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Ball, Alan
AMERICAN BEAUTY. (1999)
Lester Burnham (Kevin Spacey) is struggling to endure marriage to uber-realtor Carolyn (Annette Bening), an unfulfilling career and a sullen teenage daughter (Thora Birch). Deep into a midlife crisis, Lester becomes infatuated with a friend (Mena Suvari) of his daughter. Soon, he's quit his job and is working at a fast-food joint in this dazzling blend of social satire and domestic tragedy from director Sam Mendes that scooped up five Oscars.
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This moviescript available in following formats:
Ball, Alan. AMERICAN BEAUTY.
American Beauty Script
On VIDEO: JANE BURNHAM lays in bed, wearing a tank top. She’s
sixteen, with dark, intense eyes.
JANE
I need a father who’s a role model, not
some horny geek-boy who’s gonna spray his
shorts whenever I bring a girlfriend home
from school.
(snorts)
What a lame-o. Somebody really should put
him out of his misery.
Her mind wanders for a beat.
RICKY (O.C.)
Want me to kill him for you?
Jane looks at us and sits up.
JANE
(deadpan)
Yeah, would you?
FADE TO BLACK.
FADE IN:
EXT. ROBIN HOOD TRAIL - EARLY MORNING
We’re FLYING above suburban America, DESCENDING SLOWLY toward
a tree-lined street.
LESTER (V.O.)
My name is Lester Burnham. This is my
neighborhood. This is my street. This...
is my life. I’m forty-two years old. In
less than a year, I’ll be dead.
INT. BURNHAM HOUSE - MASTER BEDROOM - CONTINUOUS
We’re looking down at a king-sized BED from OVERHEAD:
LESTER BURNHAM lies sleeping amidst expensive bed linens,
face down, wearing PAJAMAS. An irritating ALARM CLOCK RINGS.
Lester gropes blindly to shut it off.
LESTER (V.O.)
Of course, I don’t know that yet. He
rolls over, looks up at us and sighs. He
doesn’t seem too thrilled at the prospect
of a new day.
(CONTINUED)
2.
CONTINUED:
LESTER (V.O.) (CONT’D)
And in a way, I’m dead already.
He sits up and puts on his slippers.
INT. BURNHAM HOUSE - MASTER BATH - MOMENTS LATER
Lester thrusts his face directly into a steaming hot shower.
ANGLE from outside the shower: Lester’s naked body is
silhouetted through the fogged-up glass door. It becomes
apparent he is masturbating.
LESTER (V.O.)
(amused)
Look at me, jerking off in the shower.
(then)
This will be the high point of my day.
It’s all downhill from here.
EXT. BURNHAM HOUSE - MOMENTS LATER
CLOSE on a single, dewy AMERICAN BEAUTY ROSE. A gloved hand
with CLIPPERS appears and SNIPS the flower off.
CAROLYN BURNHAM tends her rose bushes in front of the Burnham
house. A very well-put together woman of forty, she wears
color-coordinated gardening togs and has lots of useful and
expensive tools.
Lester watches her through a WINDOW on the first floor,
peeping out through the drapes.
LESTER (V.O.)
That’s my wife Carolyn. See the way the
handle on those pruning shears matches
her gardening clogs? That’s not an
accident.
EXT. JIMS’ HOUSE - CONTINUOUS
In the fenced front yard of the house next door, a dog BARKS
repeatedly. A MAN in a conservative suit (JIM #1) chastises
the barking dog.
JIM #1
Hush, Bitsy. You hush. What is wrong?
LESTER (V.O.)
That’s our next-door neighbor Jim.
A second MAN in a conservative suit (JIM #2) comes out of the
house.
(CONTINUED)
3.
CONTINUED:
LESTER (V.O.) (CONT’D)
And that’s his lover, Jim.
JIM #2
(re: barking dog)
What in the world is wrong with her? She
had a walk this morning.
JIM #1
And a jerky treat.
JIM #2
You spoil her.
(sternly)
Bitsy. No bark. Come inside. Now.
EXT. BURNHAM HOUSE - CONTINUOUS
Lester watches all this from the window.
CAROLYN
Good morning, Jim!
Jim #1 walks toward the fence to greet Carolyn.
JIM #1
Morning, Carolyn.
CAROLYN
(overly friendly)
I just love your tie! That color!
JIM #1
I just love your roses. How do you get
them to flourish like this?
CAROLYN
Well, I’ll tell you. Egg shells and
Miracle Grow.
Jim #1 and Carolyn continue to chat, unaware that Lester is
watching them.
LESTER (V.O.)
Man. I get exhausted just watching her.
Lester’s POV: We can’t hear what Jim and Carolyn are saying,
but she’s overly animated, like a TV talk show host.
LESTER (V.O.) (CONT’D)
She wasn’t always like this. She used to
be happy. We used to be happy.
4.
INT. BURNHAM HOUSE - JANE’S ROOM - CONTINUOUS
JANE is seated at her desk, working at her computer.
LESTER (V.O.)
My daughter Jane. Only child.
CLOSE on the COMPUTER MONITOR: A PERSONAL BANKING SOFTWARE
window suddenly disappears to reveal another window: a
PLASTIC SURGERY WEBSITE, featuring clinical "before" and
"after" photos of surgically augmented breasts.
LESTER (V.O.) (CONT’D)
Janie’s a pretty typical teenager. Angry,
insecure, confused. I wish I could tell
her that’s all going to pass...
Outside, a CAR HORN BLARES. Jane stuffs items into her
BACKPACK.
LESTER (V.O.) (CONT’D)
But I don’t want to lie to her.
We HEAR the CAR HORN again from outside. Jane studies herself
in a mirror, then shifts to get a good profile of her
breasts.
EXT. BURNHAM HOUSE - CONTINUOUS
Carolyn stands next to a platinum-colored MERCEDES-BENZ
ML320, reaching in through the drivers’ window to blow the
HORN again.
Jane shuffles out of the house, her backpack slung over her
shoulder.
CAROLYN
Jane. Honey. Are you trying to look
unattractive?
JANE
Yes.
CAROLYN
Well, congratulations. You’ve succeeded
admirably.
Jane gets in the car. Lester hurries out the front door,
carrying a BRIEFCASE.
(CONTINUED)
5.
CONTINUED:
CAROLYN (CONT’D)
Lester, could you make me a little later,
please? Because I’m not quite late
enough.
Lester’s briefcase suddenly springs open and his papers spill
all over the driveway. He drops to his knees to gather
everything.
JANE
Nice going, Dad.
Lester smiles sheepishly, trying to lighten the moment.
His POV: Carolyn looks down at us, contemptuous but also
bored, as if she gave up expecting anything more long ago.
LESTER (V.O.)
Both my wife and daughter think I’m this
gigantic loser, and... they’re right.
INT. MERCEDES-BENZ ML320 - A SHORT TIME LATER
Carolyn is driving; Jane stares out the window. Lester is
asleep in the back seat.
LESTER (V.O.)
I have lost something. I’m not exactly
sure what it is, but I know I didn’t
always feel this... sedated. But you know
what? It’s never too late to get it back.
INT. OFFICE BUILDING - DAY
Lester sits at his workstation, a BEIGE CUBICLE surrounded by
IDENTICAL BEIGE CUBICLES. He’s staring at a computer monitor
and talking on a HEADSET PHONE. The beleaguered expression on
his face is at odds with the light, friendly tone of his
voice.
LESTER
Hello, this is Lester Burnham from Media
Monthly magazine, I’m calling for Mr.
Tamblin, please?... Well, we’re all under
a deadline here, uh, but you see, there
is some basic information about the
product launch that isn’t even covered in
your press release and I... Yeah. Can I
ask you a question? Who is Tamblin? Does
he exist? ’Cause he doesn’t ever seem to
come in... Yeah, okay, I’ll leave my
number...
(CONTINUED)
6.
CONTINUED:
BRAD, a dapper man in his thirties, approaches and observes
Lester, who is unaware of his presence.
LESTER (CONT’D)
It’s 555 0199. Lester Burnham. Thank you!
Lester disconnects the call, obviously irritated.
BRAD
Hey Les. You got a minute?
Lester turns around, smiling perfunctorily
LESTER
For you, Brad? I’ve got five.
INT. BRAD’S OFFICE - MOMENTS LATER
Brad is seated behind his desk in his big corner office.
BRAD
I’m sure you can understand our need to
cut corners around here.
Lester sits across from him, looking small and isolated.
LESTER
Oh, sure. Times are tight, and you gotta
free up cash. Gotta spend money to make
money. Right?
BRAD
Exactly. So...
Brad stands, ready to usher Lester out.
LESTER
(blurts)
Like the time when Mr. Flournoy used the
company MasterCard to pay for that
hooker, and then she used the card
numbers and stayed at the St. Regis for,
what was it, like, three months?
BRAD
(startled)
That’s unsubstantiated gossip.
LESTER
That’s fifty thousand dollars. That’s
somebody’s salary. That’s somebody who’s
gonna get fired because Craig has to pay
women to fuck him!
(CONTINUED)
7.
CONTINUED:
BRAD
Jesus. Calm down. Nobody’s getting fired
yet. That’s why we’re having everyone
write out a job description, mapping out
in detail how they contribute. That way,
management can assess who’s valuable and--
LESTER
Who’s expendable.
BRAD
It’s just business.
LESTER
(angry)
I’ve been writing for this magazine for
fourteen years, Brad. You’ve been here
how long, a whole month?
BRAD
(frank)
I’m one of the good guys, Les. I’m trying
to level with you. This is your one
chance to save your job.
Lester stares at him, powerless.
EXT. BURNHAM HOUSE - LATE AFTERNOON
A MOVING VAN is parked in front of the COLONIAL HOUSE next
door to the Burnhams’. Movers carry furniture toward the
house.
The Mercedes-Benz pulls into the Burnham driveway. Carolyn
drives, Lester is in the passenger seat.
CAROLYN
--there is no decision, you just write
the damn thing!
LESTER
You don’t think it’s weird and kinda
fascist?
CAROLYN
Possibly. But you don’t want to be
unemployed.
LESTER
Oh, well, let’s just all sell our souls
and work for Satan, because it’s more
convenient that way.
(CONTINUED)
8.
CONTINUED:
CAROLYN
Could you be just a little bit more
dramatic, please, huh?
As they get out of the car, Carolyn scopes out the MOVERS
next door.
CAROLYN (CONT’D)
So we’ve finally got new neighbors. You
know, if the Lomans had let me represent
them, instead of--
(heavy disdain)
--"The Real Estate King," that house
would never have sat on the market for
six months.
She heads into the house, followed by Lester.
LESTER
Well, they were still mad at you for
cutting down their sycamore.
CAROLYN
Their sycamore? C’mon! A substantial
portion of the root structure was on our
property. You know that. How can you call
it their sycamore? I wouldn’t have the
heart to just cut down something if it
wasn’t partially mine, which of course it
was.
INT. BURNHAM HOUSE - DINING ROOM - LATER THAT NIGHT
We HEAR EASY-LISTENING MUSIC.
Lester, Carolyn and Jane are eating dinner by CANDLELIGHT.
RED ROSES are bunched in a vase at the center of the table.
Nobody makes eye contact, or even seems aware of anybody
else’s presence, until...
JANE
Mom, do we always have to listen to this
elevator music?
CAROLYN
(considers)
No. No, we don’t. As soon as you’ve
prepared a nutritious yet savory meal
that I’m about to eat, you can listen to
whatever you like.
A long beat. Lester suddenly turns to Jane.
(CONTINUED)
9.
CONTINUED:
LESTER
So Janie, how was school?
JANE
(suspicious)
It was okay.
LESTER
Just okay?
JANE
No, Dad. It was spec-tac-ular.
A beat.
LESTER
Well, you want to know how things went at
my job today?
Now she looks at him as if he’s lost his mind.
LESTER (CONT’D)
They’ve hired this efficiency expert,
this really friendly guy named Brad, how
perfect is that? And he’s basically there
to make it seem like they’re justified in
firing somebody, because they couldn’t
just come right out and say that, could
they? No, no, that would be too...
honest. And so they’ve asked us--
(off her look)
--you couldn’t possibly care any less,
could you?
Carolyn is watching this closely.
JANE
(uncomfortable)
Well, what do you expect? You can’t all
of a sudden be my best friend, just
because you had a bad day.
She gets up and heads toward the kitchen.
JANE (CONT’D)
I mean, hello. You’ve barely even spoken
to me for months.
She’s gone. Lester notices Carolyn looking at him critically.
LESTER
Oh, what, you’re mother-of-the-year? You
treat her like an employee.
(CONTINUED)
10.
CONTINUED: (2)
CAROLYN
(taken aback)
What?!
Lester is quiet, staring at his plate.
CAROLYN (CONT’D)
(more authority)
What?
Lester gets up and starts after Jane, taking his plate with
him.
LESTER
I’m going to get some ice cream.
Carolyn watches him go, irritated.
INT. BURNHAM HOUSE - CONTINUOUS
Jane stands at the sink, rinsing off her plate. Lester
enters.
LESTER
Honey, I’m sorry. I...
Jane turns and stares at him, waiting for him to finish.
LESTER (CONT’D)
I’m sorry I haven’t been more available,
I just... I’m...
He’s looking to her for a little help here, but she’s too
uncomfortable with this sudden intimacy to give him any.
LESTER (CONT’D)
(finally)
You know, you don’t always have to wait
for me to come to you...
JANE
Oh, great. So now it’s my fault?
LESTER
I didn’t say that. It’s nobody’s fault.
Janie, what happened? You and I used to
be pals.
EXT. BURNHAM HOUSE - CONTINUOUS
On VIDEO: We’re looking through GREENHOUSE WINDOWS at Lester
and Jane in the kitchen We can’t hear what they’re saying,
but it’s obvious it’s not going well.
(CONTINUED)
11.
CONTINUED:
Jane puts her plate in the dishwasher and leaves. We FOLLOW
HER out the door, then the camera JERKS back to Lester
calling after her.
CLOSE on the face of RICKY FITTS, illuminated by the screen
of his DIGICAM as he videotapes. Ricky is eighteen, but his
eyes are much older. Beneath his Zen-like tranquility lurks
something wounded... and dangerous.
His POV, on VIDEO: Through the kitchen window, we see Lester
at the sink, rinsing off his plate, muttering to himself. His
head suddenly jerks up and he looks at us, as if he realizes
he’s being watched.
INT. BURNHAM HOUSE - KITCHEN - CONTINUOUS
Lester’s POV: We’re looking out through the kitchen window at
the point where Ricky was just standing, but he’s no longer
there.
Lester turns off the faucet, dries his hands, then tosses the
towel on the counter on his way out, where it lands next to a
framed PHOTOGRAPH of Lester, Carolyn, and a much-younger
Jane, taken several years earlier at an amusement park.
It’s startling how happy they look.
EXT. SALE HOUSE - DAY
CLOSE on a wooden SIGN that reads:
OPEN HOUSE TODAY
BURNHAM & ASSOCIATES REALTY
555-0195 Carolyn Burnham
The sign is planted in front of a RUN-DOWN HOME in a run-down
neighborhood. The Mercedes is parked in front of the house.
Carolyn, wearing a smart business suit, is unloading a box of
cleaning supplies and a BOOMBOX from the back of the Mercedes
when something across the street catches her eye.
Her POV: In front of a different house with much more curb
appeal is another SIGN, featuring a picture of a handsome
silver-haired MAN. It reads:
Another One SOLD By Buddy Kane
The Real Estate King 555-0100
Carolyn frowns and slams the back of the Mercedes shut.
12.
INT. SALE HOUSE - LIVING ROOM - MOMENTS LATER
The interior of this house is ugly, oppressive and tasteless.
Carolyn opens the front door, breathes deeply and solemnly
announces:
CAROLYN
I will sell this house today.
She neatly arranges her sales materials on a desk, then
strips down to her undergarments.
MONTAGE:
We see Carolyn, working with fierce concentration as she:
Cleans glass doors that overlook the patio and pool;
Doggedly scrubs countertops in the kitchen;
Perches on a stepladder to dust a cheap-looking ceiling fan
in the master bedroom;
And vacuums a dirty carpet that will never be clean.
Throughout all this, she keeps repeating to herself:
CAROLYN (CONT’D)
I will sell this house today. I will sell
this house today. I will sell this house
today.
INT. SALE HOUSE - BATHROOM - LATER
Carolyn stands in front of the mirror, wearing her suit once
more, applying lipstick. She stares at her reflection
critically.
CAROLYN
I will sell this house today.
She says this as if it were a threat, then notices a smudge
on the mirror and wipes it off.
EXT. SALE HOUSE - FRONT YARD - LATER
The front door opens to reveal Carolyn, greeting us with the
smile she thinks could sell ice to an Eskimo.
CAROLYN
Welcome. I’m Carolyn Burnham!
13.
INT. SALE HOUSE - FOYER - CONTINUOUS
Smiling, Carolyn leads a man and woman into the living room.
They’re thirtyish, and they’ve seen a lot of houses today.
CAROLYN
This living room is very dramatic. Wait
’til you see the native stone fireplace!
The man and woman glance around the dark room, unimpressed.
CAROLYN (CONT’D)
A simple cream would really lighten
things up. You could even put in a
skylight.
The woman wrinkles her face, skeptical.
CAROLYN (CONT’D)
Well, why don’t we go into the kitchen?
INT. SALE HOUSE - KITCHEN - LATER
Carolyn enters, followed by a different couple in their
fifties.
CAROLYN
It’s a dream come true for any cook. Just
filled with positive energy. Huh?
INT. SALE HOUSE - MASTER BEDROOM - LATER
Carolyn stands with a different couple: African American,
late twenties. The woman is pregnant.
CAROLYN
...and you’ll be surprised how much a
ceiling fan can cut down on your energy
costs.
EXT. SALE HOUSE - BACK YARD - LATER
Carolyn stands by the pool next to two fortyish WOMEN.
CAROLYN
You know, you could have some really fun
backyard get-togethers out here.
WOMAN #1
The ad said this pool was "lagoon-like."
There’s nothing "lagoon-like" about it.
Except for maybe the bugs.
(CONTINUED)
14.
CONTINUED:
WOMAN #2
There’s not even any plants out here.
CAROLYN
(re: shrub)
What do you call this? Is this not a
plant? If you have a problem with the
plants, I can always call my landscape
architect. Solved.
WOMAN #2
I mean, I think "lagoon," I think
waterfall, I think tropical. This is a
cement hole.
A beat.
CAROLYN
I have some tiki torches in the garage.
INT. SALE HOUSE - SUN ROOM - LATER
Carolyn enters, alone. She’s furious. She locks the sliding
glass door and starts to pull the vertical blinds shut, then
stops. Standing very still, with the blinds casting shadows
across her face, she starts to cry: brief, staccato SOBS that
seemingly escape against her will. Suddenly she SLAPS
herself, hard.
CAROLYN
Shut up. Stop it. You... Weak!
But the tears continue. She SLAPS herself again.
CAROLYN (CONT’D)
Weak. Baby. Shut up. Shut up! Shut up!
She SLAPS herself repeatedly until she stops crying. She
stands there, taking deep breaths until she has everything
under control, then pulls the blinds shut, once again all
business. She walks out calmly, leaving us alone in the dark,
empty room.
We HEAR CHEERING and APPLAUSE.
INT. HIGH SCHOOL GYMNASIUM - NIGHT
We’re at a high-school BASKETBALL GAME. Teenage boys play a
fast and furious game. One team wearing pale blue and white
uniforms scores a basket. Perky cheerleaders jump up and down
as the CROWD goes wild.
(CONTINUED)
15.
CONTINUED:
Seated in the bleachers, next to the high school BAND, is a
group of about twenty TEENAGE GIRLS, dressed in pale blue and
white uniforms. Among them, Jane sits next to ANGELA HAYES.
At sixteen, Angela is strikingly beautiful; with perfect even
features, blonde hair and a nubile young body, she’s the
archetypal American dream girl.
Jane stands and scans the bleachers.
ANGELA
Who are you looking for?
JANE
My parents are coming tonight. They’re
trying to, you know, take an active
interest in me.
ANGELA
Gross. I hate it when my mom does that.
JANE
They’re such assholes. Why can’t they
just have their own lives?
INT. MERCEDES-BENZ ML320 - CONTINUOUS
Carolyn drives. Lester is slumped in the passenger seat.
LESTER
What makes you so sure she wants us to be
there? Did she ask us to come?
CAROLYN
Of course not. She doesn’t want us to
know how important this is to her. But
she’s been practicing her steps for
weeks.
LESTER
Well, I bet money she’s going to resent
it. And I’m missing the James Bond
marathon on TNT.
CAROLYN
Lester, this is important. I’m sensing a
real distance growing between you and
Jane.
LESTER
Growing? She hates me.
CAROLYN
She’s just willful.
(CONTINUED)
16.
CONTINUED:
LESTER
She hates you too.
Carolyn stares at him, unsure of how to respond.
INT. HIGH SCHOOL GYMNASIUM - LATER
The uniformed girls now stand in formation on the gym floor.
ANNOUNCER
(over P.A.)
And now, for your half-time
entertainment, Rockwell High’s award-
winning Dancing Spartanettes!
In the crowded stands, Lester and Carolyn find seats.
LESTER
We can leave right after this, right?
The HIGH SCHOOL BAND plays "ON BROADWAY." On the gym floor,
the girls perform. They’re well-rehearsed, but too young to
carry off the ambitious Vegas routine they’re attempting.
Lester, watching from the stands, picks out his daughter.
His POV: Jane performs well, concentrating. Dancing awkwardly
next to her is Angela. Suddenly Angela looks right at us and
smiles... a lazy, insolent smile.
Lester leans forward in his seat.
His POV: We’re focused on Angela now. Everything starts to
SLOW DOWN... the MUSIC acquires an eerie ECHO...
We ZOOM slowly toward Lester as he watches, transfixed.
His POV: Angela’s awkwardness gives way to a fluid grace, and
"ON BROADWAY" FADES into dreamy, hypnotic MUSIC. The light on
Angela grows stronger, and the other girls DISAPPEAR
entirely.
Lester is suddenly alone in the stands, spellbound.
His POV: Angela looks directly at us now, dancing only for
Lester. Her movements take on a blatantly erotic edge as she
starts to unzip her uniform, teasing us with an expression
that’s both innocent and knowing, then... she pulls her
uniform OPEN and a profusion of RED ROSE PETALS spill
forth... and we SMASH CUT TO:
17.
INT. HIGH SCHOOL GYMNASIUM - CONTINUOUS
Angela, fully clothed, is once again surrounded by the other
girls. The HIGH SCHOOL BAND plays its last note, the Dancing
Spartanettes strike their final pose, and the audience
APPLAUDS.
Carolyn claps along with the rest of the audience. Lester
just sits there, unable to take his eyes off Angela.
EXT. HIGH SCHOOL GYMNASIUM - LATER
The game is long over. Jane and Angela come out of the gym.
JANE
Oh shit, they’re still here.
Her POV: Lester and Carolyn stand at the edge of the parking
lot.
LESTER
Janie!
CAROLYN
Hi! I really enjoyed that!
She crosses reluctantly toward her parents, followed by
Angela.
LESTER
Congratulations, honey, you were great.
JANE
I didn’t win anything.
LESTER
(to Angela)
Hi, I’m Lester. Janie’s dad.
ANGELA
Oh. Hi.
An awkward beat.
JANE
This is my friend, Angela Hayes.
LESTER
Okay, good to meet you. You were also
good tonight. Very... precise.
(CONTINUED)
18.
CONTINUED:
ANGELA
(warming)
Thanks.
CAROLYN
(to Angela)
Nice to meet you, Angela.
(to Jane)
Honey, I’m so 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.
LESTER
So, what are you girls doing now?
JANE
Dad.
ANGELA
We’re going out for pizza.
LESTER
Oh really, do you need a ride? We can
give you a ride. I have a car. You wanna
come with us?
ANGELA
Thanks... but I have a car.
LESTER
Oh, you have a car. Oh. That’s great!
That’s great, because Janie’s thinking
about getting a car soon too, aren’t you,
honey?
JANE
(you freak)
Dad. Mom’s waiting for you.
LESTER
Well, it was very nice meeting you,
Angela. Any, uh, friend of Janie’s is a
friend of mine.
Angela smiles, aware of the power she has over him. He is
mesmerized; grateful, even.
LESTER (CONT’D)
Well... I’ll be seeing you around then.
(CONTINUED)
19.
CONTINUED: (2)
Lester waves awkwardly as he crosses off.
JANE
Could he be any more pathetic?
ANGELA
I think it’s sweet. And I think he and
your mother have not had sex in a long
time.
INT. BURNHAM HOUSE - MASTER BEDROOM - A FEW HOURS LATER
CLOSE on a solitary red ROSE PETAL as it falls slowly through
the air.
We’re looking down on Lester and Carolyn in bed. Even in
sleep, Carolyn looks determined. Lester is awake and stares
up at us.
LESTER
It’s the weirdest thing.
The ROSE PETAL drifts into view, landing on his pillow.
LESTER (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, and he smiles up at...
His POV: Angela, naked, FLOATS above us 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...
Lester smiles back and LAUGHS, as ROSE PETALS cover his face.
LESTER (CONT’D)
Spec-tac-ular.
EXT. ROBIN HOOD TRAIL - CONTINUOUS
A WHITE BMW 328si CONVERTIBLE is parked on the street outside
the Burnham’s house. We HEAR girlish LAUGHTER from inside.
INT. ANGELA’S BMW - CONTINUOUS
Angela is behind the wheel, Jane in the passenger seat.
They’re passing a JOINT back and forth.
JANE
I’m sorry my dad was so weird tonight.
(CONTINUED)
20.
CONTINUED:
ANGELA
It’s okay. I’m used to guys drooling over
me. 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.
JANE
Vomit.
ANGELA
No, 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 nothing worse in life
than being ordinary.
An awkward beat. Jane stares at the floor.
JANE
I really think it’ll happen for you.
ANGELA
Oh, I know. Because everything that was
meant to happen, does. Eventually.
EXT. BURNHAM HOUSE - CONTINUOUS
On VIDEO: Jane gets out of the car, still LAUGHING, and waves
as Angela pulls away. We ZOOM toward Jane as she walks up the
driveway. She turns suddenly, sensing our presence.
Her POV: We’re looking at the 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. As usual, he’s dressed conservatively. There is a
BEEPER attached to his belt, and his DIGICAM dangles loosely
around his neck.
Irritated, Jane stares at him, hard.
JANE
Asshole.
He looks back at her curiously, then raises his Digicam and
starts to videotape her.
His POV, on VIDEO: Jane, angry and self-conscious, turns and
walks quickly toward her house, flipping us off as she goes.
21.
INT. BURNHAM HOUSE - FOYER - CONTINUOUS
Jane enters, closes and locks the door. She quickly TURNS OFF
THE LIGHT that’s been left on for her, then peeks through a
window.
Her POV: There’s no sign of Ricky.
Jane turns back into the room, her heart racing... and
smiles.
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 stops at the name Angela Hayes.
Lester, dressed for work, goes through Jane’s address book.
We HEAR the SHOWER running in the adjacent bathroom. He grabs
Jane’s phone and dials, then stands with the receiver to his
ear, nervous.
ANGELA
(over phone line)
Hello? Hello?
Lester is frozen, unable to speak. Suddenly, the SHOWER is
turned off in the next room. Lester hangs up and exits
quickly. A moment, then the PHONE RINGS. Jane emerges from
the bathroom, a towel wrapped around her torso, drying her
wet hair. She picks up the PHONE.
JANE
Hello?
INT. HAYES HOUSE - ANGELA’S BEDROOM - CONTINUOUS
Angela is sprawled across her bed, on the phone.
ANGELA
Why’d you call me?
INTERCUT WITH JANE IN HER
BEDROOM:
JANE
I didn’t.
ANGELA
Well, my phone just rang and I answered
it and somebody hung up and then I star
sixty-nined and it called you back.
(CONTINUED)
22.
CONTINUED:
JANE
I 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, looking in. Jane
picks up the address book, frowning. She speaks into the
phone, 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 stands at his window, videotaping. He lowers his
Digicam, but his eyes remain locked on Jane across the way.
RICKY
Be right there.
INT. FITTS HOUSE - KITCHEN - MOMENTS LATER
BARBARA FITTS stands at the stove, flipping bacon strips
mechanically, her eyes focused elsewhere. At least ten years
younger than her husband, she’s pretty in a June Cleaver-ish
way. The Colonel sits at a dinette reading The Wall Street
Journal. Ricky enters.
RICKY
Mom.
Startled, Barbara turns to him.
BARBARA
Hello.
As she attempts to serve him bacon:
RICKY
I don’t eat bacon, remember?
BARBARA
(unnerved)
I’m sorry, I must have forgotten.
Ricky serves himself scrambled eggs from another pan, then
joins his father at the table.
(CONTINUED)
23.
CONTINUED:
RICKY
What’s new in the world, Dad?
COLONEL
This country is going straight to hell.
A DOORBELL rings. The Colonel and Barbara look at each other,
alarmed.
COLONEL (CONT’D)
Are you expecting anyone?
BARBARA
No.
(thinks)
No.
The Colonel heads toward the living room, a little puffed up.
INT. FITTS HOUSE - FOYER - MOMENTS LATER
The Colonel opens the front door to reveal the two JIMS.
JIM #1
Hi.
JIM #2
Welcome to the neighborhood.
Jim #1 holds out a basket filled with flowers, vegetables and
a small white cardboard box tied with raffia.
JIM #1
Just a little something from our garden.
JIM #2
Except for the pasta, we got that at
Fallaci’s.
JIM #1
It’s unbelievably fresh. You just drop it
in the water and it’s done.
The Colonel stares at them, suspicious.
JIM #1 (CONT’D)
(offers his hand)
Jim Olmeyer. Two doors down. Welcome to
the neighborhood.
COLONEL
(shakes)
Colonel Frank Fitts, U.S. Marine Corps.
(CONTINUED)
24.
CONTINUED:
JIM #1
Nice to meet you. And this is my
partner...
JIM #2
(offers his hand)
Jim Berkley, but people call me J.B.
COLONEL
Let’s cut to the chase, okay? What are
you guys selling?
JIM #2
(after a beat)
Nothing. We just wanted to say hi to our
new neighbors--
COLONEL
Yeah, yeah, yeah. But you said you’re
partners. So what’s your business?
The Jims look at each other, then back at the Colonel.
JIM #1
Well, he’s a tax attorney.
JIM #2
And he’s an anesthesiologist.
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 the
passenger seat, Ricky is using a CALCULATOR and jotting
numbers down in a NOTEBOOK.
COLONEL
How come these faggots always have to rub
it in your face? How can they be so
shameless?
RICKY
That’s the whole thing, Dad. They don’t
feel like it’s anything to be ashamed of.
The Colonel looks at Ricky sharply.
COLONEL
Well, it is.
A beat, as Ricky continues his calculations, before he
realizes a response is expected from him. Then:
(CONTINUED)
25.
CONTINUED:
RICKY
Yeah, you’re right.
The Colonel’s eyes flash angrily.
COLONEL
Don’t placate me like I’m your mother,
boy.
Ricky sighs, then looks at his father.
RICKY
Forgive 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.
COLONEL
Me 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 SHORT TIME LATER
Jane and Angela are standing with two other TEENAGE GIRLS.
ANGELA
I’m serious, he just pulled down his
pants and yanked it out. You know, like,
say hello to Mr. Happy.
TEENAGE GIRL #1
Gross.
ANGELA
It wasn’t gross. It was kind of cool.
TEENAGE GIRL #1
So, did you do it with him?
ANGELA
Of 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.
26.
TEENAGE GIRL #2
You are a total prostitute.
ANGELA
Hey. That’s how things really are. You
just don’t know, because you’re this
pampered little suburban chick.
TEENAGE GIRL #2
So 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.
JANE
Oh my God. That’s the pervert who filmed
me last night.
ANGELA
Him? Jane. No way. He’s a total lunatic.
JANE
You know him?
ANGELA
Yeah. We were on the same lunch shift
when I was in ninth grade, and he would
always say the most random, weird 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.
JANE
Why? What did he do?
ANGELA
What do you mean?
(CONTINUED)
27.
CONTINUED:
JANE
Well, they can’t put you away just for
saying weird things.
Angela stares at Jane, then her mouth widens into a smile.
ANGELA
You total slut. You’ve got a crush on
him.
JANE
What? Please.
ANGELA
You were defending him! You love him. You
want to have like, ten thousand of his
babies.
JANE
Shut up.
Jane suddenly finds Ricky standing in front of her.
RICKY
Hi. My name’s Ricky. I just moved next
door to you.
JANE
I know. I kinda remember this really
creepy incident when you were filming me
last night?
RICKY
I didn’t mean to scare you. I just think
you’re interesting.
Angela shoots a wide-eyed look at Jane, who ignores it.
JANE
Thanks, but I really don’t need to have
some psycho obsessing about me right now.
RICKY
I’m not obsessing. I’m just curious.
He looks at her intently, his eyes searching hers. Jane is
unnerved and has to look away. Ricky smiles and walks off.
ANGELA
What a freak. And why does he dress like
a Bible salesman?
(CONTINUED)
28.
CONTINUED: (2)
JANE
He’s like, so confident. That can’t be
real.
ANGELA
I don’t believe him. I mean, he didn’t
even like, look at me once.
INT. FITTS HOUSE - DEN - THAT NIGHT
CLOSE on a TV SCREEN: "Hogan’s Heroes" on Nick at Nite.
The Colonel and Barbara are seated on a couch, watching
television. The Colonel is smiling, enjoying the show;
Barbara just stares. The Colonel CHUCKLES at a joke and
startles her.
We HEAR a door opening elsewhere in the house, and Ricky
enters.
RICKY
Hey.
He sits on the couch, next to his father, and watches TV
along with them. The Colonel’s smile fades.
BARBARA
(out of the blue)
I’m sorry, what?
RICKY
Mom. Nobody said anything.
BARBARA
Oh. I’m sorry.
The three of them stare at the TV, like strangers in an
airport.
INT. HOTEL BALLROOM - NIGHT
We HEAR MUSIC under a room full of people all talking at
once, as Lester and Carolyn enter a hotel ballroom. We FOLLOW
THEM as they pass a SIGN that reads:
GREATER ROCKWELL REALTOR RESOURCES GROUP
CAROLYN
--everyone here is with their spouse or
their significant other. How would it
look if I showed up with no one?
(CONTINUED)
29.
CONTINUED:
LESTER
Well, you always end up ignoring me and
going off--
Inside the ballroom, well-dressed real estate professionals
stand in clumps, chatting. Catering waiters serve hors
d’eouvres.
CAROLYN
Now listen to me. This is an important
business function. As you know, my
business is selling an image. And part of
my job is to live that image--
LESTER
Just say whatever you want to say and
spare me the propaganda.
CAROLYN
(spots someone)
Hi, Shirley!
(to Lester)
Listen, just do me a favor. Act happy
tonight?
LESTER
(grins stupidly)
I am happy, honey.
Carolyn’s jaw tightens, then:
CAROLYN
(spots someone)
Oh! Buddy!
She drags Lester toward a silver-haired MAN and his much
younger WIFE. We recognize the Man as BUDDY KANE, The Real
Estate King.
CAROLYN (CONT’D)
(shakes Buddy’s hand)
Buddy! Buddy. Hi! Good to see you again.
BUDDY
It’s so good to see you too, Catherine.
CAROLYN
Carolyn.
BUDDY
Carolyn! Of course. How are you?
(CONTINUED)
30.
CONTINUED: (2)
CAROLYN
Very well, thank you.
(to his wife)
Hello, Christy.
CHRISTY
Hello.
CAROLYN
My husband, Lester--
BUDDY
(shakes Lester’s hand)
It’s a pleasure.
LESTER
Oh, we’ve met before, actually. This
thing last year. Or the Christmas thing
at the Sheraton.
BUDDY
Oh, yes.
LESTER
It’s okay. I wouldn’t remember me either.
He LAUGHS. A little too loudly. Carolyn quickly joins in.
CAROLYN
(forced gaiety)
Honey. Don’t be weird.
She smiles her most winning smile at him. He knows this
persona well, only it’s never pissed him off as much as it
does right now.
LESTER
All right, honey. I won’t be weird.
(his face close to hers)
I’ll be whatever you want me to be.
And he kisses her--a soft, warm kiss that speaks unmistakably
of sex--then turns to the others and grins.
LESTER (CONT’D)
We have a very healthy relationship.
BUDDY
I see.
Carolyn’s smile is frozen on her face.
(CONTINUED)
31.
CONTINUED: (3)
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