Pleasantville Page #21

DICK VAN DYKE (CONT)

YOU DON'T DESERVE TO LIVE IN THIS

PARADISE!

WIDER.

David just stares at the repeated images of Dick Van Dyke on

the TV screens.

DICK VAN DYKE:

(quickly)

Where's the remote control I gave

you?

DAVID:

Why?

DICK VAN DYKE:

Because you're coming home. I'm

gonna put this place back the way

it was.

DAVID:

No you're not.

DICK VAN DYKE:

EXCUSE ME?

DAVID:

(gathering strength)

I'm sorry ... I can't let you do that.

DICK VAN DYKE:

(nuts)

JUST GIMME THE GODDAMN REMOTE!

He lunges toward the screen and slams his hand against the

"barrier."

DICK VAN DYKE (CONT)

OW!

DAVID:

(terrified)

I'm going to leave now.

DICK VAN DYKE:

You're not going anywhere. You're

gonna get that remote and you're

gonna come home and we're gonna

make everybody HAPPY AGAIN!!!

Dick Van Dyke looks at him stunned as David turns and leaves

the shop.

DICK VAN DYKE (CONT)

Don't make me get rough with you!

I can get awfully f***ing rough!

ELM STREET. DAY.

David sprints down the tree lined street toward his house.

The leaves on some of the trees are starting to turn GREEN

even this far into town. David vaults over Mr. Simpson's

hedge and goes tearing up his front walk.

INT. FOYER.

The door flies open and he rushes in, breathless. David

glances around the house to make sure that it is empty. He

crosses into the living room.

INT. LIVING ROOM.

David rushes to the TV and grabs the remote. He looks down at

it, glances at the television, then bolts for the front door.

MAIN STREET. DAY.

David moves quickly down Main Street looking for a place to

stash the remote. He pauses in front of the Pleasantville

Travel Agency. It has posters in the window depicting various

destinations in and around Pleasantville (the place doesn't

see much business). David bends down to stash the remote in a

drain pipe near the entrance when he hears VOICES from up the

street.

WIDER.

David turns to see a small crowd up near the end of Main

Street. He sticks the remote in the drain pipe and rises to

his feet as the voices get louder.

DIFFERENT ANGLE.

The crowd is moving toward him. A woman walks in front of a

group of young men who circle around her, taunting and

harassing her. A moment later David can make out the face:

BETTY clutches her handbag to her chest while the crowd

circles her like a pack of dogs.

CLOSER. BETTY.

The ROSY HUE of her face stands out in stark relief to the

black and white faces around her. Betty holds her head high

with dignity (and fear) while the ugly epithets overlap one

another "Oooh--let's see the rest of you ... Let's see what's

under that nice blue dress ... Bet she's even pinker than her

picture ..." One of the boys yanks at Betty's skirt and she

quickens her pace. Just at that moment the boy is shoved to

the ground ...

WIDER.

David shields his "mother" as he shoves one of the boys into

the dirt. The kid gets up but David punches him hard in the

side of the jaw and the rest of them just stare. (Violence is

as new as anything else and it seems to freeze the moment.)

David steps in front of his "mother" with both fists

clenched.

DAVID:

(as scared as she is)

Come on!

He plants his back foot primed for action. The crowd of black

and white thugs just stares at it.

DAVID (CONT)

COME ON!

ANGLE. CROWD.

They look at him warily. The boy reaches up and feels the

side of his mouth where a trickle of RED BLOOD is running

down his chin. He looks at his finger in horror and starts

backing away.

DAVID:

Get out of here!

They back away further and David takes a threatening step.

The boys turn and run as he turns back to face his "mother."

DIFFERENT ANGLE. BETTY. (OVER DAVID'S SHOULDER)

David moves up to her gently.

DAVID:

Are you alright?

She nods, still clutching her purse to her chest. David

reaches out and touches her cheek when suddenly her eyes go

wide.

DAVID (CONT)

(off her look)

What?

CLOSER. STILL OVER DAVID'S SHOULDER.

Betty reaches into her purse and pulls out her compact. She

opens it, and holds it up to David, showing him the reflected

image of his own face. AT LAST HE HAS TURNED TO COLOR.

REVERSE ANGLE. DAVID.

He holds the mirror staring at his own reflection. The

courage which transformed him only seems to grow. They look

at each other, both in color now, when David puts a gentle

arm around her shoulder.

DAVID:

(quietly)

Come on.

He begins to lead her up toward the corner.

CUT TO:

FULL SHOT. SODA SHOP WINDOW. DAY.

A larger crowd of hooligans has now gathered around the nude

painting of Betty in the window. The jeers and cat calls are

even louder. The "closed" sign still sits in the doorway.

After a beat or two, a HUGE BRICK SHATTERS THE GLASS ...

WIDER.

A big CHEER goes up from the crowd. Drunk on adrenalin, the

fever builds and ANOTHER BRICK SMASHES THE WINDOW. In an

instant, Mr. Johnson's "canvas" is totally destroyed. The

CHEERING grows louder ...

Almost by osmosis, the crowd rushes the building together.

The door is kicked in and they stream into the place. Soon

all that can be heard is the weird SOUND OF LAUGHTER AND

BROKEN GLASS.

INT. SODA SHOP.

It is an orgy of destruction. Stools are hurled--tables

ripped out. The cash register is turned over. Two boys kick

in the front of the juke box ...

EXT. MAIN ST. DAY.

David and Betty round the corner to find the Soda Shop being

destroyed. They stand at the far side of the intersection

watching the carnage as the crowd continues to run amok.

After a moment or two, there are some more HOOTS as MARGARET

comes running toward them with the front of her blouse ripped

open.

DAVID:

Oh my God.

He takes her in his arms and Margaret starts to sob. David

strokes her hair.

DAVID (CONT)

Are you alright? Are you okay?

She nods. Margaret catches her breath for a moment or two,

then glances down to her side ...

WIDER.

She is clutching the umbrella in her left hand. The thing has

been ripped to shreds. The spines are broken and the fabric

is torn. Margaret stares at the thing with a combination of

confusion and shame. David goes white with rage and looks

toward the mob.

BETTY:

(taking his arm)

No. Let's get out of here.

CUT TO:

EXT. COUNTRY ROAD. (LEADING TO LOVER'S LANE).

They all ride in George's convertible up the twisting turning

road. It has turned completely PINK with the dogwood petals.

David winds up the trail, in the fading light, looking for

refuge. He clutches the wheel tight.

DAVID:

We should be okay up here.

DIFFERENT ANGLE. THROUGH THE WINDSHIELD.

The car twists and turns up the narrow dirt road. After a

moment, Lover's Lane reveals itself. It is lush and green

like before only this time, there is one major difference. A

phalanx of BLACK AND WHITE THUGS have created a roadblock in

the foreground.

WIDER.

David jams on his breaks when he sees the barrier. It is a

weird incongruous image: the black and white roadblock in

front with the vibrant colors of the pond and willow behind--

like some perfect dream you can never get to. The thugs have

turned their cars sideways and dragged several huge logs

across the road. They hold axe-handles in their hands.

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