美国丽人9

  
 
EXT. BURNHAM HOUSE - LATER
Angela's BMW pulls close to, but not into, the Burnham's driveway. Jane and Ricky climb out, and Angela pulls off, her tires SQUEALING as she goes.
JANEWhat's her problem?
RICKYShe doesn't like when you're not totally focused on her.
They start down the driveway.
JANE
So, what's the most beautiful thing you've ever filmed?
A beat.
RICKYI'll show it to you.
INT. FITTS HOUSE - KITCHEN - MOMENTS LATER
Barbara Fitts sits absolutely still at the kitchen table, staring off into space as if hypnotized. Behind her, Ricky enters through the back door, followed by Jane. Barbara doesn't seem to hear them. Ricky quietly takes his VIDEO CAMERA out of his backpack and focuses it on his mother.
ON VIDEO: We CIRCLE Barbara slowly until we're focused on her face. We stay on her for a long beat, then:
RICKY (O.C.)Mom(no response)Mom
ON VIDEO: Barbara's eyes flutter and she turns to us slowly.
BARBARA(pleasant)Yes?
RICKY (O.C.)What were you just thinking about?
BARBARAI...(thinks)No. Nothing.
RICKY (O.C.)Wow. People study meditation for years to be able to reach that same state of mind.
BARBARAHuh. What do you know.
RICKY (O.C.)Mom, I want you to meet somebody. She's standing behind you.
ON VIDEO: Barbara turns to Jane, who's embarrassed by this.
RICKY (cont'd)This is Jane.
BARBARAOh, my. I apologize for the way things look around here.
On VIDEO: JANE glances around. the KITCHEN is spotless.
INT. FITTS HOUSE - THE COLONEL'S STUDY - MOMENTS LATER
We HEAR KEY TURNING IN the lock, then the door opens andRicky enters, holding a RING OF KEYS, followed by Jane.
RICKYThis is where my Dad hides out.
GLASS CASES filled with GUNS line the walls.
JANEWow. I take it he's got a thing for guns.
RICKY crosses to a built-IN CABINET behind the desk.
RICKYYou got to see this one thing...
He unlocks the CABINET and opens it, revealing shelvesstacked with WAR MEMORABILIA.
RICKY (cont'd)Man, he would kill me if he knew I was in here...
JANEDid you steal his keys?
RICKYNo. One of my clients is a locksmith. He was short on cash so I let him pay me in trade.
He reaches into the CABINET and carefully removes an ovalCHINA PLATTER which he hands to Jane. She examines it
RICKY (cont'd)Turn it over.
CLOSE on the bottom OF the plate: a small SWASTIKA isimprinted in the center, surrounded by GERMAN LETTERING.
JANEOh my God.
RICKYIt's like official state china from the Third Reich. There's like this whole subculture of people who collect this Nazi shit. But my dad just has this one thing.
He puts the platter back into the cabinet and shuts the door, then notices Jane looking at him oddly.
RICKY (cont'd)What's wrong?
JANENothing.
RICKY(concerned)No, you're scared of me.
JANENo I'm not.
But she is. RICKY studies her.
RICKYCome on, let's go to my room
INT. FITTS HOUSE - RICKY'S BEDROOM - MOMENTS LATER
RICKY enters, followed By Jane. He shuts the door, thentakes his VIDEO CAMERA out of his backpack. Jane looks around at all the AUDIO/VIDEO EQUIPMENT.
JANESo let me guess: you want to be, like a movie director or something.
He doesn't answer, he just starts to videotape her.
JANE (cont'd)(irritated)Ha. I should have known. You're just like every other dweeb who worships Quentin Tarantino for the same reason you can't let go of that camera: because you don't know how to be a real person in real life. It's so obvious.
RICKYYou think you're not obvious? You sit in front of your mirror, wondering what it would be like to be beautiful, like Angela. But the truth is, you're more beautiful than she'll ever be. Because you're more real. Because you...
He starts to SING, IN a clear, deep voice.
RICKY (cont'd)YOU... LIGHT UP MY LIFE...
JANE stares at him, unsure whether she should laugh or run.
RICKY (cont'd)YOU GIVE ME HOPE... TO CARRY ON...
She Finally LAUGHS. He lowers the camera and smiles.
RICKY (cont'd)Want to see the most beautiful thing I've ever filmed?
INT. FITTS HOUSE - RICKY'S BEDROOM - LATER
On VIDEO: were IN an empty parking lot on a cold, gray day.Something is floating across from us... it's an empty, wrinkled, white PLASTIC BAG. We follow it as the wind carries it in a circle around us, sometimes whipping it about violently, or, without warning, sending it soaring skyward, then letting it float gracefully down to the ground...
Jane sits on the bed. She watches Ricky's WIDE-SCREEN TV, her brow furrowed, trying to figure out why this is beautiful.
From a chair across the ROOM, RICKY watches, smiling.
RICKYIt was one of those days when it's a minute away from snowing and there's this electricity in the air, you can almost hear it, right? And this bag was like, dancing with me. Like a little kid begging me to play with it. For fifteen minutes. And that's the day I knew there was this entire life behind things, and ... this incredibly benevolent force, that wanted me to know there was no reason to be afraid. Ever.
A beat.
RICKY (cont'd)Video's a poor excuse. But it helps me remember... and I need to remember...
Now JANE is watching him.
RICKY (cont'd)(distant)Sometimes there's so much beauty in the world I feel like I can't take it, like my heart's going to cave in.
He points a REMOTE at the TV and switches it off, then justsits there lost in thought, not unlike his mother.
After a moment, JANE gets up. RICKY watches impassively asshe kneels in front of him and takes his hands and kisses them. Then she leans up and kisses him softly on the lips. His eyes scan hers, curious to see how she reacts to this...
JANE(suddenly)Oh my God. What time is it?
INT. BURNHAM HOUSE - DINING ROOM - MOMENTS LATER
We HEAR Jack Jones singing "YOU'D BETTER LOVE ME." Lester is seated at the dining table, in a T-shirt and jeans, eating his dinner voraciously and drinking beer from a bottle. Across from him, Carolyn picks at her food, watching him with contempt. He HEAR the back door SLAM, then Jane enters and quickly takes her seat at the table.
JANESorry I'm late.
CAROLYNThat's quite all right, dear. Your father and I were just discussing his day at work.(to Lester)Why don't you tell our daughter about it, honey?
JANE stares at both her parents, apprehensive. LESTER looksat Carolyn darkly, then flashes a "you-asked-for-it" grin.
LESTERJanie, today I quit my job. I also told my boss to fuck himself, and then blackmailed him for almost sixty-thousand dollars. Pass the asparagus.
CAROLYNYour father seems to think this kind of behavior is something to be proud of.
LESTERAnd your mother seems to prefer I go through life like a fucking prisoner while she keeps my dick in a mason jar under the sink.
CAROLYN(ashen)How dare you speak to me like that in front of her?
LESTERWill someone please pass me the asparagus?
CAROLYN(to Lester)I hope you don't think for one minute I'm going to support you
LESTERI already have another job.
JANE(risesOkay, guys? I'm not going to be a part of this.
LESTER(means it)Sit down.
JANE does So immediately, surprised and intimidated By thepower in her father's voice. Lester gets up, crosses to the other side of the table to get a PLATE OF ASPARAGUS, then sits again as he serves himself.
LESTER (cont'd)I'm sick of being treated like I don't exist. You both do whatever you want to do, whenever you want to do it and I don't complain. All I want is the same courtesy -
CAROLYN(overlapping)Do you really think -
LESTER hurls the plate OF asparagus against the wall withsuch force it SHATTERS, frightening Carolyn and Jane.
LESTERDon't interrupt me, honey.
He goes BACK to eating his meal, as if nothing unusual hashappened. Carolyn sits in her chair, shivering with rage. Jane just stares at the plate in front of her. "YOU'D BETTER LOVE ME" continues to play on the STEREO.
LESTER (cont'd)Oh, and another thing. From now on, we're going to alternate our dinner music. Because frankly, and I don't think I'm alone here, I'm really tired of this Lawrence Welk shit.
EXT. ROBIN HOOD TRAIL - CONTINUOUS
The Colonel's Ford Explorer winds down the street.
INT. COLONEL'S FORD EXPLORER - CONTINUOUS
The COLONEL drives, stoic as always. something outsidecatches the Colonel's eye.
His POV: We're driving past the two Jims' house. They're reclining in their SWING, their dog Bitsy curled up at their feet. One Jim runs his hand through the other's hair and kisses him lightly.
The Colonel stares, 0utraged.
INT. BURNHAM HOUSE - JANE'S BEDROOM - LATER
JANE is sprawled on her bed, talking on the phone.
JANEOh my God, Angela, it was like they both turned into maniacs right in from of me. And I think my ad was high...
There is a KNOCK at the door.
JANE (cont'd)I'll have to call you back.
She hangs up the phone, then calls out:
JANE (cont'd)Go. Away.
CAROLYN (O.C.)Honey, please let me in.
JANE rolls her eyes, crosses to the door and opens it.
CAROLYN (cont'd) (entering)I wish you hadn't witnessed that awful scene tonight. But in a way, I'm glad.
JANEWhy, so I could see what freaks you and Dad really are?
CAROLYNMe?
She stares at JANE, then starts to cry.
JANEAw, Christ, Mom.
CAROLYN(tearful)The reason I'm glad is because you're old enough to learn the most important lesson in life: you cannot count on anyone except yourself. It's sad, but the and the sooner you learn it, the better off you'll be.
JANELook, I really don't feel like having a Kodak moment, here -
Carolyn Suddenly SLAPS JANE, hard.
CAROLYNYou ungrateful little brat. Just look at everything you have. When I was your age, I lived in a duplex. We didn't even have our own house.
Embarrassed By her behavior, she quickly leaves. JANE sitson the bed for a moment, rubbing her cheek. Then crosses to the window and looks out.
EXT. FITTS HOUSE - CONTINUOUS
Jane's POV: We're across from Ricky's room, peering in. He's moved his desk chair over by the window, where he sits with his VIDEO CAMERA, videotaping us. On the WIDE ~ TV behind him, we see Jane standing in her window as she looks across at him. She waves. Ricky just keeps videotaping. A beat, then she starts to unbutton her shirt.
INT. FITTS HOUSE - THE COLONEL'S STUDY - CONTINUOUS
We HEAR KEYS TURNING, then the door opens and the COLONELenters, still disturbed by what he just saw. He places his briefcase and KEYS on the desk, then sits and tries to sort through the mail in his hand. Unable to concentrate, he throws the mail down, angry. He sits very still for a moment, some internal struggle obviously taking place, then grabs his KEYS off the desk and turns to unlock the built-in CABINET behind the desk, only to find that it's already open...
INT. FITTS HOUSE - RICKY'S BEDROOM - CONTINUOUS
We're behind Ricky, as he videotapes Jane in her window. She has now removed her shirt and jeans. She stands there in her bra and panties, then reaches behind her back to unhook the bra...
On VIDEO: we ZOOM toward JANE as she takes off her braclumsily. She's obviously embarrassed, but she's gone this far and there's no turning back. She stands there with her breasts exposed, trying to look defiant, but she's achingly vulnerable. We continue ZOOMING toward her face, as close as we can get to the desperate yearning in her eyes...
Suddenly, the door is thrown open and the Colonel enters, incensed, carrying his KEYS. Startled, Ricky turns around. As soon as his eyes meet his father's, he knows what's up.
RICKYDad, I just wanted to show-
COLONELYou little bastard -
He lunges toward RICKY, who scrambles to dodge him. But theColonel is too fast and too agile; he quickly grabs the boy by the throat and shoves him up against the wall.
EXT. BURNHAM HOUSE - CONTINUOUS
Jane's POV: In the WINDOW across from us, the Colonel proceeds to give Ricky a serious beating, punching his face.
INT. FITTS HOUSE - RICKY'S BEDROOM - Continuous
Ricky's lip is bleeping, but he maintains a clear steady gaze at this father during this violence.
COLONEL(unnerved)Fight back you little pussy!
RICKYNo, sir. I won't fight you.
Gradually, the COLONEL winds down. He lets go OF RICKY andsinks into a chair, breathing hard.
COLONELHow did you get in there?
RICKYI picked the lock.
COLONELWhat were you looking for? Money? Are you on dope again?
RICKYNo sir. I was showing my girlfriend your Nazi plate.
A beat.
COLONELGirlfriend?
RICKYYes, sir. She lives next door. The Colonel glances toward the window.
His POV: IN the window across from us, JANE peeks out frombehind the curtain. She quickly pulls it shut.
RICKY (cont'd)Her name's Jane.
A beat. the COLONEL is Suddenly, deeply shamed.
COLONELThis is for your own good, boy. You have no respect for other people's things, for authority, for... anything.
RICKYI know. I'm sorry.
COLONELYou need structure, you need discipline -
RICKY(simultaneous)Discipline. I know. Thank you for trying to teach me.(then)Don't give up on me, Dad.
The COLONEL, still breathing heavily, regards his son. FORthe briefest moment, we see a flash of tenderness across his face, but then it's gone. He gets up.
COLONELYou stay out of there.
He leaves, quickly, glancing BACK toward the window on hisway out. Ricky then gets up and goes into his bathroom, where he starts to calmly wash the blood from his face.
INT. BURNHAM HOUSE - JANE' S BEDROOM - CONTINUOUS
JANE sits on her bed crying, shaken By What she just saw.
INT. FITTS HOUSE - THE COLONEL'S STUDY - CONTINUOUS
The COLONEL enters, still breathing heavily, and locks thedoor behind him. He paces for a moment, agitated, then crosses to the built-in CABINET behind his desk and opens it. He removes the Nazi platter and gingerly places it on the desk, then does the same with several other items until he uncovers a small METAL BOX. He sits behind the desk, staring at the box, troubled. He finally opens it.
ANGLE ON the open box: it's filled with PHOTOGRAPHS. The Colonel pulls one from the bottom of the box...
CLOSE on the grainy BLACK & WHITE PHOTOGRAPH IN his callusedhands: it's of TWO YOUNG SERVICEMEN standing in front of a Jeep, both shirtless and wearing fatigues. Their muscular arms are draped lazily around each other's shoulders as they grin for the camera. One of these men is the Colonel himself, albeit much younger - almost thirty years younger.
CLOSE on the Colonel's face as he studies the photo. His breathing has finally relaxed; his face has gone vacant.
INT. FITTS HOUSE - MASTER BEDROOM - NIGHT
It's late at night. We're looking down on the Colonel and Barbara in bed. She SNORES softly, but the Colonel is awake, staring straight up at us. After a moment he pushes the covers back, gets out of bed and exits the room noisily, but Barbara is sleeping the sleep of the dead and doesn't wake.
INT. FITTS HOUSE - KITCHEN - MOMENTS LATER
The COLONEL enters, agitated. He flips on the LIGHTS, thenopens the refrigerator, scans its contents, and closes the door without having noticed what was inside. He paces around the kitchen, then stops in his tracks when he sees:
His POV: Through the window over the sink, we can see Throughthe GARAGE DOOR WINDOW of the Burnham house next door. Inside the garage, Lester, wearing only briefs, stands doing shoulder presses. His upper body, glistening in sweat, is pumped.
The COLONEL quickly crosses to the light switch and switchesthe LIGHTS OFF. He stands absolutely still for a moment, then drags a chair from the kitchen table over to the sink and sits in the dark, watching Lester.
FADE to BLACK.
IN darkness, we HEAR repetitive GUNSHOTS.
FADE IN:
INT. INDOOR FIRING RANGE - DAY
Carolyn, wearing PROTECTIVE HEADGEAR, is holding a GLOCK 19 AUTOMATIC REVOLVER with both hands, FIRING it directly at us.
A DIFFERENT ANGLE reveals she is at an INDOOR FIRING range.She empties a round and stands there, exhilarated by the experience. An ATTENDANT approaches with a new round of ammunition.
ATTENDANT(loading gun)I gotta say, Mrs. Burnham, when you first came in here, I thought you would be hopeless. But you're a natural.
CAROLYNWell, all I know is...
She starts FIRING again.
CAROLYN (cont'd)I love shooting this gun! 
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