanted to do.

JIM KURRING:

Yeah.

CLAUDIA:

Can I tell you something?

JIM KURRING:

Yeah, of course.

CLAUDIA:

I'm really nervous that you're

gonna hate me soon. That you're

gonna find stuff out about me

and you're gonna hate me --

JIM KURRING:

-- no, like what, what do you mean?

CLAUDIA:

You're a police officer. You have

so much, so many good things and

you seem so together...so all straight

and put together without problems.

JIM KURRING:

I lost my gun.

CLAUDIA:

What?

JIM KURRING:

I lost my gun after I left you today

and I'm the laughing stock of a lot

of people. I wanted to tell you that.

I wanted you to know...and it's on my mind

and it makes me look like a fool and

I feel like a fool and you asked that

we should say things, that we should

say what we're thinknig and not lie

about things and I'll tell you that, this:

that I lost my gun and I'm not a good

cop...and I'm looked down at...and I know

that....and I'm scared that once you

find that out you might not like me.

CLAUDIA:

Oh my god, Jim. Jim, that was so --

JIM KURRING:

I'm sorry --

CLAUDIA:

That was so great what you just said.

JIM KURRING:

I haven't been on a date since I

was married and that was three years

ago....and Claudia...whatever you

wanna tell me, whatever you think

might scare me, won't...and I will

listen...I will be a good listener

to you if that's what you want...and

you know, you know...I won't judge you....

I can do that sometimes, I know, but

I won't...I can...listen to you and you

shouldn't be scared of scaring me off

or anything that you might think I'll

think or on and on and just say it and

I'll listen to you....

CLAUDIA:

You don't how f***in' stupid I am.

JIM KURRING:

It's ok.

CLAUDIA:

You don't know how crazy I am.

JIM KURRING:

It's ok.

CLAUDIA:

I've got troubles.

JIM KURRING:

I'll take everything at face value.

I'll be a good listener to you.

CLAUDIA:

Ohhhh I started this, didn't I,

didn't I, didn't I, f***.

JIM KURRING:

Say what you want and you'll see --

CLAUDIA:

Wanna kiss me, Jim?

JIM KURRING:

Yes I do.

They lean across the table and kiss each other. CAMERA DOLLIES

IN SUPER QUICK as their lips touch.

CUT TO:

INT. SOLOMON AND SOLOMON ELCTRONICS - THAT MOMENT

Donnie finishes taking the money from the safe....

...Donnie walks back one of the corridors and heads through

a door...(again using the key and code)....

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Paul Thomas Anderson

Paul Thomas Anderson (born June 26, 1970) also known as P.T. Anderson, is an American filmmaker. Interested in film-making since a young age, Anderson was encouraged by his father to become a filmmaker. more…

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