PLEASANTVILLE

     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 ...