美国丽人4

  
 
CAROLYN(hugs Jane)Honey, I'm proud of you. I watched you very closely, and you didn't screw up once.(then, to Lester) Okay, we have to go.
She starts toward the parking lot. LESTER stays behind.
LESTERWhat are you girls doing now?
JANEDad.
ANGELAWe're going out for pizza.
LESTERWell, can we give you a lift?
ANGELAThank s, but I have a car.
LESTERThat's great! Uh, Janie's hoping to get a car soon, aren't you honey?
JANE(you freak)Dad. Mom's waiting for you , and she look like she's about to start chewing her hair.
LESTERWell, it's great to meet you, Angela. Any, uh, friend of Janie's is a friend of mine.
ANGELA smiles at him, fully aware OF the powers she has overhim. He is mesmerized; grateful, even.
LESTER (cont'd)So... I guess I'll be seeing you around.
I guess.ANGELA
LESTER waves awkwardly as He crosses off.
JANECould he be any more pathetic?
ANGELAI think it's sweet.(then)And I think he and your mother have not had sex for a long time.
INT. BURNHAM HOUSE - MASTER BEDROOM - a FEW HOURS LATER
CLOSE on a solitary red ROSE PETAL as it falls slowly andsilently through the air1 like a feather.
We're in Lester and Carolyn's room, looking down on their bed from OVERHEAD. Even in sleep, Carolyn still looks determined. Lester, however, is wide awake and stares up at us.
LESTER (V.O.)It's the weirdest thing.
The ROSE PETAL drifts into view, landing on his pillow.
LESTER (V.O.) (cont'd)I feel like I've been in a coma for about twenty years, and I'm just now waking up.
More ROSE PETALS fall onto the bed.
LESTER (V.O.) (cont'd)I feel younger... lighter...He smiles UP at...his POV: ANGELA, naked, FLOATS directly above us as if INwater, kicking lazily as a deluge of ROSE PETALS falls around her. Her hair fans out around her head and GLOWS with a subtle, burnished light. She looks down at us with a smile that is all things: compassion... invitation... lust...
LESTER smiles BACK and LAUGHS, as ROSE PETALS cover his face.
LESTER (V.O.) (cont'd)Spec-tac-ular.
EXT. ROBIN HOOD TRAIL - CONTINUOUS
A WHITE BMW 328si CONVERTIBLE winds its way down the street and pulls close to, but not into, the Burnham's driveway.
INT. ANGELA'S BMW - CONTINUOUS
ANGELA is driving, JANE is IN the passenger seat. both girlsare stoned and LAUGH hysterically. Gradually, their LAUGHTER dies down. Iggy Pop sings "CANDY" on the RADIO.
JANEI'm sorry my dad was so weird tonight.
ANGELAIt's okay. I'm used to guys drooling over me.(lights a cigarette)It started when I was about twelve. I'd go out to dinner with my parents. Every Thursday night, Red Lobster. And every guy there would stare at me when I walked in. And I knew what they were thinking. Just like I knew guys at school thought about me when they jerked off...
JANEVomit.
ANGELANo I liked it. And I still like it. If people I don't even know look at me and want to fuck me, it means I really have a shot at being a model. Which is great, because there's one thing worse in life than being ordinary.
An awkward beat. JANE stares at the floor.
JANEI really think it'll happen for you.
ANGELAOh, I know. Because everything that was meant to happen, does. Eventually.(then)Maybe I should come in a say good night to your dad.
The two girls break into a fresh round OF stoned LAUGHTER.
EXT. BURNHAM HOUSE - CONTINUOUS
On VIDEO: JANE gets out OF the CAR, still LAUGHING, and wavesas Angela pulls away. We ZOOM in on Jane as she walks toward the house. She turns suddenly, sensing our presence, and looks directly at us.
Her POV: We're looking at the pale blue COLONIAL HOUSE next door where the moving van was parked earlier. The front porch is shrouded in darkness... then a PORCH LIGHT abruptly reveals Ricky, perched on a white-washed Adirondack chair, having just turned on the overhead light. As usual, he wears very conservative clothes. There is a BEEPER attached to his belt, and his VIDEO CAMERA dangles loosely around his neck.
Irritated, JANE stares at him, hard.
JANEAsshole.
He looks BACK at her curiously, then raises his VIDEO cameraand starts to videotape her.
His POV, on VIDEO: JANE, angry and self-conscious, turns andwalks quickly toward her house, flipping us off as she goes.
INT. BURNHAM HOUSE - FOYER - CONTINUOUS
JANE enters, closes and locks the door, quickly turns off theLIGHT that's been left on for her, then peeks through a window..
Her POV: The Fitts' porch light is still on, but there's no sign of Ricky.
Jane starts quietly up the stairs. Then, just as she's almost out of sight, she smiles, a schoolgirl thrilled to discover she's the object of a schoolboy's crush.
FADE to BLACK.
FADE IN
INT. BURNHAM HOUSE - JANE'S BEDROOM - THE NEXT MORNING
CLOSE on an ADDRESS BOOK. A man's hand flips to the H page and then his finger runs down the names on it, stopping at the name Angela Hayes...
Lester, already dressed for work, sits at Jane's desk, going through her address book. We HEAR the SHOWER running in the adjacent bathroom, and Jane SINGING "CANDY" at the top of her lungs. Lester grabs her phone and dials.
JANE (O.C.)I'VE HAD A HOLE... IN MY HEART... FOR SO LONG...CLOSE on LESTER, with the receiver to his ear, nervous.
ANGELA (O.C.)(over phone line) Hello? Hello?
LESTER is frozen, unable to speak. Suddenly, the shower isturned off in the next room, and Jane's singing stops. Lester hangs up and exits quickly. A moment, then the PHONE RINGS. Jane emerges from the bathroom, dripping wet, and answers it.
JANEHello?
INT. HAYES HOUSE - ANGELA' S BEDROOM - CONTINUOUS
ANGELA is sprawled across her bed, on the phone. the walls OFher room are covered with pictures of SUPERMODELS.
ANGELAWhy'd you call me?
Intercut with Jane in her bedroom:
JANEI didn't.
ANGELAWell, my phone just rung and I answered it and somebody hung up and then I star sixty-nined and it called you back.
JANEI was in the shower.
Then JANE notices her ADDRESS book open to the H page.
JANE (cont'd)Oh, gross
EXT. BURNHAM HOUSE - CONTINUOUS
ON VIDEO: We're across from Jane's WINDOW, peering in. Jane picks up the address book, frowning. She speaks into the one, but we can't hear her.
WOMAN'S VOICE (O.C.)(sing song)Rick-y! Break-fast!
INT. FITTS HOUSE - RICKY'S BEDROOM - CONTINUOUS
Ricky, dressed for school, stands at his open window, videotaping. He lowers his CAMERA, but his eyes remain locked on Jane across the way.
RICKYBe right there.
INT. FITTS HOUSE - KITCHEN - MOMENTS LATER
BARBARA FITTS stands at the stove, frying bacon. She's in her fifties; pretty, in a slightly childish way. She flips the bacon strips mechanically, her eyes focused elsewhere. Her husband, COLONEL FRANK FITTS (whom we recognize from his run-in with Detective Fleishman at the beginning), sits at a dinette reading The Wall Street 'Journal. They're each off in their own little world, which they vastly prefer to this one, then:
RICKY(entering)Mom.
Startled, BARBARA turns to him.
BARBARAHello.
RICKYI don't eat bacon, remember?
BARBARA(unnerved)I must have forgotten. I'm sorry.
RICKY serves himself scrambled eggs from ANOTHER pan, thenjoins his father at the table.
RICKYWhat's new in the world, Dad?
COLONELThis country is going straight to hell.
RICKYSo nothing's changed.
A DOORBELL rings. the COLONEL and BARBARA look at eachother, alarmed.
COLONELAre you expecting anyone?
BARBARANo.(things)No.
The COLONEL rises and heads toward the living ROOM, a littlepuffed up. Curious, Ricky follows. Barbara just stands there, frightened.
INT. FITTS HOUSE - FOYER - CONTINUOUS
The COLONEL opens the front door to reveal the two JIMS.
JIM #1Hi.
JIM #2Welcome to the neighborhood.
Jim #1 holds out a basket filled with flowers, vegetables and a small white cardboard box tied with raffia.
JIM #1Just a little something from our garden.
RICKY watches from the BACK OF the foyer.
JIM #2Except for the pasta, we got that at Dean and Deluca.
JIM #1It's unbelievably fresh. You just barely drop it in the water and it's done.
The COLONEL stares at them, suspicious.
JIM #1 (cont'd)(offers his hand)I'm Jim Olsen. I live across the street. Welcome to the neighborhood.
COLONEL(shakes)Colonel Frank Fits, U.S. Marine Corps.
JIM #1Nice to meet you . And this is my partner...
JIM #2(offers his hand)Jim Boyd, but my friends call me J.B.
COLONELLet's cut to the chase, okay? What are you guys selling?
A beat.
JIM #2Nothing. We just wanted to say hi to our new neighbors -
COLONELYeah, yeah, yeah. You said you're partners. So what's your business?
A beat. the Jims look at each other, then BACK at theColonel.
JIM #1Well, he's an entertainment lawyer.
JIM #2And he's an anesthesiologist.
They're trying not to laugh. The Colonel looks at them, confused, then it dawns on him.
INT. COLONEL' S FORD EXPLORER - LATER
The COLONEL drives, staring darkly at the road ahead. IN thepassenger seat, Ricky is using a CALCULATOR and jotting numbers down in a NOTEBOOK.
COLONEL(suddenly)How come these faggots always have to rub it in your face? How can they be so shameless?
RICKYThat's the whole thing, Dad. They don't feel like it's anything to be ashamed of.
The COLONEL looks at RICKY sharply.
COLONELWell, it is.
A beat, as RICKY continues his calculations, before Herealizes a response is expected from him. Then:
RICKYYou're right.
The Colonel's eyes flash angrily.
COLONELDon't placate me like I'm your mother, boy.
RICKY sighs, then looks at his father and speaks with sincerehatred.
RICKYForgive me sir, for speaking so bluntly, but those fags make me want to puke my fucking guts out.
The COLONEL is taken aback, But quickly covers.
COLONELMe too, son. Me too.
Case closed, RICKY goes BACK to his calculations.
CLOSE on the pencil in his hands... he's totaling two columns of NUMBERS. Under the column "Income" he writes in swift, bold strokes: $24,950.00.
EXT. high SCHOOL CAMPUS - a FEW MINUTES LATER
JANE and ANGELA are seated with two other TEENAGE GIRLS.They're all smoking.
ANGELAI'm serious, he just yanked it out and showed it to me. You know, like the President did to that woman.
TEENAGE GIRL #1Gross
ANGELAIt wasn't gross. It was kind of cool.
TEENAGE GIRL #1So did you do it with him?
ANGELAOf course I did. He is a really well-known photographer? He shoots for Elle on like, a regular basis? It would have been so majorly stupid of me to turn him down.
TEENAGE GIRL #2You are a total prostitute.
ANGELAHey. That's how things really are. You just don't know, because you're this pampered little suburban chick.
TEENAGE GIRL #2So are you. You've only been in Seventeen once, and you looked fat, so stop acting like you're goddamn Christy Turlington.
The two TEENAGE girls move away from JANE and Angela.
ANGELA(calling off)Cunt!(then)I am so sick of people taking their insecurities out on me.
The Colonel's Ford Explorer pulls up, and Ricky gets out. The creases on his trousers are sharp enough to cut glass.
JANEOh my God. That's the pervert who filmed me last night.
ANGELAHim? No way. Jane, he is a total lunatic.
JANEYou know him?
ANGELAHe was in my earth science class in eighth grade, and he always said the creepiest things, and then one day, he was just, like, gone. And then Connie Cardullo told me he his parents had to put him in a mental institution.
JANEWhy? What did he do?
ANGELAWhat do you mean?
JANEWell, they can't put you away just for saying creepy things.
ANGELA stares at JANE, then her mouth widens into a smile.
ANGELAYou total slut. You've got a crush on him.
JANEWhat? Please.
ANGELAYou were defending him! You love him. You want to have, like, ten thousand of his babies.
JANEShut up.
JANE Suddenly finds RICKY standing IN front OF her, lookingat her intensely.
RICKYHi. My name's Ricky. I just moved next door to you.
JANEUh, yeah. I know. I kinda remember this really creepy incident when you were filming me last night?
RICKYI didn't mean to scare you. I just think you're interesting.
ANGELA shoots a wide-eyed look at JANE, who ignores it.
JANEThanks, but I really don't need to have some psycho obsessing about me right now.
RICKYI'm not obsessing. I'm just curious.
He looks at her intently, his eyes searching hers. JANE isunnerved and has to look away. Ricky smiles and walks off.
ANGELAWhat a freak. And why does he dress like a Bible salesman?
JANEHe's like, so confident. That can't be real.
ANGELAI don't believe him. He didn't even like, look at me once.
EXT. suburban NEIGHBORHOOD - DAY
CLOSE on a wooden SIGN that reads:
Open HOUSE TODAYBURNHAM & ASSOCIATES REALTY555-1618
Carolyn BURNHAM the SIGN is planted IN front OF a RUN-downHOME in a run-down middle-class neighborhood. The Mercedes-Benz ML320 is parked in front of the house. Carolyn, wearing a T-shirt and jeans, unloads a box filled with cleaning supplies, a BOOMBOX and a garment bag from the back. Something across the street catches her eye.
Her POV: IN front OF a DIFFERENT HOUSE with much More curbappeal is another SIGN, with a picture of the same silver-haired MAN we saw on the bus stop bench earlier. It reads:
FOR SALECall Leonard Kane - the Real Estate King555-1957
Carolyn frowns and slams the BACK OF the MERCEDES shut, alittle harder than necessary.
INT. SALE HOUSE - living ROOM - MOMENTS LATER
Carolyn enters, hangs her garment bag IN the hall closet andinspects the empty living room. The cathedral ceiling is painted an alarming burnt orange, and the native stone fireplace has shed a couple of stones onto the floor, which she quickly picks up and wedges back into the fireplace.
CAROLYN(quietly)I will sell this house today.
She plugs IN the BOOMBOX, presses a button and we HEAR TonyBennett singing "WITH PLENTY OF MONEY AND YOU," which plays throughout the following
MONTAGEWe see Carolyn, working with fierce concentration as she:
Doggedly scrubs countertops in the kitchen; Perches on a stepladder to dust a cheap-looking white ceiling fan in the mater bedroom; Cleans glass doors that overlook the patio and pool; Skims leaves off the surface of the pool; Sweeps the patio with a broom; And vacuums a dirty carpet that will never be clean.
Throughout all this, she keeps repeating to herself:
CAROLYNI will sell this house today.I will sell this house today.I will sell this house today...
She says This as if she believes she can actually will Thishouse into being something more than the dump it is.
INT. SALE HOUSE - BATHROOM - LATER
Carolyn stands IN front OF the mirror, Now dressed IN astylish but not-too-formal business suit. She finishes applying lipstick, then stares at her reflection, critically.
CAROLYNI will sell this house today.
She says This as if it were a threat, then turns to go. onher way out, she notices a smudge on the glass shower door and pulls off a piece of toilet paper to clean it. 
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