PLEASANTVILLE

     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.