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Pleasantville Movie Script

Writer(s) : Gary Ross

Genres : Comedy, Drama, Fantasy

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                          PLEASANTVILLE



                    A Fairytale by Gary Ross




     October 7, 1996




     "He was part of my dream of course 
     but then I was part of his dream too."

                      - Lewis Carroll "Through the looking glass"






	FADE IN:

	INT. HIGH SCHOOL AUDITORIUM. DAY.

	A college counselor stands at the Podium lecturing the high
	school seniors about their future.

				COLLEGE COUNSELOR
		... For those of you going on to college
		next year, the chance of finding a good
		job will actually decrease by the time
		you graduate. Entry level jobs will drop
		from thirty-one to twenty-six percent,
		and the median income for those jobs
		will go down as well ...

	There is some rustling in the audience.

				COLLEGE COUNSELOR (CONT)
		Obviously, my friends, it's a
		competitive world and good grades are
		your only ticket through. By the year
		Two Thousand  ...

	INT. HIGH SCHOOL. HEALTH CLASS.

	A different teacher lectures a different class of students.

				HEALTH TEACHER
		... The chance of contracting HIV from a
		promiscuous lifestyle will climb to one
		in one hundred and fifty. The odds of
		dying in an auto accident are only one
		in twenty-five hundred.
			(beat)
		Now this marks a drastic increase ...

	INT. HIGH SCHOOL. SCIENCE CLASS.

	Same angle. Different teacher.

				SCIENCE TEACHER
		... From just four years ago when ozone
		depletion was at ten percent of its
		current level. By the time you are
		twenty years old, average global
		temperature will have risen two and a
		half degrees. Even a shift of one
		degree can cause such catastrophic
		consequences as typhoons, floods,
		widespread drought and famine.

	REVERSE ANGLE. STUDENTS.

	They stare back in stunned silence. One of them, DAVID
	WAGNER, sits in the front row with a pencil in his mouth.
	Nobody moves ...

				SCIENCE TEACHER
			(chipper classroom tone)
		Okay. Who can tell me what famine is?

								CUT TO:

	1958.

	Birds are chirping. The sun is shining. All the hedges are
	neatly pruned and the lawns are perfectly manicured. A sweet
	stillness hangs over the SUBURBAN STREET, which is bathed in
	beautiful BLACK AND WHITE.

				MAN'S VOICE (OS)
		Honey, I'm home.

	SUBURBAN HOME.

	GEORGE PARKER enters the front door and hangs his hat on the
	coatrack. He sets his briefcase down and moves into the foyer
	with a huge smile on his face. It's a frozen smile that
	doesn't seem to be affected by too much in particular--like a
	tour guide at Disneyland.

				WOMAN'S VOICE (OS)
		Hello darling.

	WIDER.

	MRS. GEORGE PARKER (BETTY) enters, untying the back of her
	apron. She is a vision of '50s beauty with a thin figure and
	concrete hair. Betty crosses to her husband and hands him a
	fresh martini. She kisses him on the cheek.

				BETTY
		How was your day?

				GEORGE
		Oh, swell. You know, Mr. Connel said
		that if things keep going the way they
		are, I might be seeing that promotion
		sooner than I thought.

				BETTY
		Oh darling that's wonderful!
			(an adoring gaze)
		I always knew you could do it.

	WAGNER LIVING ROOM. NIGHT.

	1996 -- (LIVING COLOR)

	DAVID WAGNER sits on his couch watching this entire action on
	a sleek new Sony T.V. He stares riveted at the set with a big
	smile on his face. David wears black shoes, black pants,
	black t-shirt and a black baseball cap, not a nerd exactly
	... He reaches next to him into a huge bag of Doritos, never
	taking his eyes off the show.

				GEORGE (OS)
			(on T.V.)
		Hey, Pumpkin! What's that smell?
			(sniffing)
		Is that your meat loaf?

				DAVID
			(by rote)
		"It might be ..."

				BETTY (OS)
			(shy smile)
		It might be.

	He leans over and kisses her--again on the cheek.

				GEORGE (OS)
		Oh Pumpkin! You sure know the way to
		this man's heart.

	There is a loud and inappropriate LAUGH TRACK. David smiles
	wider and is just about to reach for more corn chips, when
	his real MOTHER'S VOICE rings out from the other room.

				DAVID'S MOM (OS)
		... Bullshit Barry, that wasn't the
		deal

	INT. KITCHEN.

	David's mom paces the room with the phone in her hand.
	Between the plastic surgery and the make-up it's hard to fix
	her age.

				DAVID'S MOM
		No--you have custody the first weekend
		of every month and this is the first
		weekend ...
			(pause)
		I don't care if yesterday was the
		thirtieth, this is still the first
		weekend.

	INT. LIVING ROOM.

	Her words drift in from the kitchen while David stares at the
	show.

				DAVID'S MOM (OS)
		No I can't bail you out, I'm supposed to
		go to La Costa ...
			(beat)
		Well if I want to get a mud bath, that's
		really my business, isn't it?

	He reaches out and TURNS UP THE SOUND. PLEASANTVILLE plays at
	an unnaturally high volume.

				GEORGE
			(on T.V.)
		Hey. Where are those kids?

				DAVID
			(reciting--a little louder)
		"Right behind you father."

				BUD AND MARY SUE TOGETHER
			(on T.V.)
		Right behind you father.

	RESUME T.V. (BLACK AND WHITE)

	The Parkers' son and daughter (BUD AND MARY SUE) enter the
	foyer together. Mary Sue wears her hair in a pony tail. Bud
	has on a Letterman's sweater.

				MARYSUE
		Mother ... Father ... Bud has a little
		surprise for you.

				BETTY
		What's that Bud?

	Bud hesitates for a moment, then folds up a shiny blue
	ribbon.

				BUD
		First prize at the science fair. There
		were lots of swell projects--guess mine
		was just the "swellest".

				BETTY
		Darling that's wonderful. Except there's
		no such word as "swellest".

				BUD
		Well gee whizz, Mom. lt wasn't the
		"English" fair.

	There is another jarring LAUGH TRACK.

	CLOSE UP. DAVID.

	He smiles right along with it. David stares transfixed at the
	set despite the continuing conversation in the other room.

				DAVID'S MOM (OS)
		Well sure they can stay by themselves,
		Barry, but that's not the point. You
		said you'd take them.
			(beat)
		Well fine--they'll stay by themselves
		then.

				DAVID
			(quietly)
		What's a mother to do?

				BETTY(OS)
			(on T.V.)
		Oh--what's a mother to do?

	CLOSE UP. DAVID.

	He grabs another handful of Doritos staring at the T.V ...

								CUT TO:

	EXT. HIGH SCHOOL. (SERIES OF SHOTS) DAY.

	A cacophony of modem life. Beepers and nose rings--blue hair
	and tattoos. Dissonant boom boxes compete with one another.
	The hormones are running crazy.

	SCHOOL COURTYARD.

	lt is a large open area, alive at lunchtime. Groups of kids
	hang out together, divided by their various cliques. The
	music pounds in the background.

	CLOSE UP. DAVID.

	He stands at one end of the courtyard beside a chain link
	fence. Beads of sweat form on David's forehead as he speaks
	to someone in front of him.

				DAVID
		Hi. I mean ...
			(pause)
		... Hi.

	REVERSE ANGLE.

	A very pretty blonde girl smiles back at him. It's a warm,
	welcoming smile.

	CLOSE UP. DAVID.

				DAVID
		Look. You probably don't think I should
		be asking you this. I mean--not knowing
		you well and all ...

	REVERSE ANGLE. GIRL.

	She smiles wider at him, inviting him to continue.

	CLOSE UP. DAVID.

				DAVID
			(pause ...)
		I mean I know you--everybody knows you
		... I just don't know you ...
		technically.

	REVERSE ANGLE. GIRL.

	She nods at him ...

	CLOSE UP. DAVID.

				DAVID
		Well--I was just wondering--'cause I see
		you all the time in Algebra and I heard
		you humming that Van Halen song and I
		really like that song too ...
			(pause)
		Anyhow, I don't know what you're doing
		this weekend but my Mom's leaving town
		and she said I could use her car so ...

	REVERSE ANGLE. GIRL.

	She positively beams. The girl flicks her blonde hair and
	stares back at him adoringly.

	CLOSE UP. DAVID.

	Instead of smiling back, David just stares, then looks at the
	ground.

	WIDE ANGLE. SCHOOLYARD.

	For the first time WE SEE THAT SHE WASN'T TALKING TO HIM.
	David stands a good hundred yards across the schoolyard,
	rehearsing this speech while the young woman stands face to
	face with a much cooler boy. He has a cell phone and a very
	hip haircut.

	ANGLE. DAVID.

	David watches as the girl throws her arm around the boy's
	waist and heads out of the playground ...

								CUT TO:

	EXT. "LUNCHEON COURT". DAY.

	David and his friends are all gathered around the plastic
	picnic tables and vending machines that form the luncheon
	court. The chess club meets at one end and there are some
	teachers at the other. All the cool kids are on the other
	side of the fence but David and his friends eat lunch at the
	same table every day.

				HOWARD
		Okay, whose window did Bud break when he
		was playing with his father's golf
		clubs?

				DAVID
		Easy. Mr. Jenkins. What JOB did Mr.
		Jenkins have?

	Howard looks at him, puzzled.

				DAVID (CONT)
		Salesman. What did Bud and Mary Sue name
		the cat they found in the gutter?

				HOWARD
		Scout?

				DAVID
		Marmalade.

	They all nod--and murmur with admiration.

				DAVID (CONT)
		Okay--here's one: Why did their parents
		come home early from their weekend at
		the lake?

	Everybody thinks.

	Nobody knows.

				DAVID (CONT)
		'Cause Bud didn't answer the phone and
		they were worried about him.

	It's quiet for a beat.

				HOWARD
		You're unbelievable. You'll win this
		thing for sure. When is it on?

				DAVID
		Marathon starts at 6:30. Contest's
		tomorrow at noon.

				HOWARD
			(weighing it)
		A thousand dollars ... And it's on all
		night?

				DAVID
		Of course it is Howard. That's why they
		call it a Marathon.

								CUT TO:

	THE OTHER SIDE OF THE FENCE.

	David's sister, Jennifer, hangs out with her friends in the
	parking lot. All the girls are dressed in the exact same
	uniform: Blue jeans, beeper on the belt, white V-neck T
	shirt, car keys in their hand. (Even the girls WITHOUT a car
	hold car keys in their hand). Jennifer is by far the
	prettiest and, thus, is the leader of the group. They all
	look toward the Luncheon Court where David and his friends
	are hanging out.

				KIMMY
		Omigod, it's so mortifying, being
		related to him. I can't believe you're
		like--

				JENNIFER
		Only on my parent's side.

				KIMMY
		I know, but you're like ... twins and
		stuff.
			(beat)
		You must be from like, the cool side of
		the uterus.

	A group of VERY HIP boys strut through the parking lot. They
	bop up and down with the self-confidence of all cool sixteen
	year olds. The girls freeze when they see them.

				KIMMY (CONT)
		Omigod, omigod--here they come.

				CHRISTIN
		Don't do anything. Just don't like--do
		anything ...

				JENNIFER
			(cooly)
		Hi Mark.

	DIFFERENT ANGLE.

	He pauses then looks over at her. Jennifer slides sinuously
	off the fender of the car, flicking her hair like a young
	racehorse. She has a perfect 16 year old body and the whole
	parking lot knows it. Mark heads over to her, followed by his
	lackies. The two groups meet at the tail-gate of the Nissan
	Pathfinder like a small summit conference.

				MARK
			(to Jennifer)
		Hey.

				JENNIFER
			(right back)
		Hey.

	Beat ...

				MARK'S LACKEYS
			(to Jennifer's lackies)
		Hey.

				JENNIFER'S LACKEYS
			(back to them)
		Hey.

				MARK
		Saw you at the mall yesterday.

				JENNIFER
		Yeah ... Saw you too.

	Everyone nods for a moment or two. No one says anything.

				JENNIFER (CONT)
		So you watching Pearl Jam on MTV
		tonight?

				MARK
		Yeah.
			(beat)

	Jennifer pauses, weighing the next statement.

				JENNIFER
		My mom'll be out of town.

	Kimmy and Christin positively GASP while Mark's Lackeys
	mumble and glance around. The import of the thing isn't lost
	on anybody. Mark bobs up and down a little faster.

				MARK
		So uh ... Maybe we could uh ...

				JENNIFER
			(smiling)
		Cool.

				MARK
			(nodding faster)
		Cool.

				VARIOUS LACKEYS
		Cool.

	Everybody bobs and shuffles for " beat, when Mark nods,
	summoning his flock.

								CUT TO:

	EXT. WAGNER HOUSE. DUSK.

	lt is a south-westem version of "Leave it to Beaver." The
	uniformity of Suburbia has been washed in earth tones. There
	is a red tile roof gracing every home. All the houses have
	the same anemic palm tree. It's a urban planner's version of
	hell.

				JENNIFER (VO)
		... I know, I know--He's just like so
		FINE ... I'm still like: "Omigod."

	INT. WAGNER HOME.

	lt is just as sleek and impersonal as before. Maybe more so
	at night. Jennifer crosses through the living room with the
	cordless phone attached to her ear.

				JENNIFER
		It was amazing, Daph ... I'm like:
		"Well my Mom'll be out of town." And
		he's like "Well then, maybe we could--
		you know ..." And I'm like "Yeah, sure."
		And he's like "Well, cool."
			(beat)
		I know, he's just so smart.
			(pause ...)
		I don't know. Maybe that black thing I
		just got.
			(pause ...)
		It is not slutty, Daph, it's cute.
			(pause ... )
		Well, "hello?" He's not coming  over
		here to study ...
			(beat)
		I know. Well I'm jealous of you too
		sometimes.

	INT. DAVID'S BEDROOM.

	lt is studious and academic--not joyless, but not colorful
	either. David stands at his bedroom window, staring outside
	with a cordless phone in his hand.

				DAVID
		... He's not homeless Howard, they just
		don't say where he lives.
			(pause ...)
		Well it's a silly question.
			(pause ...)
		Because nobody's homeless in
		Pleasantville.

	REVERSE ANGLE. HIS POV.

	His mother loads the final Louis Vuitton bag into her
	Mercedes.

				DAVID
		... because that's just not what it's
		like.

	She fires up the car and pulls out of the driveway...

				DAVID (CONT)
		Listen Howard--it's almost six-thirty.
		I gotta go.

	INT. WAGNER LIVING ROOM.

	The huge black TV sits like a monolith in the middle of the
	room. All at once David comes bounding down the stairs making
	a B-Iine for the couch. Jennifer enters just as quickly from
	the other direction, fiddling with her clothes.

	DIFFERENT ANGLE.

	They hit the coffee table and reach for the remote control at
	exactly the same moment. Both of them freeze then look up at
	each other in shock.

				JENNIFER
			(stunned)
		What are you doing?

				DAVID
		What are you doing?

	Neither one moves. They clutch the remote together.

				JENNIFER
		David, cut it out. Mark Davis is gonna
		like be here in five minutes.

				DAVID
		Well great. The Pleasantville Marathon
		starts at six thirty.

				JENNIFER
		Pleasantville Marathon?

				DAVID
			(almost reverently)
		Yeah. Every episode ever.

				JENNIFER
			(getting hysterical)
		Omigod, I don't be-lieeeeve this! He's
		gonna like beeeee here!

				DAVID
		Weil great. You can watch TV upstairs.

				JENNIFER
		Upstairs! Up-staiiirs! There isn't any
		STEREO!

	Jennifer gets panicked and yanks at the remote. David yanks
	back and before they know it, the remote goes flying out of
	their hands, CRASHING onto the hardwood floor. lt smashes
	into a million tiny pieces.

				DAVID
			(breathless)
		Oh my God ...
			(sinking to his knees/
			scooping up the remains)
		Oh my God ...

				JENNIFER
		David, stop stressing, you can like--
		turn it on normally ...

				DAVID
		No you can't, Jen! It's a new TV. It
		doesn't work without a remote.

	David cradles the pieces like a fallen comrade, when the
	DOORBELL RINGS behind him.

				JENNIFER
		Oh my God! He's here!

	Jennifer sweeps some of the pieces frantically under the sofa
	and tries to adjust her outfit on the way to the door. David
	just stares in shock at the shattered plastic. Jennifer
	reaches the front door and wets her lips. She fluffs her hair
	quickly, sticks out her chest then swings it open.

	DIFFERENT ANGLE. FRONT DOOR.

	Jennifer steps forward with her sexiest smile, but it isn't
	Mark Davis on the other side. DICK VAN DYKE STANDS ACROSS THE
	THRESHOLD IN A TV REPAIRMAN'S OUTFIT. Jennifer looks at him
	puzzled. He steps forward, flashing her a chipper grin,
	toolbox in hand.

				DICK VAN DYKE
		TV repair.

				JENNIFER
			(beat)
		TV repair?

				DICK VAN DYKE
		Yeah. TV busted?

				JENNIFER
			(pause ...)
		Yeah ...

				DICK VAN DYKE
			(smiling wider)
		Well here I am.

	REVERSE ANGLE. DAVID'S POV.

	He glances out the front door toward a weird VAN parked at
	the curb. It says TV REPAIR on the side but looks like
	something from a medicine show. The antenna on top resembles
	a weather vane and the mural beneath it depicts a happy
	family from the 1950s, gathered around their TV set. Everyone
	wears a smile, including the dog. The hand-painted motto
	reads "Rob's TV Repair--WE'LL FIX YOU FOR GOOD."

	INT. LIVING ROOM.

	David looks back at Dick Van Dyke who smiles at him, then
	crosses to the living room STEPPING NIMBLY AROUND THE
	OTTOMAN. He heads toward the TV.

				DICK VAN DYKE
			(seeing the smashed remote)
		Holy cow. Look at that. Had a little
		disaster didn't ya fella.

				DAVID
		Yeah ... Sort of ...

				DICK VAN DYKE
			(setting down the toolbox)
		We'll get you fixed up in no time.

	He pops the top of the tool box while Jennifer and David just
	stare. It's a strange looking box with the same happy family
	painted on the side. Dick Van Dyke pulls out another remote.

				DICK VAN DYKE (CONT)
		I know how I'd feel if mine went out.
		Almost like losing a friend.

				DAVID
			(tentatively)
		You know, we didn't call any TV repair.

				DICK VAN DYKE
		Well that makes it a lucky day for both
		of us, hunh?

	Jennifer shuts the door and crosses down toward the living
	room.

				JENNIFER
		You think you could do this like soon?
		It's almost six thirty.

				DICK VAN DYKE
		What's the rush?

				DAVID
			(cutting her off)
		The Pleasantville Marathon starts at six
		thirty.

	At that moment there is a huge FORK OF LIGHTNING and a
	booming CLAP OF THUNDER. It literally rattles the walls of
	the house as Dick Van Dyke turns toward David.

				DICK VAN DYKE
		Pleasantville?

	David recoils slightly. Dick Van Dyke flashes him a smile.

				DICK VAN DYKE (CONT)
		Gosh, I loved that show. Watched it for
		years.

				JENNIFER
		That's not the reason. I've got a date
		at six thirty.

				DICK VAN DYKE
			(ignoring her/
			leaning closer to David)
		Hey--who did Muff in take to the
		masquerade ball when her date came down
		with the measles?

				DAVID
			(stunned)
		... Her father.

				DICK VAN DYKE
		Right. And how did she dress him?

				DAVID
			(still staring)
		... Like Prince Charming.

				DICK VAN DYKE
			(studying David/
			nodding)
		Nice ... Nice ...

				JENNIFER
		Um--hello? I've got like a social
		emergency here.

				DICK VAN DYKE
			(ignoring her)
		Remember the one where Bud lost his
		cousin when he was s'posed to be
		watching him?

				DAVID
		Yeah ...

				DICK VAN DYKE
		What department store did they go to?

				DAVID
		McIntire's.

				DICK VAN DYKE
		McGinty's.

				DAVID
		No. McIntire's. Remember:
			(sings)
		"For the very best in men's attire,
		Head right down to McIntire's."

				DICK VAN DYKE
			(stunned)
		That's right.

	He stares at David, speechless, for a moment, then smiles
	fondly and reaches beside him for his tool kit.

				DICK VAN DYKE (CONT)
		Say--why don't you take this remote
		instead. It's got a little more "Ooomph"
		in it.

				DAVID
		Ooomph?

				DICK VAN DYKE
		Sure. Big beautiful set like this--you
		want something that'll put you right in
		the show.

				JENNIFER
			(quickly)
		We'll take it.

	CLOSER.

	He flashes them a big smile and holds out a weird looking
	contraption that seems more primitive than space age. It's a
	strange combination of an early transistor radio and Flash
	Gordon ray gun. Dick Van Dyke extends it with pride, while
	Jennifer and David stare at him warily ...

				DAVID
			(beat)
		How much does it cost?

				DICK VAN DYKE
		Oh--couldn't charge you for something
		like that. It's free.

				JENNIFER
		Free?

				DICK VAN DYKE
		Oh sure. Big fan like yourself. It's the
		least I could do.

	There is a SECOND CLAP OF THUNDER even louder than the first.
	The house rattles for a moment then is quiet.

				DICK VAN DYKE (CONT)
		Well, I better get going. Your show's
		almost on, and ...
			(smiling at Jennifer)
		It's almost time for your date.

	He places the remote control gingerly on the coffee table and
	smiles at them. Dick starts across the living room when he
	suddenly catches his foot on the leg of the ottoman and
	tumbles end over end. He rolls on the carpet, executes a
	perfect somersault and comes right back to a standing
	position. David and Jennifer stare at him stunned when he
	looks back at them and smiles.

				DICK VAN DYKE (CONT)
			(grinning)
		Take care now.

	There is another flash of lightning as he reaches for the
	doorknob. David and Jennifer look at one another while the
	front door shuts with a THUD. It's quiet for a second or two
	before there is another CLAP OF THUNDER. David cocks his
	head.

	DIFFERENT ANGLE.

	David glances down at the strange contraption sitting on the
	coffee table. It looks a little scary. Slowly, very slowy, he
	reaches down and touches it. Nothing seems to happen so he
	picks it up.

	CLOSER.

	David points the remote toward the TV set with an
	apprehensive look on his face. He winces a little, then
	pushes one of the buttons.

	DIFFERENT ANGLE.

	The TV set turns on. Oprah's face fills the screen as an
	angry housewife screams at a transvestite!

				DAVID
		Hunh.

	It ail seems normal as he pushes another button. This time
	the channel changes.

				DAVID (CONT)
			(relaxing)
		Great.

	He continues to press the button, flipping through the
	channels. Jennifer sees that everything is fine and reaches
	for the remote.

				JENNIFER
		Lemme see that.

				DAVID
		No way.

	He continues to flip through the channels, coming to rest on
	the Pleasantville Marathon.

	BUD'S VOICE fills the room.

				BUD (OS)
			(on TV)
		Gee whizz, Mary Sue--why can't I borrow
		your transistor radio?

				MARY SUE (OS)
			(on TV)
		I promised Betty Jane she could use it
		over the weekend.

	FULL SHOT. TV SET. "PLEASANTVILLE" (BLACK AND WHITE)

	Bud and Mary Sue clutch either end of a small transistor
	radio. They seem to be in the EXACT SAME POSITION as David
	and Jennifer, who are struggling over the remote control.

	ANGLE. DAVID AND JENNIFER.

	She tugs the remote while David yanks in the other direction.

				JENNIFER
		Do you mind. This is like the most
		important moment of my whole life.

				DAVID
		Forget it Jen, I've waited a year for
		this.

				BUD (OS)
			(on TV)
		"But I told Mr. Miller I'd bring a
		transistor in to electric shop."

				MARY SUE (OS)
			(on TV)
		"And I told Betty Jean she could have it
		for the picnic with Roy."

				JENNIFER
			(yanking at it)
		God, David. Just give it to me!

				DAVID
			(yanking it back)
		Get lost!

				JENNIFER
		YOU get lost!

	WIDER. LIVING ROOM.

	She tugs at the remote trying to wrestle it out of his hands.
	David pulls in the opposite direction as they POINT IT
	DIRECTLY TOWARD THE TV.

	DIFFERENT ANGLE. SPECIAL EFFECT.

	A huge white light emanates from the contraption, like their
	own atomic blast wave. The entire room is filled with a
	BLINDING AURA for a second or two, before it actually gets
	sucked into the TV.

	WIDE ANGLE. LIVING ROOM.

	It is suddenly empty--illuminated only by the soft glow of
	the picture tube. David and Jennifer are nowhere in sight.

	INT. PARKER LIVING ROOM. (PLEASANTVILLE) DAY.

	David and Jennifer are standing in the middle of the 1950's
	living room, dressed in Bud and Mary Sue's clothing. They
	still clutch the remote control in the exact same position
	that was occupied by their fictional counterparts. David and
	Jennifer glance at one another, then look horrified around
	the room. THE WORLD HAS TURNED TO BLACK AND WHITE...

				DAVID
			(a whisper)
		Oh my God.

				JENNIFER
		What happened?

				DAVID
		I'm not sure.

	WIDER

	George Parker (Bud and Mary Sue's father) enters from the
	landing whistling a happy tune. He's dressed in a gray suit
	with a gray shirt, and a dark gray tie with little gray dots.

				GEORGE
			(as if to his own children)
		Hi Sport, hi Muffin ... Better get a
		move on, you're gonna be late for school.

	He continues to cross through the living room whistling into
	the kitchen ...

				JENNIFER
			(desperately)
		What did you do?

				DAVID
		I don't know.

				JENNIFER
			(examining her black and white skin)
		Uchh! Look at me?! I'm like so ... pasty!

	He glances down at the remote control that sits lifeless in
	his hand. David frantically presses the buttons but nothing
	happens. All at once, there is a voice behind them.

				VOICE (OS)
		Psst! Over here.

	DIFFERENT ANGLE.

	They whirl around to see DICK VAN DYKE'S FACE smiling at them
	from the TV set in the comer. It's an old '50s set with a big
	round picture tube. They run over to him as he smiles. His
	face is the only color in the room.

				DICK VAN DYKE
			(beaming)
		Told you it was your lucky day. Bet you
		thought I was just a fan or something.

				JENNIFER
		What happened?

				DICK VAN DYKE
		A miracle.

	They stare stunned at the TV set.

				DICK VAN DYKE (CONT)
		... See, every time I thought I'd found
		someone they'd turn out to disappoint me.
		They'd know the early episodes, but they
		wouldn't know the later ones ... They'd
		know all about Muffin but they wouldn't
		know about Bud ...

				DAVID
			(to the TV set)
		What the hell's going on!

				DICK VAN DYKE
		Shh! Can't talk like that now. You're
		in ...
			(smiles)
		You know ...

	David glances around at his black and white surroundings. His
	"mother's" voice rings out from the kitchen.

				BETTY (OS)
		Bud. Mary Sue ... Breakfast is on the
		table.

				DAVID
		We're in Pleasantville?

				DICK VAN DYKE
			(grinning)
		Dream come true, hunh?

				JENNIFER
			(panicking)
		This isn't funny! I happen to have a
		very important date in like five minutes!

				DICK VAN DYKE
		Well, you don't have to worry about that
		anymore.

	FULL SHOT. TELEVISION SET. (COLOR)

	All at once the scene on the TV changes and Dick Van Dyke's
	picture gives way to a WIDE ANGLE SHOT of the WAGNER HOUSE.
	Mark Davis is standing at the front door, BANGING on the
	brass knocker. He checks his watch, shifts restlessly for a
	moment or two, then turns and heads down the flagstone walk
	never looking back.

				MARK DAVIS
			(under his breath)
		... Bitch.

	INT. PARKER LIVING ROOM. (BLACK AND WHITE AGAIN)

	Jennifer flings herself at the screen, as Dick Van Dyke
	appears all over again.

				JENNIFER
		Noooooo!

				DAVID
		You--you gotta get us out of here.

				DICK VAN DYKE
			(recoiling slightly)
		Why would I do that?

				DAVID
		Because we don't belong!

				DICK VAN DYKE
		Oh sure you do ... "McIntire's
		Department store" ... "Their father
		dressed as Prince Charming." That was
		gorgeous Bud.

				DAVID
		My name's David.

				JENNIFER
			(wailing on the floor)
		Oh GOD ...

				DICK VAN DYKE
			(a little snippy)
		You know--this is a pretty strange way
		of showing your appreciation.

				DAVID
		Look--we appreciate it. We really do. We
		just--we want to go home now.

				DICK VAN DYKE
			(hurt)
		But you don't know how long I've been
		looking for someone like you.

	A long face slowly descends on him.

				DICK VAN DYKE (CONT)
		I'm very disappointed ...
			(deep breath)
		In fact ... I'm starting to get a little
		upset.

	David moves toward the screen.

				DAVID
		Don't get upset.

				DICK VAN DYKE
			(snapping back)
		Weil wouldn't you! You look for someone
		for years ... You pour your heart into
		it ... This is a privilege you know.
			(shakes his head)
		I don't think I better talk about this
		right now.

				DAVID
		Where are you going ...

				DICK VAN DYKE
		I don't think we should discuss this
		until I'm a little bit more composed.

				DAVID
		WAIT A MINUTE!!

				DICK VAN DYKE
			(turning his back)
		Maybe in a day or so when I'm not so
		emotional ...

				DAVID
		COME BACK!!!

	Dick Van Dyke shakes his head and walks out of the shot as
	the screen goes completely BLACK. It cuts out entirely as
	Jennifer and David just stare. David grabs the remote and
	starts rapidly pushing buttons.

	Nothing happens.

				DAVID (CONT)
			(dropping the gizmo)
		Oh God.

				JENNIFER
		What's going to happen?

				DAVID
		I don't know ... It's not possible ...
			(looking at her)
		Is it possible?

				BETTY (OS)
		Bu-ud ... Mary Sue ... Your breakfast is
		getting cold.

				DAVID
		It can't be possible.

	DIFFERENT ANGLE.

	Betty (their "mother") sticks her head into the living room
	wearing her black and white apron. She has a great big
	Pepsodent smile.

				BETTY
		Well, come on kids. You're not going off
		to school without a hot breakfast inside
		you ...

	They just stare at her.

				BETTY (CONT)
		Forward march.

	They exchange a strange little glance then slowly rise to
	their feet. Jennifer waits for David who forces a smile then
	starts toward the kitchen.

				BETTY (CONT)
		I just love you in that sweater Mary-Sue.
		It's so flattering.

				JENNIFER
			(dazed)
		Thanks.

	INT. KITCHEN.

	David and Jennifer walk two steps into the kitchen when they
	suddenly freeze--agape at the spectacle in front of them:

	THEIR POV. PARKER KITCHEN.

	Every breakfast food imaginable has been laid upon the table.
	There are hotcakes and sausages and biscuits and eggs.
	Pitchers of orange juice are dwarfed by the mountains of ham.
	The table literally sags under the weight of the food. George
	Parker lowers his morning paper and smiles at his children.

				GEORGE
			(once again)
		Morning kids. Better get a move on or
		you're going to be late for school.

	They nod, stunned, and wander forward into the room. Bright
	sunlight streams through the kitchen window as a gentle
	symphony of songbirds sings outside. David and Jennifer stare
	straight ahead as their "mother" adds some waffles to the
	heap.

				DAVID
			(under his breath)
		I don't believe this.

				JENNIFER
		Neither do I.

				GEORGE
		Well, c'mon. Dig in.

	David and Jennifer stare at her stunned as she puts two
	heaping plates at their places. Neither one moves.

				BETTY
			(to Jennifer)
		I put blueberries in them just the way
		you like.

				JENNIFER
		Actually--I'm not real ... hungry.

				BETTY
			(big smile)
		Oh nonsense young lady. You're going to
		start your day with a nice big breakfast.

	She takes Jennifer by the shoulders and "guides" her into the
	chair. Jennifer looks down at a huge plate of GRAY WAFFLES.

				BETTY (CONT)
			(oppressively chipper)
		Here. Why don't you have some waffle
		cakes.
			(beat)
		And there's sausage and eggs and some
		good crisp bacon ...
			(beat)
		... And a ham steak.

	Betty drenches the waffles in syrup and slathers on a huge
	slab of butter.

				BETTY (CONT)
		... And of course, a nice big bowl of
		oatmeal.

	Jennifer hesitates then glances over at her "mother" who
	looks at her expectantly. She glances at David who just looks
	stunned. Jennifer pauses then reaches down and takes a
	forkful of the oozing mess ...

								CUT TO:

	FULL SHOT. PAT BOONE.

	He stands facing the CAMERA in an actual Kinescope from 1958.
	The backdrop is a painted pastoral landscape and the
	background singers are all white debutantes. He wears a
	letterman's sweater and button down shirt ...

				PAT BOONE
		"... Tooty fruity--oh rooty. Tooty Fruity
		... Oh rooty."

	He CONTINUES his homogenized version of Little Richard's
	nasty hit, (all the nastiness gone). It becomes a slow and
	lilting melody ...

				PAT BOONE (CONT)
		"... Tooty fruity--oh rooty ..."

	SERIES OF SHOTS. PLEASANTVILLE.

	The MUSIC CONTINUES as the CAMERA CUTS TO image after image
	of this strange "Utopia." The effect is a weird, sanitizied
	version of MTV--as if Ronald Reagan had shot a music video.
	There are men tipping their hats and women walking their
	dogs; cheery gas station attendants and smiling policemen.

				PAT BOONE (VO)
			(slowly ...)
		"... A wap bop a loo bop--a wap barn boom."

	Pruned hedges. Twin beds. BIG houses. The CAMERA CRANES DOWN
	in the middle of a beautiful tree lined street to find David
	and Jennifer walking up the sidewalk, holding their stomachs.

				JENNIFER
		I'm gonna hurl, David. I swear to God.

				DAVID
		Just take deep breaths.

				JENNIFER
		All that animal fat. I feel it in my
		pores or something.

	Jennifer clutches her stomach, but David's glance darts from
	side to side--totally absorbed.

				JENNIFER (CONT)
		I still don't see why we're doing this.

				DAVID
		We're supposed to be in school.

				JENNIFER
		We're supposed to be at home David! We're
		supposed to be in color!
			(wailing)
		Oh God ...

	A man calls out from across the street.

				MR. SIMPSON
		Hello Bud.

				DAVID
		Hello Mr. Simpson.

				MR. SIMPSON
		Hear your Dad got a new car.

				DAVID
		Oh yeah. A Buick. It's swell.

				JENNIFER
		You know him?

				DAVID
		Owns the hardware store.

				JENNIFER
		Okay, now you listen to me! I don't know
		what's going on but you'd better fix it!
		I had a date with Mark Davis and I even
		bought new UNDERWEAR!

				DAVID
		We just gotta play along for a little
		while ... till that guy shows up again.
		Then I'll talk to him and ...

				JENNIFER
		Play along?

				DAVID
		Well, yeah. I'm ... Bud Parker and
		you're ... um--Mary Sue.

				JENNIFER
			(ripping the barette from her hair)
		No! I'm not gonna do it! If I don't
		dress like this for Mom I'm sure as hell
		not going to do it for you!

				DAVID
		We don't have a choice Jen. We're stuck
		until he comes back.

				JENNIFER
		Why can't we just EXPLAIN IT?

				DAVID
		To who?

	Jen looks around this cheery little street, and the horror
	starts to dawn on her. At that moment, they hear a screaming
	SIREN and a bright GRAY FIRE ENGINE comes racing up the
	block.

	WIDER.

	Jennifer and David step back on the curb as the firemen come
	flying out of the truck, grabbing the ladder on the back.

	DIFFERENT ANGLE. (FOLLOWING THE FIREMEN)

	They work in perfect precision. Two firemen grab the base of
	the ladder while a third takes the front. They go tearing
	across one of the lawns, in full "emergency response"
	anchoring the ladder into the ground and winging it up into a
	tree.

				FIREMAN
		C'mere, kitty ...

	He emerges a moment later with the cat who was stuck in the
	tree. Jennifer sinks to the curb as he carries the kitten by
	them, petting it gently as he goes.

				JENNIFER
		Oh God, we are. We're stuck in like
		"Nerdville".
			(shakes her head)
		I always knew you'd pay a price for
		this. I knew you couldn't be hopelessly
		geekridden for this long without
		suffering some like, really tragic
		consequences.
			(voice wavering)
		... But it's just not fair. I mean--I'm
		starting to get really--popular. Debbi
		Russell transferred to another school
		and my skin's been great since March and
		Mark Davis is starting to come around
		and ...

				BOY'S VOICE (OS)
		Hello Mary Sue.

	Jennifer turns to see a strapping blonde seventeen year old
	driving by in his convertible. He is extremely handsome with
	Jack Armstrong features and a Letterman's sweater. Despite
	her crisis, Jennifer's jaw drops open as he slows to a crawl.
	Biff Martin flashes a huge Pepsodent smile. The guy is a
	"dreamboat".

				BIFF (CONT)
		What's all the commotion? Where's the
		cat?

				JENNIFER
		Um ... It's ...

	Biff turns to see the fireman climb into the truck, with the
	kitty in his arms.

				BIFF
		Ah, right ...
			(smiling at her again)
		Well--guess I'll see ya later Mary Sue.

	He takes off down the street with the sun glinting on his
	really keen convertible. Jennifer gapes as he disappears
	around the corner.

				JENNIFER
		Who's that?

				DAVID
		Biff Martin. Captain of the basketball
		team.

				JENNIFER
			(still gaping)
		Does he--you know--like "me"?

				DAVID
		As a matter of fact he does.

				JENNIFER
			(flicking her hair)
		Hunh.

								CUT TO:

	EXT. PLEASANTVILLE HIGH SCHOOL. DAY.

	Streams of impeccably kept youngsters file through the double
	doors. All cheery and very pleasant looking. It looks like a
	Leni Riefenstahl movie.

	ANGLE. FROM ACROSS THE STREET.

	David stands beside Jennifer looking at the entrance to the
	school. Three girls huddle together by the front steps.

				JENNIFER
		Those are my friends.

				DAVID
		Peggy Jane, Lisa Anne and Betty Jean.

				JENNIFER
			(staring at them)
		Can we do any better?

				DAVID
		I don't think so.

				LISA ANNE
			(seeing her)
		Mary Sue. You're gonna be late for
		Geography.

				JENNIFER
		Okay ...

	She flicks her hair back--cops a first day of school
	attitude, and heads across the street like she owns the
	place.

								CUT TO:

	INT. GEOGRAPHY CLASS. LATER ...

	It looks like a propaganda film from the Eisenhower
	Administration. The boys all wear crew cuts and short sleeve
	button down shirts. The girls all have lacy dresses buttoned
	to the neck. Everyone stares straight ahead at the
	blackboard.

	ANGLE. FRONT OF THE ROOM. TEACHER.

	Miss Peters stands in front of the class with a pointer in
	her hand. She indicates a diagram that spans the length of
	the blackboard.

				MISS PETERS
		Last week Class, we discussed the
		geography of Main Street. This week,
		we're going to be talking about Elm
		Street. Can anyone tell me one of the
		differences between Elm Street and Main
		Street?
			(pointing)
		Tommy.

				TOMMY
		It's not as long?

	Jennifer looks stunned as several students nod.

				MISS PETERS
		That's right, Tommy. It's not as long.
		Also, it only has houses. So the
		geography of Main Street is different
		than the geography of Elm Street.

	ANGLE. JENNIFER.

	She glances around at several students who seem to be nodding
	in agreement. All at once, she thrusts her hand into the air.

				MISS PETERS
		Mary Sue.

				JENNIFER
		What's outside of Pleasantville?

	The teacher looks at her with a puzzled frozen smile on her
	face. She looks vaguely troubled.

				MISS PETERS
		What?
			(beat)
		I don't understand ...

				JENNIFER
		Outside of Pleasantville ... What's at
		the end of Main Street?

	The class lets out a knowing groan--as if to say "Oh. We get
	it now. Boy what a stupid question." Miss Peters gives a kind
	but condescending look.

				MISS PETERS
		Oh, Mary Sue. You should know the answer
		to that. The end of Main Street is just
		the beginning again.

	Miss Peters gives a big grin as a series of heads nod up and
	down. Jennifer stares straight ahead, dumbfounded ...

								CUT TO:

	INT. GYMNASIUM. DAY.

	There are fifteen to twenty boys scattered around the Gym.
	Each is dressed identically in white shorts and black socks
	with a "PLEASANTVILLE" jersey.

	SHOT. DAVID.

	He stands at the free throw line with a basketball in his
	hand. (Not exactly an athletic image.) David lets go of a
	jump shot that swishes effortlessly through the net. He looks
	a little surprised.

				DAVID
		Wow.

	He stares at the backboard slightly intrigued. David
	retrieves the ball and fires again, this time chucking it
	up blind. The ball sails through the hoop again, HITTING
	NOTHING BUT NET.

	FULL SHOT. OTHER SIDE OF THE GYM.

	Ten to twelve of his teammates fire simultaneously at the
	hoop. ALL OF THE SHOTS SAIL THROUGH THE HOOP, NONE EVEN
	NICKING THE RIM. The boys retrieve their shots as the coach
	claps his hands.

				COACH
		That's it men. Keep it up. Big game
		tomorrow.

	ANGLE. DAVID.

	He gets the ball and turns his back on the basket completely.
	David flings the ball wildly over his shoulder. It bounces
	off all the walls of the gym, then glides through the net as
	smoothly as the others. He stares in amazement.

				BIFF (OS)
		Bud ...

	WIDER.

	Biff Martin (the boy in the convertible) approaches from the
	other side of the Gym. He is a classic All American Hero--
	somewhere between 4-H club member and a future astronaut.

				BIFF
			(a little nervous)
		Hi ya Bud.

				BUD
		Hi ya Biff.

	He fidgets nervously for a moment looking down.

				BIFF
		Can I ask you a question?

				BUD
		Sure.

				BIFF
		Well ... If I was to ask your sister ...
		What I mean is, if I was to go up to
		Mary Sue ...

				DAVID
		Oh God! Are we in that episode?

				BIFF
		What?

				DAVID
		I don't believe it.

				BIFF
		What's the matter?

				DAVID
		You want to ask her out tonight, right?
		And then you want to give her your
		school pin ...

				BIFF
		Yeah ... How'd you know?

				DAVID
			(shaking his head)
		Lucky guess.
			(beat)
		Look, Biff ... I don't think it's a real
		good time for that right now ...

	Biff's expression falls. He stands crushed in front of David.

				DAVID (CONT)
		What I mean is ... Mary Sue's been a
		little "different" lately ...

				BIFF
			(stunned)
		She won't go out with me?

				DAVID
		I didn't say that. It's just that right
		now ...

				BIFF
		I don't know what I'd do if she wouldn't
		go out with me ...

	All at once, Biff takes the basketball he's been holding and
	hurls it toward the hoop. The ball does a couple of
	revolutions of the rim, and then amazingly pops out.

	WIDE ANGLE. GYM.

	Play comes to a halt. ALL THE PLAYERS TURN AND STARE,
	DUMBSTRUCK AT THE SIGHT OF A MISSED SHOT.

	SHOT. DAVID.

	He retrieves the ball quickly then hurries back to Biff.
	David pulls him aside as play slowly resumes on the other
	side of the gym.

				DAVID
			(under his breath)
		Look, I'm sure we'll work something out.
		I'll talk to her or something.

	Biff looks at him, troubled.

				DAVID (CONT)
		Honest. It'll be fine.

	Biff nods, a little confused, as David pats him on the back.

								CUT TO:

	INT. CORRIDOR. LATER ...

	David stands off to the side with his sister, while class
	pours out around them.

				JENNIFER
		No way.

				DAVID
		One date, Jen--that's all I'm asking. If
		you don't go out with this guy we could
		throw their whole universe out of whack.

				JENNIFER
		It's too weird David. This place is
		giving me the creeps. Did you know all
		the books are blank?

				DAVID
		What?

				JENNIFER
		I looked in the library. They got covers
		with nothing inside them.

				DAVID
		What were you doing in a library?

				JENNIFER
		I got lost.
			(beat)
		Oh here ... look at this!

	She reaches into her purse and pulls out a book of matches.
	Jennifer tries to light a Kleenex on fire.

				DAVID
		JENNIFER!

				JENNIFER
		Just watch. You know why those guys just
		get cats out of trees? 'Cause nothing
		burns around here, that's why! They
		don't need any firemen ...

	Sure enough the tissue has become flame retardant.

				DAVID
		Jen, listen ...

				JENNIFER
			(trembling)
		I like--really need a cigarette, too.

				DAVID
			(putting his arm around her)
		I'll get us out of here. I really will.
		But if we don't play along we could
		alter their whole existence. We may
		never get home.

	She looks over at him, slowly.

				JENNIFER
		You really think anybody's gonna, like,
		notice if I don't have a chocolate malt
		with this guy.

	At that moment, three of Mary Sue's "friends" come tittering
	around the comer. They skitter up to her like a group of
	wind-up toys.

				PEGGY JANE
			(high-pitched--rapid fire)
		You won't believe what we just heard.

				LISA ANNE
		Biff Martin's going to ask you out.

				BETTY JEAN
		And that's not all ...

				PEGGY JANE
		No, that's not all ...

				ALL THREE TOGETHER
		He's going to give you his pin!

	They explode in a torrent of TITTERS all over again. Jennifer
	looks over at David.

	EXT. PARKER HOUSE. DUSK.

	A lone streetlamp glows in the foreground. Jennifer's voice
	plays OS.

				JENNIFER
		You sure I'm supposed to wear this?

	INT. MARY SUE'S ROOM.

	Jennifer emerges from the closet in a mohair sweater and a
	poodle skirt. Under the sweater she wears a 1950's "bullet
	bra" that turn her breasts into lethal weapons.

				JENNIFER
			(looking in the mirror)
		I could like kill a guy with these
		things.

				DAVID
		It's in your closet.

				JENNIFER
			(examining her profile)
		I've worn some kinky stuff before ...

				DAVID
		He won't notice anyway.

				JENNIFER
		What do you mean?

				DAVID
		They don't notice that kind of thing.

				JENNIFER
		So what's the point?

				DAVID
		Jen please ...

				JENNIFER
		He-llo? I've got like three pounds of
		underwire here ...

				DAVID
		Just go with the program--hunh? I'm late
		for work.

								CUT TO:

	EXT. SODA SHOP. DUSK.

	The flashing neon ice cream cone looks good enough to drink.
	Underneath it, the swirling script spells "SODA SHOP". Johnny
	Mathis drifts out into the evening air ...

	CLOSER.

	David comes sprinting up to the screen door and pauses to get
	his breath. He adjusts a little soda jerk's hat, then plunges
	inside.

	INT. SODA SHOP.

	Mr. Johnson, the owner and proprietor is wiping down the
	counter. He is a "pleasant" looking man, in his early forties
	wearing a white apron and black glasses. The strains of
	"MISTY" get louder as Bud lets the screen door slam behind
	him.

				MR. JOHNSON
			(looking up)
		Bud?

				DAVID
		Sorry ... I had to help my folks and
		then I couldn't find my hat ...

				MR. JOHNSON
		Oh.

	He stops wiping for a moment, holding the towel in his hand.

				MR. JOHNSON (CONT)
		I didn't know what to do.

	He stares at the rag a little troubled.

				DAVID
		What's wrong?

				MR. JOHNSON
		Well--I always wipe down the counter and
		then you set out the napkins and glasses
		and then I make the french fries ...

				DAVID
			(confused)
		Yeah ...

				MR. JOHNSON
		But you didn't come so I kept on wiping.

	He looks down at the towel clearly disturbed. David pauses
	for a moment then starts toward him.

				DAVID
		I'm sorry.

	He crosses to Mr. Johnson who has polished one section of the
	counter right down to the wood. David takes the towel out of
	his hand and folds it neatly in front of him.

				DAVID (CONT)
			(gently)
		You know, if this ever happens again,
		you can make the fries even if I haven't
		put out the napkins yet.

				MR. JOHNSON
		I'm so glad you're here.

				DAVID
		I understand.

	EXT. PARKER HOUSE. NIGHT.

	Biff's convertible rolls up to the curb with Pat Boone
	playing on the radio. He runs a comb through his short blonde
	hair before grabbing the bouquet of flowers next to him and
	heading up the walk. Biff rings the doorbell and, a moment
	later, Jennifer's silhouette appears in the doorway ...

				BIFF
		Oh. Mary Sue ...

	EXT. SODA SHOP. NIGHT.

	The place is really hopping now. All the spots in the parking
	lot are filled with vintage "jalopies" and several patrons
	are streaming through the door. The SAME JOHNNY MATHIS SONG
	is still PLAYING on the juke box, and the neon ice cream soda
	sign blinks against the sky.

	INT. SODA SHOP.

	David is trapped behind the counter, furiously working to
	keep up with the load. Several clean cut teenagers pepper him
	with orders while he yanks at the pumps and spiggots. It's
	clear he isn't used to this.

				DAVID
			(frazzled)
		Peppermint shake, chocolate soda, two
		orders of fries and a split?

				TEEN AGE GIRL
		Peppermint soda, two chocolate shakes,
		order of fries, and we'll split it.

	David nods quickly, wiping some sweat from his brow. He
	scoops some ice cream into the metal blender as Mr. Johnson
	comes up beside him.

				MR. JOHNSON
		There aren't any cheeseburgers.

				DAVID
			(turning)
		What?

				MR. JOHNSON
		Well, usually I put out the burger and
		then you finish with the lettuce ...

				DAVID
		Listen to me!

	Mr. Johnson recoils slightly.

				DAVID (CONT)
		Do you have the lettuce?

				MR. JOHNSON
		... Yeah.

				DAVID
		Have you cooked the burgers?

				MR. JOHNSON
			(quieter)
		Yes.

				DAVID
		Well you can just put on the lettuce,
		finish the burger and pretend it was me
		doing it all along.

	Mr. Johnson stares at him.

				DAVID (CONT)
		Really. It's fine.

	DIFFERENT ANGLE. SODA SHOP ENTRANCE.

	The screen door swings open and is held there by the end of a
	Letterman's sweater. A moment later, Jennifer sashays
	through, parading her new Jane Russell profile. Her
	"girlfriends" TITTER from the comer as Biff rushes up to a
	table, and pulls out a chair. She sashays into it, brushing
	against him as she goes.

	ANGLE. DAVID.

	He stares motionless at the spectacle--concerned and
	apprehensive. David holds a hot fudge sundae under the soda
	spiggot and jerks back on the lever blowing ice cream all
	over his chest.

	FULL SHOT. TABLE.

	Biff stares across the table at Jennifer with the wholesome
	devotion of a labrador retriever. He looks like a cross
	between Troy Donahue and a mannequin.

				BIFF
			(haltingly)
		I sure am glad you said you'd come out
		with me tonight Mary Sue.

				JENNIFER
			(full blown "Mary Sue")
		Well "gee whizz" Biff. I sure am glad
		you asked me.

	He guffaws for a moment or two before speaking again.

				BIFF
		I don't know if I ever said this to you
		before, but, well ... I think you're
		just about the keenest girl in the whole
		school ...

				JENNIFER
		Really Biff? The keenest?

				BIFF
		Oh yeah.

				JENNIFER
			(all sarcasm)
		Gosh. I hardly know what to say.

				DAVID (OS)
		What can I get you two?

	WIDER.

	He stands at their table holding a little white pad of paper
	and a pencil. Jennifer looks up at her brother and almost
	bursts out laughing. He wears his soda jerk hat at a jaunty
	angle with large white apron tied around his neck.

				BIFF
		Oh, I dunno Bud. Guess I'll have my
		usual cheeseburger and a cherry coke.

	More goony laughs. David turns to Jennifer who puts on the
	same dopey countenance.

				JENNIFER
		Oh, I dunno Bud. Guess I'll just have a
		salad and an Evian Water.

	He shoots her a dirty look. Jennifer just smiles at him.

				JENNIFER (CONT)
		Cheeseburger it is.

	ANGLE. FOLLOWING DAVID.

	He glowers at her all the way back to the counter. David
	posts the order in the little carousel clip board, keeping an
	eye on the table the entire time ...

	RESUME. TABLE.

	Biff gazes across the table at Jennifer with an adoring look
	on his face. His hands are properly folded in front of him.
	She's still trying to do her best "Mary Sue."

				BIFF
		See the whole time we were in civics
		together, I really wanted to sit next to
		you--but you were always sitting between
		Peggy Jane and Lisa Anne.

	There is some TITTERING behind her. Jennifer doesn't respond.

				BIFF (CONT)
		... And you always seemed so smart and
		everything. Like that report you did on
		"Our Town Hall." Gosh. I didn't know
		what I'd talk to you about.

				JENNIFER
		Well, sometimes talking's over-rated.
		Don't you think?

				BIFF
		Hunh?
			(goony laugh)
		Oh, right ...

	He still doesn't understand. Biff GUFFAWS for a moment or two
	then glances down at the table top. There is a momentary
	break in the Music as Johnny Mathis' "MISTY" starts up all
	over again. It's enough to make you shoot yourself.

				BIFF (CONT)
		So I know I haven't been steady with
		anybody, but I just don't want to rush
		it. You don't want to make a mistake
		with something that important.

				JENNIFER
		Oh, gosh no.

				BIFF
		I mean, there's kids that are even
		holding hands already but I figure
		there's plenty of time for that kind of
		thing later on. Don't you?

				JENNIFER
		Oh you bet.
			(beat)
		Will you excuse me for a sec?

	Jennifer gets up in a daze and heads toward the bathroom.

	ANGLE. DAVID.

	He freezes behind the counter and watches as his sister
	practically stumbles through the bathroom door.

	INT. BATHROOM.

	Of course there aren't any toilets. Jennifer gropes her way
	to the sink and leans against the counter.

				JENNIFER
		Jesus Chirist ...

	She turns and sits against the sink for a moment with a
	dumbstruck look on her face. Jennifer shakes her head for a
	moment or two, when the door to the bathroom bursts open.

				GIRL'S VOICES
			(overlapping)
		"Did he give it to you ... Did he give
		it to you ... I bet he gave it to her
		... Did he give it to you?"

				JENNIFER
			(straight ahead)
		I don't think he knows how.

	They TITTER away, even though they don't get it either. It
	sounds like an aviary.

				LISA ANNE
		I bet he's gonna take her to Lover's
		Lane.

				PEGGY JANE
		I bet he is. I bet he is.

				BETTY JEAN
		I bet he's even gonna hold her hand!

	They TITTER some more as Jennifer shakes her head.

	INT. SODA SHOP.

	David is standing beside their table as she retums from the
	bathroom.

				DAVID
			(chipper)
		Couple of cheeseburgers and two cherry
		cokes.
			(pointedly)
		If you need anything, I'll be right over
		there.

				JENNIFER
			(Mary Sue)
		Gee whiz "Bud", what could we possibly
		need when we have each other?

	She flashes him a "sweet" smile then reaches out and TOUCHES
	BIFF'S HAND. Both boys jump slightly as Jennifer gives her
	brother a venomous grin then suddenly waves "bye bye." David
	just stares at her panicked as he moves haltingly back to the
	Soda fountain.

				BIFF
			(befuddled)
		Anyhow ... I really wanted to come over
		and sit next to you in civics but ...

				JENNIFER
		You want to get out of here?

				BIFF
		What?

				JENNIFER
		You wanna get out of here? You wanna
		leave?

				BIFF
			(confused)
		But where would we go?

				JENNIFER
			(shrugging)
		... Lover's Lane.

				BIFF
			(swallow)
		Lover's Lane!

	There is an audible GASP from the booth behind them. Jennifer
	ignores it.

				JENNIFER
		Yeah. Lover's Lane. You up for it?

	CLOSE UP. BIFF.

	He just stares at her with his mouth open ...

	WIDER.

	Jennifer reaches forward grabbing his hand.

				JENNIFER
		C'mon. Let's go.

	FULL SHOT. SODA FOUNTAIN.

	David is in the middle of making a hot fudge sundae when he
	sees Jennifer leading Biff by the hand into the parking lot.
	Everyone at the counter is enjoying their dessert, when David
	lets out a blood curdling scream.

				DAVID
		NOOOOOO!

	He vaults over the counter making a bee-line for the door.
	Everyone turns and stares as he races toward the entrance ...

	EXT. SODA SHOP.

	Biff's car is just pulling onto the street when David sprints
	into the parking lot. He takes off after the car, sprinting
	down the street.

				DAVID
		YOU CAN'T DO THIS JENNIFER! HE DOESN'T
		EXIST! YOU CAN'T DO THIS TO SOMEONE WHO
		DOESN'T EXIST!

	The tail lights recede in the distance as David slows to a
	jog and then finally a walk. He pauses, winded, in the
	street, then looks up toward Heaven with a pissed off look on
	his face.

				DAVID (CONT)
			(to God)
		Thanks a lot.

								CUT TO:

	EXT. LOVER'S LANE. NIGHT.

	It is a beautiful tree-lined pond with a lush willow tree in
	the foreground. The moonlight glistens silver across the
	water. Several cars are parked in a row with their occupants
	HOLDING HANDS. Biff's convertible is parked at the end.

	SHOT. BIFF'S CAR.

	He sits stiffly at the wheel staring straight ahead. Jennifer
	is draped languidly across the seat beside him, making the
	most of her mohair sweater. She stares at Biff in a not-so-
	Pleasantville-kind-of-way. He glances over at her and
	swallows.

				BIFF
		Sure is pretty.

				JENNIFER
			(staring at him)
		Oh yeah ... Gorgeous.

				BIFF
		To be honest Mary Sue. I didn't think
		you'd want to come here until we'd been
		pinned for a little while.

				JENNIFER
		Oh, Biff. You can "pin" me any time you
		want to.

	She leans back a liftle more, draping her arm across the top
	of the seat. Her tits point toward the sky.

				JENNIFER (CONT)
			(breathy)
		Or maybe I should just "pin" you.

	He looks over at her a little confused, then breaks into his
	goony laugh.

				BIFF
		Oh, that's silly Mary Sue. How could you
		possibly pin me?

	CLOSE UP. BIFF.

	He is still guffawing when he looks over at Jennifer and
	suddenly freezes. Biff's eyes widen ...

								CUT TO:

	EXT. PARKER HOUSE. NIGHT.

	David comes sprinting up to the porch, then doubles over
	catching his breath. He clings onto the porch swing when the
	door opens behind him.

				BETTY
		Bud?

	WIDER.

	His "mother" and "father" come out onto the porch. David
	catches his breath then forces a smile.

				GEORGE
		Son, what's wrong?

				DAVID
		Have you seen Mary Sue?

				BETTY
		Why no. She's still on her date with
		Biff ... is something the matter?

				DAVID
			(still panting a little)
		No, I ... I was just ... worried about
		her.

	His mother and father exchange a "knowing" look. George rests
	a hand on his shoulder.

				GEORGE
			(oppressively paternal)
		Bud, your sister's a little older now
		and she's naturally going to start going
		out with boys.
			(beat)
		... In fact pretty soon--she's even
		going to get married and make someone a
		good little home-maker like your mother
		here.
			(smiles at Betty/
			inside joke)
		That's IF she can learn to bake.

				BETTY
		Oh, George ...

				GEORGE
		But your sister is a fine young woman
		and she would never do anything for us
		to be concerned about.

								CUT TO:

	EXT. LOVER'S LANE. NIGHT.

	The low gutteral MOANS of two coupling animals drifts out
	over the evening air. It is raw and primitive and desperate.
	The CAMERA begins to TRACK behind all the other cars--their
	occupants primly holding hands in a tender sillouhette. It
	finally COMES TO REST on a convertible at the end, with a
	girl's leg sticking out the window.

	CLOSER.

	A Letterman's sweater hangs over the door. The windshield is
	completely fogged. Jennifer's sweater is draped over the
	backseat. The car is rocking.

	INT. CAR.

	They are clenched in a mad embrace: all arms and hair. Biff
	pulls back for a moment, GASPING for air. His face is covered
	with lipstick and there is a crazy look in his eye. He's
	stuck somewhere between passion and fear as he clings
	desperately to the steering wheel.

				BIFF
			(some terror)
		I think I better go home now Mary Sue ...

	She holds onto his shirt as her knee rubs the dashboard.

				JENNIFER
			(breathless)
		... Why?

				BIFF
			(more terror)
		I think ... I might be ill ...

	He glances down at his lap a little confused.

				BIFF (CONT)
			(a whisper)
		I think something's happening to me.

	He looks at his crotch then back at Jennifer. She reaches up
	and grabs a handful of his hair.

				JENNIFER
		It's s'posed to happen, Biff.

				BIFF
		It is?

				JENNIFER
		Trust me ...

	He looks at her completely confused as she pulls back down,
	and OUT OF FRAME ...

								CUT TO:
	EXT. PARKER HOUSE. NIGHT.

	A single light is burning in the kitchen window.

				BETTY (OS)
		Do you want some more cookies?

	INT. KITCHEN.

	David is at the kitchen table with a nauseated look on his
	face. There are three empty bottles of milk and cookie crumbs
	all over the table.

				DAVID
			(sick)
		Oh no ... I'm fine.

				BETTY
		How 'bout some Marshmallow Rice Squares?

				DAVID
		I'm fine.

	There is a knock behind them at the door. David springs up.

				BETTY
		Now who could that be.

	FOLLOWING DAVID.

	He crosses into the foyer ahead of his "parents." David
	swings open the door revealing Mr. Johnson, standing on the
	porch.

				DAVID
		Oh hi!

				MR. JOHNSON
		Hi there. You took off so quick. I
		wasn't sure if you were okay.

				DAVID
		Oh, yeah. Sorry. I'm fine. I just ...
		Had to get home early.

	Mr. Johnson leans in closer and speaks in a CONFIDENTIAL tone
	of voice.

				MR. JOHNSON
		Bud ...

				DAVID
		Yeah ...

				MR. JOHNSON
			(sotto)
		You know how when we close up, I close
		the register, then you lower the shades,
		then I turn out the lights, then we both
		lock the doors.

				DAVID
		Yeah ...

				MR. JOHNSON
			(proud)
		Well you weren't around this time so I
		did the whole thing myself.

	CLOSER.

	Mr. Johnson has a strange look of "manly pride" on his face.
	His shoulders square back. His chest puffs out a little.
	There is a sudden sparkle in his eye.

				MR. JOHNSON
			(more confidential)
		Not only that, I didn't even do it in
		the same order. First I lowered the
		shades, then I closed the register.

	He looks at David with pride then suddenly shifts his glance
	behind him.

				MR. JOHNSON (CONT)
		Oh, hello Betty.

				BETTY
		Hello Bill.

	Neither one says anything but neither one has to. David looks
	on in horror as his mother locks eyes with Mr. Johnson and
	his new found virility.

				DAVID
			(quickly)
		Well, look, thanks for coming by. I ...
		really appreciate it.

	He turns and starts hustling him down the walk just as Biff's
	convertible pulls up at the curb.

	INT. CAR. CLOSE UP. JENNIFER.

	She looks sweetly over at the driver's side of the car (OUT
	OF FRAME).

				JENNIFER
		Well gee thanks Biff. I had a really
		wonderful time.

	ANGLE. BIFF. OTHER SIDE OF CAR.

	He sits behind the wheel with a totally dazed look on his
	face. Biff stares stunned at Jennifer, like he just got hit
	with a couple of thousand volts.

				BIFF
		... Me too.

	She leans over and kisses him on the cheek ... Then she bites
	his ear lobe, gently, and flashes him a big smile. Biff
	smiles back.

	EXT. CAR.

	She climbs out and shuts the door. Jennifer nods to Mr.
	Johnson as she heads up the walk.

				JENNIFER
			(sweetly)
		Hello Mr. Johnson.

				MR. JOHNSON
		Oh, hello Mary Sue.

	She is wearing a big smile by the time she reaches the porch.
	David grabs her arm.

				DAVID
			(urgent whisper)
		What did you do to him?

				JENNIFER
			(innocently)
		Nothing.

	She starts up the staircase. David follows her and the CAMERA
	follows them both.

				DAVID
		What do you mean "nothing?" That's not
		nothing. That's ...

	She reaches the top of the stairs and turns to him.

				JENNIFER
		Relax "Bud." We had a really nice time.
			(mock YAWN)
		... Now I'm really tired and we gotta
		get up early for school in the morning
		so ...

	She flashes her brother an evil grin.

				JENNIFER (CONT)
		'Night.

	She shuts the door softly in his face. David stairs at the
	gray wood in front of him.

	EXT. ELM STREET. NIGHT.

	Biff pulls up at an intersection with the same dazed look in
	his eye. The car rumbles at the stoplight for a moment or
	two, before he glances over to his right.

	CLOSE UP. BIFF.

	The stunned look turns to one of sheer amazement:

	BIFF'S POV. ROSE.

	There, against a gray picket fence, on a black and white
	street in a black and white neighborhood, A SINGLE RED ROSE
	IS BLOOMING.

								CUT TO:

	AERIAL SHOT. PLEASANTVILLE. MORNING

	It would be a stunning vista if it wasn't in black and white.
	The church steeple gleams in the sunlight. The perfect little
	houses look like a row of pretty toys ...

	INT. PARKER LIVING ROOM. DAY.

	David sits parked in front of the TV furtively turning
	through the channels. He flips the dial frantically. No sign
	of Dick Van Dyke.

				BETTY (OS)
		Bud. It's 7:30 in the morning. Are you
		watching television?

	He gives her a sheepish grin and sighs ...

								CUT TO:
	INT. SCHOOL GYM. DAY.

	It is the same configuration as earlier. Everyone wears their
	Pleasantville "Lions" jerseys, white sneakers and black
	socks. David enters the Gym a little groggy. He hasn't had
	much sleep.

	CLOSER.

	He looks up and stops. David cocks his head to the side,
	staring across the gym.

	HIS POV. BIFF AND OTHER BOYS.

	They are huddled at the far end, each holding a basketball
	under his arm. Biff is in the center of the group, animatedly
	describing something that is holding their RAPT ATTENTION.

	WIDER ANGLE. INCLUDING DAVID.

				DAVID
			(quietly)
		Oh no ...

	Biff continues his story while they stare at him with their
	mouths open. The Coach blows his whistle.

				COACH
		Come on men. Let's go. Big game next
		week.

	The huddle breaks up as the basketball players all wander
	toward the hoop. Ten shots go up at once but NOT ONE COMES
	EVEN CLOSE. Several clang off the rim, a couple hit the edge
	of the backboard. One slams into the side of the gym.
	Everyone stares in disbelief.

				DAVID
		Oh my God ...

								CUT TO:

	INT. SCHOOL CORRIDOR. DAY.

	David stands face to face with his sister in mid
	conversation.

				DAVID
		You can't do this, Jennifer. I WARNED
		you.

				JENNIFER
		So what's the big deal. Oh. Okay.
		They're like not good at basketball
		anymore. Like--omigod, what a tragedy.

				DAVID
		You don't understand. You're messing
		with their UNIVERSE.

				JENNIFER
		Well maybe it needs to be messed with.
		Did that ever like--occur to you?
			(beat)
		You know, they don't want to be like
		this, it's just that nobody ever helped
		them before.

				PEGGY JANE
			(walking past)
		"MS". How you doin'?

				JENNIFER
		Kewl "PJ". How you doin'?

				PEGGY JANE
			(relishing her new word)
		"Kewl."

	Jennifer smiles at her friend as she goes by.

				DAVID
		You have no right to do this.

				JENNIFER
		Well if I don't who will?

				DAVID
		They're happy like this.

				JENNIFER
		David, nobody's happy in a Poodle skirt
		and a sweater set.
			(pause ...)
		You like all this don't you?

	David recoils slightly.

				JENNIFER (CONT)
		I mean, you don't think it's just like
		dorky or funny or something ... you
		really like it.
			(shudders)
		Oh God! I am just so personally
		horrified right now ...

				DAVID
		I just don't think we have the right
		to ...

				JENNIFER
		David, let me tell you something. These
		people don't want to be geeks. They want
		to be "attractive." They've got a lot of
		potential, they just don't know any
		better.

				DAVID
		They don't have that kind of potential.

				JENNIFER
		Um--hello? You want to like take a look?

	Jennifer motions behind her to a boy and girt who are locked
	in an intimate conversation. The girl wears bobby socks and
	the boy wears a letterman's sweater, but the conversation is
	sexually charged. They speak to one another in a close
	whisper--their faces inches apart. All at once the girt gets
	shy and glances away. She blows a big bubble with her gum,
	but the BUBBLE IS BRIGHT PINK IN AN OTHERWISE GRAY FRAME.

				BOY
		Wow. What kind of gum is that?

	CLOSE. DAVID AND JENNIFER.

	He looks over in shock as she sucks the BRIGHTLY COLORED
	BUBBLE GUM back into her mouth. Jennifer flicks her hair.

				JENNIFER
		I gotta go. I'm meeting Biff at the
		flagpole.

	EXT. LOVER'S LANE. NIGHT.

	It is the exact same shot as before: The CAMERA STARTS ITS
	LONG SLOW TRACK behind the vehicles, except this time ALL OF
	THEM ARE ROCKING. Various limbs and articles of clothing hang
	out the open windows. MOANS of pleasure waft out over Lover's
	Lane as the pond glistens in the distance ...

								CUT TO:

	INT. DOCTOR'S OFFICE. DAY.

	It is a typical '50s family practice right out of Norman
	Rockwell. There is a jar of tongue depressors on the counter
	and a jar of lollipops beside them. Lisa Anne (Mary Sue's
	best friend) is being examined by Dr. Henderson. Her mother
	sits at her side.

				DR. HENDERSON
		Let me see it again.

	Lisa Anne opens her mouth and sticks out a BRIGHT RED TONGUE.
	Everything else in the frame is Black and White, but her
	tongue literally gleams with color.

				DR. HENDERSON (CONT)
			(examining it)
		Well ... I don't think it's anything to
		worry about ... It'll probably just
		clear up by itself.
			(to Lisa Anne)
		Cut down on greasy foods and chocolate.
		No french fries, that kind of thing.
			(aside/
			to the Mother)
		It's just a "teenage" thing.


	EXT. LOVER'S LANE. NIGHT.

	It is really rocking now. More cars are lined up along the
	edge of the lake as the REAL (AND NASTY) VERSION OF TOOTY
	FRUITY (BY LITTLE RICHARD) PLAYS OS:

				LIL RICHARD (VO)
		"... Got a gal--her name is Sue. She
		knows just what to do ..."

	SERIES OF SHOTS. (MONTAGE)

	PARKER LIVING ROOM.

	TOOTY FRUITY CONTINUES AS DAVID FLIPS FRANTICALLY THROUGH THE
	CHANNELS LOOKING FOR DICK VAN DYKE. THERE IS ONLY A PEPSODENT
	COMMERCIAL. HE SHAKES HIS HEAD ...

	INT. HIGH SCHOOL GYM (MUSIC CONT ...)

	The Pleasantville Lions lose a game late in the second half.
	The scoreboard reads 84 to 16 ...

	INT. PARKER LIVING ROOM. (MUSIC CONT ...)

	David examines the back of the TV set ...

	INT. FURNITURE STORE. (MUSIC CONT...)

	A large group of customers is huddled in a circle, staring at
	an item on the display floor, like it is the monolith in
	"2001". They seem both confused and absolutely mesmerized as
	the CAMERA PUSHES IN TO REVEAL: a double bed ...

	INT. PARKER LIVING ROOM. (MUSIC CONT ...)

	David sits on the floor with a weird look of resignation as a
	Brillcream commercial plays in front of him ...

				LIL RICHARD (OS)
		"... A wop bop a loo bop--a wop bam
		boom!"

	SODA SHOP. NIGHT. ON DAVID.

	He heads toward work with his apron and his paper hat, but
	he's clearly disconcerted. David stops and stares at A BRIGHT
	RED HOT ROD parked at the front door of the restaurant. He
	shakes his head.

	SODA SHOP.

	The place has been transformed. What was cheery and benign a
	couple of days before, has gotten a little bit dangerous. The
	letterman sweaters have been replaced by leather jackets. The
	Pat Boone and Johnny Mathis have given way to real Rock and
	Roll. There is a James Dean/Marlon Brando edge in the air.
	Somebody has played the flip side.

	ANGLE. DAVID.

	He enters the soda shop adjusting his paper hat. A young
	couple makes out passionately in the doorway--all tongues and
	hands. When they break David sees that the girl's cheeks are
	FLUSHED WITH RED. He stares at her for a beat as they return
	to normal. David shakes his head.

	FOLLOWING HIM.

	He crosses to the counter and grabs his pencil and little pad
	of paper. Various things have already GONE TO COLOR AROUND
	THE ROOM: The JUKE BOX ... The COKE SIGN .. THE NAUGAHIDE
	STOOLS ... David crosses to one of the booths where his
	sister's arm is draped over Biff's shoulder.

				DAVID
		What'll it be?

				BIFF
			(still chipper as ever)
		Gee whizz, Bud. Guess I'll just have the
		usual. Cheeseburger and a cherry coke.

	Bud has already written it down. He glances over at his
	sister.

				JENNIFER
		Me too. Sounds swell.

				DAVID
			(pointed)
		Really? It seems so fattening.

	Before she can answer he smiles to himself and crosses behind
	the counter. Bud posts the order and turns to Mr. Johnson.

				DAVID (CONT)
		Two cheeseburgers, two cherry cokes.

				MR. JOHNSON
			(staring straight ahead)
		There aren't any cheeseburgers.

				DAVID
			(exasperated)
		Look. I thought we talked about this, I
		thought we said ...

				MR. JOHNSON
		Oh--what's the point, Bud?

	CLOSER.

	Mr. Johnson. looks up at him with a weird kind of emptiness
	in his eyes. David grabs his arm.

				DAVID
		C'mere.

	He pulls him along the counter toward a little office
	storeroom in the back. He yanks him inside and shuts the
	door.

	INT. STOREROOM.

	It is just as cheery as the rest of the place. There is a
	small table with a telephone on it. A Texaco calendar shows a
	happy family motoring in their Rambler.

				DAVID
		What did you say?

	Mr. Johnson glances down with a little shame and confusion.

				MR. JOHNSON
		Well ... I'm not sure I see the point
		anymore.

				DAVID
		What are you talking about! You make
		hamburgers! That is the point!

				MR. JOHNSON
		No I know ... I know I do ...
			(he pauses, then looks up)
		But it's always the same, you know?
		Grill the bun, flip the meat, melt the
		cheese ... It never changes. It never
		gets any better or worse ...

				DAVID
		Just listen to me ...

				MR. JOHNSON
			(not hearing him)
		... Like the other night, when I closed
		up by myself. That was different ...

				DAVID
		Forget about that!

				MR. JOHNSON
		Oh ... Okay.
			(beat/
			lower)
		... But I really liked it.

	Bud takes a deep breath. He stares at Mr. Johnson, then tries
	to speak softly.

				DAVID
		Look, you can't always like what you do.
		Sometimes you just do it because it's
		your job. And even if you don't like it,
		you just gotta do it anyway.

				MR. JOHNSON
		Why?

				DAVID
			(exasperated)
		So they can have their hamburgers!

	This sounds stupid even to David. He shakes his head.

				MR. JOHNSON
			(like a secret)
		You know what I really like?

				DAVID
			(warily)
		... What's that?

				MR. JOHNSON
		Christmastime.

	David rolls his eyes. Mr. Johnson leans closer, speaking
	furtively.

				MR. JOHNSON (CONT)
		See every year on Dec 3, I get to paint
		the Christmas decorations in the window.
		And every year, I get to paint a
		different thing ...
			(beat)
		One year it's the North Pole. The next
		I do Santa's workshop. Here I'll show
		you.

	He pulls a photo album from the back of the desk and opens
	it for David.

				DAVID
			(impressed)
		Wow ... That's pretty good ...

				MR. JOHNSON
		Thanks.
			(continuing)
		But this morning I was thinking about
		it and I realized that I looked forward
		to it all year. And then I thought "Gee.
		That seems awfully silly. That seems
		like an awfully long time to be waiting
		for just one moment, don't you think?"

	David looks at him speechless.

				MR. JOHNSON (CONT)
		Well don't you?

				DAVID
		I think you should try not to think
		about this anymore.

				MR. JOHNSON
		Really?

				DAVID
		Yeah.

				MR. JOHNSON
		Oh. Okay. I'll try that then.

								CUT TO:

	INT. BARBERSHOP. DAY

	The Barber Pole spins in three shades of gray. Several men
	are gathered around the two chairs in the front of Gus' shop.
	Besides being the barbershop, it is the bastion of all male
	life in Pleasantville. Bud and Mary Sue's "father" (George)
	sits in one of the chairs. "Big Bob" McGee, owner of the
	drugstore, supermarket and Chevy dealership sits in the
	other. He has a crew cut that's getting shorter.

				GUS
		Have they ever lost before?

				GEORGE
		Basketball? No they sure haven't.

				BOB
		Just feels "wrong", that's all.

	There are several murmurs.

				THIRD PATRON
		Maybe that's where they get that saying,
		"can't win 'em all."

				GUS
		Yeah. That's a good point, Ralph. They
		do have that saying.

				BOB
		But they do win 'em all, Gus. They've
		always won 'em all.

				GUS
		Well, yeah. That's true too.

	More murmurs, Everyone looks straight ahead trying to figure.

								CUT TO:

	INT. PARKER KITCHEN. DAY.

	The women's bridge club has assembled in the Parker kitchen
	like it does every Wednesday afternoon. Four women are seated
	around the kitchen table with a nice bowl of bridge mix
	between them. Betty is sifting next to Marge Jenkins, the
	woman who accompanied her daughter to the doctor's office.

				MARGE
			(dealing the cards)
		... He said it would clear up on its
		own if she just stayed away from fried
		foods and sweets ...

				BETTY
		Well that makes sense.

				MARGE
		Except it's spread to her lips now too.
		Oh, I don't know.

				MARY
			(a THIRD WOMAN)
		And you say it's just "red?"

				MARGE
		Well--like red, only ... "redder."

				MARY
		Hunh. I know what you mean. That's like
		the front of Bill Johnson's shop. I was
		going by it the other day and it looked
		green only "greener."

	SHOT. BETTY.

	She looks up quickly--then grabs some bridge mix.

				MARGE
			(lowering her voice)
		Have you seen him lately? The man
		doesn't look like himself. I was
		getting my sewing machine fixed across
		the street and he was sitting in the
		window of his shop just staring.
		Wasn't looking at anything in
		particular--just staring off into space.

				MARY
		That is strange.

	Betty reaches out and grabs her cards. She fans them out in
	front of her, when her eyes go wide.

	HER POV. BRIDGE HAND.

	They are ALL HEARTS and all BRIGHT RED. It looks like a
	fistfful of valentines.

	CLOSE UP. BETTY.

	She puts the cards down quickly and takes a sudden breath.
	Betty keeps them like that for a moment or two, before
	lifting them up and taking another look.

				MARGE
		Betty, it's your bid.

	She swallows trying to keep her composure.

				BETTY
		Uh ... Seven hearts.

	They murmur at the strength of the hand.

								CUT TO:

	EXT. PARKER HOUSE. NIGHT.

	The SOUND of the television plays OS while a warm light burns
	in the window.

	INT. KITCHEN.

	Jennifer and Betty stand at the sink finishing the dishes.
	Betty washes while Jennifer dries and it's clear who's more
	used to this. Jennifer examines a chipped nail as she places
	a dish in the drying rack.

				BETTY
		Mary Sue?

				JENNIFER
		Yeah?

	Betty hesitates. Rinses out a pot.

				BETTY
		Can I ask you a question?

				JENNIFER
		Sure.

	She pauses for a long moment.

				BETTY
		What goes on up at Lover's Lane?

				JENNIFER
			(turning toward her)
		What do you mean?

				BETTY
		Well, you hear all these things lately.
		You know--kids spending so much time up
		there ...
			(she looks over)
		Is it holding hands? That kind of thing?

				JENNIFER
		Yeah ...
			(beat)
		That--and ...

	She stops herself.

				BETTY
		What?

				JENNIFER
		It doesn't matter.

				BETTY
		No. I want to know.

				JENNIFER
			(glances toward the living room/
			lowers her voice)
		... Sex.

				BETTY
		Ah.

	Betty nods from the import of the tone but not the meaning. A
	beat goes by ...

				BETTY (CONT)
		What's sex?

	Jennifer looks over at her stunned, but Betty just looks at
	her with a blank, curious expression. Jennifer hesitates.

				JENNIFER
		You sure you want to know this?

				BETTY
		Yes.

				JENNIFER
		Okay.

	She crosses to the kitchen door and closes it. The sounds of
	the TV in the living room disappear. Jennifer crosses back to
	the kitchen counter and turns to her.

				JENNIFER (CONT)
		You see Mom ...
			(softer and with understanding)
		When two people like each other very
		much ...

	Betty looks at her and nods ...

								DISSOLVE TO:

	EXT. PARKER HOUSE. NIGHT.

	The TV keeps flickering in the window.

	INT. KITCHEN. LATER ...

	The CAMERA PANS across the kitchen table where there is a
	full quart of milk and some uneaten co6kies. It finally comes
	to rest on Jennifer who is staring across the kitchen table
	with a concerned look on her face.

				JENNIFER
		You okay?

	REVERSE ANGLE. BETTY.

	She nods--shaken but "fine." Betty stares long and hard at
	the plate of chocolate chip cookies. She's far away.

				BETTY
		Yes ...
			(softly)
		It's just that ...

				JENNIFER
			(gently)
		What?

				BETTY
		Well ...
			(looking up)
		... Your father would never do anything
		like that.

	SHOT. JENNIFER.

	She bites her lip weighing her next sentence ...

				JENNIFER
			(leaning forward)
		Oh. Hmm ...
			(whisper/
			woman to woman)
		Well, Mom ... there's ways to "enjoy"
		yourself without Dad.

	ANGLE. BETTY.

	She looks across the table, perplexed.

								CUT TO:

	INT. PARKER BEDROOM. NIGHT.

	George crosses from the dresser to the TWO TWIN BEDS in the
	middle of the room. He wears long sleeve pajamas that are
	buttoned up to the neck. George puts his glass of warm milk
	on the nightstand and climbs in his own single bed. It is
	barely wide enough for his body and takes some maneuvering.

				GEORGE
		Sweetie? You coming to bed?

	There is no answer.

				GEORGE (CONT)
		Betty?

	INT. BATHROOM.

	She stands in her bathrobe staring down at the tub. Her
	dressing gown is buttoned to the neck as well.

				BETTY
			(calling out)
		Yeah ... I'm just going to take a bath
		first.

	CLOSER. BETTY.

	She swallows once as she stares down at the tub--then reaches
	for the spigot and turns on the water. Betty's heart beats a
	little faster as she HEARS the WATER THUNDERING DOWN.

	CLOSER STILL ...

	Betty reaches up and unties the little silk ribbon at the top
	of her robe. She slips it off, and lets it drop to the floor,
	standing naked in the middle of the bathroom. Betty glances
	toward the mirror and then quickly glances away. She takes a
	deep breath and steps into the tub.

	EVEN TIGHTER. ON HER FACE ...

	Betty slides down into the warm water, breathing in the
	steam, and closing her eyes for a moment. She lingers like
	that for a second or two, before settling a little lower in
	the tub. Betty opens her eyes, but they only half open. There
	is the slight trace of a smile.

	EXTREME CLOSE UP BETTY'S FACE.

	Her eyes close again as she bites her lower lip gently. The
	water continues to THUNDER DOWN as she arches her back.
	Betty's breathing seems to quicken as she opens her eyes all
	over again:

	HER POV. BATHROOM ...

	ALL AT ONCE, EVERYTHING AROUND STARTS TO TURN FROM BLACK AND
	WHITE TO COLOR. A BIRD OUT THE WINDOW BECOMES A RED BREASTED
	ROBIN. THE TILE ON THE TUB TURNS OUT TO BE PURPLE. GREEN
	TOWEL ... PINK ROBE ... BRIGHT YELLOW DAISIES ON THE PLASTIC
	SHOWER CURTAIN.

	CLOSE UP. BETTY'S FACE.

	She stares in amazment. Beads of sweat form on Betty's
	forehead as the world goes to TECHNICOLOR. The THUNDERING
	WATER POUNDS IN THE BACKGROUND, but beneath can be heard the
	beginnings of a faint, low, MOAN. Her eyes dart around the
	room. Her breathing quickens: Faster ... Harder ... More
	intense ... THEN SUDDENLY ...

	EXT. ELM STREET. NIGHT.

	The HUGE ELM TREE across the street suddenly BURSTS INTO
	FLAMES. Fire shoots straight up into the sky as billowing
	clouds of black smoke fill the air. BRIGHT ORANGE FLAMES
	LIGHT UP THE NIGHT.

	INT. PARKER LIVING ROOM. NIGHT.

	David is staring at the television set when he notices a
	weird orange glow. He glances behind him, out the living room
	window ...

				DAVID
		Oh my God!

	EXT. ELM STREET. NIGHT.

	David comes racing out of the front door and down the walk. A
	small CROWD has gathered in front of the fire. (They don't
	seem frightened--just sort of amazed.) The street is still
	BLACK AND WHITE but it is now bathed in a weird ORANGE LIGHT.
	The flames leap higher and higher ...

				DAVID
		Jesus Christ ...

	FOLLOWING DAVID.

	He takes off down the block, as fast as he can run. The crowd
	continues to stare as David turns the corner at Main
	Street ...

	EXT. FIRE STATION.

	He races in the front of the building SCREAMING at the top of
	his lungs.

				DAVID
		FIRE! FIRE!

	INT. FIRE STATION.

	There is no sign of life on the ground floor. David races up
	the stairs toward the bunk room on the second story.

	INT. BUNKROOM.

	All the firemen are sitting around playing Gin Rummy when
	David rushes in the front door. They can hear his voice from
	down the hall.

				DAVID
			(entering)
		FIRE ... FIRE ...

	They still don't move. All the firemen just look at him from
	their bunks with a perplexed expression.

				DAVID (CONT)
			(beat)
		CAT!!!

	All at once they spring to their feet grabbing their helmets
	and their yellow slickers. They race to the landing just
	outside the bunkroom and leap onto the pole ...

	EXT. MAIN STREET. NIGHT.

	The FIRE HAS SPREAD TO AN ADJOINING TREE as the FIRE ENGINE
	comes SCREAMING toward the house from the top of the block.
	David sits in the front of the truck next to the Fire Chief
	who drives the vehicle at break neck speed.

				DAVID
		Right here!

	The Fire ENGINE screeches to a halt. The Fire Chief looks
	around ...

				FIRE CHIEF
		Where is it?

	David shoots him a look then glances at the inferno. He
	shakes his head and leaps from the truck.

	FOLLOWING DAVID.

	He races around to the back where the other firemen are
	standing just as confused. David grabs one of the hoses and
	begins to pull it from the truck.

				DAVID
		Here! Grab this nozzle.

				FIREMAN
		But where's the ...

				DAVID
		Just grab it!

	He strips out about fifteen feet of hose, then grabs the
	fireman and pulls him toward the curb. David parts the crowd
	and positions the man right in front of the flames.

				DAVID (CONT)
			(shouting)
		Okay! Now point this right at the
		flames--like this.

	The Fireman nods and does as he is told. David opens the
	valve sending out a huge FLUME OF WATER.

				FIREMAN
		Whoa!
			(beat)
		So that's what these do.

	A huge smile breaks out across the fireman's face--like a man
	who has suddenly found his purpose in life. He beams from ear
	to ear dousing the flames, while David runs to get another
	hose ...

				BOB (VO)
			(fading in)
		... In honor and in recognition of
		your heroism ...

								DISSOLVE TO:

	EXT. TOWN HALL. DAY

	David stands at a podium receiving a commendation from "Big"
	Bob McGee (the man from the barbershop). He holds a large
	plaque up for public display, while "David's" whole family
	beams in the background.

				BOB
		... And with great appreciation from
		the citizens of Pleasantville ...

	WIDER.

	A huge crowd is gathered on the town hall steps. There are
	lots of balloons and bunting.

				BOB
		I am pleased to present You with this
		special commendation, from the
		Pleasantville Chamber of Commerce!

	He hands the plaque to David as the entire town bursts into
	APPLAUSE.

								CUT TO:

	EXT. MAIN STREET. LATER ...

	David walks away from the center of town looking down at his
	plaque. He takes his sleeve and starts to rub off a smudge
	when a young woman comes up beside him.

				GIRL'S VOICE
		Hi Bud ...

	WIDER.

	She is MARGARET ANNE HENDERSON, the prettiest girl in school,
	and one of the most popular. Margaret wears a frilly polka
	dot dress, that only accentuates a bombshell '50s figure.
	Nonetheless, she seems the image of girly innocence.

				MARGARET
		That was sure swell ...

				DAVID
		Oh. Thanks, Margaret.

				MARGARET
			(smiling)
		I baked you my oatmeal cookies.

				DAVID
			(vaguely remembering an episode)
		Oh, no ... You baked those for Whitey.

				MARGARET
		No. I baked them for you.

				DAVID
		No. You baked them for Whitey.

				MARGARET
			(low and gutteral)
		No. I baked them for you.

	All at once, Margaret grabs his arm and presses herself up
	against him. Her breasts shove up against his chest. Her
	mouth is inches away from his.

				DAVID
		Um ... thanks.

	David can smell the weird combination of hot moist breath and
	freshly baked cookies. He stares into her eyes for a moment,
	unable to speak. Margaret flashes him a not-so Pleasantville
	smile.

				MARGARET
		See ya.

	She turns and heads around the comer, while David just
	watches her dumbstruck.

								CUT TO:

	SODA SHOP. DUSK.

	David heads toward work with his apron and little paper hat.
	The BUDDY HOLLY music has given way to "hip" '50s JAZZ. DAVE
	BRUBECK drifts out of the soda shop as David pauses for a
	moment, takes a bite of his oatmeal cookie, and heads inside.

	SODA SHOP.

	The place has "morphed" even more. If it was a teenage
	hangout before, it has become almost a Bohemian coffee house
	now. Brubeck's "TAKE FIVE" plays in the background while
	several patrons talk "intensely" in their booths.

	DOORWAY.

	David walks into the building and pauses. Next to him, one of
	the boys from the basketball team plays along with the jazz
	on a BONGO DRUM. There are several COFFEE cups on the table.
	Jennifer gets up quickly and comes over to him.

				JENNIFER
			(in a whisper)
		I had nothing to do with that fire.

				DAVID
			(quietly)
		It's okay.

				JENNIFER
		Not directly anyhow ...

				DAVID
		It's fine.

	David glances at the booth beside them and realizes that the
	bongos have stopped playing. All the kids are staring up at
	him, with a weird expression of awe.

				JENNIFER
			(still under her breath)
		Um ... They like wanna ask you a
		question ... I didn't know how to
		handle it. So ...

				DAVID
		Sure.

	He crosses to the booth where Biff and two others look up at
	him. It's like Elvis has entered the building.

				DAVID (CONT)
		How you doin?

				VARIOUS KIDS
		Swell ...

	They keep on staring. Several glances are exchanged back and
	forth like they're sharing a secret. Finally ...

				BOY
		How'd you know about the fire?

				DAVID
		What?

				BOY
		How'd you know how to put it out and
		all?

	David hesitates, weighing his words.

				DAVID
		Well--where I used to live ...
		That's just what firemen did.

	This sends a MURMUR through the shop. The boy leans forward.

				BOY
		And where's that?

				DAVID
			(carefully)
		Um ... Outside of Pleasantville.

	This sends a much LOUDER MURMUR rifling through the kids.
	It's like electricity. They glance excited at one another. A
	hush descends.

				BOY
		What's outside of Pleasantville?

				DAVID
		Look it doesn't matter. It's not
		important.

				BOY
		What is it?

	David stops and looks out at the kids who are hanging on
	every word.

				DAVID
		It's really not important.

				GIRL'S VOICE (OS)
		What's outside of Pleasantville?

	REVERSE ANGLE. INCLUDING DOORWAY.

	Margaret Henderson (the girl with the cookies) stands in the
	doorway staring at David. She hangs on his words with the
	same excitement as the others, it just means so much more.

				MARGARET (CONT)
			(hungry for knowledge)
		C'mon. Tell us ...

	She stares right in his eyes. She's ten feet away but might
	as well be touching him.

				DAVID
			(slowly)
		Well ... There are some places where
		the road doesn't go in a circle.
		There are some places where it keeps
		on going.

	There's an excited giggle. They lean forward.

				MARGARET
			(an exotic concept)
		Keeps going ...

				DAVID
		Well--it all just keeps going.
		Roads ... rivers ...

				2ND BOY
			(from the back)
		Like the "Mighty Mississippi".

				DAVID
		... What?

	He moves forward extending a book. The cover reads: "THE
	ADVENTURES OF HUCKELBERRY FINN." David opens the first page.
	There is printing inside.

				BOY
			(quoting)
		"It was big 'n brown 'n kept goin'
		an' goin' as far you could see."

				DAVID
			(turning to Jennifer)
		I thought the books were blank?

				JENNIFER
		They were.

	He looks over at her.

				JENNIFER (CONT)
			(quickly)
		Okay look, this like--wasn't my fault.
		They asked me what it was about and I
		like didn't remember 'cause we had it
		back in tenth grade, But I told them
		what I DID remember, and the next
		thing I knew the pages had filled in.

				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.

				BETTY
			(off his reaction)
		What?

	David shakes his head and forces a smile. He hands her the
	compact so she can examine herself. Betty holds it up to her
	face, turning her head first right, then left.

				BETTY (CONT)
			(beat)
		Does it look okay?

				DAVID
		Looks just like it did.

				BETTY
		And they won't be able to tell?

				DAVID
			(even quieter)
		No ... They won't be able to tell.

	Betty takes a deep breath and fluffs her hair. She grabs the
	plate of Pineapple kabobs and heads for the door. Just before
	she goes in, she pauses, then plasters on a big wide
	"stewardess" smile ...

				DAVID (CONT)
		Wait.

				BETTY
			(turning back)
		What?

	He wants to say something, but doesn't. David shakes his
	head.

				DAVID
		It's fine.

	She smiles again and balances the tray in front of her.

				BETTY
		Thank you.

				DAVID
			(sadly)
		Sure.

	He watches as she opens the door, and marches in the room,
	extending the little tray of hors d'oeuvres in front of
	her ...

								CUT TO:

	INT. SODA SHOP. DAY.

	Mr. Johnson is all alone in the shop, setting up the napkin
	dispensers. He whistles BRUBECK'S "TAKE FIVE" when the screen
	door slams behind him. Mr. Johnson looks up with a start.

				MR. JOHNSON
		Oh, hi.

				DAVID
			(entering)
		Hi.

				MR. JOHNSON
		Aren't you a little early?

				DAVID
			(quietly)
		I brought you something ... From the
		library.

	CLOSER. FOLLOWING DAVID.

	He has a large book tucked under his arm that is easily three
	feet long. Mr. Johnson looks at him a little intrigued as
	David crosses to the counter.

				DAVID
		It's an art book.

				MR. JOHNSON
		Oh my Gosh, Bud ...

				DAVID
		Open it.

	Mr. Johnson reaches out and opens the cover. After a beat,
	his eyes widen.

				DAVID (CONT)
		I just thought since you liked
		painting it might help to ...

	Mr. Johnson gasps. It's quiet, and subtle, but it's still a
	gasp. David looks over at him but he's lost in the pages.

	HIS POV. (INSERT) ART BOOK ...

	Massacio's "Expulsion of Adam and Eve' leaps off the pages in
	vibrant, tortured color. The beauty of the garden is offset
	by their agony and their shame. HE TURNS THE PAGE ...

	Titian's "Venus to Utano". Soft, fleshy, in a rich golden
	light. She is utterly real and entirely nude. The folds of
	her flesh almost seem to glow ...

	Rembrandt's "Self Portrait." Dark reds, umbers, blacks and
	browns. He looks back at Mr. Johnson with pain and wisdom.
	There's a brilliant light on his hair.

				MR. JOHNSON (OS)
		Mmmmgh ...

	Faintly, almost imperceptibly, the SOUND of a rich ARIA
	begins to UNDERSCORE THE IMAGES. It's so faint you can't be
	sure you even hear it at all ... like you're hearing it with
	your eyes.

	He TURNS THE PAGES faster. Breugal's "Harvesters" ... Tumees
	"Steam Train" ... Monet's "Cathedralo" ... Cezanne's
	"Oranges" ... Mr. Johnson shuts the book.

	WIDER. SODA SHOP.

	They sit like that for a beat.

				MR. JOHNSON
		It's beautiful, Bud ...

	He looks up at David, troubled.

				DAVID
		What's wrong?

				MR. JOHNSON
		I'll never be able to do that.

				DAVID
		Oh, well--you're just starting out.
		I mean, you can't do it ...

				MR. JOHNSON
		No, that's not it.

	Mr. Johnson shuts the book gently.

				MR. JOHNSON (CONT)
		Where am I going to see colors like
		that?

	ANGLE. DAVID.

	What can he say. David looks over at Mr. Johnson who just
	smiles and shrugs.

				MR. JOHNSON
		Must be awfully lucky to see colors
		like that. I bet they don't even know
		how lucky they are.

	CLOSE UP. DAVID.

	He just stares for a second.

	EXT. MAIN STREET. LONG SHOT. DAY.

	Margaret walks up the center of Main Street toward the CAMERA
	with her books pressed against her chest. She passes the
	drugstore, then the hardware store ... Far off in the
	distance, a young man comes racing out of the soda shop,
	pulling off his little paper hat as he goes. He comes running
	up behind her as fast as he can.

	CLOSER.

	He takes a deep breath and tries to quiet the panting.

				DAVID
		Hi.

				MARGARET
			(turning/
			lighting up)
		Oh ... Hi.

				DAVID
			(pause)
		Look, I probably shouldn't be asking
		you this--not knowing you that well
		and all ...

	Margaret stops in the street and turns to him.

				DAVID (CONT)
		It's just that my folks are gonna
		stay home and they said I could use
		their car.
			(moment of truth/
			abandoning his speech)
		... You want to go out with me
		tonight?

	He wants to turn away but doesn't. David forces himself to
	stare at her and all of a sudden she beams. It's the whitest,
	pearliest smile in the world.

				MARGARET
			(breathless)
		Sure ... Where would we go?

				DAVID
			(swallows)
		... Lover's Lane?

								CUT TO:

	EXT. ELM STREET. DAY.

	David comes flying around the corner in complete jubilation.
	He vaults over a parking meter, swings around a lampost and
	leaps off the bumper of a parked car. David hi-fives into the
	air at no one in particular and sails over Mr. Simpson's
	hedge almost decking him in the process.

				DAVID
			(calling back)
		Sorry ...

	FOLLOWING DAVID.

	He races across the street bobbing and weaving like an All
	American fullback. David bounds up his front steps two at a
	time flinging open the door.

	INT. PARKER HOUSE. FOYER.

				DAVID
		"Oh when the Saints ... Go Marching
		in ..."

	He lets the door slam behind him as he takes off his apron
	and tosses it on the coat rack. David starts up the stairs,
	when he HEARS a MAN'S VOICE coming from the living room.

				MAN'S VOICE (OS)
		Bud ...

	He pauses a second and glances back.

				MAN'S VOICE (CONT)
		David ...

	He peers into the living room. David goes a little grayer ...

	HIS POV. TELEVISION.

	Dick Van Dyke is looking back at him from the middle of the
	TV screen. He seems to have a bit of a stubble.

				DICK VAN DYKE
		Hello there.

				DAVID
			(wary)
		... Hi.

				DICK VAN DYKE
			(stage whisper)
		Well c'mere, young fella.

	INT. LIVING ROOM.

	David crosses slowly over to the TV set.

				DICK VAN DYKE
			(big smile)
		You know I've been thinkin' ... I
		might have been a little "hasty"
		the other day when you asked to come
		home--just took me by such surprise,
		ya know--ha ha ...

	He gives a goony laugh. David just looks at him ...

				DICK VAN DYKE (CONT)
		So even though I can't make any
		promises, well--I figured if you
		asked me real nice--I might just be
		willing to talk about it again.

				DAVID
			(quickly)
		I can't.

				DICK VAN DYKE
		What?

				DAVID
		Talk about it. Right now, I mean.
		I got to ... um ...

	The look turns suddenly dark and ominous.

				DICK VAN DYKE
		Bud--I thought you wanted to come
		home.

				DAVID
		Oh ... I do. Yeah. It's just that I
		told my "dad" I'd clean out the
		rain gutters and Mr. Johnson wanted
		me to ... to change the tape in the
		register ...

				DICK VAN DYKE
			(getting testy)
		I'll be honest with you Bud. I'm
		getting sorta concerned about what
		I'm seeing in some of these
		re-runs ...

				DAVID
		Re-runs?

				DICK VAN DYKE
		Like when Margaret Henderson makes
		her cookies for Whitey.
			(losing it a little)
		... Those aren't your cookies Bud.

				DAVID
		Oh, I know they're not. But I mean--
		they're just "cookies" after all ...

				DICK VAN DYKE
		Excuse me?

				DAVID
		Well they're not just cookies. I
		mean, they're great cookies ...
		Look, I'd love to get into this
		whole thing but I'm really running
		late. Why don't we hook up tomorrow?

				DICK VAN DYKE
		BUD.

				DAVID
		Terrific. I'll talk to you then.

	He swttches off the TV sending Dick Van Dyke to electronic
	limbo. David stands in the middle of the living room,
	breathing hard ...

	INT. JENNIFER'S (MARY SUE'S) ROOM.

	She sits on the bed staring down at the front cover of a
	book. (It's an alien experience.) Jennifer is just about to
	open it when she senses something and glances toward the
	door.

	REVERSE ANGLE.

	Bud is standing in the doorway just staring at her. He seems
	to be out of breath.

				JENNIFER
		What's wrong?

				DAVID
		Nothing.

				JENNIFER
		Nothing?

	He keeps breathing hard in the doorway. David holds the
	remote in his hand.

				DAVID
		Listen ...

	He takes a couple of steps into the room and then suddenly
	stops.

				DAVID (CONT)
		You're reading?

				JENNIFER
			(glancing at the book)
		Yeah. Can't believe you started such
		a dorky fad.

	She holds up the cover.

				JENNIFER (CONT)
		D.H. Lawrence. You ever heard of him?

				DAVID
			(amazed)
		... Yeah.

				JENNIFER
		Seemed kinda sexy. Look. I read 35
		pages.

				DAVID
			(still stunned)
		That's great.

	He just stares at her for a second as his mind seems to
	drift ...

				JENNIFER
		So what is it?

				DAVID
		Well ... I just ...
			(out of the blue)
		Can I ask you a question?

				JENNIFER
		Sure.

				DAVID
		Remember when you told me that Lisa
		Rosenberg liked me?

				JENNIFER
		Yeah ...

				DAVID
		Well--did she really like me or were
		you just making that up.

				JENNIFER
		No. She really liked you.

				DAVID
		You weren't playing a joke? She
		woulda gone out with me?

				JENNIFER
		Gone out with you. She woulda like
		rearranged your tonsils.

				DAVID
		Wow.

	He looks at her amazed--reliving the missed opportunity.

				JENNIFER
		Can I ask you a question?

				DAVID
		Yes.

				JENNIFER
		How come I'm still in black and white?

				DAVID
			(back to earth)
		What?

				JENNIFER
		Well I've had like ten times as
		much sex as these girls and I'm
		still like this. They have one hour
		in the back of a car and suddenly
		they're in technicolor.

				DAVID
		Oh, I don't know. Maybe ...
			(thinks)
		... it's not just the sex ...

				JENNIFER
			(looking up quickly)
		What?

	She stares at him wide-eyed like someone who has just heard
	their name called. Jennifer's eyes dart around like she's
	calculating a math problem. After a moment or two, her
	expression changes: a vague look of recognition.

				JENNIFER (CONT)
		No, it's not just the sex, is it?

	She glances down at her book. It's a big book. Jennifer takes
	a deep breath and stares at the gray skin of her hand. After
	a second or two, she looks back. David looks at her for a
	beat ...

								CUT TO:

	EXT. MARGARET HENDERSON'S HOUSE. (MAPLE STREET) DAY.

	David gets out of his "dad's" convertible, carrying a dozen
	"gray" roses. He takes a deep breath and heads up her front
	walk ...

	INT. CAR. NIGHT. LATER ...

	David sits behind the wheel of the borrowed car with Margaret
	Henderson by his side. He concentrates hard on the road,
	holding the wheel at "10 and 2" as he steals a glance to his
	right.

	HIS POV. MARGARET.

	It's not quite evening yet, and late afternoon light makes
	her glow. Margaret smiles as she turns her face into the warm
	wind that swirls inside the convertible ...

	SHOT. DAVID.

	He studies her for a moment or two, then suddenly swerves to
	avoid a parked car on his right ...

	WIDER.

	They pass a sign with a happy family on it that reads:

	"NOW LEAVING PLEASANTVILLE"

	Main Street turns into a winding country road as they leave
	the town behind and head off into the woods. They wind
	through the dense woodland for a moment or two before a
	second sign appears, much like the first:

	"NOW ENTERING PLEASANTVILLE"

	DIFFERENT ANGLE. THROUGH THE WINDSHIELD.

	Sure enough, the town emerges in front of them again,
	completing the 4 dimensional circle. David looks confused.

				MARGARET
		Um ... You gotta turn off Main Street.

				DAVID
		Oh ... Right.

	He looks over at her and smiles. Margaret turns on the radio.

	EXT. CAR. DUSK.

	SAM COOKE sings for them as David turns from Main Street onto
	a smaller unmarked lane. The car starts to rise up a small
	hill, with Dogwood trees blooming on either side of the road.
	It continues to climb up the narrow gravel lane toward the
	crest in the hill. David looks over at Margaret who takes a
	deep breath shutting her eyes. He glances down at the seat
	between them ...

	HIS POV. CAR SEAT.

	THE ROSES THAT WERE GRAY HAVE SUDDENLY TURNED TO COLOR. They
	sit next to him on the seat: a deep, rich RED ...

	INT. CAR.

	David looks up and out the windshield. The same thing seems
	to be happening around them ... Many of the Dogwoods have
	started to turn PINK. Not all of them, but at least fifty
	percent of the petals have "bloomed" in some weird false
	spring. The road twists and turns on its way to the top, as
	they finally reach a crest in the hill.

				DAVID
		Wow.

	THEIR POV. LOVERS LANE.

	There, sitting in front of them, is a whole world gone
	Technicolor: THE LAKE IS BLUER THAN BLUE. THE WEEPING WILLOW
	IS GREENER THAN GREEN. THE DOGWOOD PETALS (all "turned" now)
	SWIRL IN THE WIND LIKE SOME STRANGE PINK SNOWSTORM. A LONG
	LINE OF PASTEL CARS STRETCHES OUT ALONG THE SHORE.

				SAM COOKE (VO)
			(over the car radios)
		"Cupid, draw back your bow ..."

	SHOT. CAR.

	Slowly, David rolls the convertible forward. Many of the kids
	have left their cars and sit down along the grassy bank by
	the edge of the water. A few of them have books open. It
	almost looks "Athenian."

	INT. CAR.

	David looks at the whole scene for a moment then suddenly
	cocks his head to the side.

				DAVID
		What's that smell?

	Margaret looks at him and smiles. She leans well out of the
	convertible, and plucks a Gardenia from a bush that is
	blooming beside the car.

				MARGARET
		Aren't these great?

	David takes the flower, then puts it up to his nose. He takes
	a long deep breath then all at once, his posture seems to
	relax. As the fragrance enters his body his eyes drift like
	some strange narcotic is washing over him. David lowers the
	flower ...

	EXT. MAIN STREET. DUSK.

	Betty is walking down Main Street with a shopping bag on
	either hand. From a block away, she looks like any other
	homemaker in Pleasantville. You don't even notice the gray
	make-up.

	CLOSER. FOLLOWING BETTY.

	She nods to Mrs. Filmore in the bakery and smiles at Don in
	the Post Office. Betty is just about to turn on Elm Street
	when she glances up, and suddenly stops.

	HER POV. ACROSS THE STREET.

	There, in the middle of the block, sits Mr. Johnson's soda
	shop. The whole scene is still black and white, except for
	the large CUBIST PAINTING THAT FILLS MR. JOHNSON'S WINDOW. It
	is rendered in bright PINKS, YELLOWS AND ORANGES, and looks
	like a Braque or a Picasso except for the unusual subject
	matter. Upon closer examination you see that all the spheres
	and cones add up to an avante garde snow scene, with a Cubist
	Santa hovering over the roof tops.

	SHOT. BETTY.

	She stares at it, mesmerized for a moment, then starts to
	wander across the street. It's late afternoon and the
	business district is empty. Betty crosses in the middle of
	the block, staring straight ahead.

	INT. SODA SHOP.

	The door opens and she sticks her head inside. Most of the
	place is dark except for one streak of sunlight shining
	through the window near the back of the store. Betty glances
	around. The little bell JINGLES as she enters.

				MR. JOHNSON (OS)
		We're closed right now ...

	DIFFERENT ANGLE.

	He sits in front of a small easel near the back, staring at a
	board which doubles as a canvas. Mr. Johnson glances over his
	shoulder and recognizes Betty in the doorway.

				MR. JOHNSON
		Oh, hi ...

				BETTY
			(turning to leave)
		I'm sorry ...

				MR. JOHNSON
		No, no ... Come on in.

	REVERSE ANGLE.

	He gets up from his stool and crosses toward the door, still
	holding the palette in his hand. Betty stares at the "Cubist
	Christmas" in the window.

				BETTY
		I just thought ... It's beautiful.

				MR. JOHNSON
		Thanks.

	Their eyes lock for a second. Sort of a clutzy silence. Mr.
	Johnson motions toward his easel.

				MR. JOHNSON (CONT)
		I was just trying to do one of these
		"still lifes."

	He sighs and looks behind him. Next to the easel is a bowl of
	GRAY FRUIT.

				MR. JOHNSON (CONT)
		Having kind of a tough time.

				BETTY
		I think it looks nice.

				MR. JOHNSON
		Well ...
			(shrugs)
		Here's what it's s'posed to look like.

	He leads her over to the table and points down at the art
	book. It's open to a Cezanne that nearly burns off the page.

				BETTY
		Oh my ...

	CLOSER.

	They are standing almost on top of each other gazing down at
	the book. Neither one of them moves. Betty almost disappears
	into the pictures--drawn by a strange new world.

				MR. JOHNSON
		Here. Look at this.

	He turns to Kandinsky--a massive swirl of color. The image is
	nearly electric.

				BETTY
			(breathless)
		Where'd you get this?

				MR. JOHNSON
		Bud brought it to me.

				BETTY
		Bud?

				MR. JOHNSON
		Here's my favorite.

	INSERT. BOOK.

	He turns the page near the back to one of Picasso's "Weeping
	Women." The woman is rendered in pink and red and green. Her
	head is a large sphere, laying "peacefully" on her own
	shoulder.

				MR. JOHNSON
		What do you think?

	She doesn't answer ...

				MR. JOHNSON (CONT)
		Isn't it great how she's resting like
		that?

				BETTY
			(faintly)
		She's crying.

	WIDER.

	Mr. Johnson looks down at the painting.

				MR. JOHNSON
		What?

				BETTY
		She's crying.

				MR. JOHNSON
		No she's not.

				BETTY
		Yes she is.

	He looks up at her ...

	REVERSE ANGLE.

	A single tear is running down Betty's cheek. She senses it
	and reaches up to wipe it quickly away, but instead of just
	wiping the tear, she takes off a huge swath of GRAY MAKE-UP.
	A long strip of PINK FLESH is revealed underneath.

	ANGLE. MR. JOHNSON.

	He stares up at her in amazement.

	ANGLE. BETTY.

	She senses something and glances down at her hand. Her
	fingertips are covered in GRAY MAKE-UP. Betty turns and bolts
	for the door.

	WIDER.

				MR. JOHNSON
			(following her)
		Wait ...

				BETTY
		I've got to go ...

				MR. JOHNSON
		It's alright.

	He stops her near the door and she turns her face toward the
	wall. Mr. Johnson touches her shoulder.

				MR. JOHNSON (CONT)
		It's alright. Let me see.

				BETTY
			(shame)
		No ...

	He reaches up and gently touches her chin. Mr. Johnson moves
	around to glimpse the other side of her cheek.

				MR. JOHNSON
		It's beautiful.

	CLOSER ...

	She freezes like that for a moment, then slowly, haltingly,
	turns toward him. THE COLOR of her real flesh is revealed
	underneath. Betty stands there exposed.

				MR. JOHNSON
			(a whisper)
		... It's beautiful.

	She swallows, not sure what to do. Betty glances down.

				MR. JOHNSON (CONT)
		You shouldn't cover that up.

	Mr. Johnson reaches over to the little napkin dispenser on
	the counter and pulls one out. He leans forward and dabs at
	the tears beneath Betty's eyes. Then slowly, gently, he
	starts to wipe the makeup off her cheek.

	CLOSER STILL ...

	She recoils a bit, tensing up, then just looks at him. Mr.
	Johnson is gazing at her "true color" with wonder and
	acceptance. She hesitates for an instant, then seems to make
	a decision. Betty slowly turns her face to the side, exposing
	her flesh all the way down to the neck. Mr. Johnson continues
	to wipe off the make up in larger and larger strokes as the
	beautiful pink flesh begins to emerge ...

								CUT TO:
	INT. JENNIFER'S (MARY SUE'S) ROOM. NIGHT.

	She lies on her bed, reading the same book she was browsing
	earlier. Jennifer seems strangely engrossed as she flips the
	pages, lying on her stomach, scouring every word. After a
	moment or two she gets restless and shifts position, lifting
	the book. The cover is plainly visible: "LADY CHATTERLY'S
	LOVER."

	CLOSER.

	She doesn't have enough light so Jennifer rises from the bed
	and crosses to "her" desk. She sits in the chair and flattens
	the book in front of her. Jennifer is deep into the plot and
	doesn't even look up as she flicks on the desk lamp. She
	could almost be studying algebra as she sits upright at the
	little desk.

	DIFFERENT ANGLE.

	She flips the page and peers more intently. Her hair is
	bothering her so she pulls it back and knots it in a pony
	tail. After a little while her eyes begin to get more tired
	and she looks up and blinks a couple of times. Jennifer
	notices something across the desk.

	REVERSE ANGLE.

	A pair of Mary Sue's glasses are neatly folded in front of
	her. Jennifer reaches out, puts them on her head, glances
	back down at the print.

				JENNIFER
			(impressed)
		Hunh.

	She can see much clearer now. Jennifer folds her hands in
	front of her and doesn't even realize that she has mimicked
	the PHOTOGRAPH OF MARY SUE THAT SITS BESIDE HER IN A SILVER
	FRAME. The face is the same, but that's to be expected. So is
	the pony tail, the glasses, the posture and the studious look
	on her face. Jennifer turns the page engrossed in her novel
	when there is a loud TAP on the window.

	She rises from the desk and pulls back the curtain. Jennifer
	slides open the window.

	EXT. PARKER HOUSE.

	Biff stands on the front lawn tossing pebbles at the window.

				BIFF
		Mary Sue--C'mon ...

				JENNIFER
			(leaning out the window)
		What are you doing?

				BIFF
			(jiggling in anticipation)
		It's six-thirty ...

				JENNIFER
		So.

				BIFF
		We were gonna ... You know ...

	He jiggles some more.

				JENNIFER
		Oh.
			(remembering)
		I can't.

				BIFF
		Why not?

	She glances down at her book.

				JENNIFER
		I'm busy.

				BIFF
			(surprised)
		With what?

	INT. JENNIFER'S ROOM.

	She hesitates for a second then glances back at the desk. Her
	own image in the silver frame stares back at her. The hair is
	pulled back in a pony tail. The glasses sit on the front of
	her nose.

				JENNIFER
			(turning to Biff)
		I'm studying.

	She thinks about it for a moment, then suddenly smiles. Biff
	stands dumbfounded on the sidewalk as Jennifer reaches up and
	quietly closes the window ...

								CUT TO:

	EXT. LOVER'S LANE. NIGHT.

	David and Margaret sit on the edge of the grass, looking out
	across the water. Even in the moonlight, the COLORS are
	vivid. David still clutches the gardenia in his hand, taking
	a long hit like an Opium addict.

				DAVID
			(inhaling)
		Mmmmgh.

				MARGARET
		Do they have those ... Where you come
		from?

				DAVID
		Yeah ... I guess.
			(beat)
		I don't know.

				MARGARET
		You don't know?

	Margaret laughs like that isn't even possible. She shifts on
	the grass hiking her skirt up above the knee. It reveals a
	long tan leg beneath it. David watches as she kicks off her
	shoes, rubbing her feet through the long cool grass.

				MARGARET (CONT)
		So what's it like?

				DAVID
		What?

				MARGARET
			(a whisper)
		Out there.

	She clings onto the words like they could transport her by
	themselves. David thinks for a moment.

				DAVID
		Oh. don't know ... It's different.

	She leans forward.

				MARGARET
		How?

				DAVID
		Well it's louder ... And scarier I
		guess ... And ... and a lot more
		dangerous ...

				MARGARET
		Sounds fantastic. You know some kids
		came up here the other night to go
		swimming--took off all their clothes.

	She giggles. David looks at her in amazement.

				MARGARET (CONT)
		Do they have an Ocean? I've heard
		about the ocean.

				DAVID
		Yeah.

				MARGARET
		What's that like?

				DAVID
		Well it's big. And it's blue ...
			(as if realizing it for the first time)
		... It's really really blue.

				MARGARET
		Mmmm.
			(beat)
		Boy. It's hot up here.

	Suddenly and without warning Margaret unbuttons her cardigan
	sweater. She slips it off, arching her back like the
	figurehead of a ship and David just stares at her breasts.
	She wears a light cotton blouse and even in the moonlight it
	forms a translucent silhouette ... She lays the sweater
	across the grass and leans back on it.

				MARGARET (CONT)
		You want some berries?

				DAVID
		Hunh?

	She unfolds a handkerchief revealing a handful of berries in
	REDS AND BLUES AND PURPLES.

				MARGARET
		I picked them myself. They grow wild
		up here.
			(eating one)
		Mmm. So sweet.

				DAVID
			(looking at them)
		They just grow like that?

				MARGARET
			(looking straight up)
		Oh yeah. There's a lot of stuff.
		Currants and strawberries ... Here.
		I'll show you.

	She hops up and scampers across the grassy bank, kicking her
	heels behind her. Margaret reaches a tree in the distance and
	reaches toward an upper limb, stretching out her body like a
	piece of statuary. She picks a piece of fruit and scampers
	back toward him, hiking up her skirt as she goes ...

				MARGARET (CONT)
		Here.

	CLOSER.

	Margaret sticks out her hand, offering him a BRIGHT RED
	APPLE. It's brilliant and shiny and glistens in the
	moonlight.

	ANGLE. DAVID.

	He hesitates just looking at it. Margaret speaks in a
	whisper.

				MARGARET
		Go on. Try it.

	HIS POV.

	She is lying on her stomach now, and behind the outstretched
	apple he can see an ample view of her cleavage. Margaret is
	smiling at him as the apple shines in the foreground. David
	reaches out and takes it.

	WIDER. DAVID AND MARGARET.

	For this instant, they seem alone in the garden. He looks
	down at it, then glances over at Margaret. David hesitates
	for a split second then takes a bite of the apple ...

								CUT TO:

	EXT. ELM STREET. NIGHT.

	George heads home with his briefcase in hand whistling a
	happy tune. He smiles at Mr. Simpson and swings the attache
	case as he turns and heads up his front walk.

	INT. FOYER.

	George opens the door and sets the briefcase by the stairs
	like he always does. He hangs his hat on the hatrack, his
	coat on the coatrack, and beams as he hollers his nightly
	greeting:

				GEORGE
		Honey--I'm home.

	There is no response. He looks a little perplexed but smiles
	as he calls out again:

				GEORGE (CONT)
		Honey--I'm home ...

	There is more silence. George looks around a little confused
	when there is a BOOMING CLAP OF THUNDER ...

								CUT TO:

	INT. SODA SHOP. NIGHT.

	Betty sits in a comer of the shop, next to the gray bowl of
	fruit. She holds her head to the side, sitting gracefully
	with her chin in the air. Mr. Johnson sits behind his easel,
	painting her portrait from a few feet away. Betty looks
	radiant with no trace of the makeup, the warm PINK OF HER
	FLESH TONES lit softly by a bare forty watt bulb ...

	CLOSER.

	She looks over at Mr. Johnson when they hear the BOOMING CLAP
	OF THUNDER. Each of them freezes. There is ANOTHER, LOUDER
	BOOM ...

	ANGLE. WINDOW.

	The "Cubist Snowscene" lights up brightly, illuminated by the
	sudden flash of lightning behind it. Betty leaps up from the
	chair and crosses to the window looking out.

				BETTY
			(frightened)
		What is that?

				MR. JOHNSON
		I don't know.

	Betty looks back at Mr. Johnson and suddenly sees the
	painting. She flinches for a second. Her eyes go wide.

	REVERSE ANGLE. INCLUDING THE PAINTING.

	It is Cubist (like the rest of his recent work) but that
	isn't the shocking part. Even though she sits in front of him
	fully clothed, Mr. Johnson has painted a beautiful, sensual
	nude. Betty just stares at the canvas, stunned to see herself
	revealed like that. The COLORS are all hot pinks and oranges
	and yellows--like some Fauvist celebration of summertime.
	There is another even LOUDER PEEL OF THUNDER.

	WIDER. BETTY AND MR. JOHNSON.

	She looks over at Mr. Johnson and he glances down. After a
	moment or two he looks back at her, but she doesn't turn to
	run. Betty just stares at him, then without even realizing
	it, moves slightly closer.

								CUT TO:

	EXT. LOVER'S LANE. NIGHT.

	David and Margaret are locked in a deep passionate kiss. At
	first they don't separate when they hear the BOOMING CLAP OF
	THUNDER. It is only when they hear the SECOND ONE and the
	RAIN starts to fall, that Margaret pulls back and looks up in
	the sky.

				MARGARET
		What is that?

	ANGLE. DAVID.

	He is still in an amorous daze and doesn't even feel the
	increasing rain. It starts to pound harder and Margaret looks
	to him in terror.

				MARGARET
		What's going on?

				DAVID
		Rain.

				MARGARET
		Real rain?

				DAVID
		Yeah ... You don't have rain either?

	She looks at him frightened. David smiles.

				DAVID (CONT)
		Right. Of course you don't ...

	He puts his jacket around her and starts to lead her up the
	grassy slope. A dozen other couples go scurrying up the bank,
	looking in terror at the water falling from the sky.

				MARGARET
		What do we do?

				DAVID
			(reaching the car)
		We'll just put up the top.

	He goes fishing around the boot of the car, looking for the
	catch to release it. David leans into the back seat fishing
	around as the rain starts to pound harder.

				MARGARET
		What top?

	He looks back at her. No top either. David smiles, drenched
	in rain and puts his arm around Margaret who is starting to
	shiver.

				DAVID
		It's fine. Come on.

	He leads her back to a thicket of bushes where several of the
	kids are clustered together. They look at one another,
	terrified, as they huddle for shelter beneath the ledge of an
	overhanging rock.

				DAVID (CONT)
		It's alright. There's nothing to be
		afraid of.

	They look a little reassured and Margaret looks up at him
	positively adoringly. She clings to his shoulder as the storm
	howls a few feet away ...

								CUT TO:

	INT. JENNIFER'S ROOM. NIGHT.

	She stands at the window looking out at the driving rain.
	Jennifer still holds the D.H. Lawrence book in her hand.
	There is a huge flash of lightning and another clap of
	thunder.

				JENNIFER
		Cool ...

	She flops back down on the bed and continues to read ...

	PARKER LIVING ROOM.

	George wanders through the empty and darkened house
	completely perplexed and utterly disoriented. He looks around
	for his family, but all he can find are the darkened rooms
	and the sound of the driving storm.

				GEORGE
			(a little frightened/
			a little petulant)
		Honey, I'm home ...

	He still can't find her and he crosses into the DINING ROOM.
	The lights are dark there as well and he looks around
	confused.

				GEORGE (CONT)
			(baffled)
		Where's my dinner?

	He sniffs a couple of times but there are no familiar cooking
	smells. George flings open the door to the kitchen but that's
	empty as well.

	KITCHEN.

	He crosses into the darkness ...

				GEORGE
		Where's my dinner ...

	INT. FOYER.

	George comes reeling out of the kitchen into the foyer. He
	slams his shin on the coatrack but keeps on going ...

				GEORGE
			(insistent)
		Where's my DINNER ...

	EXT. HOUSE.

	It's really blowing now. The rain is coming down in heavy
	sheets, being swirled and driven by the wind. The front door
	opens and George wanders out onto the front porch, still
	dressed in his shirtsleeves.

				GEORGE
		Where's my DINNER!

	ON GEORGE.

	He stumbles down the front walk in a state of complete
	confusion. The rain pounds against his body and within
	seconds his shirt is soaked through to the skin.

				GEORGE
			(over the storm)
		WHERE'S MY DINNER ...

	EXT. ELM STREET.

	A tree limb crashes to the ground but he keeps stumbling
	through the torrent. George reels down Elm Street screaming
	skyward in the distance.

				GEORGE
		... WHERE'S MY DINNER! WHERE'S MY
		DINNER!

	SERIES OF SHOTS. FOLLOWING GEORGE ...

	He turns on Main Street and goes reeling past the insurance
	agency where he works. George howls into the wind and he
	passes the hardware store, the gas station, the bakery ...
	Finally he pauses outside the barbershop. It's empty as well
	with the spinning barber pole being buffeted by the rain.
	George lowers his arms and just stares into the darkened
	shop. His voice grows quieter bewildered and shivering ...

				GEORGE
			(plaintively)
		Where's my dinner?

	He wraps his arms around himself and shivers on the sidewalk.

	INT. BOWLING ALLEY. NIGHT.

	The regular occupants of the barber shop spread out across
	three lanes. Each wears a Pleasantville bowling shirt,
	sponsored by one of Big Bob's businesses.

	The NOISE from the crashing pins is deafening and there
	aren't any windows so the storm has gone unnoticed ...

	ANGLE. BIG BOB.

	He picks up a 7-10 split and claps his hands in delight. He
	starts to cross back to the scorer's table when he looks up
	and suddenly stops.

	REVERSE ANGLE. HIS POV.

	George is standing in the doorway to the bowling alley cold
	and shivering. His shirt is soaked through to the skin. His
	hair is drenched and dripping.

				BOB
		What happened?

	He doesn't answer. George clutches his body and keeps
	shivering.

	WIDER.

	The men stop bowling and rush to George's side. He blinks a
	couple of times, still soaked to the bone.

				BOB
		Are you alright?
			(looking at him)
		What is it?

				GEORGE
			(faintly)
		Rain.

				BOB
			(beat)
		Real rain?

	George nods. Bob rushes to the glass door of the bowling
	alley and sees the driving storm. A huge fork of lightning
	lights up the sky.

				BOB (CONT)
		Oh my God ...

	He turns back to George.

				BOB (CONT)
		... We had no idea. Burt was rolling
		a 250 and ...
			(beat)
		Are you alright?

	George shivers and Bobs leads him over to one of the benches
	and guides him into the seat ...

				BOB (CONT)
		What happened?

				GEORGE
			(still shivering)
		Well, I ... I came home like I always
		do, And I came in the front door. And
		I took off my coat. And I put down my
		briefcase and I said "Honey. I'm home."

	ANGLE. MEN.

	They all nod in recognition.

	ANGLE. GEORGE.

				GEORGE
		... Only no one was there.

	A MURMUR goes through the men.

				GEORGE (CONT)
		So I went into the kitchen and I
		yelled it again. "Honey--I'm home."
		But there was no one there either.
		No wife. No lights. No dinner.

	They all GASP.

				GEORGE (CONT)
		So I went to the oven--you know--
		because I thought maybe she had made
		me one of those "TV dinners ..."

	The men nod and lean forward. George shakes his head.

				GEORGE (CONT)
		But she hadn't. She was gone.

	A LOUDER MURMUR moves through the crowd. George lowers his
	head and just shakes it from side to side. Big Bob moves up
	and puts a hand on his shoulder.

				BOB
			(gently/
			the patriarch)
		... It's gonna be fine George.

	George looks up at him helplessly. Bob pats him reassuringly
	on the back.

				GUS
		What do we do Bob?

				BOB
		Well--we'll be safe for now--thank
		goodness we're in a bowling alley--
		but if George here doesn't get his
		dinner, any one of us could be next.
		It could be you Gus, or you Burt, or
		even you Phil ...

	They murmur again. Bob gathers a little steam.

				BOB (CONT)
			(like a WWII movie)
		... That's real rain out there
		gentlemen. This isn't some little
		"virus" that's going to "clear up on
		it's own." There's something
		happening to our town and I think we
		can all see where it comes from.

	They nod in agreement.

				BOB (CONT)
		We're gonna need a town meeting.
		Phil, how fast can you turn around
		a leaflet in your print shop?

				PHIL
		Couple of hours.

				BOB
		Gus, why don't you get a bunch of
		kids from the basketball team to help
		you put them up on lamposts and tree
		trunks ...

	Gus nods. Big Bob turns to George and smiles. It's a warm,
	patriarchal smile. He claps a hand on George's shoulder.

				BOB (CONT)
			(soothingly)
		And the first thing you're gonna do
		is get a cup of hot cocoa and a nice
		dry bowling shirt.

	INT. SODA SHOP. NIGHT.

	The rain still pounds out the window. Betty and Mr. Johnson
	are huddled in one of the booths watching the deluge through
	Mr. Johnson's snow scene in the window. Betty is in soft
	radiant color now. Almost the whole frame seems to glow
	pink ...

				MR. JOHNSON
		You can't go out there.

				BETTY
		But I really should get home.

				MR. JOHNSON
		But you can't go out there.

	There is another fork of lightning and a booming peel of
	THUNDER. Betty sighs. She's past struggling. Betty shuts her
	eyes for a moment and listens to the rain pounding on the
	roof.

				BETTY
		Sounds nice ... Once you get used
		to it.

				MR. JOHNSON
			(listening)
		Yeah. It does.

	There is another flash and a loud BOOM. Betty smiles this
	time.

				BETTY
		Like a drum.

				MR. JOHNSON
		Yeah.
			(thinks)
		Or like sprinklers in the summer ...

	Betty smiles. They both listen for a moment and the fear
	seems to fade a little. The RAIN POUNDS harder on the roof as
	Betty nestles down in the booth, a little closer to Mr.
	Johnson. They just sit there listening for a moment or two.
	Betty starts to smile ...

	EXT. LOVER'S LANE.

	David huddles with Margaret under the rocky ledge as she
	nestles against him with her head on his shoulder.

	INT. JENNIFER'S ROOM.

	She lies on her bed, still reading the book, the spitting
	image of Mary Sue. Her hair is up in a bun now. The glasses
	have slipped down her nose. There is another fork of
	lightning and the LOUDEST THUNDER CLAP of all. Jennifer
	smiles slightly and pulls Mary Sue's afghan over her
	shoulders as she fluffs the pillow and turns the page.

								CUT TO:

	CLOSE UP. A BRIGHT RED ROSE.

	Drops of moisture cling to the petals as it GLEAMS BRILLIANT
	RED IN THE MORNING SUN ...

	AERIAL SHOT. PLEASANTVILLE.

	The rain is gone now. The town glistens in the sunlight
	complete with a huge RAINBOW arching across the sky.
	Literally all the COLORS IN THE RAINBOW shine against the
	black and white of the town. It looks like a greeting card.

	INT. SODA SHOP.

	Betty and Mr. Johnson are asleep in the booth, lying in each
	other's arms. Sunlight streams in through the window, warming
	Mr. Johnson's face which has now turned to color. He opens
	his eyes and looks outside ...

				MR. JOHNSON
			(seeing the rainbow)
		Oh my Gosh ...

	EXT. LOVER'S LANE.

	Birds are chirping. David and Margaret also lie asleep in
	each other's arms, beneath the shelter of the rocky overhang.
	Margaret lifts up and sees the rainbow. She has turned to
	color as well ...

				MARGARET
			(awed)
		Oh my God ...

	INT. JENNIFER'S ROOM.

	She has passed out on her bed with her book on her chest.
	Jennifer's hair is still tied in a bun and she still wears
	Mary Sue's glasses, but her face has returned to its rosy
	pink hue. She blinks open her eyes, feeling the sunlight, and
	looks out the window.

				JENNIFER
			(looking at the rainbow)
		Oh my God ...

	INT. BOWLING ALLEY.

	The men are all passed out across the various lanes and
	scoring tables. It looks like a YMCA shelter. After a moment
	or two Big Bob yawns, and stretches, and glances out the
	glass doorway. He sees the rainbow and freezes in shock.

				BOB
			(horrified)
		Oh my GOD!

								CUT TO:

	EXT. ELM ST. DAY.

	David comes gliding up Maple Street in the sunshine with a
	huge smile on his face. He has that special grin and faraway
	look that a boy only knows once in his life. Perplexingly he
	is still in black and white. Bud turns on Elm Street and
	starts heading for his house when he glances up and suddenly
	freezes.

	HIS POV. TREE TRUNK.

	There, tacked to the bark, is a hastily scrawled public
	notice:

	TOWN MEETING TONIGHT
	ALL "TRUE" CITIZENS
	OF PLEASANTVILLE

	ANGLE. DAVID.

	He looks up at it for a moment.

	INT. PARKER KITCHEN. DUSK.

	George and Betty stand face to face in their suburban
	kitchen. He is black and white. She is in full color.

				BETTY
		I told you where I was.

				GEORGE
		All night?

				BETTY
		I got caught in the storm. You were
		gone all night too.

				GEORGE
			(the ultimate defense)
		I was in a bowling-alley.

	Betty turns--glances out the window.

				GEORGE (CONT)
			(sudden smile)
		Look. Let's just forget about it.
		Let's just go to the meeting and ...

				BETTY
		I told you, George. I'm not going.

				GEORGE
			(bigger smile)
		Sure you are.

				BETTY
		No I'm not.

	She turns to face him. George flinches slightly.

				BETTY (CONT)
		Look at me George. That meeting's not
		for me. Look at my face.

				GEORGE
		It's fine. You'll put on some make up
		and ...

				BETTY
		I don't want to put on some make up ...

	George's eyes widen. It's a watershed moment.

				GEORGE
			(protesting)
		It goes away ... It'll go away.

				BETTY
			(gently)
		I don't want it to go away.

	He suddenly squares back his shoulders and puffs out his
	chest.

				GEORGE
			(the '50s patriarch)
		Okay--now you listen to me ...
			(beat)
		You're gonna come to this meeting and
		you're gonna put on this make up, and
		you're gonna come home at six o'clock
		every night and have dinner ready on
		this table.

				BETTY
			(softly)
		No I'm not sweetie.

	His expression leaves as quickly as it came. Betty moves
	closer to him.

				BETTY (CONT)
			(half whisper)
		... There's a meatloaf in the fridge.
		You just put it in the oven and turn
		this little knob up to three-fifty.
		If you put the pie in forty minutes
		later, it'll be hot in time for
		dessert.

	George's eyes widen.

				BETTY (CONT)
		I made a couple of lunches for you
		and put them in brown paper bags ...
			(much quieter)
		I'm gonna go now.

				GEORGE
		Where are you gonna go?

				BETTY
		I'm gonna go now.

	She turns and starts out the kitchen door when George calls
	after her.

				GEORGE
		Betty, don't go out there like that!
		They'll see you!
			(beat)
		They'll SEE you!

	And she closes the door behind her.

				GEORGE (CONT)
		Betty, come back here!

	EXT. TOWN HALL. NIGHT.

	Dozens of black and white citizens stream in through the
	front door.

	SHOT. OPPOSITE SIDE OF THE STREET.

	Several "transformed" teenagers stare at the spectacle with
	their FLESH COLORED SKIN AND BRIGHT BLUE EYES. They seem to
	hang back in the shadows.

	INT. TOWN HALL.

	Big Bob stands at the podium beneath a permanent banner that
	reads "PLEASANTVILLE CHAMBER OF COMMERCE." As the only
	legally constituted body in Pleasantville, it is a natural
	place for a town meeting. There is nothing bright and cheery
	however. The floor lamps in each comer cast huge, looming
	shadows up the walls. The light at the podium bathes Big
	Bob's face in a blinding splash of light. The whole thing
	evokes some weird twisted image from German Expressionism--
	like they are about to go look for Frankenstein. It is grayer
	than gray.

	CLOSER. PODIUM.

	Big Bob stands at a lectern with a Rotary insignia on the
	front. He speaks calmly but compellingly to a hundred men and
	women who hang on his every word. Bob holds a BRIGHT YELLOW
	GRAPEFRUIT.

				BOB
		This was found over in Dave Murphy's
		trash can. There were four of them
		like this ...

	There is a murmur from the crowd ...

	CLOSE UP. GEORGE.

	He sits up on the stage in an honored position right behind
	Bob. George wears a shiny new ROTARY PIN in his lapel, as a
	full-fledged member of the Chamber of Commerce. He sits stoic
	and upright with the sense of safety and reassurance that a
	shiny new pin can give you.

	SHOT. BOB.

	He holds up a pair of BRIGHT RED BOXER SHORTS.

				BOB
		Jane Davidson found these in her
		son's laundry basket.

	There is a LOUDER MURMUR. The crowd shifts in their seats.
	Bob points behind him to a BRIGHT GREEN lawn chair.

				BOB (CONT)
		This is from Mary Petersen's front
		porch. She found one last week.
		There were two more this morning ...

	The MURMUR starts to grow ...

								CUT TO:

	EXT. ELM STREET. NIGHT.

	David and Margaret stand beneath the big Elm tree outside
	Margaret's house: a statue of two young lovers. They wrap
	their arms around each other in a classic silhouette. The
	meeting across town seems a million miles away. After a
	moment or two, David reaches behind the tree and pulls out a
	beautifully wrapped gift. It is three feet long with a bright
	RED bow.

				DAVID
			(softly)
		I got you something.

	Margaret's eyes widen. She beams at him, then tears off the
	wrapping paper revealing a great big umbrella ... a real
	umbrella. She looks up at him thrilled.

				MARGARET
		It's beautiful. Where'd you get it?

				DAVID
		It was a prop for the school play ...

	She looks down and giggles.

				MARGARET
		Can I open it?

				DAVID
		Sure ...

	Margaret gives him a quick kiss then opens the umbrella. She
	puts it back on her shoulder and turns a series of
	pirouettes--like her own kind of rain dance. Margaret points
	her face up to the sky as if she is being showered by a
	summer storm. All at once a pair of HEADLIGHTS round the
	corner.

	WIDER.

	David grabs the umbrella and closes it quickly. Margaret
	looks to the street as the convertible slows to a crawl and
	two TEENAGE BOYS pull up beside them. They are clean cut with
	BLACK AND WHITE faces ...

				DRIVER
		Hello Bud ...

				DAVID
			(clipped)
		Hello Whitey.

	They smile at each other for no good reason. It's scary and
	arrogant.

				WHITEY
			(more pointed)
		Hello Margaret.

				MARGARET
		Hello Whitey ...

				WHITEY
			(loud)
		Hey Bud, how come you're not at
		the town meeting right now?

				DAVID
			(curt)
		No reason.
			(pause/
			firing back)
		How come you're not?

				WHITEY
		Oh. We're s'posed to go out and
		let everybody know about it. See.

	He points to an ARMBAND that has some sort of Chamber of
	Commerce seal on it. Whitey leans out of the car and
	leers ...

				WHITEY (CONT)
		No reason hunh ... See I thought
		maybe it was cause you were too
		busy entertaining your colored
		girlfriend.

	Margaret literally flinches. The boys share a PEEL OF
	LAUGHTER AND SNORT AT EACH OTHER. David puts an arm around
	her and pulls her close.

				DAVID
		Why don't you guys just get the
		hell out of here.

				WHITEY
		Oh, okay, Bud. We'll do that.

	He guns the engine as if to leave, then pauses and turns
	toward Margaret.

				WHITEY (CONT)
			(leering more)
		You know Margaret, you can come
		over and bake those Oatmeal cookies
		for me anytime you want to.

	They share another CHORTLE as Whitey guns the car and peels
	out with a SCREECH. Margaret's lip starts to quiver and David
	holds her tighter ...

				DAVID
		It's fine ... It doesn't mean anything.

	She nods, groping for reassurance ...

								CUT TO:

	INT. TOWN HALL. NIGHT.

	The chamber of commerce meeting is still in full swing.
	Various citizens are now on their feet, screaming from the
	audience.

				WOMAN
		Ed McFadden's got a blue front door.

				ED MCFADDEN
		It's always been blue!

				WOMAN
		Not that blue!

				MAN
		There's a big tree turning orange
		in Joe Baker's front yard!

	SHOT. GEORGE.

	He still sits behind Bob with the same stoic expression on
	his face. George fingers the little pin in his lapel ...

				BOB
		People, people ... I think we all
		know what's going on here.

	SHOT. BOB.

	Bob lifts his hands in the air. The crowd quiets down a bit.

				BOB
		Obviously certain "changes" have
		been happening. Up until now, things
		in Pleasantville have always been--
		well ... "Pleasant." And, recently,
		certain things have become ...
		"Un-Pleasant." Now it seems to me
		the first thing we have to do is to
		separate out the things that are
		pleasant, from the things that are
		"Un-Pleasant."

	There is a loud murmur and nod of agreement ...

				BOB (CONT)
		George, why don't you and Burt
		take the lead on this. Why don't
		you put together kind of an
		"Un-Pleasant" Activities Committee ...

								CUT TO:

	INT. SODA SHOP. NIGHT.

	Mr. Johnson has scrubbed the snow scene from the window and
	stares with his palette at a blank pane of glass. There is a
	knock at the door ...

	WIDER.

	Mr. Johnson puts down the paints and crosses to open it.
	Betty is standing in the doorway clutching her purse and a
	"Lady Samsonite Weekender" bag. She stares up into his eyes.

								DISSOLVE TO:

	FULL SHOT. SHOP WINDOW. MORNING.

	Burt Campbell opens up the hardware store like he does every
	morning, only today there is a slight difference. He swings
	open the door, puts out the rakes and shovels, then sets a
	newly handwritten sign clearly in the front window:

	"NO COLOREDS"

	SERIES OF SHOTS. SHOP WINDOWS.

	As the businesses are opened on Main Street, more and more
	"NO COLOREDS" signs appear in the windows: next to the
	donuts ... by fishing poles ... beside the stationery
	supplies ... Everything else looks frighteningly the same...

								CUT TO:

	EXT. MAIN STREET. DAY.

	Joey Anderson, the local paper boy, is finishing his morning
	rounds. He reaches in his bag and tosses left toward the
	bakery. Then he throws right toward the post office. Then he
	turns left toward the soda shop, does a double take and slams
	into a trash can ...

	WIDER. SODA SHOP.

	Where Mr. Johnson had once painted his cubist snow scene,
	there is a brand new painting that isn't cubist at all. A
	NUDE version of Betty graces the shop window--painted in
	curving sensual brush strokes. Joey stops his bike and just
	stares in amazement. He gets up and rides away as fast as he
	possibly can ...

								CUT TO:

	MAIN STREET. LATER ...

	David is in a happy daze, wandering up Main Street and
	doesn't even notice the crowd gathered outside Mr. Johnson's
	soda shop. After a moment or two, he glances up and sees the
	window ...

	CLOSER. DAVID.

	His eyes go wide. The murmur of the crowd grows louder as
	stray derisive comments rise above the noise. David glances
	from the nude in window to the growing angry mob ...

	MAIN STREET. DAY.

	David goes tearing through the business district looking for
	any sign of his "mother." He glances in the flower shop ...
	toward the green grocer ... David is just about to turn on
	Elm Street when a booming voice seems to come from the
	sky ...

				DICK VAN DYKE (OS)
		Bud ...

	David stops and looks to his right. There, in the window of
	the Philco TV store, are twenty screens of various sizes
	displaying the image of Dick Van Dyke.

				DICK VAN DYKE (CONT)
		I want a word with you ...

				DAVID
			(scared)
		Oh--well ...

				DICK VAN DYKE
			(BOOMING)
		NOW!

	The sound reverberates like God Himself. David ducks inside
	the store, slamming the door behind him.

	INT. STORE.

	Fifty Dick Van Dyke's stare at him from every TV in the
	store. The effect is smothering.

				DICK VAN DYKE
			(still pretty loud)
		What the hell do you think you're
		doing!

	David glances around, not sure where to look.

				DAVID
			(terrified)
		What do you mean?

				DICK VAN DYKE
		What do I MEAN!
			(beat)
		You think this is a toy? You think
		it's your own little goddamn
		coloring book ...

				DAVID
		Look--it just sort of "happened" ...

				DICK VAN DYKE
		A deluge doesn't just "happen."
		Bolts of lightning don't just
		"happen" ...
			(louder)
		You burned down an ELM tree for
		Christ's sake ...

				DAVID
		I had nothing to do with that.

				DICK VAN DYKE
		Oh. I'm sorry--refresh my memory.
		What episode does the orgy happen
		in, again?

				DAVID
		Look ...

				DICK VAN DYKE
		It was a gift Bud. It was so
		special. You liked these things
		as much as I did, remember:
		Warm smells in the family kitchen?
		A smile from a stranger? You know
		how rare that is?

				DAVID
			(beat/
			quietly)
		... Only if they mean it.

	Dick Van Dyke looks at him for a beat, then goes "red" in the
	face.

				DICK VAN DYKE
		OKAY. NOW YOU'RE REALLY STARTING
		TO PISS ME OFF!

				DAVID
			(finding courage)
		I didn't do anything wrong.

				DICK VAN DYKE
		Oh no? Let me show you something!

	SHOT. TV SCREEN.

	All at once a box appears in the upper right hand comer of
	the screen containing the image of David and Margaret at
	Lover's Lane. The VIDEOTAPE rolls forward as she extends the
	BRIGHT RED APPLE. David hesitates, then takes it, then puts
	it to his mouth and takes a bite.

				DICK VAN DYKE
		"YOU DON'T DESERVE THIS PLACE."

	The image of David biting the apple PLAYS BACKWARDS AND
	FORWARDS like some football instant replay ...

				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 fucking 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.

				DAVID
			(a whisper)
		We better go.

	EXT. MAIN STREET. NIGHT.

	Darkness has fallen and the streetlamps have come on. Some
	debris is scattered around the street and distant sounds of
	the mob still fill the air. David rolls back into town with
	the headlights off.

	CLOSER. CAR.

				MARGARET
		Where are they?

				DAVID
		I'm not sure.

	They head down Main St. and turn the comer on Walnut. All at
	once, a weird ORANGE LIGHT bathes the car ...

	REVERSE ANGLE. THEIR POV.

	A BONFIRE has been lit in the middle of the street between the
	library and the barber shop. Twenty to thirty people are
	gathered around it still whooping and hollering as the bright
	ORANGE FLAMES shoot into the air.

	ANGLE. CAR.

	David pulls over by the curb, and their eyes go wide ...

	REVERSE ANGLE.

	From closer up, it becomes clear what they're burning. Huge
	piles of library books have been dumped onto the sidewalk,
	waiting their turn on the pyre. There is a strange celebratory
	atmosphere as they chuck book after book on the flames, with
	the glee of a teenager tossing a firecracker. David sees
	something and bolts from the car ...

				DAVID
		Oh my God.

	ANGLE. SIDE OF THE BONFIRE.

	Jennifer is locked in some strange wrestling match with Biff.
	He clutches a book over her head while she tugs at his wrist
	trying to stop him from throwing it on the fire ...

				JENNIFER
		Don't! Just let go.

				BIFF
		It's better, Mary Sue.

				JENNIFER
		I said, NO!
			(yanking it)
		... I've read like one book in my
		whole life and I'll be damned if I
		let you throw it on that fire ...

	Jennifer wrestles with him for a couple of seconds and then
	suddenly kicks Biff in the groin. He doubles over in agony
	when Jennifer snatches the book and bolts in the other
	direction.

	DIFFERENT ANGLE. STREET.

	She sprints up the street and is just passing the barber shop
	when a hand reaches out and grabs her. Jennifer starts to
	scream but David puts a hand to her mouth.

				DAVID
			(a whisper)
		It's okay. It's me.

								CUT TO:

	WIDE SHOT. SODA SHOP. OTHER SIDE OF MAIN STREET.

	The crowd has moved on and all that is left is the dark
	wreckage of the soda shop. Several stools lie out in the
	street and shards of brightly painted glass are scattered
	around the sidewalk. It is eerily quiet.

	WIDER.

	David, Betty and Margaret sit silently in the car, across the
	street with the lights off. He unlatches the door handle and
	gets out slowly. The rest of them follow him into the empty
	street as they move silently toward the soda shop, like some
	platoon on patrol.

	REVERSE ANGLE.

	As they get closer, more of the wreckage comes into view. Half
	a booth ... a soda spigot ... After a moment or two Jennifer
	looks up and gasps.

	CLOSER.

	Several teenagers step out of the shadows. They have scraped
	faces and ripped clothing--the signs. Most are dazed and ALL
	OF THEM ARE IN COLOR. After a second or two, more appear:
	Mary Jane ... Lisa Anne ... The boy who was reading Huck
	Finn...

	ANGLE. DAVID.

	The kids turn to him as if he has some kind of answer. Of
	course he doesn't. The sounds of the Mob still carry through
	the air from somewhere off in the distance.

				DAVID
		Let's go inside.

	INT. SODA SHOP.

	The place is just sad. All the remnants of what they had are
	strewn around the floor, The jukebox is turned over. The
	stools are ripped out of the floor. Betty looks over at the
	corner where he painted her ... The easel is smashed to bits.

	ANGLE. BETTY.

	She brings a knuckle to her lip and David puts an arm around
	her and draws her close. After a moment or two they HEAR a
	weird SCRAPING sound.

				DAVID
		Hello?

	The SCRAPING SOUND stops. They all look to the open door and
	after a second or two, Mr. Johnson appears holding a broom and
	dustpan.

				MR. JOHNSON
		Just thought I'd try to tidy it up
		a bit.

	Betty runs across and throws her arms around him. The
	teenagers watch as she holds him tight.

				MR. JOHNSON (CONT)
		It's okay. Once we sweep it up it'll
		be alright again ...

	Betty stifles a sob as he strokes her hair. No one says
	anything while they just embrace for a moment. Finally ...

				DAVID
		Well he's right. Come on. Let's turn
		these booths back up. "Mary Sue",
		why don't you help me slide this in
		front of the door. We'll be okay in
		here.

	They respond to the tone of leadership. One by one the kids
	start to pitch in, sifting their way through the wreckage.
	Jennifer and David slide a barricade in front of the door as
	the kids try to put their shop back together.

								CUT TO:

	INT. TOWN HALL. (CHAMBER OF COMMERCE MEETING) NIGHT.

	Big Bob stands at the podium addressing a packed house. The
	atmosphere is odd: somewhere between a bake-off and a
	lynching. People sit in the aisles and in the window sills.
	Bob points his finger.

				BOB
		This is not the answer people.

	The crowd quiets a bit. He leans over the lectern.

				BOB (CONT)
		No matter how upset we may get, or
		how frustrated we may be, we're
		not gonna solve our problems out
		in the street. It's just the wrong
		way to do it. We have to have a
		"Code of Conduct" we can all agree
		to live by.

	His tone grows softer--more concerned ...

				BOB (CONT)
		Now, I asked George and Burt here
		to sketch out some ideas-and I
		think they've done a terrific job.
			(beat/
			scans the crowd)
		If we all agree on these then we
		can take a vote and I think we'll
		start to move in the right direction.

	ANGLE. CROWD.

	They murmur and nod ...

				BOB
			(reading from the
			CODE OF CONDUCT")
		"ONE: All public disruption and
		acts of vandalism are to cease
		immediately."

	EXT. BONFIRE. NIGHT.

	It is still ablaze with books. As Bob continues to READ in
	VOICE OVER, a firetruck comes screeching up to the curb.

	SHOT. FIRETRUCK.

	The same fireman who learned to use the hose before pulls
	several yards of it from the back of the truck. He can barely
	contain his excitement as he gets to open the valve and
	extinguish the raging bonfire ...

				BOB
		"TWO: All citizens of Pleasantville
		are to treat one another in a
		courteous and "pleasant" manner ..."

	SERIES OF SHOTS. LAMPPOSTS.

	The CODE OF CONDUCT is nailed to lampposts and tree trunks in
	rapid succession. It is plastered on walls and in shop
	windows ...

	SODA SHOP.

	Debris is still strewn around the street. A dim light
	emanates from inside.

	INT. SODA SHOP.

	It looks like a scene from the French Revolution. Ten to
	fifteen kids huddle behind the barricade while David reads
	the code of conduct out loud by flashlight.

				LISA ANNE
		"Courteous and Pleasant manner."
		That doesn't sound too bad.

	David just looks at her then continues.

				DAVID
			(reading from THE CODE)
		"THREE: The area commonly known as
		Lover's Lane as well as the
		Pleasantville Public Library shall
		be closed until further notice."

	This sends a murmur amongst the kids.

				DAVID (CONT)
		"FOUR: The only permissible
		recorded music shall be the
		following: Pat Boone, Johnny
		Mathis, Perry Como, Jack Jones,
		The marches of John Phillips
		Souza or the Star Spangled
		Banner. In no event shall any
		music be tolerated that is not of
		a temperate or "pleasant" nature."

				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.

	There is some clapping from the back of the crowd. Bob's eyes
	widen. His face goes flushed (darker gray). A vein bulges in
	his neck. He turns to the police chief.

				BOB
		Dan! Arrest them!

				DAN (POLICE CHIEF)
			(quietly)
		Um ... I don't know how to do that,
		Bob.

				BOB
		What do you mean!?

				DAN
		Well, I never had to do it before.

				BOB
		You put handcuffs on them and you
		take them to the police station.

				DAN
			(thinks)
		Oh. guess I could do that, then.

				DAVID
			(suddenly stronger)
		C'mere, Dan. I'll help you.

	David walks toward the police chief and sticks his hands out.
	A louder murmur moves through the crowd as David actually
	helps him fasten on the cuffs. Mr. Johnson comes over to join
	them and the murmur starts to grow ...

								CUT TO:

	NIGHT TIME.

	A bright full moon stands out against a jet black sky ...

	EXT. MAIN STREET. NIGHT.

	A group of "colored" kids hangs out on Main Street near the
	police station. They gaze off into the distance at the barred
	window of a jail cell. It is elevated half a story above the
	street. Everything is black and white except for the warm
	YELLOW LIGHT, that glows through the bars. They know in a
	glance who's inside.

	INT. JAIL CELL. NIGHT.

	David sits on his bunk staring at the ceiling. The place has
	never been used so there is still plastic wrapping on all the
	sheets and pillow cases. He can't help smiling.

	INT. DIFFERENT JAIL CELL. WAY OFF DOWN THE HALL ...

	Mr. Johnson crouches on his bunk, ignoring his food. He
	clutches a rusty nail and scratches at the plaster wall in
	true "inmate" fashion.

	REVERSE ANGLE. WALL.

	Rather than scratching the days or even the hours, Mr.
	Johnson has carved a huge pastoral landscape into the wall
	complete with lush forest and a running brook. He looks at
	his work and smiles.

	SHOT. POLICE CHIEF.

	He approaches David's cell from the other direction and
	knocks gently on the bars. David turns around.

				DAN
		There's someone to see you Bud.

	DAVID.

	David sits upright on his bunk trying to think who it could
	be. After a moment or two, a strange look of understanding
	crosses his face. He HEARS the sound of a KEY TURNING IN THE
	LOCK. David looks up at the doorway and smiles.

				DAVID
		I thought it might be you.

	REVERSE ANGLE. DICK VAN DYKE.

	He stands in the doorway, still dressed in his TV repairman's
	outfit. FOR THE FIRST TIME, HE IS COMPLETELY IN BLACK AND
	WHITE.

				DICK VAN DYKE
		Hope you're proud of yourself.

				DAVID
		I am actually ... Glad to see you've
		finally shown your true colors.

	Dick Van Dyke gives a tight smile and shuts the door of the
	cell behind him.

				DICK VAN DYKE
		Okay, let's cut the shit and get
		right to it. Where's that remote
		control?

				DAVID
		Why?

				DICK VAN DYKE
		Because you're coming home.

				DAVID
			(smiles)
		Why don't you just take me back
		without it?

				DICK VAN DYKE
		Oh. You're a smart little bastard
		aren't you?
			(tightly)
		It's kind of like a restricted
		ticket. You gotta leave the same
		way you came.

	David just looks at him. He smiles, confidently. Leans back
	on the bunk ...

				DAVID
		So ... I guess as long as I'm
		here, all sorts of things could
		happen to this place. We could
		have pink lawns and blue trees ...

				DICK VAN DYKE
		Just gimme the damn remote!

				DAVID
		I'm sorry. I can't do that.

	Dick Van Dyke takes a deep breath. He glances toward the
	barred window.

				DICK VAN DYKE
		I don't know what went wrong.
		You answered every question. You
		knew every detail. The senior
		Prom ... McIntire's Department
		Store. We had all the same warm
		memories: Sock hops. The Church
		Social ...

				DAVID
		They weren't my memories.
			(beat)
		I borrowed them. It's no good when
		you borrow them.

	Dick Van Dyke's eyes go wide and he literally starts to
	tremble.

				DICK VAN DYKE
			(containing his rage)
		How long do you think you've been
		here?

				DAVID
			(warily)
		I don't know ... Three, four weeks.

				DICK VAN DYKE
		Much less than that.
			(checks his watch)
		An hour and a half.

	David looks at him uneasily. Dick Van Dyke flashes a broad
	nasty smile.

				DICK VAN DYKE (CONT)
		See--and this is really great--
		the show was on for what--half an
		hour a week? So that means for
		every week that goes by in
		Pleasantville, only half an hour
		goes by in the real world.

	The smile gets bigger. Dick Van Dyke moves closer to him.

				DICK VAN DYKE (CONT)
		Now Buddy, you're going on trial
		tomorrow. And if they find you
		guilty, you're gonna be stuck here
		forever. Well, not forever--lemme
		think ...
			(calculates)
		Five year sentence ... Carry the
		three ... That comes out to ...
		sixteen and a half centuries, and
		that's rounding down.

				DAVID
		I'm going on trial tomorrow?

				DICK VAN DYKE
		This is TV pal. They don't fool
		around.

	David is rocked but tries not to show it.

				DAVID
			(stoicly)
		There's worse places.

				DICK VAN DYKE
		Oh sure. For the first hundred
		years. Then it starts to get a
		little monotonous.
			(beat)
		Sleep well.

	He taps on the bars for Dan who opens the lock and lets him
	out. The door CLANGS shut as the two of them disappear down
	the hall. The minute they are gone, the stoicism falls. David
	looks around his cell, truly afraid.

	CLOSER.

	He stares at the tiny cot ... The plain light bulb in the
	ceiling ... The single pillow with the plastic covering it
	... Forever is starting to look like a long time. David
	crosses to the small window and looks out.

	HIS POV. OUT THE WINDOW.

	Across the town square he can see the side of the Town Hall
	complete with the newly painted mural. The "Utopian" view of
	Pleasantville is just as he left it with one notable
	exception: The edges of painting are starting to turn back to
	BLACK AND WHITE.

								CUT TO:

	EXT. TOWN HALL. DAY.

	It is bathed in sunlight. Dozens of people stream through the
	front door for the first trial in Pleasantville's history.
	There is a weird carnival atmosphere in the air.

	INT. TOWN HALL. DAY.

	The place has been transformed from the Chamber of Commerce
	meeting hall to a small town courtroom, complete with pews
	and ceiling fans. The only carry over from its previous
	configuration is the huge CHAMBER OF COMMERCE banner draped
	across the back wall.

	ANGLE. BENCH.

	At the center of the courtroom where the podium used to be is
	a large, elevated judge's bench with a Rotary insignia on the
	front. Big Bob sits six or seven feet above the proceedings
	finally living up to his name. The whole thing is a strange
	combination of Franz Kafka and "Inherit the Wind." Big Bob
	bangs the gavel ...

	CLOSER.

	The undertone begins to quiet down. All of the faces in the
	pews are Black and White. There is a "colored" section in the
	back for standing room only.

	ANGLE. JURORS BOX.

	George is seated in the front row of the jury, despite his
	relationship to one of the defendants. He is dressed
	impeccably with his Rotary Pin still gleaming on his lapel.
	After a moment or two he sneaks a glance toward the back of
	the room ...

	ANGLE. BETTY.

	She stands in the back with the rest of the "colored" faces.
	Betty cranes her head to catch a glimpse of David or Mr.
	Johnson. All at once, a hush goes through the crowd.

	ANGLE. DOORWAY.

	It swings open and David and Mr. Johnson are led in wearing
	handcuffs. Dan, the Police Chief (now ballif), shows them to
	a table in the center of the room directly facing Big Bob.
	There is no lawyer present. There is also no prosecutor.

	ANGLE. DAVID.

	He glances around a little confused. (Weird courtroom.) Big
	Bob bangs the gavel.

				BOB
		Bud Parker and William Johnson,
		you have been charged with
		desecration of a public building
		and the intentional use of
		prohibited paint colors in
		violation of the Pleasantville
		Code of Conduct and laws of
		common decency. Do you admit that
		on the night of May 1, you did
		consciously and willfully apply
		the following FORBIDDEN colors to
		the Pleasantville Town Hall:
			(beat)
		Red, Pink, Vermillion, Puce,
		Chartreuse, Umber, Blue, Aqua, Ox
		Blood, Green, Peach, Crimson,
		Yellow, Olive and Magenta.

				DAVID
		Um ... Yes I do. Where's our
		lawyer?

				BOB
		We prefer to keep these
		proceedings as "pleasant" as
		possible. I don't think a lawyer
		will be necessary.

	There is a murmur and a great deal of nodding amongst the
	black and white faces. Big Bob smiles to himself then
	proceeds.

				BOB (CONT)
		Do you further admit that this
		was done surreptitiously and
		under the cover of darkness?

				DAVID
		Well--it was dark out ...

				BOB
		Good. Do you further admit that
		this unnatural depiction occurred
		in full public view where it was
		accessible to, and in plain sight
		of, minor children?

				DAVID
		It was accessible to everyone.

				BOB
		Very well. Let the record show
		that the defendants have answered
		in the affirmative to all the
		charges.

	He looks directly at them for the first time.

				BOB (CONT)
		Do you have anything to say in
		your defense?

	SHOT. DEFENSE TABLE.

	Mr. Johnson just looks at David, confused and terrified.

				MR. JOHNSON
		I didn`t mean to hurt anybody.
		I just have to paint ... I
		need to.

	He gropes for something else to say, but what else is there?
	David glances over and sees him sit slowly back in his seat.
	David rises from his chair.

				DAVID
		I think I've got something to say.

				BOB
		Very well ...

	David looks out over the audience. After a moment or two, he
	looks back at Big Bob.

				DAVID
		I think I know why you're doing
		this. I mean, I understand why
		you're doing this. I used to
		feel the same way. I used to
		want this place to stay just the
		way it was. I never wanted it to
		change ...

	There is a loud MURMUR. Big Bob bangs the gavel.

				DAVID (CONT)
			(he smiles slightly)
		But nothing stays the same. You
		get things, and you lose things,
		and that's the good part and the
		bad part--but you can't have a
		good part without a bad part.

	He turns and sees his mother in the balcony. They lock eyes
	for a moment. David smiles slightly and continues.

				DAVID (CONT)
		It's like the basketball team.

				BOB
			(leaning forward)
		The basketball team?

				DAVID
		Sure. Everybody's upset because
		they're not winning anymore--but
		just think how it would feel if
		all of a sudden they do win.

	There's a murmur in the gallery.

				DAVID (CONT)
		Wouldn't it feel better than when
		they used to win all the time?

	There is a LOUDER MURMUR. Big Bob looks concerned.

				DAVID (CONT)
		See, I know you want it to stay
		"Pleasant" but there are so many
		things that are so much better:
		like Silly ... or Sexy ... or
		Dangerous ... or Wild ... or
		Brief ...
			(beat)
		And every one of those things is
		in you all the time if you just
		have the guts to look for them.
			(pointing to the "colored" section)
		Look at those faces back there.
		They're no different than you are.
		They just happened to see
		something inside themselves that
		you don't want to ...

				BOB
		Okay--that's enough!

				DAVID
		I thought I was allowed to
		defend myself.

				BOB
		You're not allowed to lie.

				DAVID
		I'm not lying ... Here I'll show
		you.

	He turns suddenly toward the jury box.

				DAVID (CONT)
		Mr. Simpson ...

				MR. SIMPSON
		Yes.

				DAVID
		What color is that hedge of yours?

				MR. SIMPSON
		Green.

				DAVID
		No, not that hedge. The other one.

				MR. SIMPSON
		The other one?

				DAVID
		The one in your mind. The one
		that you see on a bright cold
		morning. The one that you see
		when you walk in front of your
		house and you just stand there
		and stare.

	Mr. Simpson suddenly looks far away. He gets a kind of dreamy
	look in his eye.

				DAVID (CONT)
		What color is that hedge?

	CLOSE UP. MR. SIMPSON.

	SUDDENLY AND BEFORE OUR EYES, MR. SIMPSON TURNS TO LIVING
	COLOR. A huge MURMUR moves through the courtroom. Bob bangs
	the gavel.

				BOB
		I said, that's enough!

				VARIOUS VOICES FROM
				THE AUDIENCE
		"No ... Let him finish ... Go on ..."

	Big Bob lifts the gavel and is about to bang it when David
	suddenly turns toward George.

				DAVID
		Alright. Dad ...

	DIFFERENT ANGLE.

	There is a LOUDER MURMUR. Big Bob just looks at him frozen
	while David confronts his "father." George straightens up.

				GEORGE
			(solemn)
		Yes Bud.

				DAVID
			(beat)
		Don't you miss her?

	CLOSE UP. GEORGE.

	He looks at him stunned. Big Bob bangs the gavel but nobody
	listens. George just stares at him like he got shot.

				DAVID
		I mean, of course you do, but it
		isn't just the cooking or the
		cleaning that you miss--it's
		something else, isn't it ...

	George swallows. The UNDERTONE in the room starts to grow as
	he glances toward the back of the room.

				DAVID (CONT)
			(softer whisper)
		Maybe you can't even describe it.
		Maybe you only know it when it's
		gone. Maybe it's like there's a
		whole piece of you that's missing
		too.
			(shrugs)
		You might even call it "love."

				BIG BOB
			(BANGING the gavel loudly)
		Okay, that's IT!!!

				DAVID
			(motioning toward the back)
		Now don't you think she looks just
		as pretty in color? Don't you
		think she looks just as pretty as
		she did the day you met her?

	Slowly, almost imperceptibly George nods. A single tear rolls
	down his cheek. As it traces the side of his face it leaves a
	long trail of COLOR behind it.

				DAVID (CONT)
		Don't you wish you could tell her
		that?

	He nods again and it all comes out. Betty smiles at him
	through her tears. Even Mr. Johnson smiles as well.

				BOB
			(POUNDING the gavel)
		YOU'RE OUT OF ORDER!

				DAVID
		Why am I out of order?

				BOB
		BECAUSE I WILL NOT ALLOW YOU TO
		TURN THIS COURTROOM INTO A CIRCUS!

				DAVID
		Well I don't think it's a circus.
		And I don't think they do either.

	David motions behind him to the black and white section.
	There are now ten to fifteen "colored" faces.

				BOB
		THIS BEHAVIOR WILL STOP AT ONCE.

				DAVID
		But see that's just the point. It
		can't stop at once. Because it's
		in you. And you can't stop
		something that's in you.

				BOB
			(tightly)
		It's not in ME.

				DAVID
		Oh sure it is.

				BOB
		No it isn't.

	He crosses to the bench looking right up at Big Bob. He leans
	over the bench and gets right up in his face.

				DAVID
			(smug whisper)
		What do you want to do to me
		right now?

	Big Bob starts to tremble. He shakes with rage as David moves
	closer.

				DAVID (CONT)
		C'mon. Everyone's turning colors.
		Kids are making out in the street.
		No one's getting their dinner--
		hell, you could have a flood any
		minute ... Pretty soon you could
		have the women going off to work
		while the men stayed home and
		cooked ...

				BIG BOB
		That's not going to happen!

				DAVID
		But it could happen.

				BIG BOB
		No it couldn't!

	Big Bob looks at David and starts to tremble. It starts
	around the base of his neck, spreads quickly up the rest of
	his head. After a moment or two, Big Bob has gone completely
	RED IN THE FACE.

	WIDER.

	A gasp goes through the courtroom. David looks at him and
	just smiles. The crowd reaction turns almost to a ROAR as Big
	Bob turns and catches his reflection in the window.

	CLOSE UP. BIG BOB.

	He sees the ruddy image staring back at him, then looks down
	at his hands. They have gone completely RED as well. Big Bob
	freezes for an instant then bolts from the bench in panic and
	flees the room--flinging open the doors to the courtroom.

	ANGLE. DOORWAY.

	As Big Bob flees, he reveals an amazing sight: the Town
	Square GLISTENS IN LIVING COLOR. The huge lawn is a rich deep
	green. The sky is a dense opaque blue. Dozens of spectators
	bolt from their seats and rush to the doorway as the crowd
	moves outside.

	EXT. PLEASANTVILLE. (FULL COLOR!)

	All the birds are really chirping. Red Brick, Yellow cars,
	Green hats ... The barber pole in front of Gus' has finally
	turned to red, white and blue--he can't help smiling. David
	walks out into the sunlight and stares in wonder at his
	creation. The whole town is washed in joy.

	WIDER.

	Margaret comes up and throws her arms around him. They meet
	in a rich passionate kiss (in direct defiance of the code of
	conduct). Several people around them actually clap, like
	spectators at a wedding. Jennifer moves up next to them and
	looks at her brother making out.

				JENNIFER
		Uch ... I am like gonna hurl ...

	David turns and looks at her. Both of them laugh. David
	throws his arms around his sister as more and more people
	stream out of the courtroom into the sunlight ...

								DISSOLVE TO:

	EXT. MAIN STREET. DAY.

	David and Jennifer stand together on the edge of town. She
	clutches a valise in her hand. He holds the remote control.

				DAVID
		Are you sure?

				JENNIFER
		I told you. I'm like positive.

				DAVID
		This thing works. We could go
		home right now.

				JENNIFER
		I'm not ready yet. I gotta do
		this for a little while.

	WIDER.

	They stand on the edge of town (which finally has an edge).

	A large sign says: "Springfield 12 Miles" and for the first
	time, the end of Main Street is no longer the beginning.
	Jennifer is dressed in Mary Sue's clothes with a little bit
	of style thrown in. Rich fields of wheat spread out in the
	distance.

				JENNIFER
		Besides. You think there's like
		a chance I'm gonna get into
		college back there?

				DAVID
			(thinks ...)
		Honestly ... no.

	They both smile.

				DAVID (CONT)
		You got the admissions letter.

				JENNIFER
		Right here.

				DAVID
		And you're sure about this?

				JENNIFER
		I've done the slut thing, David.
		It's really kinda old.

	David nods.

				DAVID
		I'll come back and check on you
		in a month.

	Jennifer nods and gives him a hug. She holds on tight for a
	couple of seconds.

				JENNIFER
		You're like the coolest brother
		in the world.

	David smiles. Never been called cool before. They suddenly
	hear the SOUND of a motor and look to their left. A huge
	Greyhound bus lumbers up the highway, pulling to a halt at
	the sign. The doors open beckoning her in. Jennifer smiles at
	her brother, then turns toward the door ...

	EXT. MARGARETS HOUSE. DAY.

	She clutches her umbrella at her side. David holds a bag of
	oatmeal cookies. Each one clings on to the other one's
	clothing. Their faces are inches apart.

				MARGARET
		You're gonna forget about me.

				DAVID
		No I won't. I swear.

	Margaret nods. She looks at him for a moment then wraps her
	arms around his neck. They meet in a long, rich, wet, soft
	kiss. The umbrella falls to the ground ...

				MARGARET
			(a whisper)
		I like calling you David.

				DAVID
		I like it too.

	INT. PARKER LIVING ROOM.

	David stands in front of the television with Mr. Johnson at
	his side. He holds the remote control in his hand. Mr.
	Johnson seems pretty amazed at the whole idea.

				MR. JOHNSON
		Well how do you know it won't go
		back to the way it was?

				DAVID
		You're gonna keep painting aren't
		you?

	Mr. Johnson nods.

				DAVID (CONT)
		Well ...

	He nods again and thinks about it. They smile at each other
	one last time.

				MR. JOHNSON
			(remembering something)
		Oh.
			(reaching into his pocket)
		I've got something for you.

	He pulls out a folded piece of paper. Mr. Johnson extends it
	to David who unfolds it and instantly smiles.

	INSERT. PAPER.

	It is a small painted replica of their mural in the same
	vibrant colors. Everything is scaled perfectly, exactly like
	the one on the wall.

	SHOT. DAVID.

				DAVID
		It's beautiful.

				MR. JOHNSON
		Just a little--You know.

	David looks up at him and smiles. All at once he glances
	toward the door.

	WIDER.

	Betty is standing there holding a brown paper bag. A sweater
	is draped over her arm.

				BETTY
			(extending the bag)
		I made you these for the trip.
		They're marshmallow rice squares.

				DAVID
		Thanks. I thought you weren't
		gonna ...

				BETTY
			(painful/
			quieter)
		I had to say goodbye.

	She looks up at David and their eyes lock. Betty hands him
	the bag.

				BETTY (CONT)
		There's a meatloaf sandwich in
		there too. Don't go skipping
		dinner just 'cause you're not
		here anymore.

				DAVID
		I won't.

				BETTY
			(voice quivering)
		And ... wear this on the trip in
		case it gets cold.

				DAVID
			(nodding)
		... It's a pretty short trip.

	She nods as well. Betty puts the sweater around his shoulders
	anyway and fusses with the collar for a second or two. Then
	she throws her arms around his neck.

				BETTY
		I'm so proud of you, Bud.

				DAVID
		Thanks ... I love you.

				BETTY
		I love you too.

	She clings on tight for a second or two then lets go. Betty
	flicks away a tear and draws a deep breath.

				BETTY (CONT)
		Well ...

	She steps back and looks at him. David glances down at the
	remote.

				DAVID
		You better stand back a little.

	Betty and Mr. Johnson cross toward the comer of the room.
	David points the remote at the TV ...

								CUT TO:

	EXT. MODERN HOUSING TRACT. DAY.

	All the ersatz Spanish houses stretch out toward infinity. A
	WESTEC security patrol cruises by them at a crawl. A second
	or two later, all the sprinklers turn on in uniform
	synchronization.

	INT. DAVID'S LIVING ROOM.

	He stands in the middle of the living room looking at his
	new/old surroundings. Everything is the same as it was. The
	black onyx coffee table. The clean burbur rug. The big screen
	TV in its sleek black cabinet. David looks at it and smiles.
	The place is inadvertantly in black and white.

	CLOSER.

	He reaches forward and turns on the TV (by hand) flipping
	around the dial. Jerry Springer is berating a prostitute ...
	Tony Robbins hawks self-improvement in an infomercial ...
	Court TV is doing an O.J. recap. David unfolds Mr. Johnson's
	sketch and glances down at it. He smiles to himself. A
	different kind of nostalgia ...


						END