Pleasantville Page #23

Synopsis: Impressed by high school student David's (Tobey Maguire) devotion to a 1950s family TV show, a mysterious television repairman (Don Knotts) provides him with a means to escape into the black-and-white program with his sister, Jennifer (Reese Witherspoon). While David initially takes to the simplistic, corny world of the show, Jennifer sets about jolting the characters with doses of reality that unexpectedly bring a little color into their drab existence.
Genre: Comedy, Drama, Fantasy
Production: New Line Cinema
  Nominated for 3 Oscars. Another 18 wins & 41 nominations.
 
IMDB:
7.5
Metacritic:
71
Rotten Tomatoes:
85%
PG-13
Year:
1998
124 min
Website
1,496 Views


VARIOUS KIDS:

(overlapping)

"Oh my gosh ... No ..."

David holds up his hand.

DAVID:

"FIVE:
There shall be no public

sale of umbrellas or preparation

for inclement weather of any kind."

Various glances dart back and forth between them. David

continues.

DAVID (CONT)

"SIX:
No bedframe or mattress may

be sold measuring more than 38

inches wide."

(pause)

"SEVEN:
The only permissible exterior

paint colors shall be BLACK, WHITE or

GRAY, despite the recent availability

of certain alternatives."

David looks over at Mr. Johnson who just winces slightly.

Betty clutches his hand.

DAVID (CONT)

"EIGHT:
All elementary and high

school curriculums shall teach the

"non-changist" view of history--

emphasizing "continuity" over

"alteration."

(David pauses)

Wow.

David lowers the paper.

DIFFERENT ANGLE.

It is SILENT in the soda shop. Everyone sits motionless for a

moment or two, letting the decree sink in. David just stares

down at the piece of paper in his hand with a weird kind of

sadness.

Off in the corner, however, one of the boys has been fiddling

with the jukebox and hasn't paid any attention to what was

being read. All of a sudden, his voice rings from the corner.

BOY:

Hey. This thing works.

He hits a button and BUDDY HOLLY's voice fills the soda shop.

RAVE ON blares at almost top volume recalling a more festive

time.

BUDDY HOLLY:

Well all the things that you say

and do Make me want to be with

you-oo-oo ...

LISA ANNE:

(suddenly/

in a panic)

Turn that off!

The boy looks back at her.

LISA ANNE (CONT)

(shrieking)

You're not allowed to do that now!

He flinches and pulls the plug from the wall. The jukebox

winds down with a groan as the electricity drains out of it.

David looks at the kids then suddenly speaks in a calm clear

tone.

DAVID:

Sure you are.

He walks across the soda shop and plugs it back in. The kids

watch spellbound at this personal display of defiance.

WIDER SHOT. SODA SHOP.

Buddy Holly's voice fills the Soda Shop but it has a suddenly

different meaning. All the kids listen spellbound, as if to

an anthem, while the Rock and Roll lives up to its rebellious

reputation.

BUDDY HOLLY:

The little things that you say and do

Make we want to be with you-oo-oo ...

RAVE ON! It's a crazy feeling ...

RAVE ON! It's got me reelin' ...

Jennifer looks over at her brother with pride. Betty puts an

arm around Mr. Johnson, feeling a little stronger--a little

safer ... The kids seem to relax a bit, and even if they

don't feel totally reassured, at least they don't feel

ashamed.

Twenty "colored" faces listen as Buddy Holly tells them RAVE

ON. David stands beside the jukebox like a captain at the

helm of his ship ...

EXT. STREET. LATER ...

He steps out over the debris and looks both directions. David

motions toward the shop and a moment later the kids emerge.

The disturbance seems to have died down and the street is

silent although strewn with debris. David turns to the kids.

DAVID:

(whisper)

Stick together till you get off

Main Street.

They nod and head off down the block. David just watches them

silently from the wreckage of the soda shop ...

DISSOLVE TO:

EXT. TOWN SQUARE. NIGHT.

The Fire Department is cleaning up the charred remains of the

bonfire ...

INT. SODA SHOP. LATER ...

Betty is asleep in one of the booths. Jennifer sleeps beside

her on the floor. David and Margaret sleep next to them in

another booth with Margaret curled up against his chest.

David opens his eyes.

REVERSE ANGLE. HIS POV.

Mr. Johnson is standing in the middle of the shop, staring at

the large piece of plywood where his window used to be. He

just gazes at the thing as if he could look through it.

There's a faraway look in his eye.

SHOT. DAVID.

He rises carefully from the booth, without waking Margaret.

David crosses over to Mr. Johnson and speaks in a whisper.

DAVID:

It's okay. We'll get you a new one.

MR. JOHNSON

(softly)

I don't know what I'd do if I

couldn't paint anymore Bud. I just

don't know what I'd do ...

CLOSE UP. DAVID.

He just nods. David glances down at the table next to him. He

picks up one of the brightly painted shards of glass and just

looks at it. It's orange and pink and yellow. David thinks

for a second.

DAVID:

Maybe I have an idea.

CUT TO:

EXT. MAIN STREET. DAWN.

The same paper boy who rode into the trash can, peddles down

Main Street tossing his papers toward the curb. He throws

right toward the post office, then left toward the hardware

store, then right toward the bakery, then finally looks up.

CLOSER.

This time the boy slams into a lamp post. He tumbles off his

bike and stares straight ahead in disbelief ...

HIS POV. TOWN HALL.

Two men sleep at the base of the wall next to a clutter of

paint cans. Above them, however, is painted A VIVID ALMOST

UTOPIAN MURAL OF THE TOWN OF PLEASANTVILLE in LIVING COLOR.

Instead of being drab, the place literally gleams with life.

The post office turns out to be a RICH RED BRICK. The sky

shines in vibrant BLUE. It is a rendering of what the town

could look like. David and Mr. Johnson sleep soundly next to

their own signatures. David opens his eyes and sees the

paperboy ...

ANGLE. PAPER BOY.

He turns around and rides away as fast as he can.

CUT TO:

EXT. TOWN HALL. LATER ...

A huge crowd has gathered. There is a loud buzz in the air.

David and Mr. Johnson stand side by side in front of their

work like they're presenting and guarding it at the same

time.

REVERSE ANGLE. CROWD.

Most of the faces are black and white. A few near the back

are in color. Big Bob moves through the back of the crowd,

hurriedly buttoning his shirt. The buzz grows and the people

part as he heads toward the front of the pack ...

ANGLE. FRONT OF CROWD.

When Bob emerges from the crowd, Mr. Johnson flinches

slightly. David just looks him in the eye and tries to find

as much courage as he can. "Big" Bob looks up at the color

rendering of his town with absolute horror. His eye scans the

green trees, the bright yellow gas station, the puffy pink

clouds on the horizon.

BOB:

(bellowing)

Did you do this?

DAVID:

(quietly but clearly)

Yes I did.

Bob grabs a copy of the Code of Conduct and waves it at him.

BOB:

Do you know that it's illegal?

DAVID:

(thinks)

Yes I do.

Bob looks dumbfounded. He tries to process the whole thing

but just looks more confused. Bob runs his hand through his

hair, shaking his head.

BOB:

BUD--WHY DID YOU DO THIS?

DAVID:

Because anybody should be able to

paint in whatever color they want.

ANGLE. BACK OF CROWD.

Betty stands beside Margaret and Jennifer watching the

spectacle. There are tears in her eyes and a great deal of

love. Jennifer smiles with pride at her brother ...

SHOT. BOB.

BOB:

You're not allowed to do this! I

could arrest you for this.

DAVID:

Still doesn't make it right.

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Gary Ross

Gary Ross is an American film director, writer, and author. He directed the film The Hunger Games, as well as Pleasantville and the Best Picture nominated Seabiscuit. more…

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