Pleasantville Page #13

DAVID:

The pages filled in?

JENNIFER:

But like only up to the part about

the raft, because I didn't read any

farther.

CLOSER.

David flips through the book and sure enough only the first

chapter has print. The pages are blank after that.

2ND BOY

Do you know how it ends?

DAVID:

(hesitating)

Well, yeah ... I do.

MARGARET:

(breathless)

So how does it end?

She has moved closer and is gazing at him from a couple of

feet away. It's silent in the soda shop.

DAVID:

Well--see ... they're both running

away--Huck and the slave ... And ...

They go up the river ... But--in

trying to get free they sort of see

that they're free already.

David looks immediately down to the blank pages of the book

that aren't blank anymore. Rows and rows of FRESH NEW TYPE

materialize in front of him. He turns to the back of the

book, that is complete with a COLOR illustration.

DAVID (CONT)

(quietly)

Oh my God.

2ND BOY

Wow!

3RD BOY

Do you know this one?

He shoves another book in front of David.

DAVID:

Hunh?

(looks down at the book)

Oh yeah ... Well this is great.

(beat)

See--Holden Caulfield is like this

really lonely kid...

EXT. PLEASANTVILLE PUBLIC LIBRARY. DAY.

The CAMERA PANS down from the "PUBLIC LIBRARY' sign to find

the front door. A long line of kids waiting to check out

their books stretches onto the sidewalk ...

EXTREME WIDE SHOT. LIBRARY. FROM ACROSS THE STREET.

Several men from the barbershop lean against the wall next to

the spinning barber pole. They watch the spectacle for a

moment or two, as teenager after teenager exits with an

armful of books.

GUS:

I don't know Phil. It's pretty strange.

PHIL:

I'll say it's strange. Gettin' stranger.

Big Bob McGee nods and rubs his hands over his fresh haircut.

PHIL (CONT)

I mean goin' up to that lake all the

time is one thing, but now they're

going to a library! I mean what's next?

BURT:

Oughtta be havin' an ice cream soda.

That's where they oughtta be.

WIDER STILL.

From the shadows of the Town Hall, up the block, David

watches the stream of kids emerge with their books. They

cradle them in their hands like a piece of newfound

treasure ...

INT. PARKER LIVING ROOM. NIGHT.

George sits on the edge of his Barka Lounger, across the

coffee table from "Big" Bob McGee. Even sitting down the man

is a looming presence. Besides owning the market, auto

dealership, hardware store, and gas station, he also owns the

insurance agency where George works. George sweats into his

collar.

GEORGE:

Want some bridge mix?

BOB:

Oh, no thanks ...

GEORGE:

Betty's making some pineapple kabobs ...

BOB:

I'm fine--but thank you.

George nods as Bob takes a belt of his Martini and leans

forward.

BOB (CONT)

George, you're probably wondering why

I asked if I could come over today ...

George shrugs--then nods--then shrugs ...

BOB (CONT)

I'm sure you've noticed the same

things we all have--certain "changes"

going on in the town.

(beat)

You know what I mean by "changes"?

GEORGE:

"Changes."

BOB:

(nodding)

"Changes."

(takes a belt of martini)

And it's not just the fire or big

stuff like that. It's little things.

(beat)

Did you hear about Bill Miller?

GEORGE:

(concerned)

No. What?

BOB:

Wife wants him to get one of those

new beds.

GEORGE:

One of those ... big beds?

Bob nods.

GEORGE (CONT)

Oh my gosh. What's he gonna to do?

BOB:

I really don't know.

(beat)

Ben Miller's son just quit his job as a

boxboy at the market.

GEORGE:

... How?

BIG BOB:

Said he didn't want to do it anymore.

Just took off his apron in the middle

of an order. Mrs. Thompson had her

groceries spread all over the counter

... Took 'em four hours to sort the

whole thing out.

GEORGE:

Holy cow.

Bob takes a belt of his drink ...

BIG BOB:

George, everyone likes you.

GEORGE:

Oh well ...

BOB:

No. They do. And it isn't just 'cause

you're a great bowler ... They respect

you ...

GEORGE:

(heartfelt)

Thank you very much.

BOB:

And it's important for them to see

someone they respect, stand up for

what's right. If you love a place,

you can't sit around and watch this

kind of thing happen to it.

GEORGE:

No. Of course not.

BOB:

(big patriarchal smile)

And that's why I want you to be on

the Pleasantville Chamber of Commerce.

GEORGE:

(stunned/

moved)

Oh my Gosh. I hardly know what to say.

BOB:

(smiling)

Why don't you start by saying "yes,"

and then getting me one of those swell

pineapple kabobs.

GEORGE:

Oh sure ... You bet.

(calling out)

Betty ...

There is no answer.

GEORGE (CONT)

(louder this time)

BETTY ...

Still no answer.

GEORGE (CONT)

BETTY--BOB WANTS TO TRY ONE OF YOUR

GREAT HORS D'OEUVRES ...

WIDER.

George turns around to see David, standing on the landing,

listening to the entire conversation. Their eyes lock for a

moment ...

DAVID:

I'll get her.

He moves quickly to the kitchen shutting the door behind him.

INT. KITCHEN.

David gets a couple of steps in and stops. He looks across

the room to see:

REVERSE ANGLE.

Betty standing at the kitchen sink, just staring out the

window. Her back is to him. She grips the formica kitchen

counter.

DAVID:

(approaching slowly)

Are you okay?

She doesn't answer. David moves up to her and rests a hand on

her shoulder.

DAVID (CONT)

Are you alright?

Betty turns around to face him. HER FACE HAS TURNED

COMPLETELY TO COLOR. THE EYES ARE GREEN. THE LIPS ARE RED.

SHE HAS A NATURAL BLUSH IN HER CHEEKS. In fact the whole

thing looks like a beautiful color portrait except for the

tear stains on either side of her face.

BETTY:

(fighting tears)

What am I going to do?

David moves closer and looks at her. Her lip is quivering.

DAVID:

It's okay. It's alright.

BETTY:

(trembling)

I can't go out there. How can I go out

there?

She looks right up at David.

BETTY (CONT)

(quieter)

Look at me ...

DIFFERENT ANGLE.

He stares at her for a second. Big green eyes full of fear

and confusion. David pushes a reassuring smile.

DAVID:

Have you got any make up?

BETTY:

In my handbag.

He crosses to the counter and grabs her purse. David sits

Betty on a kitchen chair and fishes inside the handbag for

her compact. He finds it along with a wadded up Kleenex.

DAVID:

Okay--first we'll dry you out a little.

He dabs at the tears, while she smiles at him in gratitude,

Then David opens the compact and takes out the large GRAY

powder puff.

CLOSER.

It is a truly amazing sight. As David smears on the makeup,

she returns gradually to BLACK AND WHITE. The skin tones

disappear. The flush of her cheeks goes. David takes out a

DARK GRAY lipstick, obliterating the bright red of her lips.

REVERSE ANGLE. OVER BETTY'S SHOULDER.

He works on her for a second or two, then takes a step back.

All at once, David seems to wince:

REVERSE ANGLE. HIS POV. BETTY'S FACE.

The life is gone from her face. In an instant Betty has gone

from three dimensions to two. She stands in front of him, the

fictional version of herself all over again.

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