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1.
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FADE IN:
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1 EXT. COMMUTER TRAIN STATION - DAY 1
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It's gray. The platform is packed with business commuters:
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suits, overcoats. There is such a lack of color it almost
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seems as if it's a black and white shot, except one
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commuter holds a bright red heart-shaped box of candy under
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his arm.
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The platform across the tracks is empty.
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As an almost empty train pulls up to that platform, one of
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the suited men breaks out of the crowd, lurches up the
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stairs two at a time, hurries across the overpass and down
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the stairs to the other side, just at the empty train
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stops. The doors open and the man gets on that train.
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As the empty train pulls from the station, the man watches
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the crowd of commuters through the train's dirty window. We
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see his face for the first time.
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This is Joel Barish. He is in his 30's, sallow, a bit
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puffy.
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His hair is a little messy, his suit is either vintage or
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just old and dirty and sort of threadbare. His bright tie
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has a photograph of a rodeo printed on it.
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2 EXT. MONTAUK TRAIN STATION - DAY 2
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Joel talks on a payphone. The wind howls around him. He
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tries to shield the mouthpiece as he talks. His speech is a
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self-conscious mumble, especially difficult to hear over
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the elements.
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JOEL
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Hi, Cindy. It's Joel. Joel. I'm not
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feeling well this morning. No, food
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poisoning, I think. I had clams.
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Clams! I'm sorry it took me so long
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to call in, but I've been vomiting
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a lot. I've been vomiting! Yes,
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that's right, a lot!
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3 EXT. BEACH - DAY 3
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2.
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Joel wanders the windy, empty beach, with his briefcase. He
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passes an old man with a metal detector. They nod at each
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other.
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4 EXT. BEACH - DAY 4
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Later: Joel looks out at the ocean.
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5 EXT. BEACH - DAY 5
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Later: Joel sits on a rock and pulls a big, tattered
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notebook from his briefcase. He opens it and reads his last
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entry.
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JOEL (V.O.)
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January 6, 2001. Nothing much.
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Naomi and I coexisting. Roommates.
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Nothing. Will it go on like this
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forever? My best guess? Yes.
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Under the entry is a detailed drawing of a paranoid, wild-
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eyed man huddled in the corner of a damp basement lit by a
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bare bulb on a cord. Joel notices something odd: a great
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many pages have been torn out after the last entry. He
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ponders it for a moment, then writes on the next page:
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JOEL (V.O.)
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Valentine's Day 2003. First entry
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in two years. Where did those years
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go? If you're not careful it gets
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away from you. And then it's over
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and you're dead. And within a few
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years who even remembers you were
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here?
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(thinks)
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Called in sick today. Took the
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train out to Montauk.
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(thinks)
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Cold.
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(thinks some more)
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Don't know what else to say. I saw
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Naomi last night. First time since
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the break- up. We had sex. It was
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odd to fall into our old familiar
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sex life so easily. Like no time
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has passed. Suddenly we're talking
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about getting together again. I
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guess that's good.
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3.
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He has no other thoughts, does some work on the drawing on
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the opposite page. He glances up, spots a female figure in
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the distance, walking in his direction. She stands out
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against the gray in a fluorescent orange hooded sweatshirt.
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This is Clementine.
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She's in her early thirties, zaftig. He watches her for a
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bit, then as she nears, he goes back to his drawing, or at
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least pretends to. Once she has passed, he watches her walk
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away. She stops and stares out at the ocean. Joel writes.
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JOEL (V.O.)
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Constitutionally incapable of
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making eye- contact with a woman I
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don't know. Guess I'd better get
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back with Naomi. Ought to buy her a
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Valentine. She loves roses, I
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believe.
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6 EXT. BEACH - DAY 6
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LATER: Joel walks up near the beach houses closed for the
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season. He peeks cautiously in a dark window.
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7 EXT. BEACH - DAY 7
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LATER: Joel digs into the sand with a stick.
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8 INT. DINER - DAY 8
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It's a local tourist place, but off-season empty. An old
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couple drink coffee at the counter. Joel sits in a booth
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and eats a grilled cheese sandwich and a bowl of tomato
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soup. In his notebook he is drawing a wizened old man with
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a metal detector. His metal detector has led him to another
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dead old man clutching a metal detector. Joel meekly,
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unsuccessfully, tries to get the waitress's attention for
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more coffee.
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Clementine enters, looks around, takes off her hood. Joel
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glances at her bright blue hair. She picks an empty booth
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and sits. Joel studies her discreetly. The waitress
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approaches her with a coffee pot.
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CLEMENTINE
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Hi, it's me again! My home away
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from home.
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WAITRESS
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4.
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Coffee?
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CLEMENTINE
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God, yes. You've saved my life!
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Brrr!
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The waitress pours the coffee.
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WAITRESS
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You know what you want?
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CLEMENTINE
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(laughing)
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Ain't that the question of the
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century.
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The waitress is not amused. Clementine gets business-like.
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CLEMENTINE
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You got grilled cheese and tomato
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soup again today?
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WAITRESS
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We're having a run on it.
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The waitress heads to the grill. Clementine fishes in her
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bag, brings the coffee cup under the table for a moment,
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pours something in, then brings the cup back up.
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CLEMENTINE
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(calling)
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And some cream, please.
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Clementine looks around the place. Her eyes meet Joel's
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before he is able to look away. She smiles vaguely. He
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looks embarrassed, then down at his journal.
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Clementine pulls a book from her purse and starts to read.
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Joel glances up, tries to see the book's cover. It's blue
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and white. He can't make out the title.
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9 EXT. BEACH - DAY 9
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Joel stares out at the ocean. Far down the beach Clementine
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stares at it, too. Joel glances sideways at her then back
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at the ocean.
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10 EXT. MONTAUK TRAIN STATION PLATFORM - LATE AFTERNOON 10
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5.
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Joel sits on a bench waiting for the train. Clementine
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enters the platform, sees Joel, the only other person
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there. She waves, sort of goofily enthusiastic, playing as
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if they're old friends. He waves back, embarrassed.
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She takes a seat on a bench far down the platform. Joel
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stares at his hands, pulls his journal from his briefcase
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and tries to write in order to conceal his awkwardness.
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JOEL (V.O.)
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Why do I fall in love with every
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woman I see who shows me the least
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bit of attention?
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11 INT. TRAIN - LATE AFTERNOON 11
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Joel sits at the far end of the empty car and watches the
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slowly passing desolate terrain. After a moment the door
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between cars opens and Clementine enters. Joel looks up.
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Clementine is not looking at him; she busies herself
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deciding
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where to sit. She settles on a seat at the opposite end of
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the car. Joel looks out the window. He feels her watching
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him. The train is picking up speed. Finally:
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CLEMENTINE
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(calling over the rumble)
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Hi!
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Joel looks over.
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JOEL
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I'm sorry?
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CLEMENTINE
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What? I couldn't hear you.
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JOEL
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I said, I'm sorry.
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CLEMENTINE
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Why are you sorry? I just said hi.
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JOEL
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No, I didn't know if you were
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talking to me, so--
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She looks around the empty car.
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CLEMENTINE
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6.
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Really?
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JOEL
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(embarrassed)
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Well, I didn't want to assume.
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CLEMENTINE
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Aw, c'mon, live dangerously. Take
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the leap and assume someone is
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talking to you in an otherwise
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empty car.
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JOEL
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Anyway. Sorry. Hi. Hello. Hi.
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Clementine giggles, makes her way down the aisle toward
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Joel.
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CLEMENTINE
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It's okay if I sit closer? So I
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don't have to scream? Not that I
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don't need to scream sometimes,
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believe you me.
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(pause)
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But I don't want to bug you if
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you're trying to write something.
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JOEL
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(mumbling)
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No, I'm just-- I don't really, um -
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-
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CLEMENTINE
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What? You don't really what?
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She hesitates in the middle of the car, looks back where
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she came from.
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JOEL
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It's okay if you want to sit down.
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CLEMENTINE
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Just, you know, to chat a little,
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maybe. I have a long trip ahead of
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me.
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(sits across aisle from
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Joel)
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How far are you going? On the
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train, I mean, of course. Not in
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life.
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JOEL
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Rockville Center.
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7.
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CLEMENTINE
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Get out! Me too! What are the odds?
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She stares at him. He gets uncomfortable.
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CLEMENTINE
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Do I know you?
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JOEL
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I don't think so.
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CLEMENTINE
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Hmmmm. Do you ever shop at Barnes
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and Noble?
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JOEL
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Sure.
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CLEMENTINE
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That's it. That's me: book slave
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there for, like, five years now. I
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thought I'd seen you somewhere.
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JOEL
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Really? Because --
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CLEMENTINE
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Jesus, is it five years? I gotta
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quit right now.
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JOEL
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-- I go there all the time. I think
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I'd remember you.
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CLEMENTINE
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Well, I'm there. I've seen you,
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man. I hide in the back as much as
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is humanly possible. You have a
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cell phone? I need to quit right
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this minute. I'll call in dead.
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I'll go on the dole like my daddy
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before me. Might be the hair.
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JOEL
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What might?
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CLEMENTINE
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Changes a lot. That's why you might
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not recognize me. What color am I
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today?
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(pulls a strand in front
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of her eyes, studies it)
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8.
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Blue, right? It's called Blue Ruin.
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The color. Snappy name, huh?
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JOEL
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I like it.
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CLEMENTINE
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Blue ruin is cheap gin, in case
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you're wondering.
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JOEL
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Yeah. Tom Waits says it in --
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CLEMENTINE
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Exactly! Tom Waits. Which song?
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JOEL
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I can't remember.
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CLEMENTINE
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Anyway, this company makes a whole
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line of colors with equally snappy
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names. Red Menace, Yellow Fever,
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Green Revolution. That'd be a job,
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coming up with those names. How do
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you get a job like that? That's
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what I'll do. Fuck the dole.
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JOEL
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I don't really know how --
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CLEMENTINE
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Purple Haze, Pink Eraser.
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JOEL
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You think that could possibly be a
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full- time job? How many hair
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colors could there be? Fifty, tops?
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CLEMENTINE
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(pissy)
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Somebody's got that job.
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(excited)
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Agent Orange! I came up with that
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one. Anyway, there are endless
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color possibilities and I'd be
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great at it.
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JOEL
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(mumbly)
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I'm sure you would.
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CLEMENTINE
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9.
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My writing career! Your hair
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written by Clementine Kruczynski.
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(thought)
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The Tom Waits album is Rain Dogs.
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JOEL
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You sure? I don't know that album -
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-
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CLEMENTINE
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I think. Anyway, I've tried all
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their colors. More than once. I'm
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getting too old for this. But it
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keeps me from having to develop an
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actual personality. I apply my
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personality in a paste. You?
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JOEL
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Oh, I doubt that's the case.
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CLEMENTINE
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Well, you don't know me, so-- you
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don't know, do you?
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JOEL
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Sorry. I was just trying to be
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nice.
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CLEMENTINE
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Yeah, I got it.
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There's a silence.
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CLEMENTINE
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My name's Clementine, by the way.
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JOEL
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I'm Joel.
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CLEMENTINE
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No jokes about my name? Oh, you
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wouldn't do that; you're trying to
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be nice.
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JOEL
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I don't know any jokes about your
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name.
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CLEMENTINE
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Huckleberry Hound?
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JOEL
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I don't know what that means.
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10.
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CLEMENTINE
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Huckleberry Hound! What, are you
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nuts?
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JOEL
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It's been suggested.
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CLEMENTINE
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(singing)
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"Oh my darlin', oh my darlin', oh
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my darlin' Clementine"? No?
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Nothin'?
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JOEL
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Sorry. It's a pretty name, though.
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It means "merciful", right?
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Clemency?
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CLEMENTINE
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(impressed)
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Yeah. Although it hardly fits. I'm
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a vindictive little bitch, truth be
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told.
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JOEL
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See, I wouldn't think that about
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you.
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CLEMENTINE
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(pissy)
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Why wouldn't you think that about
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me?
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JOEL
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I don't know. I was just-- I don't
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know. I was just-- You seemed nice,
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so --
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CLEMENTINE
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Now I'm nice? Don't you know any
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other adjectives? There's careless
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and snotty and overbearing and
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argumentative-- mumpish.
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JOEL
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(mumbling)
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Well, anyway-- Sorry.
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They sit in silence for a while.
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CLEMENTINE
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11.
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I just don't think "nice" is a
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particularly interesting thing to
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be.
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The conductor enters the car.
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CONDUCTOR
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Tickets.
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Joel hands the conductor his ticket. The conductor punches
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it and hands it back.
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CLEMENTINE
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What is nice, anyway? I mean,
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besides an adjective? I guess it
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can be an adverb, sort of.
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The conductor turns to Clementine. She fishes in her bag.
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CLEMENTINE
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It doesn't reveal anything. Nice is
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pandering. Cowardly. And life is
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more interesting than that. Or
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should be. Jesus God, I hope it is-
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- someday.
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(to conductor)
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I know it’s here.
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The conductor and Joel watch as she gets more agitated.
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CLEMENTINE
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I don't need nice. I don't need
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myself to be it and I don't need
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anyone else to be it at me.
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JOEL
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Okay, I understand.
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CLEMENTINE
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Shit. Shit. I know it's here. Hold
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on.
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She dumps the contents of the bag onto the seat and sifts
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frantically through. Joel sees the book she was reading in
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the diner. It's The Red Right Hand by Joel Townsley Rogers.
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Joel eyes the book.
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CLEMENTINE
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Damn it. DAMN IT!
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(there it is)
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Oh. Here.
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12.
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She hands the conductor the ticket, smiles sweetly. He
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punches it, hands it back to her, and walks away.
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CONDUCTOR
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Next stop Southampton.
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The conductor heads into the next car. Clementine shoves
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stuff back into her purse. Her hands are a little shaky.
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She pulls an airline-sized bottle of alcohol from her
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pocket, opens it, and downs it. Joel is watching all of
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this but pretending not to. She looks out the window for a
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while. The train pulls into the station. The doors open.
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Nobody gets on.
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The doors close. The train pulls out.
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CLEMENTINE
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Joel? It's Joel, right?
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JOEL
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Yes?
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CLEMENTINE
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I'm sorry I-- yelled at you. Was it
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yelling? I can't really tell.
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Whatever, I'm a little out of sorts
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today.
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JOEL
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(trying for a joke)
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Hey, Old Yeller would be a good
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color.
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CLEMENTINE
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(not seeming to hear)
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My embarrassing admission is I
|
|
really like that you're nice. Right
|
|
now, anyway. I can't tell from one
|
|
moment to the next what I'm going
|
|
to like. But right now I'm glad you
|
|
are.
|
|
|
|
JOEL
|
|
It's no problem. Anyway, I have
|
|
some stuff I need to -- I'm trying
|
|
to work out some -- I'm writing
|
|
some thoughts, sort of.
|
|
|
|
CLEMENTINE
|
|
Oh, okay. Well, sure, I'll just--
|
|
(stands throws bag over
|
|
shoulder)
|
|
Take care, then.
|
|
13.
|
|
|
|
|
|
JOEL
|
|
(pulling notebook from
|
|
briefcase)
|
|
Probably see you at the bookstore.
|
|
|
|
CLEMENTINE
|
|
(heading toward other end
|
|
of car)
|
|
Unless I get that hair-color-naming
|
|
job. Old Yeller is funny, by the
|
|
way.
|
|
|
|
Clementine sits and stares out the window.
|
|
|
|
JOEL
|
|
How about Karen Black?
|
|
|
|
CLEMENTINE
|
|
You're good! We could be partners.
|
|
|
|
They smile at each other. Joel drops the gaze first.
|
|
|
|
|
|
12 INT. TRAIN - DUSK 12
|
|
|
|
There are a few more people in the car now. Clementine has
|
|
inched a few seats closer to Joel. She watches him. His
|
|
head is buried in his notebook. He's drawing Clementine.
|
|
|
|
|
|
13 INT. TRAIN - NIGHT 13
|
|
|
|
It's dark out. The train is pretty crowded. A couple of
|
|
women hold bouquets of flowers, another has a red heart-
|
|
shaped box of candy. Joel stares out the window. Clementine
|
|
sits closer still to Joel, eyes him.
|
|
|
|
|
|
14 EXT. TRAIN STATION - NIGHT 14
|
|
|
|
The doors open and Joel emerges along with others. He heads
|
|
to the parking lot, arrives at his car. There's a big
|
|
dented scrape along the driver's side.
|
|
|
|
|
|
15 INT/EXT. JOEL'S CAR - NIGHT 15
|
|
|
|
MOMENTS LATER: Joel drives. He passes Clementine walking.
|
|
She looks cold. He considers, slows, rolls down his window.
|
|
|
|
JOEL
|
|
Hi. I could give you a ride if you
|
|
need.
|
|
14.
|
|
|
|
|
|
CLEMENTINE
|
|
No, that's okay. Thanks, though.
|
|
|
|
JOEL
|
|
You sure? It's cold.
|
|
|
|
CLEMENTINE
|
|
Yeah? It is frosty.
|
|
|
|
He pulls over. She climbs in. They drive.
|
|
|
|
JOEL
|
|
Where do you live?
|
|
|
|
CLEMENTINE
|
|
You're not a stalker or anything,
|
|
right?
|
|
|
|
JOEL
|
|
Stalker Channing. No, that's not
|
|
really a color, is it? Quit while
|
|
I'm ahead.
|
|
|
|
CLEMENTINE
|
|
You can't be too careful about
|
|
stalkers. I've been stalked. I've
|
|
been told by experts I'm highly
|
|
stalkable. I don't need that.
|
|
|
|
JOEL
|
|
I'm not a stalker. You talked to
|
|
me, remember?
|
|
|
|
CLEMENTINE
|
|
That's the oldest trick in the
|
|
stalker book.
|
|
(beat)
|
|
You know Sherman Drive?
|
|
|
|
JOEL
|
|
Yeah.
|
|
|
|
CLEMENTINE
|
|
Sherman Drive. Near the high
|
|
school.
|
|
|
|
Joel turns. They drive in silence.
|
|
|
|
CLEMENTINE
|
|
Look, I'm very sorry I came off
|
|
sort of nutso. I'm not really.
|
|
|
|
JOEL
|
|
15.
|
|
|
|
|
|
That's okay. I didn't think you
|
|
were.
|
|
|
|
There's a silence. She broods.
|
|
|
|
CLEMENTINE
|
|
Well, I am. Okay?
|
|
(pointing to a house)
|
|
Me.
|
|
|
|
Joel pulls over.
|
|
|
|
CLEMENTINE
|
|
Thanks very much. That was very
|
|
nice of you.
|
|
|
|
JOEL
|
|
Oh, well, I wouldn't want to be
|
|
nice --
|
|
|
|
CLEMENTINE
|
|
Jesus, I'm full of shit. I already
|
|
told you that.
|
|
(pause)
|
|
Anyway. See ya. Happy Valentine's
|
|
Day.
|
|
|
|
He looks at her. Clementine opens the car door.
|
|
|
|
JOEL
|
|
You too. I enjoyed meeting you.
|
|
|
|
CLEMENTINE
|
|
(turning back)
|
|
Hey, do you want to have a drink? I
|
|
have lots of drinks. And I could --
|
|
|
|
JOEL
|
|
Um --
|
|
|
|
CLEMENTINE
|
|
Never mind. Sorry, that was stupid.
|
|
I'm embarrassed. Good night, Joel.
|
|
|
|
|
|
16 INT. CLEMENTINE'S APARTMENT - NIGHT 16
|
|
|
|
A FEW MINUTES LATER: Joel stands in the living room,
|
|
somewhat nervously. He tries to calm himself by focusing on
|
|
the surroundings. He looks at the books on her shelves.
|
|
|
|
Clementine is in the kitchen. We see her as she passes by
|
|
the doorway several times, preparing drinks and chatting.
|
|
16.
|
|
|
|
|
|
CLEMENTINE
|
|
Thanks! I like it, too. Been here
|
|
about four years. It's really
|
|
cheap. My downstairs neighbor is
|
|
old so she's quiet, which is great.
|
|
And the landlord's sweet, which is
|
|
bizarre, but great, and I have a
|
|
little porch in the back, which is
|
|
great, because I can read there,
|
|
and listen to my crickets and--
|
|
|
|
Clementine is in the living room now with two gin and
|
|
tonics.
|
|
|
|
CLEMENTINE
|
|
Two blue ruins--
|
|
|
|
Joel is looking at a framed black and white photograph of
|
|
crows flying.
|
|
|
|
CLEMENTINE
|
|
You like that?
|
|
|
|
JOEL
|
|
Very much.
|
|
|
|
CLEMENTINE
|
|
This-- this guy gave that to me,
|
|
just, like, recently. I like it,
|
|
too. I like crows. I think I used
|
|
to be a crow.
|
|
|
|
She caws and hands Joel a drink.
|
|
|
|
JOEL
|
|
Thanks. That's a good caw you did.
|
|
Your caw is something to crow
|
|
about.
|
|
|
|
CLEMENTINE
|
|
Huh?
|
|
|
|
Joel shakes his head embarrassedly and mumbles something.
|
|
|
|
CLEMENTINE
|
|
Do you believe in that stuff?
|
|
Reincarnation?
|
|
|
|
JOEL
|
|
I don't know.
|
|
|
|
CLEMENTINE
|
|
17.
|
|
|
|
|
|
Me neither. Oh, there's an
|
|
inscription on the back.
|
|
|
|
Clementine takes the photo off the wall and shows Joel the
|
|
inscription on back.
|
|
|
|
JOEL
|
|
Frost?
|
|
|
|
CLEMENTINE
|
|
(impressed)
|
|
Yeah. I'm not, like, a Robert Frost
|
|
lover by any stretch. His stuff
|
|
seems strictly grade school to me.
|
|
But this made me cry for some
|
|
reason. Maybe because it is grade
|
|
school. Y'know?
|
|
|
|
JOEL
|
|
It's pretty.
|
|
|
|
CLEMENTINE
|
|
I miss grade school. I don't know
|
|
why I'm calling it grade school all
|
|
of a sudden. When I went we called
|
|
it elementary school. But I like
|
|
grade school better. Sounds like
|
|
something someone from the forties
|
|
would call it. I'd like to be from
|
|
then. Everyone wore hats. Anyway,
|
|
cheers!
|
|
|
|
JOEL
|
|
Cheers.
|
|
|
|
They clink glasses. Clementine giggles and takes a big gulp
|
|
of her drink. Joel sips. She plops down on the couch and
|
|
pulls her boots off.
|
|
|
|
CLEMENTINE
|
|
God, that feels so fucking good.
|
|
Take yours off.
|
|
|
|
JOEL
|
|
I'm fine.
|
|
|
|
CLEMENTINE
|
|
Yeah? Well, have a seat, anyway.
|
|
|
|
Joel sits in a chair across the room. Clementine finishes
|
|
her drink.
|
|
|
|
CLEMENTINE
|
|
18.
|
|
|
|
|
|
Ready for another?
|
|
|
|
JOEL
|
|
No, I'm okay for now.
|
|
|
|
She heads toward the kitchen with her glass.
|
|
|
|
CLEMENTINE
|
|
Well, I'm ready. Put some music on.
|
|
|
|
Joel crosses to the CD's and studies them.
|
|
|
|
JOEL
|
|
What do you want to hear?
|
|
|
|
CLEMENTINE (O.S.)
|
|
You pick it.
|
|
|
|
JOEL
|
|
You just say. I'm not really --
|
|
|
|
CLEMENTINE (O.S.)
|
|
I don't know! I can't see them from
|
|
here, Joel! Just pick something
|
|
good.
|
|
|
|
Joel studies the unfamiliar CD's. He picks up Bang On a Can
|
|
performing Brian Eno's Music for Airports to look at.
|
|
|
|
Clementine reenters with her drink.
|
|
|
|
CLEMENTINE
|
|
Oh, excellent choice.
|
|
|
|
She grabs it and sticks it in the CD player. The music is
|
|
dreamy and haunting and slow. Clementine falls back onto
|
|
the couch, closes her eyes and sips her drink.
|
|
|
|
CLEMENTINE
|
|
Mmmmmmm. Way to go, Joel. You pick
|
|
good.
|
|
|
|
Joel sits down in his chair and drinks. There's a silence,
|
|
which seems fine to Clementine but makes Joel anxious.
|
|
|
|
JOEL
|
|
Well, I should probably get going.
|
|
|
|
CLEMENTINE
|
|
No, stay. Just for a little while.
|
|
(opens her eyes,
|
|
brightly)
|
|
Refill?
|
|
19.
|
|
|
|
|
|
JOEL
|
|
No, I sort of have to go and --
|
|
|
|
CLEMENTINE
|
|
Stop mumbling.
|
|
|
|
She grabs Joel's drink from his hand, takes it into the
|
|
kitchen.
|
|
|
|
CLEMENTINE (O.S.)
|
|
God bless alcohol, is what I say.
|
|
Where would I be without it. Jesus,
|
|
Mary, and Joseph, maybe I don't
|
|
want to think about that.
|
|
|
|
She giggles. Joel looks around the room again. There are
|
|
several potatoes dressed as women in beautiful handmade
|
|
costumes: a nurse potato, a stripper potato, a
|
|
schoolteacher potato, a housewife potato. He stares at the
|
|
potatoes, confused. Clementine returns with Joel's drink
|
|
and a refill for herself.
|
|
|
|
JOEL
|
|
Thanks.
|
|
|
|
CLEMENTINE
|
|
Drink up, young man. It'll make the
|
|
whole seduction part less
|
|
repugnant.
|
|
|
|
Joel looks a little alarmed.
|
|
|
|
CLEMENTINE
|
|
I'm just kidding. C'mon. Or was I?
|
|
|
|
She laughs maniacally, sits back on the couch, closes her
|
|
eyes. Joel watches her, looks at her breasts. She opens her
|
|
eyes, smiles drunkenly at him, winks.
|
|
|
|
CLEMENTINE
|
|
Y'know, I'm sort of psychic.
|
|
|
|
JOEL
|
|
Yeah?
|
|
|
|
CLEMENTINE
|
|
Well, I go to a psychic and she's
|
|
always telling me I'm psychic. She
|
|
should know. Do you believe in that
|
|
stuff?
|
|
|
|
JOEL
|
|
I don't know.
|
|
20.
|
|
|
|
|
|
CLEMENTINE
|
|
Me neither. But sometimes I have
|
|
premonitions, so, I don't know.
|
|
Maybe that's just coincidence.
|
|
Right? Y'know, you think something
|
|
and then it happens, or you think a
|
|
word and then someone says it?
|
|
Y'know?
|
|
|
|
JOEL
|
|
Yeah, I don't know. It's hard to
|
|
know.
|
|
|
|
CLEMENTINE
|
|
Exactly. Exactly! That's exactly my
|
|
feeling about it. It's hard to
|
|
know. Like, okay, but how many
|
|
times do I think something and it
|
|
doesn't happen? That's what you're
|
|
saying, right? You forget about
|
|
those times. Right?
|
|
|
|
JOEL
|
|
Yeah, I guess. The human mind
|
|
creates order where there is none.
|
|
|
|
CLEMENTINE
|
|
(dreamy beat)
|
|
But I think I am. I like to think I
|
|
am. It's helpful to think there's
|
|
some order to things. You're kind
|
|
of closed- mouthed, aren't you?
|
|
|
|
JOEL
|
|
Sorry. My life isn't that
|
|
interesting. I go to work. I go
|
|
home. I don't know what to say. You
|
|
should read my journal. It's just,
|
|
like, blank.
|
|
|
|
CLEMENTINE
|
|
(considers this)
|
|
Does that make you sad? Or anxious?
|
|
I'm always anxious thinking I'm not
|
|
living my life to the fullest,
|
|
y'know? Taking advantage of every
|
|
possibility? Just making sure that
|
|
I'm not wasting one second of the
|
|
little time I have.
|
|
|
|
JOEL
|
|
I think about that.
|
|
21.
|
|
|
|
|
|
She looks at him really hard for a long moment. Joel tries
|
|
to hold her gaze, but can't. He looks down at his drink.
|
|
|
|
Clementine starts to cry again.
|
|
|
|
CLEMENTINE
|
|
You're really nice. I'm sorry I
|
|
yelled at you before about it. God,
|
|
I'm dreadful.
|
|
|
|
JOEL
|
|
I have a tendency to use that word
|
|
too much. It is a little
|
|
nondescript.
|
|
|
|
CLEMENTINE
|
|
I like you. That's the thing about
|
|
my psychic thing. I think that's my
|
|
greatest psychic power, that I get
|
|
a sense about people. My problem is
|
|
I never trust it. But I get it. And
|
|
with you I get that you're a really
|
|
good guy.
|
|
|
|
JOEL
|
|
Thanks.
|
|
|
|
CLEMENTINE
|
|
And, anyway, you sell yourself
|
|
short. I can tell. There's a lot of
|
|
stuff going on in your brain. I can
|
|
tell. My goal-- can I tell you my
|
|
goal?
|
|
|
|
JOEL
|
|
(mock put out)
|
|
Yeah, I guess.
|
|
|
|
CLEMENTINE
|
|
(ala Paul Simon)
|
|
What's the goal, Joel?
|
|
(laughs)
|
|
22.
|
|
|
|
|
|
My goal, Joel, is to just let it
|
|
flow through me? Do you know what I
|
|
mean? It's like, there's all these
|
|
emotions and ideas and they come
|
|
quick and they change and they
|
|
leave and they come back in a
|
|
different form and I think we're
|
|
all taught we should be consistent.
|
|
Y'know? You love someone -- that's
|
|
it. Forever. You choose to do
|
|
something with your life -- that's
|
|
it, that's what you do. It's a sign
|
|
of maturity to stick with that and
|
|
see things through. And my feeling
|
|
is that's how you die, because you
|
|
stop listening to what is true, and
|
|
what is true is constantly
|
|
changing. You know?
|
|
|
|
JOEL
|
|
Yeah. I think so. It's hard to --
|
|
|
|
CLEMENTINE
|
|
Like I wanted to talk to you. I
|
|
didn't need any more reason to do
|
|
it. Who knows what bigger cosmic
|
|
reason might exist?
|
|
|
|
JOEL
|
|
Yeah.
|
|
|
|
CLEMENTINE
|
|
I'm gonna marry you! I know it!
|
|
|
|
JOEL
|
|
Um, okay.
|
|
|
|
CLEMENTINE
|
|
(laughing)
|
|
You're very nice. God, I have to
|
|
stop saying that. You're nervous
|
|
around me, huh?
|
|
|
|
JOEL
|
|
No. Yeah. Sort of. Not really.
|
|
|
|
CLEMENTINE
|
|
I'm nervous. You don't need to be
|
|
nervous around me, though. I like
|
|
you. Do you think I'm repulsively
|
|
fat?
|
|
|
|
JOEL
|
|
23.
|
|
|
|
|
|
No, not at all.
|
|
|
|
CLEMENTINE
|
|
I don't either. I used to. But I'm
|
|
through with that. Y'know, if I
|
|
don't love my body, then I'm just
|
|
lost. You know? With all the
|
|
wrinkles and scars and the general
|
|
falling apart that's coming 'round
|
|
the bend. You ever inhale
|
|
hairspray? Fucking good high. I
|
|
don't anymore. It causes cellulite.
|
|
(beat)
|
|
So, I've been seeing this guy--
|
|
|
|
Joel looks slightly crestfallen.
|
|
|
|
CLEMENTINE
|
|
(off his reaction)
|
|
Oh, Joel, you're so sweet! Yay!
|
|
(kisses him on the cheek)
|
|
Just been seeing him for the last
|
|
week. He's kind of a kid. Kind of a
|
|
goofball, but he's really stuck on
|
|
me, which is flattering. Who
|
|
wouldn't like that? And he's, like,
|
|
a dope, but he says these smart and
|
|
moving things sometimes, out of
|
|
nowhere, that just break my heart.
|
|
He's the one who gave me that crow
|
|
photograph.
|
|
|
|
JOEL
|
|
Oh, yeah. Caw.
|
|
|
|
CLEMENTINE
|
|
It made me cry. But, anyway, we
|
|
went up to Boston, because I had
|
|
this urge to lie on my back on the
|
|
Charles River. It gets frozen this
|
|
time of year.
|
|
|
|
JOEL
|
|
That sounds scary.
|
|
|
|
CLEMENTINE
|
|
24.
|
|
|
|
|
|
Exactly! I used to do it in college
|
|
and I had this urge to go do it
|
|
again, so I got Patrick and we
|
|
drove all night to get there and he
|
|
was sweet and said nice things to
|
|
me, but I was really disappointed
|
|
to be there with him. Y'know? And
|
|
that's where my psychic stuff comes
|
|
in. Like, it just isn't right with
|
|
him. Y'know?
|
|
|
|
JOEL
|
|
I think so. I had a girlfriend two
|
|
years ago and just yesterday --
|
|
|
|
CLEMENTINE
|
|
I don't believe in that soulmate
|
|
crap anymore, but-- Patrick says so
|
|
many great things. We like the same
|
|
writers. This writer Joel Townsley
|
|
Rogers he turned me on to.
|
|
|
|
JOEL
|
|
Yeah, he's one of my favorites. I
|
|
saw you had his book in your purse.
|
|
One of the oddest locked room
|
|
mysteries.
|
|
|
|
CLEMENTINE
|
|
And this kid's cute, too. It's
|
|
fucked up. I mean, here it is
|
|
Valentine's Day and I can't bring
|
|
myself to call him.
|
|
(beat)
|
|
Joel, you should come up to the
|
|
Charles with me sometime.
|
|
|
|
JOEL
|
|
Okay.
|
|
|
|
CLEMENTINE
|
|
Yeah? Oh, great!
|
|
|
|
She sits closer to him.
|
|
|
|
CLEMENTINE
|
|
I'll pack a picnic -- a night
|
|
picnic -- night picnics and
|
|
different -- and --
|
|
|
|
JOEL
|
|
(shy)
|
|
25.
|
|
|
|
|
|
Sounds good. But right now I should
|
|
go.
|
|
|
|
CLEMENTINE
|
|
(pause)
|
|
You should stay.
|
|
|
|
JOEL
|
|
I have to get up early in the
|
|
morning tomorrow, so--
|
|
|
|
CLEMENTINE
|
|
(beat)
|
|
Okay.
|
|
|
|
Joel puts on his overcoat. Clementine heads to the phone
|
|
table, grabs a pen.
|
|
|
|
CLEMENTINE
|
|
I would like you to call me. Would
|
|
you do that? I would like it.
|
|
|
|
JOEL
|
|
Yes.
|
|
|
|
She scribbles her phone number on Joel's right hand. He
|
|
stands there uncomfortably for a moment, then forces
|
|
himself to speak.
|
|
|
|
JOEL
|
|
I don't think your personality
|
|
comes out of a tube. I think the
|
|
hair is just-- a pretty topping.
|
|
|
|
She tears up, swallows, and kisses him on the cheek.
|
|
|
|
JOEL
|
|
(shyly formal)
|
|
So, I enjoyed meeting you.
|
|
|
|
CLEMENTINE
|
|
You'll call me, right?
|
|
|
|
JOEL
|
|
Yeah.
|
|
|
|
CLEMENTINE
|
|
When?
|
|
|
|
JOEL
|
|
Tomorrow?
|
|
|
|
CLEMENTINE
|
|
26.
|
|
|
|
|
|
Tonight. Just to test out the phone
|
|
lines and all.
|
|
|
|
JOEL
|
|
Okay.
|
|
|
|
Joel exits. Clementine watches him through an open window
|
|
as Joel gets in his car.
|
|
|
|
CLEMENTINE
|
|
And wish me a happy Valentine's Day
|
|
when you call! That'd be nice!
|
|
|
|
|
|
17 INT/EXT. JOEL'S CAR - NIGHT 17
|
|
|
|
Joel drives home. He seems agitated. He parks in the lot
|
|
behind his apartment building, gets out of the car and
|
|
heads around to the front.
|
|
|
|
|
|
18 INT. VAN - NIGHT 18
|
|
|
|
It drives slowly down the street. There are two dark
|
|
figures inside.
|
|
|
|
STAN
|
|
I can't see any numbers.
|
|
|
|
PATRICK
|
|
(squinting)
|
|
One-thirty-seven?
|
|
|
|
Joel appears from the side of the house.
|
|
|
|
STAN
|
|
There! That's him, right?
|
|
|
|
PATRICK
|
|
I think so.
|
|
|
|
The van trails Joel, who looks back at it, then makes his
|
|
way toward his building. The van parks across the street.
|
|
|
|
|
|
19 EXT. JOEL'S APARTMENT BUILDING - CONTINUOUS 19
|
|
|
|
Joel heads up the walk to his building. He looks back at
|
|
the van, tries to see in. The window rolls down and a hand
|
|
comes out and waves cheerily.
|
|
|
|
MUFFLED PATRICK FROM INSIDE VAN
|
|
Thanks, Joel.
|
|
27.
|
|
|
|
|
|
Laughter from in the van. The window is rolled up. Joel
|
|
enters his building.
|
|
|
|
|
|
20 INT. JOEL'S APARTMENT ENTRANCEWAY - CONTINUOUS 20
|
|
|
|
Joel pulls his mail from his box. In the light we see that
|
|
Joel has a blue dot drawn on either side of his forehead. A
|
|
man enters the building. This is Frank.
|
|
|
|
FRANK
|
|
Joel.
|
|
|
|
JOEL
|
|
Frank.
|
|
|
|
The man opens his mailbox, sifts through some envelopes.
|
|
|
|
FRANK
|
|
Jesus, shit. The only Valentine's
|
|
Day cards I get are from my mother.
|
|
How pathetic is that?
|
|
|
|
Joel chuckles, distracted.
|
|
|
|
FRANK
|
|
You're lucky you have Clementine,
|
|
man. She's way cool.
|
|
|
|
Joel looks at him. The guy continues to sift through his
|
|
envelopes. A yellow envelope with the name "Lacuna" in the
|
|
|
|
upper left catches Joel's eye.
|
|
|
|
FRANK
|
|
Any big Valentine's plans with her?
|
|
|
|
JOEL
|
|
No.
|
|
|
|
Joel continues to stare at the yellow envelope.
|
|
|
|
FRANK
|
|
It's only a day away, better make
|
|
reservations somewhere. Don't want
|
|
to end up at Mickey D's.
|
|
|
|
The guy laughs. Joel smiles wanly.
|
|
|
|
FRANK
|
|
McRomance!
|
|
28.
|
|
|
|
|
|
The guy laughs again, too much.
|
|
|
|
FRANK
|
|
Do you want fries with that shake?
|
|
|
|
JOEL
|
|
I've got to get to bed, Frank.
|
|
|
|
Frank looks at his watch.
|
|
|
|
FRANK
|
|
It's 8:30.
|
|
|
|
Joel shrugs, heads down the hall, unlocks his door, which
|
|
is on the first floor.
|
|
|
|
FRANK
|
|
What's with the dots?
|
|
|
|
|
|
21 INT. JOEL'S APARTMENT - CONTINUOUS 21
|
|
|
|
Joel changes into a pair of pajamas fresh from the package.
|
|
|
|
He picks up a small vial from his night table, opens it,
|
|
dumps a round pink pill into the palm of his hand, studies
|
|
it, then swallows it quickly. He looks around the room,
|
|
somewhat panicked, as if going through some checklist. He
|
|
crosses to the window and looks out into the night. He
|
|
tries again to squint into the van across the street.
|
|
|
|
|
|
22 INT/EXT. VAN - CONTINUOUS 22
|
|
|
|
The two figures inside are watching Joel in his apartment,
|
|
squinting out at them. Joel gives up and walks away from
|
|
the window.
|
|
|
|
PATRICK
|
|
(singing under breath)
|
|
She's a maniac, maniac on the floor
|
|
--
|
|
|
|
STAN
|
|
Patrick, stop it.
|
|
|
|
Silence.
|
|
|
|
PATRICK
|
|
(singing unconsciously)
|
|
-- and she's dancing like she's
|
|
never danced before --
|
|
29.
|
|
|
|
|
|
The lights in Joel's apartment click off.
|
|
|
|
PATRICK
|
|
Show time at the Apollo.
|
|
|
|
The two guys get out of the van.
|
|
|
|
|
|
23 EXT. VAN - CONTINUOUS 23
|
|
|
|
Stan, in hip glasses, and Patrick open the back of the van
|
|
and pull out a few briefcase-sized machines. They head up
|
|
the apartment building walkway.
|
|
|
|
|
|
24 INT. JOEL'S APARTMENT BUILDING - MOMENTS LATER 24
|
|
|
|
Stan inserts a key and opens Joel's apartment door. He and
|
|
Stan enter. They switch on the light. Patrick unconsciously
|
|
hums "Maniac" as the two enter.
|
|
|
|
|
|
25 INT. JOEL'S APARTMENT - NIGHT 25
|
|
|
|
The room now looks a little vague. Joel changes into a pair
|
|
of pajamas fresh from the package. He picks up a small vial
|
|
from his night table, opens it, dumps a round pink pill
|
|
into the palm of his hand, studies it.
|
|
|
|
We see the pill from his POV. There's a code imprinted on
|
|
it, but we can't make it out. He swallows the pill quickly.
|
|
He looks around the room, somewhat panicked, as if going
|
|
through some checklist.
|
|
|
|
VOICE-OVER
|
|
Everything ready? Are they out
|
|
there?
|
|
|
|
Joel crosses to the window and looks out into the night. He
|
|
tries to squint into the van across the street. He can make
|
|
out the two figures but no detail. He stands there for a
|
|
moment, crosses to the bed, sits, dials the night table
|
|
phone.
|
|
|
|
RECORDED VOICE
|
|
The number you have dialed is no
|
|
longer in service. Please check
|
|
your number and --
|
|
|
|
JOEL
|
|
(weepy)
|
|
Bye.
|
|
30.
|
|
|
|
|
|
He hangs up the phone, turns off the light and lies on his
|
|
back on the bed. He stares up at the ceiling. The pills
|
|
seems to be taking effect and Joel is getting drowsy. But
|
|
something else is also happening: the room is getting
|
|
darker, less distinct. He tries to keep his eyes open to
|
|
watch this strange phenomenon, but can't.
|
|
|
|
His eyes close and the room plunges into darkness. We hear
|
|
a key in the door, the door opening, floorboards creaking
|
|
under shoes and someone quietly humming "Maniac." These
|
|
noises grow faint and disappear.
|
|
|
|
|
|
26 EXT. JOEL'S APARTMENT BUILDING - NIGHT 26
|
|
|
|
Joel gets out of his car, spots a van parked across the
|
|
street. There are two dark figures inside.
|
|
|
|
VOICE-OVER
|
|
Them.
|
|
|
|
The van window opens, a hand waves. Laughter. Joel hurries
|
|
inside the building. Footsteps loud.
|
|
|
|
|
|
27 INT. JOEL'S APARTMENT ENTRANCEWAY - NIGHT 27
|
|
|
|
Joel pulls his mail from his box. A man enters the
|
|
building.
|
|
|
|
MAN
|
|
Hey, Joel. What's up?
|
|
|
|
JOEL
|
|
Oh, hi, Frank.
|
|
|
|
The man opens his mailbox, sifts through some envelopes.
|
|
|
|
MAN
|
|
I only get Valentine's Day cards
|
|
from my mom. How sad is that?
|
|
|
|
Joel chuckles.
|
|
|
|
MAN
|
|
You're lucky you have Clementine,
|
|
Joel.
|
|
|
|
Joel looks at the guy as he sifts through his mail. A
|
|
yellow envelope stamped with the "Lacuna" logo catches
|
|
Joel's eye.
|
|
|
|
MAN
|
|
31.
|
|
|
|
|
|
Any big Valentine's plans?
|
|
|
|
JOEL
|
|
No.
|
|
|
|
Joel continues to stare at the yellow envelope. He sees a
|
|
mole on the man's hand.
|
|
|
|
MAN
|
|
It's only a day away, better get --
|
|
|
|
The guy with the mail is just a shadow now. Joel studies
|
|
his ghostly form.
|
|
|
|
|
|
28 INT. ROB AND CARRIE'S LIVING ROOM - NIGHT 28
|
|
|
|
MAN
|
|
-- crackin'.
|
|
|
|
Joel is pacing. He clutches a small gift box wrapped in red
|
|
paper. Rob and Carrie, 40's, watch from the couch.
|
|
|
|
JOEL
|
|
... so I get home from work tonight
|
|
and I'm just tired of the bullshit.
|
|
It's been going on long enough, so
|
|
I call her, I figure, y'know,
|
|
Valentine's day is three goddamn
|
|
days away and I want this resolved.
|
|
I'm willing to be the one to
|
|
resolve it. So --
|
|
|
|
|
|
29 INT. JOEL'S APARTMENT - NIGHT 29
|
|
|
|
Joel dials the phone.
|
|
|
|
VOICE-OVER
|
|
-- I called her.
|
|
|
|
RECORDED VOICE ON TELEPHONE
|
|
The number you have dialed has been
|
|
disconnected. If you --
|
|
|
|
Joel, startled, hangs up.
|
|
|
|
|
|
30 INT. STORE - ANTIC ATTIC - NIGHT 30
|
|
|
|
Joel looks through a display case of funky necklaces. He
|
|
talks as he examines the jewelry.
|
|
32.
|
|
|
|
|
|
JOEL
|
|
I thought, what the hell-- So I
|
|
hurried over to Antic Attic, y'know
|
|
--
|
|
|
|
|
|
31 EXT. ANTIC ATTIC - NIGHT 31
|
|
|
|
Quick shot of the exterior of Antic Attic.
|
|
|
|
|
|
32 INT. STORE - ANTIC ATTIC - NIGHT 32
|
|
|
|
JOEL
|
|
-- to look for something for her.
|
|
|
|
- A saleswoman wraps the jewelry box in red paper.
|
|
|
|
JOEL
|
|
I just thought, y'know, I'd go see
|
|
her at work, give her an early
|
|
Valentine. Because I'm going crazy.
|
|
|
|
- A hand writes on a heart-shaped card: "Clem -- I'm sorry.
|
|
I love you. Joel."
|
|
|
|
|
|
33 INT. BARNES AND NOBLE BOOKSTORE - NIGHT 33
|
|
|
|
Joel walks through the store with the small wrapped box in
|
|
his hand. He spots Clementine, now with magenta hair. He
|
|
approaches her, nervously.
|
|
|
|
JOEL
|
|
(quiet and mumbly)
|
|
What's wrong with your phone?
|
|
|
|
Clementine turns, smiles at him. It's a professional smile.
|
|
|
|
CLEMENTINE
|
|
I'm sorry, can I help you find
|
|
something?
|
|
|
|
Joel is taken aback. He just stares at her for a moment.
|
|
She continues to smile at him. Patrick, a young man with a
|
|
shadowy, vague face, approaches her from behind.
|
|
|
|
He seems almost out of breath. Joel registers that, for a
|
|
split second, Patrick glances at him before speaking to
|
|
Clementine.
|
|
|
|
PATRICK
|
|
Hey, Clem-ato!
|
|
33.
|
|
|
|
|
|
CLEMENTINE
|
|
Baby boy!
|
|
|
|
They kiss. Joel watches, confused and horrified.
|
|
|
|
CLEMENTINE
|
|
What you doin' here, baaaaaaay-
|
|
beeee?
|
|
(to Joel)
|
|
I'll be with you in a minute, sir.
|
|
|
|
|
|
34 INT. ROB AND CARRIE'S LIVING ROOM - NIGHT 34
|
|
|
|
Joel stops pacing, looks at Rob and Carrie.
|
|
|
|
JOEL
|
|
Why would she do that to me?
|
|
|
|
CARRIE
|
|
I don't know, honey. It's horrible.
|
|
|
|
ROB
|
|
Does anyone want a joint?
|
|
|
|
CARRIE
|
|
Fuck, Rob. Just give it a rest.
|
|
|
|
JOEL
|
|
She's punishing me for being
|
|
honest. I should just go to her
|
|
house.
|
|
|
|
ROB
|
|
I don't think you should go there,
|
|
man.
|
|
|
|
JOEL
|
|
Right, I don't want to seem
|
|
desperate.
|
|
|
|
CARRIE
|
|
Maybe you need to look at this as a
|
|
sign to move on. Just make a clean
|
|
break.
|
|
|
|
ROB
|
|
Joel, look, the thing is --
|
|
|
|
CARRIE
|
|
Rob!
|
|
|
|
ROB
|
|
34.
|
|
|
|
|
|
What the fuck do you suggest,
|
|
Carrie? What's your brilliant,
|
|
reasoned solution?
|
|
|
|
CARRIE
|
|
Jesus, does everything have to turn
|
|
into your shit about us? This is
|
|
not about us.
|
|
|
|
ROB
|
|
I agree. It's about Joel, who's an
|
|
adult. Not Mama Carrie's child.
|
|
|
|
Joel watches in confusion. Carrie boils over with rage and
|
|
frustration and storms from the room. Rob and Joel look at
|
|
each other.
|
|
|
|
|
|
35 INT. ROB AND CARRIE'S KITCHEN - NIGHT 35
|
|
|
|
Joel watches as Rob digs through a drawer. He finally pulls
|
|
out a yellow card and hands it to Joel. Joel reads it.
|
|
|
|
Dear Rob and Carrie Eakin:
|
|
|
|
Clementine Kruczynski has had Joel Barish erased from her
|
|
memory. Please never mention their relationship to her
|
|
again.
|
|
|
|
Thank you.
|
|
|
|
LACUNA, LTD. 424 GRAND STREET, NY, NY
|
|
|
|
Joel stares at the card, incredulous. It's the same yellow
|
|
as the Lacuna envelope his neighbor held.
|
|
|
|
|
|
36 EXT. LACUNA - DAY 36
|
|
|
|
Joel walks along the street. He sees a flash of himself
|
|
ahead carrying two garbage bags. The second Joel is almost
|
|
hit by a truck. The first Joel is confused for a moment
|
|
then pushes open a door marked Lacuna Inc.
|
|
|
|
|
|
37 INT. LACUNA WAITING ROOM - MOMENTS LATER 37
|
|
|
|
Joel is at the reception desk. He watches Mary, 25, busily
|
|
answering phones and printing out Lacuna envelopes.
|
|
|
|
MARY
|
|
(into phone)
|
|
35.
|
|
|
|
|
|
Good morning, Lacuna. No, I'm
|
|
sorry, that offer expired after the
|
|
new year. Yes. Certainly, we can
|
|
fit you in on the second. That's a
|
|
Wednesday. Great. Could you spell
|
|
that please. Great and we need a
|
|
daytime phone. Terrific. See you
|
|
then.
|
|
(hangs up, speaks to Joel
|
|
without looking up)
|
|
May I help you?
|
|
|
|
JOEL
|
|
Joel Barish. I have an appointment
|
|
with Dr. Mierzwiak.
|
|
|
|
|
|
38 INT. LACUNA OFFICE HALL - MOMENTS LATER 38
|
|
|
|
Joel walks behind Mary.
|
|
|
|
MARY
|
|
(not looking back)
|
|
How are you today?
|
|
|
|
JOEL
|
|
Not too good.
|
|
|
|
Stan, a young man in a lab coat, pops his head out from an
|
|
office.
|
|
|
|
STAN
|
|
(to Mary)
|
|
Boo.
|
|
|
|
MARY
|
|
Not now, Stan. I'm working.
|
|
|
|
STAN
|
|
Sorry. I just --
|
|
(to Joel)
|
|
Sorry. I was just --
|
|
|
|
MARY
|
|
Here we are, Mr. Barish.
|
|
|
|
Mary shows Joel Mierzwiak's office.
|
|
|
|
|
|
39 INT. LACUNA, HOWARD'S OFFICE - DAY 39
|
|
36.
|
|
|
|
|
|
MOMENTS LATER: Mierzwiak fingers the yellow card. Joel
|
|
looks from Mierzwiak to Mary. She stands behind the doctor
|
|
and eyes Mierzwiak longingly. Mierzwiak is unaware.
|
|
|
|
MIERZWIAK
|
|
(to Joel)
|
|
You should not have seen this. I
|
|
apologize.
|
|
|
|
JOEL
|
|
This is a hoax, right? This is
|
|
Clem's --
|
|
|
|
MIERZWIAK
|
|
I assure you, no.
|
|
|
|
Mary shakes her head "no" in agreement with Mierzwiak.
|
|
|
|
JOEL
|
|
There is no such thing as this!
|
|
|
|
MIERZWIAK
|
|
Look, our files are confidential,
|
|
Mr. Barish, so I can't show you
|
|
evidence. Suffice it to say Ms.
|
|
Kruczynski was not--
|
|
|
|
|
|
40 INT. ROB AND CARRIE'S KITCHEN - DAY - INT. LACUNA - DAY 40
|
|
|
|
Joel paces as Carrie busies herself making coffee.
|
|
Hammering sounds.
|
|
|
|
MIERZWIAK'S VOICE JOEL
|
|
-- happy and she wanted to "--
|
|
happy and she wanted to move on.
|
|
move on. We provide that
|
|
possibility." What the hell is
|
|
that? I was the nicest guy she ever
|
|
went out with. I mean - -
|
|
|
|
Joel looks over and sees Rob smoking a joint and hammering
|
|
a birdhouse in the other room.
|
|
|
|
CARRIE
|
|
Rob! For God's sake!
|
|
|
|
ROB
|
|
I'm making my birdhouse!
|
|
|
|
The hammering continues. Carrie strangles a frustrated
|
|
scream, then:
|
|
37.
|
|
|
|
|
|
CARRIE
|
|
Joel, Clementine met some woman on
|
|
line at the supermarket, the woman
|
|
told her about this company,
|
|
Lacuna. She decided to erase you,
|
|
almost as a lark.
|
|
|
|
JOEL
|
|
A lark?!
|
|
|
|
The scene splits in half. As Joel continues to talk to
|
|
Carrie, he also watches himself being led through the halls
|
|
of Lacuna by Mierzwiak.
|
|
|
|
MIERZWIAK CARRIE
|
|
Mr. Barish, we're certainly You
|
|
know Clementine, Joel. not here to
|
|
twist anyone's She's like that.
|
|
What can I arm. This is a personal
|
|
and say? Impulsive, profound
|
|
decision to make, but might I
|
|
suggest that you at least consider
|
|
the potential pitfalls of a psyche
|
|
forever spinning its wheels.
|
|
|
|
|
|
41 INT. JOEL'S CAR - NIGHT 41
|
|
|
|
Joel sits in his car crying. He is parked outside a drive-
|
|
in movie theater. As he cries the windows fog up until the
|
|
exterior is obliterated.
|
|
|
|
|
|
42 INT. LACUNA - MIERZWIAK'S OFFICE - NIGHT 42
|
|
|
|
Joel barges in followed by Mary. Mierzwiak looks alarmed.
|
|
|
|
MARY
|
|
I'm so sorry, Howard. He just --
|
|
|
|
JOEL
|
|
Okay, I want it done! Now!
|
|
|
|
MARY
|
|
I told him pre-Valentine's Day is
|
|
our busy time and --
|
|
|
|
MIERZWIAK
|
|
It's okay, Mary.
|
|
|
|
MARY
|
|
Really? There are people waiting
|
|
and --
|
|
38.
|
|
|
|
|
|
MIERZWIAK
|
|
Mr. Barish is in an unenviable
|
|
position for which we bear some
|
|
responsibility and we need to take
|
|
that into consideration.
|
|
|
|
MARY
|
|
Of course. You're right, Howard.
|
|
|
|
She exits.
|
|
|
|
MIERZWIAK
|
|
Now, then, Mr. Barish, first thing
|
|
we need you to do is go home and --
|
|
|
|
|
|
43 INT. JOEL'S APARTMENT - DAY 43
|
|
|
|
Joel drags around a big black plastic garbage bag and
|
|
places various objects in it.
|
|
|
|
MIERZWIAK'S VOICE
|
|
-- collect every single thing you
|
|
own that has some association with
|
|
Clementine. Anything. Photos.
|
|
Clothing. Gifts. Journal entries.
|
|
Perfume. Books she bought for you.
|
|
CD's you bought together. We want
|
|
to empty your home... your life of
|
|
Clementine.
|
|
|
|
Joel pulls books off the shelves, toiletries out of the
|
|
bathroom, clothing out of the closet, knickknacks, art
|
|
work, photographs from albums (he finds a photo of
|
|
Clementine as a little girl, wearing a pink cowboy hat and
|
|
posing with a puppy), perfume, the Rain Dogs CD, some
|
|
potatoes that are dressed up to look like different types
|
|
of women, a skeleton costume, a shoebox of letters from
|
|
Clementine, the wrapped giftbox from Antic Attic.
|
|
|
|
He rips pages out of various journals: writing, portraits
|
|
of Clementine he has drawn. As he does all this, his
|
|
apartment begins to look more and more barren.
|
|
|
|
MIERZWIAK'S VOICE
|
|
We'll use these items to --
|
|
|
|
|
|
44 EXT. NEW YORK STREET - DAY 44
|
|
39.
|
|
|
|
|
|
Joel walks carrying two big, full garbage bags. He is
|
|
almost hit by a truck as he crosses the street. It is a
|
|
replay of the near accident he witnessed earlier, but it is
|
|
now in the first person.
|
|
|
|
MIERZWIAK'S VOICE
|
|
-- create a map of Clementine --
|
|
|
|
|
|
45 INT. LACUNA WAITING ROOM - DAY 45
|
|
|
|
Joel sits with his garbage bags. A woman with red-rimmed
|
|
eyes and a cardboard box full of dog toys, dog bowls, and
|
|
other pet paraphernalia in her lap, sits across from him.
|
|
|
|
MIERZWIAK'S VOICE
|
|
-- in your brain.
|
|
|
|
Mary is on the phone at the reception desk. She hangs up
|
|
and acknowledges Joel.
|
|
|
|
MARY
|
|
How are you today, Mr. Barish?
|
|
|
|
Before Joel can respond, Mary is back into her work.
|
|
|
|
Mierzwiak pokes his head out from the inner office.
|
|
|
|
MIERZWIAK
|
|
Mr. Barish?
|
|
|
|
|
|
46 INT. LACUNA HALLWAY - DAY 46
|
|
|
|
Joel walks with his bags behind Mierzwiak. They pass Mary
|
|
printing out some yellow Lacuna cards in the reception
|
|
area.
|
|
|
|
She smiles professionally as they pass.
|
|
|
|
MIERZWIAK
|
|
February is very busy because of
|
|
Valentine's Day.
|
|
|
|
As they pass a lab, Mierzwiak stops. Joel glances in and
|
|
sees Stan working on a female client. She is being shown an
|
|
old super eight home movie.
|
|
|
|
MIERZWIAK
|
|
This is Stan Fink, one of our most
|
|
skilled and experienced
|
|
technicians. He'll be handling your
|
|
case tonight.
|
|
40.
|
|
|
|
|
|
Stan approaches Joel and shakes his hand.
|
|
|
|
STAN
|
|
Great to meet you, Mr. Barish.
|
|
|
|
Joel looks at the equipment in the lab.
|
|
|
|
|
|
47 INT. MIERZWIAK'S OFFICE - DAY 47
|
|
|
|
Joel enters with Mierzwiak. Mierzwiak directs Joel to a
|
|
sitting area. There's a tape recorder on the coffee table
|
|
between them.
|
|
|
|
MIERZWIAK
|
|
We'll start here. You and I will
|
|
chat a little. I'll tape record our
|
|
session, if you don't mind, and
|
|
we'll get a sense of the memory you
|
|
wish to erase. Okay?
|
|
|
|
Joel nods. Mierzwiak smiles kindly and switches on the tape
|
|
recorder. He moves a box of tissues closer to Joel.
|
|
|
|
MIERZWIAK
|
|
So please tell me your name and who
|
|
you are here to erase.
|
|
|
|
JOEL
|
|
My name is Joel Barish and I'm here
|
|
to erase Clementine Kruczynski.
|
|
|
|
MIERZWIAK
|
|
Very good. Tell me about
|
|
Clementine.
|
|
|
|
JOEL
|
|
Um, like what?
|
|
|
|
MIERZWIAK
|
|
Everything. We'll need everything.
|
|
(off Joel's confused
|
|
look)
|
|
Just begin talking. I'll direct the
|
|
conversation as need be.
|
|
|
|
JOEL
|
|
41.
|
|
|
|
|
|
Um, well, y'know, I was living with
|
|
this woman Naomi, about two years
|
|
ago, and my friends Rob and Carrie
|
|
invited us to a party on the beach.
|
|
Naomi couldn't go. She was working
|
|
on a paper for school. So I went. I
|
|
didn't really want to either. I
|
|
don't like parties. But I went. And
|
|
Clementine was there. In her orange
|
|
sweatshirt. And her hair. She was
|
|
really special.
|
|
|
|
Later.
|
|
|
|
JOEL
|
|
I mean, the whole thing with the
|
|
hair? It's all bullshit. And it's
|
|
sort of pathetic when you're thirty
|
|
and you're still doing that shit.
|
|
|
|
There's a noise, something's dropped. Joel looks over.
|
|
|
|
Patrick is in the corner of the room at a filing cabinet.
|
|
|
|
He's dropped some folders and he's bending down to pick
|
|
them up.
|
|
|
|
PATRICK
|
|
Sorry.
|
|
|
|
Patrick exits.
|
|
|
|
JOEL
|
|
So, um, I really liked her for some
|
|
reason, down there by the ocean. I
|
|
fall in love easily--
|
|
|
|
The room is starting to fade. Joel looks quizzically at the
|
|
eroding environment.
|
|
|
|
|
|
48 INT. LAB - DAY 48
|
|
|
|
Joel is now sitting in an examination chair. Stan draws a
|
|
blue dot on either side of his forehead.
|
|
|
|
As Mierzwiak talks, the room colors start to fade,
|
|
Mierzwiak's tone of voice is also affected; it becomes dry
|
|
and monotonous.
|
|
|
|
MIERZWIAK
|
|
42.
|
|
|
|
|
|
We'll start with your most recent
|
|
memories and go backwards -- more
|
|
or less. There is an emotional core
|
|
to each of our memories -- As we
|
|
eradicate this core, it starts its
|
|
degradation process -- By the time
|
|
you wake up in the morning, all
|
|
memories we've targeted will have
|
|
withered and disappeared. As in a
|
|
dream upon waking.
|
|
|
|
Joel watches Stan as he covers the blue dots with
|
|
electrodes.
|
|
|
|
JOEL
|
|
Is there any risk of brain damage?
|
|
|
|
MIERZWIAK
|
|
Well, technically, the procedure
|
|
itself is brain damage, but on a
|
|
par with a night of heavy drinking.
|
|
Nothing you'll miss.
|
|
|
|
|
|
49 INT. LACUNA LAB - DAY 49
|
|
|
|
Joel's outside himself watching himself in the chair. The
|
|
room is fading.
|
|
|
|
STANDING JOEL
|
|
(confused, disoriented)
|
|
Why am I -- I don't understand what
|
|
I'm looking at.
|
|
|
|
STAN
|
|
(turning to Standing
|
|
Joel)
|
|
Well, we're going to create a map
|
|
of your brain and --
|
|
|
|
STANDING JOEL
|
|
But how am I -- standing here and -
|
|
- Oh my God, deja vu! Deja vu!
|
|
(holding head)
|
|
This is so --
|
|
|
|
MIERZWIAK
|
|
So, let's get started -- If we want
|
|
to get the procedure underway
|
|
tonight, we have some work to do.
|
|
some work to do.
|
|
|
|
JOEL
|
|
43.
|
|
|
|
|
|
(to Mierzwiak)
|
|
I'm in my head already aren't I?
|
|
|
|
MIERZWIAK
|
|
(looking around at faded
|
|
room)
|
|
I suppose so, yes. This looks about
|
|
right. This is what it would look
|
|
like.
|
|
(back into memory)
|
|
Stan, if you will--
|
|
|
|
Stan pulls a snow globe from one of Joel's bags, shows it
|
|
to Joel.
|
|
|
|
STAN
|
|
Study this object, if you will.
|
|
|
|
Joel sees the equipment showing the map of his neural
|
|
connections getting more complex.
|
|
|
|
STAN
|
|
Very good.
|
|
|
|
Stan pulls out a potato dressed as a Vegas showgirl. Joel
|
|
studies it. The machines register his response.
|
|
|
|
MIERZWIAK JOEL
|
|
We'll dispose of these mementos
|
|
when we're done mementos when we're
|
|
done here. That way you won't be
|
|
here. That way you won't be
|
|
confused later by their confused
|
|
later by their unexplainable
|
|
presence in unexplainable presence
|
|
in your home. your home.
|
|
|
|
Stan pulls out a coffee mug with a photo of Clementine
|
|
printed on it. Joel looks at the cup. The machines record
|
|
his reaction.
|
|
|
|
STAN
|
|
Good. We're getting healthy
|
|
readouts.
|
|
|
|
The room, Stan, and Mierzwiak are now vague and wispy.
|
|
|
|
STAN'S VOICE
|
|
Patrick, do me a favor --
|
|
|
|
JOEL
|
|
(trying to remember)
|
|
44.
|
|
|
|
|
|
Patrick, Patrick, Patrick, Patrick,
|
|
Patrick--
|
|
|
|
PATRICK'S VOICE
|
|
Yeah, Stan?
|
|
|
|
Joel watches Stan. Stan is not speaking, yet his voice
|
|
continues.
|
|
|
|
STAN'S VOICE
|
|
Check the voltage levels. I'm not
|
|
wiping as clean as I would like
|
|
here.
|
|
|
|
Joel looks up. Stan's voice seems to be coming from above.
|
|
|
|
Joel looks past Stan.
|
|
|
|
Beyond him Joel sees a husky version of Mary leading him
|
|
down the hall; himself sitting in the waiting room; walking
|
|
down the block with his bags; collecting mementos in his
|
|
apartment. He screams.
|
|
|
|
|
|
50 INT. JOEL'S APARTMENT - NIGHT 50
|
|
|
|
Joel lies on his back in fresh pajamas. His eyes are closed
|
|
and electrodes connect his head to several machines. The
|
|
machines are operated by Stan, now in grubby street clothes
|
|
and in need of a shave, and by Patrick, dressed similarly.
|
|
|
|
The monitor on one of the machines traces a myriad of light
|
|
blips running like streams through an image of Joel's
|
|
brain.
|
|
|
|
Stan presses buttons and operates a joystick, aiming for
|
|
the lines. Patrick (who we saw earlier with Clementine at
|
|
the bookstore) studies a meter on one of the machines.
|
|
|
|
PATRICK
|
|
The voltage looks fine.
|
|
|
|
STAN
|
|
Then check the connections.
|
|
|
|
Patrick fiddles with some jacks.
|
|
|
|
PATRICK
|
|
Does that help?
|
|
|
|
STAN
|
|
Yeah, that looks better. Thanks.
|
|
45.
|
|
|
|
|
|
51 INT. LACUNA LAB ROOM - DAY 51
|
|
|
|
The memory is becoming vague, characters' affects flat.
|
|
Stan pulls out a pile of loose-leaf pages. Mierzwiak
|
|
smiles.
|
|
|
|
MIERZWIAK
|
|
Ah, your journal. This will be
|
|
invaluable.
|
|
|
|
STAN
|
|
(reading)
|
|
I met someone tonight. Oh, Christ.
|
|
I don't know what to do. Her name
|
|
is Clementine and she's amazing. So
|
|
alive and spontaneous and
|
|
passionate and sensitive. Things
|
|
with Naomi and I have been stagnant
|
|
for so long.
|
|
|
|
The scene is just a shell of itself as Stan rattles on.
|
|
|
|
STAN'S VOICE
|
|
I think we got this one. Let's push
|
|
on.
|
|
|
|
Standing Joel searches for the disembodied voices while
|
|
sitting Joel listens to Stan's monotonous reading.
|
|
|
|
PATRICK'S VOICE
|
|
So, this place is kind of a dump,
|
|
don't you think?
|
|
|
|
|
|
52 INT. JOEL'S APARTMENT - NIGHT 52
|
|
|
|
Patrick is checking out the apartment. Stan monitors the
|
|
equipment.
|
|
|
|
STAN
|
|
(uninterested)
|
|
It's an apartment.
|
|
|
|
PATRICK
|
|
Not a dump, then, but kind of
|
|
plain. Uninspired. And there's a
|
|
stale smell. Sort of stuffy. I
|
|
don't know. Eggy?
|
|
|
|
STAN
|
|
Patrick, let's just get through
|
|
this. We have a long night ahead of
|
|
us.
|
|
46.
|
|
|
|
|
|
PATRICK
|
|
Yeah.
|
|
|
|
Patrick returns to the bedside, focuses on the machines for
|
|
a moment. He glances at the unconscious Joel.
|
|
|
|
PATRICK
|
|
So who do you think is better-
|
|
looking, me or this guy?
|
|
|
|
Stan glances sideways at Patrick.
|
|
|
|
|
|
53 INT. JOEL'S APARTMENT - NIGHT 53
|
|
|
|
Joel sits in his dark, vague room and listens.
|
|
|
|
STAN'S VOICE
|
|
Listen, Mary's coming over tonight.
|
|
|
|
|
|
54 INT. JOEL'S APARTMENT - NIGHT 54
|
|
|
|
Stan works the joystick. Patrick sits on the bed with Joel.
|
|
|
|
PATRICK
|
|
Yeah?
|
|
|
|
STAN
|
|
Just wanted to let you know.
|
|
|
|
PATRICK
|
|
I like Mary. I like when she comes
|
|
to visit. I just don't think she
|
|
likes me.
|
|
|
|
STAN
|
|
She likes you okay.
|
|
|
|
PATRICK
|
|
I wonder if I should invite my
|
|
girlfriend over, too. I have a
|
|
girlfriend now.
|
|
|
|
STAN
|
|
You can if you want.
|
|
|
|
PATRICK
|
|
Did I tell you I have a new
|
|
girlfriend?
|
|
|
|
STAN
|
|
(re: memory on monitor)
|
|
47.
|
|
|
|
|
|
This one's history. Moving on--
|
|
|
|
PATRICK
|
|
The thing is -- my situation is a
|
|
little weird. My girlfriend
|
|
situation.
|
|
|
|
STAN
|
|
Patrick, we need to focus.
|
|
|
|
|
|
55 INT. JOEL'S APARTMENT - NIGHT 55
|
|
|
|
Joel distractedly reads a book, checks the clock, goes back
|
|
to the book. The door opens. He looks up. Clementine is
|
|
staggering in, drunk.
|
|
|
|
CLEMENTINE
|
|
Yo ho ho!
|
|
|
|
JOEL VOICE-OVER
|
|
It's three. Shit. The last time I
|
|
saw you.
|
|
|
|
CLEMENTINE
|
|
Anyhoo, sweetie, I done a bad
|
|
thing. I kinda sorta wrecked your
|
|
car--
|
|
|
|
JOEL
|
|
You're driving drunk. It's
|
|
pathetic.
|
|
|
|
CLEMENTINE
|
|
-- a little. I was a little tipsy.
|
|
Don't call me pathetic.
|
|
|
|
JOEL
|
|
Well it is pathetic. And fucking
|
|
irresponsible. You could've killed
|
|
somebody.
|
|
|
|
The scene is starting to degrade. The acting becomes
|
|
anemic.
|
|
|
|
JOEL
|
|
I don't know, maybe you did kill
|
|
somebody.
|
|
|
|
CLEMENTINE VOICE-OVER
|
|
48.
|
|
|
|
|
|
Oh Christ I didn't kill Right! She
|
|
called me an old anybody. It's just
|
|
a fucking lady here, too! And I
|
|
dent. You're like some old
|
|
remember, I said-- lady or
|
|
something.
|
|
|
|
JOEL
|
|
And what are you like? A wino?
|
|
|
|
CLEMENTINE
|
|
A wino? Jesus. Are you from the
|
|
fifties? A wino!
|
|
(laughs)
|
|
Face it, Joel. You're freaked out
|
|
because I was out late without you,
|
|
and in your little wormy brain,
|
|
you're trying to figure out, did
|
|
she fuck someone tonight?
|
|
|
|
JOEL
|
|
No, see, Clem, I assume you fucked
|
|
someone tonight. Isn't that how you
|
|
get people to like you?
|
|
|
|
This shuts Clementine up. She is stung and she starts
|
|
gathering up her belongings, which are strewn about the
|
|
apartment. Joel is immediately sorry he's said this. He
|
|
follows her around.
|
|
|
|
JOEL
|
|
I'm sorry. Okay? I didn't mean
|
|
that. I just-- I was just--
|
|
annoyed, I guess.
|
|
|
|
Clementine is out the door. Joel follows.
|
|
|
|
|
|
56 INT. HALLWAY - NIGHT 56
|
|
|
|
Joel looks for Clementine in the hallway, but she is gone.
|
|
|
|
|
|
57 EXT. JOEL'S STREET - NIGHT 57
|
|
|
|
Joel looks at his dented car slammed against a fire
|
|
hydrant, spots Clementine clomping off in the distance.
|
|
|
|
|
|
58 INT/EXT. JOEL'S CAR - NIGHT - CONTINUOUS 58
|
|
|
|
Joel drives to catch up to Clementine. He rolls down his
|
|
window to talk to her.
|
|
49.
|
|
|
|
|
|
JOEL
|
|
Let me drive you home.
|
|
|
|
CLEMENTINE
|
|
(without turning)
|
|
Fuck you, Joel. Faggot.
|
|
|
|
JOEL
|
|
(screaming)
|
|
Look at it out here. It's falling
|
|
apart. I'm erasing you. And I'm
|
|
happy.
|
|
|
|
She keeps clomping.
|
|
|
|
JOEL
|
|
You did it to me first. I can't
|
|
believe you did this to me.
|
|
|
|
He stops the car, gets out.
|
|
|
|
|
|
59 EXT. STREET - NIGHT 59
|
|
|
|
It's a street you might see in a dream, more an impression
|
|
of a quiet street than an actual one, with what little
|
|
detail there is obscured in darkness. In the distance
|
|
Clementine walks off, but as in an animated loop, she
|
|
doesn't get any farther away.
|
|
|
|
JOEL
|
|
(yelling after her)
|
|
By morning you'll be gone! Ha!
|
|
|
|
She keeps walking. Joel runs after her.
|
|
|
|
JOEL
|
|
You hear me? You'll be gone! A
|
|
perfect ending to this piece of
|
|
shit story!
|
|
|
|
He stops. He's in exactly the same place he was when he
|
|
started.
|
|
|
|
PATRICK'S VOICE
|
|
See, remember that girl? The one we
|
|
did last week? The one with the
|
|
potatoes?
|
|
|
|
Joel looks up, startled to hear a strange voice talking
|
|
about Clementine.
|
|
|
|
STAN'S VOICE
|
|
50.
|
|
|
|
|
|
Yeah, that's this guy's girlfriend.
|
|
Was.
|
|
|
|
|
|
60 INT. JOEL'S APARTMENT - NIGHT 60
|
|
|
|
Stan watches the screen. Patrick paces, fidgets, looks at
|
|
the unconscious Joel.
|
|
|
|
PATRICK
|
|
I gotta tell you something. I kind
|
|
of fell in love with her that
|
|
night.
|
|
|
|
STAN
|
|
She was unconscious, Patrick.
|
|
|
|
PATRICK
|
|
She was beautiful. So sweet and
|
|
funky and voluptuous. Crazy hair. I
|
|
kind of stole a pair of her
|
|
panties, is what.
|
|
|
|
STAN
|
|
Jesus, Patrick!
|
|
|
|
|
|
61 EXT. STREET - NIGHT 61
|
|
|
|
On the vague street, getting more vague by the second, Joel
|
|
listens to Patrick and Stan as he walks past the same
|
|
landmarks again and again. Clementine continues to walk
|
|
away in the distance.
|
|
|
|
PATRICK'S VOICE
|
|
I know. It's not like-- I mean,
|
|
they were clean and all.
|
|
|
|
STAN'S VOICE
|
|
Look, just don't tell me this
|
|
stuff. I don't want to know this
|
|
shit.
|
|
|
|
PATRICK'S VOICE
|
|
Yeah, okay.
|
|
|
|
STAN'S VOICE
|
|
We have work to do.
|
|
|
|
The scene fades completely away and Joel finds himself in -
|
|
-
|
|
51.
|
|
|
|
|
|
62 INT. JOEL'S APARTMENT - NIGHT 62
|
|
|
|
Joel and Clementine sit and eat dinner in front of the TV.
|
|
|
|
It's hard to make out what they're watching. They sit on
|
|
opposite ends of the couch. They look bored. The scene
|
|
quickly degenerates. The room fades.
|
|
|
|
PATRICK'S VOICE
|
|
Okay, but there's more.
|
|
|
|
Joel listens. Clementine doesn't seem to hear it.
|
|
|
|
PATRICK'S VOICE
|
|
After we did her, I went to where
|
|
she works and I asked her out.
|
|
|
|
JOEL
|
|
Jesus!
|
|
|
|
Joel looks over at the faded Clementine across the couch.
|
|
She stares straight ahead at the TV.
|
|
|
|
STAN'S VOICE
|
|
Patrick-- do you know how
|
|
unethical--
|
|
|
|
JOEL
|
|
There's some guy here who stole
|
|
your underwear.
|
|
|
|
CLEMENTINE
|
|
Where?
|
|
|
|
Joel points up. Clementine, bored, looks up at the ceiling.
|
|
|
|
CLEMENTINE
|
|
I don't see anyone.
|
|
|
|
Joel finds himself in --
|
|
|
|
|
|
63 INT. JOEL'S APARTMENT - NIGHT 63
|
|
|
|
Joel watches TV. He hears Clementine coming and stretches
|
|
himself out on the floor pretending to be dead. Clementine
|
|
walks by in her underwear, looks at the TV. She does not
|
|
acknowledge Joel on the floor as she slips into a skirt.
|
|
|
|
CLEMENTINE
|
|
How can you watch this crap? I'm
|
|
fucking crawling out of my skin.
|
|
52.
|
|
|
|
|
|
Joel opens his eyes and sits up, embarrassed. The scene
|
|
starts to fade. Clementine puts on her shoes and heads out
|
|
the door.
|
|
|
|
CLEMENTINE
|
|
I should have left you at that flea
|
|
market.
|
|
|
|
|
|
64 EXT. FLEA MARKET - DAY 64
|
|
|
|
Joel and Clementine walk around unhappily. They barely look
|
|
at the wares. Clementine watches parents with babies.
|
|
|
|
JOEL
|
|
(to Clementine)
|
|
Want to go?
|
|
|
|
CLEMENTINE
|
|
(wistful)
|
|
I want to have a baby.
|
|
|
|
JOEL
|
|
Let's talk about it later.
|
|
|
|
CLEMENTINE
|
|
No. I want to have a baby. I have
|
|
to have a baby.
|
|
|
|
JOEL
|
|
I don't think we're ready.
|
|
|
|
CLEMENTINE
|
|
You're not ready.
|
|
|
|
JOEL
|
|
Clementine, do you really think you
|
|
could take care of a kid?
|
|
|
|
She turns violently toward him, glaring.
|
|
|
|
CLEMENTINE
|
|
What?!
|
|
|
|
JOEL
|
|
(mumbly)
|
|
I don't want to talk about this
|
|
here.
|
|
|
|
CLEMENTINE
|
|
53.
|
|
|
|
|
|
I can't hear you! I can never the
|
|
fuck understand what you're saying.
|
|
Open your goddamn mouth when you
|
|
speak! Fucking ventriloquist.
|
|
|
|
JOEL
|
|
(over-enunciating)
|
|
I don't want to talk about this
|
|
here!
|
|
|
|
CLEMENTINE
|
|
We're fucking gonna talk about it!
|
|
|
|
Joel looks around. People are watching.
|
|
|
|
CLEMENTINE
|
|
You can't fucking say something
|
|
like that and say you don't want to
|
|
talk about it!
|
|
|
|
JOEL
|
|
Clem, I'm sorry. I shouldn't have -
|
|
-
|
|
|
|
CLEMENTINE
|
|
(screaming now and
|
|
weeping)
|
|
I'd make a fucking good mother! I
|
|
love children! I'm creative and
|
|
smart and I'd make a fucking great
|
|
mother! It's you! It's you who
|
|
can't commit to anything! You have
|
|
no idea how lucky you are I'm
|
|
interested in you!
|
|
|
|
The scene starts to fade. Clementine's rant continues but
|
|
becomes attenuated and vague.
|
|
|
|
JOEL
|
|
Oh, thank God. It's going.
|
|
|
|
CLEMENTINE
|
|
I don't even know why I am! I
|
|
should just end it right here,
|
|
Joel. Leave you at the flea market
|
|
with the stupid costume jewelry.
|
|
Maybe you could find a nice antique
|
|
rocking chair to die in!
|
|
|
|
She's crying still, but it's almost animatronic, no real
|
|
emotion in it. The scene is a husk.
|
|
|
|
JOEL
|
|
54.
|
|
|
|
|
|
It's going, Clementine. All the
|
|
crap and hurt and disappointment.
|
|
It's all being wiped away.
|
|
|
|
She looks up at him.
|
|
|
|
CLEMENTINE
|
|
I'm glad.
|
|
|
|
Their eyes lock. She is fading before his eyes.
|
|
|
|
JOEL
|
|
Me, too.
|
|
|
|
|
|
65 INT. BAR - NIGHT 65
|
|
|
|
Joel makes his way with two drinks from the crowded bar to
|
|
a table where Clementine sits with another guy. She looks
|
|
up from her conversation.
|
|
|
|
CLEMENTINE
|
|
Joel, this is Mark. He likes my
|
|
boobs. He came over special to tell
|
|
me that. Isn't that nice. He
|
|
doesn't think I'm fat.
|
|
|
|
The scene starts to fade. Mark rises.
|
|
|
|
MARK
|
|
I didn't know she was with someone,
|
|
buddy.
|
|
|
|
JOEL
|
|
I don't think she's aware of it
|
|
either, buddy.
|
|
|
|
CLEMENTINE
|
|
S'okay, Marky-Mark. Joel doesn't
|
|
like my boobs.
|
|
(stage whisper)
|
|
I don't think he likes girls.
|
|
|
|
The bar gets quiet and vague.
|
|
|
|
JOEL
|
|
You're drunk.
|
|
|
|
CLEMENTINE
|
|
You're a whiz kid. So perceptive,
|
|
so --
|
|
55.
|
|
|
|
|
|
Clementine keeps talking but there are no more intelligible
|
|
words, just a whisper -- like a breeze.
|
|
|
|
A doorbell buzzes. Joel looks around. The bartender, across
|
|
the silent, vaguely populated, bar speaks in a whisper.
|
|
|
|
BARTENDER
|
|
That's your doorbell, isn't it,
|
|
Joel?
|
|
|
|
|
|
66 INT. JOEL'S APARTMENT - NIGHT 66
|
|
|
|
Patrick opens the door. Mary stands there in a winter coat,
|
|
carrying a backpack.
|
|
|
|
MARY
|
|
(coolly)
|
|
Oh, hey, Patrick.
|
|
|
|
PATRICK
|
|
Hi, Mary. How's it going?
|
|
|
|
She walks in past him.
|
|
|
|
STAN
|
|
Hey, you.
|
|
|
|
Stan and Mary kiss. She looks down at Joel as she takes off
|
|
her coat.
|
|
|
|
MARY
|
|
It's freezing out.
|
|
|
|
STAN
|
|
You found us okay?
|
|
|
|
MARY
|
|
Yeah.
|
|
(re: Joel)
|
|
Poor guy.
|
|
|
|
Mary sees a cooler of beer in one of the Lacuna cases.
|
|
|
|
MARY
|
|
Is there anything real to drink?
|
|
|
|
STAN
|
|
We haven't checked.
|
|
|
|
MARY
|
|
56.
|
|
|
|
|
|
Well, allow me to do the honors.
|
|
It's fucking freezing and I need
|
|
something.
|
|
|
|
She heads into the kitchen. Stan turns back to monitor the
|
|
slivers of light.
|
|
|
|
PATRICK
|
|
Mary hates me. I've never been
|
|
popular with the ladies.
|
|
|
|
STAN
|
|
Maybe if you stopped stealing their
|
|
panties.
|
|
|
|
PATRICK
|
|
(guilty beat)
|
|
Okay, there's more, Stan --
|
|
|
|
Stan looks over at Patrick. Mary returns with a bottle of
|
|
scotch and two glasses.
|
|
|
|
MARY
|
|
Hey, hey.
|
|
|
|
She pours the whiskey.
|
|
|
|
MARY
|
|
Oh, Patrick, you didn't want any,
|
|
did you?
|
|
|
|
PATRICK
|
|
Nah, I don't know. That's okay.
|
|
|
|
Mary hands a glass to Stan. She holds hers up in a toast.
|
|
|
|
MARY
|
|
Blessed are the forgetful, for they
|
|
get the better even of their
|
|
blunders.
|
|
|
|
Mary and Stan click glasses.
|
|
|
|
MARY
|
|
Nietzsche. Beyond Good and Evil.
|
|
Found it in my Bartletts.
|
|
|
|
STAN
|
|
That's a good one.
|
|
|
|
MARY
|
|
Yeah, I can't wait to tell Howard!
|
|
57.
|
|
|
|
|
|
STAN
|
|
(a little sulky)
|
|
It's a good one all right.
|
|
|
|
PATRICK
|
|
What's your Bartlett's?
|
|
|
|
STAN
|
|
It's a quote book.
|
|
|
|
MARY
|
|
I love quotes. So did Winston
|
|
Churchill. He actually has a
|
|
quotation in Bartlett's about
|
|
Bartlett's. Isn't that trippy?
|
|
|
|
PATRICK
|
|
(trying to engage)
|
|
Yeah. Cool.
|
|
|
|
MARY
|
|
"The quotations when engraved upon
|
|
the memory give you good thoughts."
|
|
|
|
PATRICK
|
|
Trippy. It's like it turns in on
|
|
itself.
|
|
|
|
MARY
|
|
I like to read what smart people
|
|
say. So many beautiful things. The
|
|
human race is having this constant
|
|
conversation with itself. Y'know?
|
|
|
|
STAN
|
|
Yup.
|
|
|
|
MARY
|
|
Don't you think Howard's like that?
|
|
Just so smart?
|
|
|
|
STAN
|
|
(beat)
|
|
Yup.
|
|
|
|
PATRICK
|
|
Definitely!
|
|
|
|
MARY
|
|
I think he'll be in Bartlett's one
|
|
day.
|
|
58.
|
|
|
|
|
|
Stan focuses on his monitor. Mary pours herself another
|
|
drink.
|
|
|
|
PATRICK
|
|
Definitely. Howard is pure
|
|
Bartlett's.
|
|
|
|
|
|
67 INT. JOEL'S BEDROOM - NIGHT 67
|
|
|
|
It's dark. Joel and Clementine are in bed. The memory is
|
|
already in the midst of being erased. Clementine is talking
|
|
in a monotonous, robotic manner. She sips tea from a coffee
|
|
mug with her photo on it.
|
|
|
|
CLEMENTINE
|
|
You don't tell me things, Joel. I'm
|
|
an open book. I tell you
|
|
everything. Every damn embarrassing
|
|
thing. You don't trust me.
|
|
|
|
JOEL
|
|
You don't have to be afraid of
|
|
silence, Clementine. Constantly
|
|
talking isn't necessarily
|
|
communicating.
|
|
|
|
CLEMENTINE
|
|
(takes this in)
|
|
I don't do that. I want to know
|
|
you. I don't constantly talk.
|
|
Jesus. People have to share things.
|
|
That's what intimacy is. I'm really
|
|
pissed that you said that to me.
|
|
|
|
JOEL
|
|
(backing off)
|
|
I'm sorry. I just don't have
|
|
anything very interesting about my
|
|
life.
|
|
|
|
CLEMENTINE
|
|
Joel, you're a liar. You're like
|
|
one of those locked room mysteries.
|
|
I want to read some of those
|
|
journals you're constantly
|
|
scribbling in.
|
|
(complete monotone)
|
|
What do you write in there if you
|
|
don't have any thoughts or fears or
|
|
passions or love?
|
|
|
|
The scene is faded now. The coffee mug is blank.
|
|
59.
|
|
|
|
|
|
68 INT. CHINESE RESTAURANT - NIGHT 68
|
|
|
|
Joel and Clementine eat dinner in silence. Joel looks
|
|
around at other couples in the restaurant. Some seem happy
|
|
and engaged. Others seem bored with each other. He turns
|
|
back to his food.
|
|
|
|
JOEL VOICE-OVER
|
|
How's the chicken? Is that like us?
|
|
Are we just bored with each other?
|
|
I can't stand the idea of being a
|
|
couple that people think that
|
|
about.
|
|
|
|
CLEMENTINE
|
|
Good.
|
|
|
|
He watches her as she downs her wine and pours herself
|
|
another glass. She holds the wine bottle up to Joel.
|
|
|
|
CLEMENTINE
|
|
More?
|
|
|
|
JOEL VOICE-OVER
|
|
No. Thanks. She's going to be drunk
|
|
and stupid now.
|
|
|
|
There's a silence.
|
|
|
|
CLEMENTINE
|
|
Hey, would you do me a favor and
|
|
clean the goddamn hair off the soap
|
|
when you're done in the shower?
|
|
|
|
JOEL
|
|
Oh. Yeah. Okay.
|
|
|
|
CLEMENTINE
|
|
It's really gross. It's just,
|
|
y'know, it's repulsive. Anyway--
|
|
|
|
They continue to eat in silence as the scene dissolves.
|
|
|
|
PATRICK'S VOICE
|
|
Hi, Clementine!
|
|
|
|
Joel looks around, surprised.
|
|
|
|
JOEL
|
|
Someone you know?
|
|
|
|
Clementine doesn't respond, she continues to eat
|
|
robotically.
|
|
60.
|
|
|
|
|
|
PATRICK'S VOICE
|
|
Why, Clem-ato, what's wrong?
|
|
|
|
Joel looks over and sees:
|
|
|
|
|
|
69 INT. BARNES AND NOBLE BOOKSTORE - NIGHT 69
|
|
|
|
A decayed version of Barnes and Noble. Joel, at the Chinese
|
|
restaurant with Clementine, now inside Barnes and Noble,
|
|
watches himself talking to a Clementine with magenta hair.
|
|
|
|
The scene plays out as if dead. Patrick approaches her from
|
|
behind. Seated Joel tries to see Patrick's face but it is
|
|
in shadows.
|
|
|
|
PATRICK
|
|
Hey, Clem-ato!
|
|
|
|
CLEMENTINE
|
|
Patrick! Baby boy!
|
|
|
|
They kiss. Joel from the restaurant walks over to try to
|
|
get a closer look at Patrick. No matter how close he gets,
|
|
Patrick's face doesn't get any more detail in it.
|
|
|
|
|
|
70 INT. CHINESE RESTAURANT - NIGHT 70
|
|
|
|
Back in the Chinese restaurant, Joel listens to Patrick's
|
|
voice.
|
|
|
|
PATRICK'S VOICE
|
|
-- Oh, I'm sorry. -- Well, I'm not
|
|
sure I should come over right now,
|
|
I kind of have to study for my test
|
|
--
|
|
|
|
|
|
71 INT. JOEL'S APARTMENT - NIGHT 71
|
|
|
|
Patrick is on the phone next to Joel's bed. Stan watches
|
|
the lights on the computer screen.
|
|
|
|
PATRICK
|
|
Hold on. Let me ask my study
|
|
partner.
|
|
(covering mouthpiece)
|
|
Stan, can I leave for a little
|
|
while? My girlfriend is very --
|
|
|
|
STAN
|
|
Patrick, we're in the middle of --
|
|
61.
|
|
|
|
|
|
PATRICK
|
|
She's right in the neighborhood.
|
|
She's upset.
|
|
(trying for camaraderie)
|
|
Women.
|
|
|
|
Mary is in the kitchen. She pokes her head out. She's got
|
|
some pie on a plate.
|
|
|
|
MARY
|
|
Let him go, Stan. I can help.
|
|
|
|
STAN
|
|
(sighing, to Patrick)
|
|
Go.
|
|
|
|
PATRICK
|
|
(quietly)
|
|
Mary hates me. She wants me to go.
|
|
(into phone)
|
|
I'll be right over, Tangerine.
|
|
|
|
Joel, unconscious on the bed, jerks.
|
|
|
|
|
|
72 INT. VOID - DAY 72
|
|
|
|
Slowly, a fluorescent orange sweatshirt comes into being.
|
|
It gets filled by Clementine, who now has orange hair and
|
|
is modeling the sweatshirt for Joel in his living room,
|
|
which comes into focus around them.
|
|
|
|
CLEMENTINE
|
|
You like? I matched my sweatshirt
|
|
exactly.
|
|
|
|
She twirls.
|
|
|
|
JOEL
|
|
I like it. You look like a
|
|
tangerine.
|
|
|
|
CLEMENTINE
|
|
Clementine the tangerine, I like
|
|
that.
|
|
|
|
JOEL
|
|
How did he know to call you that?
|
|
|
|
CLEMENTINE
|
|
How did who know?
|
|
|
|
Joel looks at Clementine, something's beginning to click.
|
|
62.
|
|
|
|
|
|
JOEL
|
|
Oh, God--
|
|
|
|
Clementine is now on her side on the floor and Joel is next
|
|
to her. The room becomes --
|
|
|
|
|
|
73 INT. CLEMENTINE'S APARTMENT - NIGHT 73
|
|
|
|
Candles are lit. Joel and Clementine are under a blanket on
|
|
the living room rug listening to music.
|
|
|
|
CLEMENTINE
|
|
Joely--
|
|
|
|
JOEL
|
|
Yeah, Tangerine?
|
|
|
|
CLEMENTINE
|
|
Do you know The Velveteen Rabbit?
|
|
|
|
JOEL
|
|
No.
|
|
|
|
CLEMENTINE
|
|
It's my favorite book. Since I was
|
|
a kid. It's about these toys.
|
|
There's this part where the Skin
|
|
Horse tells the Rabbit what it
|
|
means to be real.
|
|
(crying, then laughing at
|
|
herself)
|
|
I can't believe I'm crying already.
|
|
(reading from a worn copy
|
|
of the book)
|
|
He says, "It takes a long time.
|
|
That's why it doesn't often happen
|
|
to people who break easily or have
|
|
sharp edges, or who have to be
|
|
carefully kept. Generally by the
|
|
time you are Real, most of your
|
|
hair has been loved off, and your
|
|
eyes drop out and you get loose in
|
|
the joints and very shabby. But
|
|
these things don't matter at all,
|
|
because once you are Real you can't
|
|
be ugly, except to people who don't
|
|
understand."
|
|
|
|
She's weeping. Joel is stroking her hair. They kiss and
|
|
begin to make love under the blanket. It's sweet and gentle
|
|
and then it starts to fade.
|
|
63.
|
|
|
|
|
|
JOEL
|
|
(screaming)
|
|
Mierzwiak! Mierzwiak!
|
|
|
|
He looks down and Clementine's tear-streaked face is
|
|
fading.
|
|
|
|
She continues as if she's still being made love to, even
|
|
though Joel is completely beside himself. He jumps up naked
|
|
and yells at the ceiling.
|
|
|
|
JOEL
|
|
Please! Please! I've changed my
|
|
mind!
|
|
(looks down at fading
|
|
Clementine, then at
|
|
ceiling)
|
|
I don't want this. Wake me up! Stop
|
|
the procedure! Plea --
|
|
|
|
|
|
74 INT. JOEL'S APARTMENT - NIGHT 74
|
|
|
|
Joel is unconscious on the bed, completely still. Mary and
|
|
Stan watch the monitor and smoke a joint. After a silence:
|
|
|
|
MARY
|
|
It's amazing, isn't it? Such a gift
|
|
Howard is giving the world.
|
|
|
|
STAN
|
|
(a sigh)
|
|
Yeah.
|
|
|
|
MARY
|
|
To let people begin again. It's
|
|
beautiful. You look at a baby and
|
|
it's so fresh, so clean, so free.
|
|
Adults... they're like this mess of
|
|
anger and phobias and sadness...
|
|
hopelessness. And Howard just makes
|
|
it go away.
|
|
|
|
STAN
|
|
You, um, love him, don't you?
|
|
|
|
Mary seems surprised, taken aback, caught. She is silent
|
|
for a long moment.
|
|
|
|
MARY
|
|
No.
|
|
(beat)
|
|
64.
|
|
|
|
|
|
Besides, Howard's married, Stan.
|
|
He's a very serious and ethical
|
|
man. I'm not going to tempt him to
|
|
betray all he believes in.
|
|
|
|
STAN
|
|
That's cool.
|
|
|
|
Stan takes another drag on the joint, passes it to Mary.
|
|
|
|
|
|
75 EXT. CLEMENTINE'S STREET - NIGHT 75
|
|
|
|
Patrick, bundled up and carrying a full backpack, trudges
|
|
down the block.
|
|
|
|
|
|
76 INT. CLEMENTINE'S APARTMENT - NIGHT 76
|
|
|
|
CONTINUOUS: Clementine watches out the window as Patrick
|
|
nears. She's crying. He makes his way up her front stairs.
|
|
|
|
She swings open the door and hugs him.
|
|
|
|
PATRICK
|
|
Oh, baby, what's going on?
|
|
|
|
CLEMENTINE
|
|
I don't know. I'm lost. I'm scared.
|
|
I feel like I'm disappearing. I'm
|
|
getting old and nothing makes any
|
|
sense to me.
|
|
|
|
PATRICK
|
|
Oh, Tangerine.
|
|
|
|
CLEMENTINE
|
|
Nothing makes any sense. Nothing
|
|
makes any sense.
|
|
|
|
She pushes herself out of the embrace and looks at Patrick.
|
|
|
|
CLEMENTINE
|
|
Come up to Boston with me?
|
|
|
|
PATRICK
|
|
Sure. We'll go next weekend and --
|
|
|
|
CLEMENTINE
|
|
Now. Now! I have to go now. I have
|
|
to see the frozen Charles! Now!
|
|
Tonight!
|
|
65.
|
|
|
|
|
|
PATRICK
|
|
(beat)
|
|
I'll call my study partner.
|
|
|
|
CLEMENTINE
|
|
Yay! It'll be great! I'll get my
|
|
shit.
|
|
|
|
She runs into the bedroom. Patrick is at the phone and
|
|
realizes he doesn't know Joel's number. After a moment's
|
|
thought, he *69's. The phone rings.
|
|
|
|
JOEL'S VOICE
|
|
Hi, it's Joel. Please leave a
|
|
message after the beep.
|
|
|
|
Beep.
|
|
|
|
PATRICK
|
|
(whisper)
|
|
Stan, it's Patrick. Pick up.
|
|
|
|
STAN'S VOICE
|
|
Hey, where are you?
|
|
|
|
PATRICK
|
|
I got into a situation with the old
|
|
lady. Can you handle things tonight
|
|
alone? I'm really sorry, man.
|
|
|
|
|
|
77 INT. JOEL'S APARTMENT - CONTINUOUS 77
|
|
|
|
Stan is on the phone. He's really stoned and watches Mary,
|
|
stoned herself, dancing in a sexy trance to something soft
|
|
and low on the stereo.
|
|
|
|
STAN
|
|
I can handle it. He's pretty much
|
|
on auto-pilot anyway.
|
|
|
|
|
|
78 INT. CLEMENTINE'S APARTMENT - DAY 78
|
|
|
|
PATRICK
|
|
Thanks, Stan. I owe you big time.
|
|
|
|
Patrick hangs up, rifles quickly through his backpack. He
|
|
pulls out the red gift-wrapped box Joel was going to give
|
|
Clementine for Valentine's Day, puts it in his pocket, then
|
|
pulls out a bunch of letters, flips through them, keeping
|
|
an eye on the bedroom door. He finds what he's looking for.
|
|
The handwriting is a woman's. He reads:
|
|
66.
|
|
|
|
|
|
CLEMENTINE'S VOICE
|
|
Dear, dear Joel: Thank you so much
|
|
for joining me on the Charles River
|
|
last night. I know how nervous you
|
|
were about stepping onto the ice,
|
|
but that you overcame your fear
|
|
just to please me is so fucking
|
|
sweet I could eat you. I will! --
|
|
When we watched the stars on our
|
|
backs and you took my hand and
|
|
said, "I could--
|
|
|
|
|
|
79 EXT. CHARLES RIVER - NIGHT 79
|
|
|
|
Joel and Clementine lie together holding hands on the
|
|
frozen river. They look up at the stars.
|
|
|
|
JOEL
|
|
-- die right now, Clem. I'm just--
|
|
happy. I've never felt that before.
|
|
I'm just exactly where I want to
|
|
be.
|
|
|
|
Clementine looks over at him. Her eyes are filled with love
|
|
and tears. Then they get vague, clouded-over. The scene is
|
|
being erased. Joel is panicked.
|
|
|
|
JOEL
|
|
Clem, no! Please! Oh, fuck! Please!
|
|
(screaming at the fading
|
|
crumbling night sky)
|
|
Can you hear me? I want to call it
|
|
off! I'll give you a sign! I'll
|
|
give you a sign!
|
|
|
|
Joel scrunches his face, focuses intently, shakes with
|
|
concentration.
|
|
|
|
|
|
80 INT. JOEL'S BEDROOM - CONTINUOUS 80
|
|
|
|
Joel's eyes roll almost imperceptibly. Stan and Mary are
|
|
dancing together now, not watching him.
|
|
|
|
|
|
81 EXT. CHARLES RIVER - CONTINUOUS 81
|
|
|
|
Crazily, Joel grabs the fading Clementine's hand and runs
|
|
toward shore. The slow dance music from Stan and Mary's
|
|
scene drifts through the night. Joel and Clementine run
|
|
through a series of decayed scenes:
|
|
67.
|
|
|
|
|
|
We see snippets, details: Joel and Clementine in front of a
|
|
diorama in the Natural History Museum, Joel and Clementine
|
|
arguing in a car, having sex on the hall stairs of
|
|
Clementine's apartment building, laughing and holding hands
|
|
at a movie, eating grilled cheese and tomato soup together
|
|
in bed, Joel watching her sleep, listening to Rain Dogs
|
|
together, drinking at a bar, Joel and Clementine playing a
|
|
board game with Rob and Carrie.
|
|
|
|
Joel arrives at a decayed version of his first meeting with
|
|
Mierzwiak. Still desperately clutching Clementine's hand,
|
|
he yells to Mierzwiak.
|
|
|
|
JOEL
|
|
Please!
|
|
|
|
Joel turns to look at Clementine. It's no longer her. He is
|
|
holding the hand of some woman he's never seen before. He
|
|
drops her hand with a panicked yelp. And runs into the
|
|
decayed Lacuna office.
|
|
|
|
|
|
82 INT. LACUNA MIERZWIAK'S OFFICE - NIGHT 82
|
|
|
|
Faded Joel sits across from Mierzwiak. A tape recorder
|
|
between them.
|
|
|
|
MIERZWIAK
|
|
Why don't you start now by telling
|
|
me everything you can remember
|
|
about --
|
|
|
|
JOEL
|
|
You have to stop this!
|
|
|
|
MIERZWIAK
|
|
What? What do you mean?
|
|
|
|
JOEL
|
|
I don't know! You're erasing her
|
|
from me! You erased me from her! I
|
|
don't know! You got a thing-- I'm
|
|
in my bed! I know it. I'm in my
|
|
brain! You're erasing Clementine!
|
|
Right? I love her! But I won't when
|
|
I wake up -- right? I won't know
|
|
her, so-- please, just leave me
|
|
alone! Please.
|
|
|
|
MIERZWIAK
|
|
68.
|
|
|
|
|
|
Yes, but-- I'm just something
|
|
you're imagining, Joel. What can I
|
|
do from here? I'm in your head,
|
|
too. I'm you.
|
|
|
|
Mierzwiak goes back to talking to the faded Joel in the
|
|
scene.
|
|
|
|
JOEL
|
|
Look! That guy!
|
|
|
|
Joel sees a shadowy Patrick down the hall watching them.
|
|
|
|
MIERZWIAK
|
|
He works here.
|
|
(oddly drawn out)
|
|
That's Paaaaa-trick. Baaaby-boy.
|
|
|
|
JOEL
|
|
He's stealing my identity. He stole
|
|
my stuff. He's seducing my girl
|
|
with my words and my things. He
|
|
stole her panties! Jesus! Her
|
|
panties!
|
|
|
|
Joel runs from the office.
|
|
|
|
|
|
83 INT. HALL - NIGHT 83
|
|
|
|
Joel runs toward the shadowy Patrick, who just stands
|
|
there.
|
|
|
|
But Joel doesn't get any closer.
|
|
|
|
|
|
84 INT. CLEMENTINE'S APARTMENT - NIGHT 84
|
|
|
|
Patrick reads the letter.
|
|
|
|
CLEMENTINE'S VOICE
|
|
-- and when we made love right on
|
|
the ice it was absolutely freezing
|
|
on my ass! I just have to tell you
|
|
that. It was wonderful.
|
|
|
|
Clementine enters, dressed for the cold. Patrick puts the
|
|
letter away.
|
|
|
|
CLEMENTINE
|
|
I'm so excited. Yay!
|
|
|
|
PATRICK
|
|
69.
|
|
|
|
|
|
I'm excited, too. Oh, and I wanted
|
|
to give you this. It's a little--
|
|
thing. Happy Early Valentine's Day.
|
|
|
|
Patrick pulls the box from his pocket, hands it to her.
|
|
|
|
CLEMENTINE
|
|
Wow. What is it?
|
|
|
|
PATRICK
|
|
I don't know! Open it up!
|
|
|
|
Clementine pulls the wrapping, opens the box, pulls out the
|
|
necklace Joel bought for her earlier.
|
|
|
|
CLEMENTINE
|
|
(slipping it on)
|
|
Oh! It's gorgeous.
|
|
(kisses him)
|
|
Just my taste. I've never gone out
|
|
with a guy who bought me a piece of
|
|
jewelry I liked.
|
|
(kisses him)
|
|
Thank you so much!
|
|
|
|
|
|
85 INT. JOEL'S APARTMENT - NIGHT 85
|
|
|
|
Stan and Mary have sex on the floor next to Joel's bed.
|
|
|
|
|
|
86 EXT. FOREST - DAY 86
|
|
|
|
A wide shot of the trees in springtime. Joel and Clementine
|
|
are hiking, Clementine in front. The sounds of Stan and
|
|
Mary's sex play inconspicuously in the distance. As we move
|
|
into close-up the forest seems wintry and dead.
|
|
|
|
CLEMENTINE
|
|
Such a beautiful view.
|
|
|
|
JOEL
|
|
(looking at her)
|
|
Yes.
|
|
(snapping out of memory)
|
|
Shit! They're erasing you, Clem!
|
|
|
|
CLEMENTINE
|
|
Oh, look at the flowers! What are
|
|
those, tulips? I don't know fuck
|
|
about flowers.
|
|
|
|
JOEL
|
|
70.
|
|
|
|
|
|
Focus! I hired them. I'm sorry. I'm
|
|
so stupid! I'm --
|
|
|
|
CLEMENTINE
|
|
Calm down, sweetie. Enjoy the
|
|
scenery.
|
|
|
|
JOEL
|
|
I need it to stop, before I wake up
|
|
and don't know you anymore.
|
|
|
|
CLEMENTINE
|
|
Okay, well, y'know, just tell them
|
|
to cancel it then.
|
|
|
|
JOEL
|
|
What the hell are you talking
|
|
about? I can't cancel it. I'm
|
|
asleep.
|
|
|
|
She sits on a rock and looks out at the vista. Joel sits
|
|
next to her. He holds her hand. She has a thought.
|
|
|
|
CLEMENTINE
|
|
(cheerfully shaking him)
|
|
Just wake yourself up!
|
|
|
|
JOEL
|
|
Stop it. I took some pill. I can't
|
|
just --
|
|
|
|
CLEMENTINE
|
|
Joel, you're always so negative.
|
|
Just try. You never try anything.
|
|
Remember all the times I tried to
|
|
get you to taste sour cream and you
|
|
wouldn't? Remember? Then you tasted
|
|
it and you loved it.
|
|
(shakes him again)
|
|
I rest my case.
|
|
|
|
JOEL
|
|
Okay, fine. You want me to try?
|
|
Will that make you happy? Look,
|
|
trying--
|
|
|
|
Joel concentrates, pulls open his eyes with his fingers.
|
|
|
|
Suddenly the sky changes to --
|
|
|
|
|
|
87 INT. JOEL'S APARTMENT - NIGHT 87
|
|
71.
|
|
|
|
|
|
For a brief moment we are looking through Joel's eyes at
|
|
the apartment ceiling. The night table lamp and some Lacuna
|
|
electronic equipment are in our field of vision. There are
|
|
vague sounds of sex.
|
|
|
|
|
|
88 EXT. FOREST - DAY 88
|
|
|
|
The sky is once again the sky. Joel is flipped out.
|
|
|
|
JOEL
|
|
It worked. For a second. But I
|
|
couldn't keep my eyes open. I
|
|
couldn't move. It wasn't going to
|
|
work. I don't even think anyone's
|
|
there. It must be done robotically
|
|
or something.
|
|
|
|
CLEMENTINE
|
|
Well, isn't that just another one
|
|
of Joel's self-fulfilling
|
|
prophecies. It's more important to
|
|
prove me wrong than to actually --
|
|
|
|
JOEL
|
|
Look, I don't want to have this
|
|
discussion right now. Y'know? It
|
|
didn't work.
|
|
|
|
CLEMENTINE
|
|
Well, it did work.
|
|
|
|
JOEL
|
|
Fine, but I couldn't do anything
|
|
once I was there.
|
|
|
|
CLEMENTINE
|
|
Fine. Then what? I'm listening.
|
|
|
|
JOEL
|
|
I don't know!
|
|
(blurting angrily)
|
|
You did it, too! You erased me
|
|
first. It's the only reason I'm
|
|
doing it.
|
|
|
|
CLEMENTINE
|
|
I'm sorry. You know me. I'm
|
|
impulsive.
|
|
|
|
He stares at her a long time, softens.
|
|
|
|
JOEL
|
|
72.
|
|
|
|
|
|
It's what I love about you.
|
|
|
|
The memory and Clementine are fading around him. Even
|
|
though the sky is clear, Joel hears the sound of rain. He
|
|
looks over and sees a window hanging in midair.
|
|
|
|
JOEL'S VOICE
|
|
That day--
|
|
|
|
It's raining outside the window.
|
|
|
|
|
|
89 INT. JOEL'S APARTMENT - DAY 89
|
|
|
|
It's raining out. Joel and Clementine are lying huddled on
|
|
the couch. They are reading a book together. It's The Red
|
|
Right Hand by Joel Townsley Rogers. Joel finishes the page
|
|
first. Clementine, in panties and bra, reads slowly, uses
|
|
her finger.
|
|
|
|
JOEL
|
|
Done?
|
|
|
|
CLEMENTINE
|
|
Nope.
|
|
|
|
JOEL
|
|
Poke. Pokey. Pokemon. Pocahontas.
|
|
|
|
Joel looks out the window at the rain. He feels her skin
|
|
against him. He looks at her bare legs, her crotch, her
|
|
feet in bulky socks.
|
|
|
|
VOICE-OVER JOEL
|
|
She's so sexy. I loved you on this
|
|
day. I love this memory. The rain.
|
|
Us just hanging.
|
|
|
|
Clementine looks over at him, smiles.
|
|
|
|
CLEMENTINE
|
|
Done. This book is weird. But cool.
|
|
|
|
Joel turns the page. They read.
|
|
|
|
CLEMENTINE
|
|
(furrowing brow)
|
|
So I have an idea.
|
|
|
|
JOEL
|
|
Does it involve fucking?
|
|
|
|
CLEMENTINE
|
|
73.
|
|
|
|
|
|
Seriously. I have another idea for
|
|
this thing, this problem. Like,
|
|
okay, suppose you want to keep me
|
|
from being erased, right? So, like,
|
|
if you have memories of me, that's
|
|
where these eraser-guys go, right?
|
|
|
|
JOEL
|
|
I assume. I don't know.
|
|
|
|
CLEMENTINE
|
|
(formulating)
|
|
I mean, here. This is a memory of
|
|
me. The way you wanted to fuck on
|
|
the couch after you looked down at
|
|
my crotch.
|
|
|
|
JOEL
|
|
(embarrassed)
|
|
Yeah.
|
|
|
|
CLEMENTINE
|
|
Well then they're coming here. So
|
|
what if you take me somewhere else,
|
|
somewhere where I don't belong?
|
|
(proud)
|
|
And we hide there till morning.
|
|
|
|
JOEL
|
|
No. That's stu --
|
|
(considering)
|
|
Well, maybe it's not bad.
|
|
|
|
CLEMENTINE
|
|
It's fucking great. I'm a genius!
|
|
|
|
The scene and Clementine are beginning to dissolve. Joel
|
|
looks around, horrified. He focuses on the rainy window. It
|
|
starts to rain in the room. Then:
|
|
|
|
Fragments of memory: rainy sidewalk with earthworms on it,
|
|
a little hand picks up a worm; a puddle with raindrops
|
|
falling in it; a broken rain gutter spouting water, kids
|
|
feet in yellow rubber rain boots; a young Joel giggling and
|
|
running under an overhang for protection from a sudden
|
|
rainstorm.
|
|
|
|
|
|
90 INT. DATED KITCHEN - DAY 90
|
|
|
|
Four year old Joel runs and hides under the kitchen table.
|
|
74.
|
|
|
|
|
|
Joel watches his mother at the stove stirring a saucepan
|
|
and talking to a neighbor woman also in period clothes. The
|
|
neighbor has Clementine's face, but is completely engaged
|
|
in
|
|
|
|
conversation with the mother. We can't make out what
|
|
they're saying. Joel draws a picture in crayon on the
|
|
bottom of the table top. Joel's mother excuses herself and
|
|
leaves the room.
|
|
|
|
Clementine looks around, spots Joel under the table. She
|
|
approaches, bends down to his level.
|
|
|
|
CLEMENTINE
|
|
Jesus, it worked.
|
|
(checking herself out)
|
|
I love this dress, man. Wish I
|
|
could take it with me. Who am I?
|
|
|
|
JOEL
|
|
Mrs. Hamlyn. I must be about four.
|
|
(oddly)
|
|
I want my mommy. She's busy. She's
|
|
not looking at me. No one ever
|
|
looks at me!
|
|
(beat)
|
|
I want my mommy!
|
|
|
|
CLEMENTINE
|
|
(giggling)
|
|
This is sort of warped.
|
|
|
|
Joel starts to cry. Clementine tries to comfort him. She
|
|
hugs him.
|
|
|
|
CLEMENTINE
|
|
It's okay, Baby Joel.
|
|
|
|
JOEL
|
|
(crying still)
|
|
I want mommy.
|
|
(adult, to Clementine)
|
|
I don't want to lose you, Clem.
|
|
|
|
CLEMENTINE
|
|
I'm right here.
|
|
|
|
JOEL
|
|
I'm scared. I want my mommy. I
|
|
don't want to lose you. I don't
|
|
want to lose--
|
|
|
|
CLEMENTINE
|
|
75.
|
|
|
|
|
|
Joel, Joely, look-- it's not
|
|
fading. The memory. I think we're
|
|
hidden. Look, honey, my crotch is
|
|
still here just as you remember it.
|
|
|
|
She lifts her skirt to reveal the underwear from the
|
|
previous scene. Joel looks, sucks in some snot. His mother
|
|
hurries back in. The room is not decaying. Joel smiles.
|
|
|
|
|
|
91 INT. JOEL'S APARTMENT - NIGHT 91
|
|
|
|
Stan and Mary lie on the floor, their stoned minds
|
|
wandering after sex. Stan suddenly perks up. He looks at
|
|
the monitor.
|
|
|
|
STAN
|
|
It's stopped.
|
|
|
|
MARY
|
|
What?
|
|
|
|
STAN
|
|
Listen, it's not erasing.
|
|
|
|
He makes his way, naked, to the computer screen.
|
|
|
|
STAN
|
|
It's not erasing. He's off the
|
|
screen.
|
|
|
|
MARY
|
|
Where?
|
|
|
|
STAN
|
|
I don't know!
|
|
|
|
Stan tries to break through his marijuana haze. He fiddles
|
|
nervously with the equipment.
|
|
|
|
STAN
|
|
I don't know what to do! I don't
|
|
know what to do! Crap. Crap--
|
|
|
|
MARY
|
|
Well, what should we do?
|
|
|
|
(STAN
|
|
I don't know! I just said that!
|
|
|
|
MARY
|
|
Sor-ry.
|
|
(beat, stoned)
|
|
76.
|
|
|
|
|
|
So, what should we do? Oh, sorry.
|
|
But we have to do something. He
|
|
can't wake up half-done. All gooey
|
|
and unbaked inside. Hey, that
|
|
sounds good. I'm hungry.
|
|
|
|
Mary giggles.
|
|
|
|
STAN
|
|
Shit!
|
|
|
|
He jerks the joystick spastically. Mary, also naked, gets
|
|
up and looks over his shoulder at the screen.
|
|
|
|
MARY
|
|
(definitively)
|
|
We need to call Howard.
|
|
|
|
Stan turns and looks at her. He's stoned and trying to
|
|
understand her motivation.
|
|
|
|
STAN
|
|
No, sir. I can handle this.
|
|
|
|
MARY
|
|
This guy's a half-baked cookie.
|
|
There's no time to fuck around,
|
|
Stan!
|
|
|
|
Stan tries to think. He paces. Mary watches him. Finally:
|
|
|
|
STAN
|
|
(without making eye
|
|
contact)
|
|
Okay.
|
|
(dials the phone, waits)
|
|
Hello, Howard?
|
|
|
|
|
|
92 INT. MIERZWIAK'S BEDROOM - NIGHT 92
|
|
|
|
CONTINUOUS: The room is dark. A groggy Mierzwiak is in bed
|
|
on the phone. His wife lies beside him, eyes open,
|
|
listening.
|
|
|
|
MIERZWIAK
|
|
Stan? What's going on?
|
|
|
|
STAN'S VOICE
|
|
The guy we're doing? He's
|
|
disappeared from the map. I can't
|
|
find him anywhere.
|
|
77.
|
|
|
|
|
|
MIERZWIAK
|
|
Okay, stay calm. What happened
|
|
right before he disappeared?
|
|
|
|
STAN'S VOICE
|
|
I was away from the monitor for a
|
|
second. I had it on automatic. I
|
|
had to go pee.
|
|
|
|
MIERZWIAK
|
|
Well, where was Patrick?
|
|
|
|
STAN'S VOICE
|
|
He went home sick.
|
|
|
|
MIERZWIAK
|
|
Jesus. All right, what's the
|
|
address.
|
|
|
|
STAN'S VOICE
|
|
159 South Village. Apartment 1E,
|
|
Rockville Center.
|
|
|
|
Mierzwiak writes it down on a bedside note pad. He hangs
|
|
up.
|
|
|
|
|
|
93 INT. JOEL'S APARTMENT - NIGHT 93
|
|
|
|
Stan hangs up the phone, looks for Mary. She's in the
|
|
kitchen eating some cookies.
|
|
|
|
MARY
|
|
He's coming?
|
|
|
|
STAN
|
|
You better go.
|
|
|
|
MARY
|
|
Hell no.
|
|
|
|
She tromps into the living room, starts getting dressed.
|
|
|
|
MARY
|
|
Shit, I'm so stoned. I don't want
|
|
him to see me stoned. Stop being
|
|
stoned, Mary!
|
|
|
|
She hurries into the bathroom with her bag.
|
|
|
|
MARY (O.C.)
|
|
God, I look like shit! God!
|
|
78.
|
|
|
|
|
|
Mary slams the bathroom door. Stan puts his head in his
|
|
hands.
|
|
|
|
|
|
94 INT. KITCHEN - DAY 94
|
|
|
|
Joel and Clementine are under the table having sex. Joel's
|
|
mother reaches down as she hurries by and pats Joel on the
|
|
head. Startled, Joel pulls off of Clementine.
|
|
|
|
MOTHER
|
|
How's my baby boy?
|
|
|
|
JOEL
|
|
I really want her to pick me up.
|
|
It's weird how strong that desire
|
|
is.
|
|
|
|
Clementine holds his hand. He looks over at her.
|
|
|
|
CLEMENTINE
|
|
(very focused)
|
|
You'll remember me in the morning.
|
|
And you'll come to me and tell me
|
|
about us and we'll start over.
|
|
|
|
JOEL
|
|
I loved you so much this day. It
|
|
was raining. On my couch in your
|
|
panties. I remember I thought, how
|
|
impossibly lucky am I to have you
|
|
on my couch in your panties.
|
|
|
|
She kisses him.
|
|
|
|
JOEL
|
|
You smelled so good, like you just
|
|
woke up, slightly sweaty. And I
|
|
said something like --
|
|
|
|
CLEMENTINE
|
|
-- another rainy day. Whatever
|
|
shall we do?
|
|
|
|
He laughs. They begin to make love again. Joel's mother
|
|
hurries around the kitchen. Joel stops, looks at
|
|
Clementine.
|
|
|
|
JOEL
|
|
This Patrick guy is copying me!
|
|
|
|
CLEMENTINE
|
|
What Patrick guy?
|
|
79.
|
|
|
|
|
|
JOEL
|
|
He's here. In my apartment.
|
|
(pointing up)
|
|
He's one of the eraser guys, okay?
|
|
And he fell for you when they were
|
|
doing you. So he introduced himself
|
|
the next day as if he were a
|
|
stranger and now you're dating him.
|
|
|
|
CLEMENTINE
|
|
Really? Is he cute?
|
|
|
|
JOEL
|
|
He stole a pair of your panties!
|
|
|
|
CLEMENTINE
|
|
Gross! You've got to tell me this
|
|
in the morning. Don't forget! Okay?
|
|
|
|
JOEL
|
|
And I think using the stuff I said
|
|
in my session to seduce you.
|
|
|
|
CLEMENTINE
|
|
I'm, like, so absolutely freaked
|
|
out now.
|
|
(beat)
|
|
Which pair?
|
|
|
|
|
|
95 INT/EXT. CLEMENTINE'S CAR - NIGHT 95
|
|
|
|
It's a rust bucket. Clementine drives. She's crying and
|
|
holding Patrick's hand.
|
|
|
|
CLEMENTINE
|
|
What's wrong with me?
|
|
|
|
PATRICK
|
|
Nothing is wrong with you. You're
|
|
the most wonderful person I've ever
|
|
met. You're kind and beautiful and
|
|
smart and funny and nice and pretty
|
|
and, um, --
|
|
|
|
She glances gratefully at him then starts to cry even
|
|
harder.
|
|
|
|
Patrick is over his head.
|
|
|
|
|
|
96 INT. JOEL'S BEDROOM - NIGHT 96
|
|
80.
|
|
|
|
|
|
Stan works on trying to get the signal back. His hair is
|
|
combed and he's dressed neatly, looking professional but
|
|
still stoned. Mary is pacing nervously to and from the
|
|
window, looking out into the light. She's dressed also, and
|
|
she's wearing more make-up now. Her hair is pulled up into
|
|
some sort of style. The intercom buzzes.
|
|
|
|
MARY
|
|
There he is. Oh my God. Oh my God.
|
|
Do I look okay?
|
|
|
|
Stan doesn't say anything.
|
|
|
|
MARY
|
|
I'm still stoned. Are you? Crap.
|
|
|
|
She looks in the mirror.
|
|
|
|
MARY
|
|
(to Joel)
|
|
Your prescription eye drops didn't
|
|
do shit, fella.
|
|
|
|
The doorbell buzzes. Mary lunges for the door, then calms
|
|
herself before opening it. Mierzwiak, holding an equipment
|
|
bag, looks surprised.
|
|
|
|
MIERZWIAK
|
|
Mary. What are you doing here?
|
|
|
|
STAN
|
|
She came to help, Howard.
|
|
|
|
MARY
|
|
I wanted to learn as much about the
|
|
procedure as possible, Howard. I
|
|
think it's important for my job--
|
|
to understand the inner workings of
|
|
the-- work-- we do. Well, not me,
|
|
but the work that is done by others
|
|
where I also work. The work of my
|
|
colleagues. You know?
|
|
|
|
Mierzwiak looks from Mary to Stan, nods, and enters. Mary
|
|
closes the door. Mierzwiak crosses to the equipment.
|
|
|
|
MIERZWIAK
|
|
Let's get to the bottom of this.
|
|
Shall we?
|
|
|
|
He sits down in front of the computer and does some
|
|
fiddling.
|
|
81.
|
|
|
|
|
|
MIERZWIAK
|
|
Odd.
|
|
|
|
He fiddles some more. Mary looks on, fascinated.
|
|
|
|
STAN
|
|
I tried that already.
|
|
|
|
MIERZWIAK
|
|
Did you try going in through C-
|
|
Gate?
|
|
|
|
STAN
|
|
Yeah, of course. I mean, yes.
|
|
|
|
Mierzwiak ponders. He unzips his equipment bag, pulls out
|
|
another laptop computer and plugs it into the system.
|
|
|
|
MIERZWIAK
|
|
I'm going to do a search through
|
|
his entire memory, see if anything
|
|
comes up.
|
|
|
|
Mierzwiak presses some more buttons. The program starts up.
|
|
A much more complex and detailed human brain appears on
|
|
this screen. It rotates. Eventually Mierzwiak sees a small
|
|
distant light in the brain. He zeroes in on it.
|
|
|
|
MIERZWIAK
|
|
Okay, here it is. I don't know why
|
|
it's off the map like that, but --
|
|
|
|
|
|
97 INT. KITCHEN - DAY 97
|
|
|
|
Joel is being bathed in the oversized sink by his mother.
|
|
|
|
Clementine sits in the water with him, laughing. The mother
|
|
doesn't seem to see her.
|
|
|
|
MOTHER
|
|
Little baby getting awwwwl clean.
|
|
Awl clean.
|
|
|
|
JOEL
|
|
(to Clementine)
|
|
I love getting bathed in the sink.
|
|
It's such a feeling of security.
|
|
|
|
CLEMENTINE
|
|
(giggling)
|
|
I've never seen you happier, Baby
|
|
Joel.
|
|
82.
|
|
|
|
|
|
JOEL
|
|
Look, it's my Huckleberry Hound
|
|
doll! I told you about that,
|
|
remember?
|
|
|
|
Clementine looks over.
|
|
|
|
CLEMENTINE
|
|
Where?
|
|
|
|
The doll can be seen now on the counter, an undefined lump
|
|
of blue synthetic fur.
|
|
|
|
JOEL
|
|
(distraught)
|
|
Oh! It's going! Oh!
|
|
|
|
As he tries to lunge for it, the elements of the scene
|
|
flash explosively away: Joel's mother, his Huckleberry
|
|
Hound doll, the details of the kitchen, Clementine. Joel,
|
|
alone, starts to slip and drown in the sink. He gasps and
|
|
then:
|
|
|
|
|
|
98 INT/EXT. JOEL'S CAR - NIGHT 98
|
|
|
|
He sits with Clementine in the parked car, outside a drive-
|
|
in movie theater. The movie on the giant screen is
|
|
partially obscured by a fence. Joel and Clementine drink
|
|
wine.
|
|
|
|
|
|
99 INT. JOEL'S BEDROOM - NIGHT 99
|
|
|
|
Mierzwiak looks up from the computer screen.
|
|
|
|
MIERZWIAK
|
|
Okay, we're back in.
|
|
|
|
MARY
|
|
That was beautiful to watch,
|
|
Howard. Like a surgeon or a concert
|
|
pianist.
|
|
|
|
MIERZWIAK
|
|
Well, thank you, Mary.
|
|
|
|
STAN
|
|
(sighing)
|
|
You get some sleep, Howard. I'll be
|
|
fine here.
|
|
|
|
MIERZWIAK
|
|
83.
|
|
|
|
|
|
Yeah, probably a good idea. I'm an
|
|
old man, guys. An old, cranky man.
|
|
|
|
MARY
|
|
Oh, nonsense.
|
|
|
|
She giggles and then is suddenly stoned and self-conscious.
|
|
|
|
|
|
100 INT. JOEL'S CAR - NIGHT 100
|
|
|
|
Clementine and Joel laugh as they try to give voice to what
|
|
the characters on the drive-in screen are saying.
|
|
|
|
CLEMENTINE
|
|
Can't you see-- I love you,
|
|
Antoine.
|
|
|
|
JOEL
|
|
Don't call me Antoine. The name's
|
|
Wally.
|
|
|
|
CLEMENTINE
|
|
Yes, but who could love a man named
|
|
Wally?
|
|
|
|
She starts to fade. Joel looks confused. The scene starts
|
|
to fade.
|
|
|
|
JOEL
|
|
(remembering)
|
|
Oh!
|
|
|
|
CLEMENTINE
|
|
Shhh! I want to watch the movie!
|
|
|
|
JOEL
|
|
Clem, think! They'll find you here.
|
|
|
|
He looks over and she's gone.
|
|
|
|
|
|
101 INT. JOEL'S APARTMENT - NIGHT 101
|
|
|
|
Mierzwiak watches a blip disappear from the screen.
|
|
|
|
MIERZWIAK
|
|
Got it.
|
|
|
|
|
|
102 INT/EXT. JOEL'S CAR - NIGHT 102
|
|
84.
|
|
|
|
|
|
Joel lunges and desperately hugs the air where Clementine
|
|
was.
|
|
|
|
JOEL
|
|
Tangerine.
|
|
|
|
She reappears in her arms, seemingly willed back into
|
|
existence.
|
|
|
|
|
|
103 INT. JOEL'S APARTMENT - NIGHT 103
|
|
|
|
Mierzwiak and Stan watch the blip reappear on the screen.
|
|
|
|
MIERZWIAK
|
|
Odd. It popped back.
|
|
|
|
Mierzwiak fiddles with some controls.
|
|
|
|
|
|
104 INT/EXT. JOEL'S CAR - NIGHT 104
|
|
|
|
Joel pushes open the door and pulls Clementine out of the
|
|
car. They run off. Joel never lets go of his tight grip on
|
|
her.
|
|
|
|
JOEL
|
|
(looking back and seeing
|
|
that the car is gone)
|
|
Shit!
|
|
|
|
The sky turns into --
|
|
|
|
|
|
105 INT. JOEL'S APARTMENT - NIGHT 105
|
|
|
|
We see the ceiling from Joel's POV. Howard, Stan, and Mary
|
|
hover over Joel at the edges of the frame.
|
|
|
|
MIERZWIAK
|
|
His eyes are open. Has that
|
|
happened before with him?
|
|
|
|
STAN
|
|
No.
|
|
|
|
MIERZWIAK
|
|
This is no good. Here. Give him
|
|
this.
|
|
|
|
We see a brief flash of a hypodermic passing over Joel's
|
|
face and we are back in --
|
|
85.
|
|
|
|
|
|
106 INT/EXT. JOEL'S CAR - NIGHT 106
|
|
|
|
Joel is thrust back into the world of his memory.
|
|
|
|
JOEL
|
|
(LOOKS AT FADING
|
|
CLEMENTINE)
|
|
Shit!
|
|
|
|
He stops, tries to figure out which way to go.
|
|
|
|
CLEMENTINE
|
|
Hide me somewhere deeper? Somewhere
|
|
really buried? Joel, hide me in
|
|
your humiliation.
|
|
|
|
He looks at her. Then, holding her close, runs through
|
|
already dark, decayed memories of their time together.
|
|
|
|
|
|
107 INT. JOEL'S APARTMENT - NIGHT 107
|
|
|
|
Mierzwiak and Stan watch a trail of light on the monitor.
|
|
|
|
Mierzwiak glides after it, erasing its wake.
|
|
|
|
STAN
|
|
It doesn't make any sense. He's in
|
|
memories I already erased.
|
|
|
|
MIERZWIAK
|
|
Well, at least we know where he is
|
|
and we're back on track. Right?
|
|
|
|
|
|
108 EXT. STREET - NIGHT 108
|
|
|
|
Joel drags Clementine through decayed New York Streets. He
|
|
sees a silhouette of himself hauling two garbage bags to
|
|
Lacuna, almost getting hit by a UPS truck.
|
|
|
|
JOEL
|
|
Humiliation. Humiliation.
|
|
Humiliation.
|
|
|
|
CLEMENTINE
|
|
Think!
|
|
|
|
|
|
109 INT. JOEL'S BEDROOM - NIGHT 109
|
|
|
|
Stan is back at the controls. Unconscious Joel's face
|
|
screws up slightly. Mierzwiak's at the door with Mary.
|
|
86.
|
|
|
|
|
|
STAN
|
|
Wait, Howard, they've disappeared
|
|
again.
|
|
|
|
MIERZWIAK
|
|
Oh dear.
|
|
|
|
MARY
|
|
I'm so sorry, Howard. You must be
|
|
exhausted.
|
|
|
|
He nods distractedly. She smiles to herself as he heads
|
|
back to the equipment.
|
|
|
|
|
|
110 INT. BLACK VOID - NIGHT 110
|
|
|
|
Joel and Clementine crouch in murky blackness.
|
|
|
|
JOEL
|
|
(under his breath)
|
|
Humiliation, humiliation, humil --
|
|
|
|
|
|
111 INT. BEDROOM - NIGHT 111
|
|
|
|
It's dark. Joel, junior high school size, is in bed
|
|
masturbating. He has a flashlight trained on a comic book
|
|
he has been drawing which seems to be getting increasingly
|
|
pornographic as it progresses. Clementine is there, too,
|
|
slightly faded.
|
|
|
|
JOEL
|
|
-- iation.
|
|
|
|
CLEMENTINE
|
|
(mock offended)
|
|
Joel!
|
|
|
|
JOEL
|
|
(continuing to
|
|
masturbate)
|
|
I don't like it either, I'm just
|
|
trying to find horrible secret
|
|
places to --
|
|
|
|
Joel's mother pops her head in the door.
|
|
|
|
MOTHER
|
|
Joel, I was just --
|
|
(sees what's going on)
|
|
Oh. Um-- I'll ask you in the
|
|
morning, honey. Good night.
|
|
87.
|
|
|
|
|
|
The mother backs out, closes the door. Joel cringes.
|
|
|
|
Clementine laughs. Suddenly the walls of the room are gone
|
|
and the bed is on the beach. Clementine glances up.
|
|
|
|
CLEMENTINE
|
|
Look. Look where we are.
|
|
|
|
|
|
112 INT. JOEL'S APARTMENT - NIGHT 112
|
|
|
|
Mierzwiak is at the machines.
|
|
|
|
MIERZWIAK
|
|
Okay, we got him back on track.
|
|
Stan, I think I'm just going to
|
|
have to get through this manually.
|
|
We're running late.
|
|
|
|
|
|
113 EXT. BEACH - DAY 113
|
|
|
|
It's cold. Joel and Clementine walk, all bundled up. She
|
|
points at a house up the beach.
|
|
|
|
CLEMENTINE
|
|
Our house! Our house!
|
|
|
|
She runs ahead, laughing. The scene is decaying. Joel
|
|
chases after her.
|
|
|
|
JOEL
|
|
C'mon!
|
|
|
|
The house is gone. Joel grabs Clementine's arm and yanks.
|
|
|
|
|
|
114 INT. JOEL'S BEDROOM - NIGHT 114
|
|
|
|
Joel lies on his back. Clementine sits over him holding a
|
|
pillow. They are both laughing.
|
|
|
|
CLEMENTINE
|
|
Okay, ready? Again?
|
|
|
|
He stops laughing, nods seriously. She puts the pillow over
|
|
his face and holds it down hard. Joel struggles and
|
|
screams, muffled by the pillow. Suddenly he goes limp.
|
|
Clementine pulls the pillow off his face and looks
|
|
horrified.
|
|
|
|
CLEMENTINE
|
|
88.
|
|
|
|
|
|
Joel! Joel? Are you okay? Joel! Oh
|
|
my God. Oh my God!
|
|
|
|
She shakes him dramatically. He remains limp for a moment,
|
|
then starts to laugh.
|
|
|
|
CLEMENTINE
|
|
That was terrible! That was like
|
|
three seconds.
|
|
|
|
JOEL
|
|
(trying to stop laughing)
|
|
Okay, okay, let me try again.
|
|
|
|
CLEMENTINE
|
|
All right, once more. Then I get to
|
|
go.
|
|
|
|
He watches her start to fade.
|
|
|
|
JOEL
|
|
Oh, Clem! Don't!
|
|
|
|
He closes his eyes. The room becomes:
|
|
|
|
|
|
115 EXT. JOEL'S CHILDHOOD SUBURBAN STREET - DAY 115
|
|
|
|
Joel is one of a group of five year olds. He holds a hammer
|
|
and is poised to hit a dead bird in a red wagon. The other
|
|
boys are goading him. Clementine, now the little girl with
|
|
the puppy we saw in the photograph earlier, watches with
|
|
the other kids.
|
|
|
|
BOYS
|
|
C'mon, Joel, you have to. Do it
|
|
already.
|
|
|
|
Joel doesn't want to.
|
|
|
|
JOEL VOICE-OVER
|
|
I can't. I have to go home. I
|
|
didn't want to do this. I'll do it
|
|
later. But I had to or they
|
|
would've called me a girl.
|
|
|
|
Joel miserably smashes the bird repeatedly with the hammer.
|
|
|
|
Red jelly guts cover the hammer and the wagon bottom. The
|
|
kids hoot.
|
|
|
|
VOICE-OVER
|
|
89.
|
|
|
|
|
|
I can't believe I did that. I'm so
|
|
ashamed.
|
|
|
|
A live bird watches from a tree. Clementine pulls Joel away
|
|
from the other boys. The two of them walk down Joel's
|
|
suburban street.
|
|
|
|
CLEMENTINE
|
|
It's okay. You were a little kid.
|
|
|
|
She kisses him and they walk holding hands.
|
|
|
|
JOEL
|
|
God, I wish I knew you when we were
|
|
kids. My life would've turned out
|
|
so differently.
|
|
(pointing to a house)
|
|
That's where I live. Lived.
|
|
|
|
She lays down on the front lawn of the childhood house.
|
|
|
|
CLEMENTINE
|
|
It's my turn, sweetie.
|
|
|
|
She hands him a pillow. He smiles and puts it over her
|
|
face.
|
|
|
|
She struggles, then acts dead. After a long moment of no
|
|
reaction from Clementine, Joel pulls the pillow from her
|
|
face. She is gone. His childhood house is crumbling.
|
|
|
|
|
|
116 INT. JOEL'S BEDROOM - NIGHT 116
|
|
|
|
Mierzwiak works the equipment. He has located a small area
|
|
of light in the brain imaging and eradicates it.
|
|
|
|
MIERZWIAK
|
|
I'm getting the hang of it. I still
|
|
don't understand it. But I am
|
|
finding him quickly enough. I'm
|
|
hopeful there won't be too much
|
|
collateral eradication.
|
|
|
|
Mary sits on the bed.
|
|
|
|
MARY
|
|
(a little giggly)
|
|
I like watching you work.
|
|
|
|
Stan grabs his coat.
|
|
|
|
STAN
|
|
90.
|
|
|
|
|
|
I'll go out for a smoke. If no one
|
|
minds. I mean, it seems like
|
|
everything is under control here.
|
|
|
|
MIERZWIAK
|
|
(not looking up)
|
|
That's fine, Stan.
|
|
|
|
Mary doesn't say anything. Stan huffs and is out the door.
|
|
|
|
Mierzwiak continues to find and erase points of light. Mary
|
|
gets up her courage to speak.
|
|
|
|
MARY
|
|
Do you like quotes, Howard?
|
|
|
|
MIERZWIAK
|
|
How do you mean?
|
|
|
|
MARY
|
|
Oh, um, like famous quotes. I find
|
|
reading them inspirational to me.
|
|
And in my reading I've come across
|
|
some I thought you might like, too.
|
|
|
|
MIERZWIAK
|
|
Oh. Well, I'd love to hear some.
|
|
|
|
Mary is thrilled, beside herself. She tries to calm down.
|
|
|
|
MARY
|
|
Okay, um, there's one that goes
|
|
"Blessed are the forgetful, for
|
|
they get the better even of their
|
|
blunders."
|
|
|
|
MIERZWIAK
|
|
Is that Nietzsche?
|
|
|
|
MARY
|
|
Yeah, yeah it is, Howard. And here
|
|
I was thinking I could tell you
|
|
something you didn't know.
|
|
|
|
MIERZWIAK
|
|
It's a good quote, Mary. I'm glad
|
|
we both know it.
|
|
|
|
He smiles at her. She's flustered, flattered.
|
|
|
|
MARY
|
|
(sputtering)
|
|
91.
|
|
|
|
|
|
There's another one I like, I read.
|
|
It's by Pope Alexander.
|
|
|
|
MIERZWIAK
|
|
Alexander Pope?
|
|
|
|
MARY
|
|
Yes, shit. Oops, sorry!
|
|
(puts hand over mouth)
|
|
Sorry. It's just I told myself I
|
|
wasn't going to say Pope Alexander
|
|
and sound like a dope and then I go
|
|
ahead and do it. Like a psyched
|
|
myself out into saying it wrong.
|
|
|
|
MIERZWIAK
|
|
It's no big deal.
|
|
|
|
MARY
|
|
You are such a sweetheart.
|
|
|
|
There's an embarrassed moment as that line hangs in the
|
|
air.
|
|
|
|
Then Mary plunges ahead to bury it.
|
|
|
|
MARY
|
|
The quote goes "How happy is the
|
|
blameless Vestal's lot! The world
|
|
forgetting, by the world forgot:
|
|
Eternal sunshine of the spotless
|
|
mind! Each prayer accepted, and
|
|
each wish resign'd."
|
|
|
|
She smiles, proud and embarrassed.
|
|
|
|
MIERZWIAK
|
|
I didn't know that one. And it's
|
|
lovely.
|
|
|
|
MARY
|
|
Really? I thought it was
|
|
appropriate, maybe. That's all.
|
|
(beat, then quickly)
|
|
I really admire the work that you
|
|
do. I know it's not proper to be so
|
|
familiar but I guess since we're
|
|
outside the workplace I feel a
|
|
certain liberty to --
|
|
|
|
MIERZWIAK
|
|
It's fine, Mary. I'm happy to hear
|
|
it.
|
|
92.
|
|
|
|
|
|
MARY
|
|
Okay. Good. Great. Thanks.
|
|
(blurting)
|
|
I like you, Howard-- an awful lot.
|
|
Is that terrible?
|
|
|
|
Mierzwiak seems momentarily taken aback, then returns to
|
|
his unflappable self.
|
|
|
|
MIERZWIAK
|
|
You're a wonderful girl, Mary.
|
|
|
|
She leans over and kisses him, then pulls away quickly.
|
|
|
|
MARY
|
|
I've loved you for a very long
|
|
time. I'm sorry! I shouldn't have
|
|
said that.
|
|
|
|
MIERZWIAK
|
|
I've got a wife, Mary. Kids. You
|
|
know that.
|
|
|
|
MARY
|
|
(suddenly weepy)
|
|
I wish I was your wife. I wish I
|
|
had your kids. I would be so happy-
|
|
-
|
|
|
|
Mierzwiak comforts her with a hug. It turns into a kiss. He
|
|
pulls away.
|
|
|
|
MIERZWIAK
|
|
We can't do this.
|
|
|
|
MARY
|
|
No, you're right. Once again.
|
|
You're a decent man, Howard.
|
|
|
|
He smiles sadly at her. She smiles courageously at him.
|
|
|
|
MIERZWIAK
|
|
I want you to know it's not because
|
|
I'm not interested. If that means
|
|
anything.
|
|
|
|
They look at each other for a long while, then Howard goes
|
|
back to locating and eradicating blips of light.
|
|
|
|
|
|
117 INT/EXT. THE VAN - JOEL'S APARTMENT BUILDING - DAY 117
|
|
93.
|
|
|
|
|
|
Stan sits in the van and smokes a cigarette. He has an
|
|
unobstructed view into Joel's bedroom window. He watches
|
|
Mierzwiak and Mary. They're talking as Howard works. It
|
|
appears to be a very serious discussion. A car pulls up
|
|
outside. Stan turns to see. A middle-aged woman gets out.
|
|
|
|
In the window, Mierzwiak's resolve has apparently weakened
|
|
and he and Mary kiss again. This leads to groping, partial
|
|
undressing, and falling onto the bed alongside the
|
|
unconscious Joel. The woman checks the address on Joel's
|
|
building. Stan recognizes her.
|
|
|
|
As the woman approaches the only lit window, Stan agonizes
|
|
over what to do. He honks his horn. The woman looks back at
|
|
the van, then hurries to the window. Mierzwiak and Mary, in
|
|
partial undress, squint out into the night. The woman and
|
|
Mierzwiak lock eyes. He practically shrieks and jumps up.
|
|
|
|
|
|
118 EXT. COUNTRY ROAD - DAY 118
|
|
|
|
Joel and Clementine walking, hand-in-hand, look up
|
|
simultaneously.
|
|
|
|
|
|
119 INT. JOEL'S BEDROOM - NIGHT 119
|
|
|
|
Mary looks confusedly at Howard.
|
|
|
|
MARY
|
|
Who is it?
|
|
(realizing)
|
|
Oh my God!
|
|
|
|
Mierzwiak is already in his coat. He's out the door.
|
|
|
|
|
|
120 EXT. JOEL'S APARTMENT BUILDING - CONTINUOUS 120
|
|
|
|
The woman is at her car. Stan watches from the van.
|
|
Mierzwiak hurries to the woman.
|
|
|
|
MIERZWIAK
|
|
Hollis! Hollis!
|
|
|
|
HOLLIS (THE MIDDLE-AGED WOMAN)
|
|
I knew it, Howard. I don't even
|
|
know why I bothered to copy the
|
|
damn address and get out of bed. I
|
|
could've used the sleep.
|
|
|
|
MIERZWIAK
|
|
94.
|
|
|
|
|
|
It didn't start out to be this. I
|
|
came here to work. It's a one-time
|
|
mistake.
|
|
|
|
Mary is right behind Mierzwiak now. Hollis is in her car.
|
|
|
|
MARY
|
|
(heroically)
|
|
Mrs. Mierzwiak, it's true. And it's
|
|
not Mr. Mierzwiak's fault. I'm a
|
|
stupid little girl with a stupid
|
|
little crush. I basically forced
|
|
him into it. I swear.
|
|
|
|
Hollis turns, looks at Mary and then at Mierzwiak.
|
|
|
|
HOLLIS
|
|
Don't be a monster, Howard. Tell
|
|
the girl.
|
|
|
|
Stan is out of the van now, listening. Mary shivers in the
|
|
cold, hugs herself. There's a long silence. Then:
|
|
|
|
MARY
|
|
Tell me what?
|
|
|
|
Hollis and Mierzwiak have locked eyes. Mary looks back and
|
|
forth between them. Hollis starts her car.
|
|
|
|
HOLLIS
|
|
Poor kid. You can have him. You
|
|
did.
|
|
|
|
She drives off. Mary watches Howard with increased
|
|
foreboding.
|
|
|
|
MARY
|
|
What, Howard?
|
|
|
|
MIERZWIAK
|
|
We-- have a history. I'm sorry. You
|
|
wanted the procedure. You wanted it
|
|
done-- to get past. I have to
|
|
finish in there. It's almost
|
|
morning. We'll talk later.
|
|
|
|
He shuffles inside. Mary stands there, unable to digest
|
|
this, struggling in vain to remember. Stan watches.
|
|
|
|
STAN
|
|
Let me take you home.
|
|
|
|
Mary shakes her head "no." She walks off, dazed.
|
|
95.
|
|
|
|
|
|
121 EXT. CHARLES RIVER - NIGHT 121
|
|
|
|
Clementine and Patrick lie on the their backs on the frozen
|
|
river and look up at the night sky.
|
|
|
|
PATRICK
|
|
I could die right now, Clem. I'm
|
|
just happy. I've never felt that
|
|
before. I'm just exactly where I
|
|
want to be.
|
|
|
|
Clementine looks over at him. Their eyes meet. She sobs.
|
|
|
|
CLEMENTINE
|
|
I want to go home.
|
|
|
|
She hurries toward the shore, slips on the ice, gets up,
|
|
and continues, now running.
|
|
|
|
|
|
122 INT. JOEL'S BEDROOM - NIGHT 122
|
|
|
|
It's deathly silent as Mierzwiak and Stan work on
|
|
completing the job. Mierzwiak locates a light hidden very
|
|
deep in the map of Joel's brain. He targets it.
|
|
|
|
|
|
123 EXT. ROWBOAT - INT. JOEL'S APARTMENT - DAY 123
|
|
|
|
Joel and Clementine sit in his apartment on the couch.
|
|
|
|
Clementine is dressed in a skeleton costume. Joel draws a
|
|
portrait of her. The reverse angle is Joel's father fishing
|
|
in a rowboat.
|
|
|
|
CLEMENTINE
|
|
(peeking)
|
|
That's so great. Creepy.
|
|
|
|
JOEL
|
|
Thanks. The subject is inspiring.
|
|
|
|
The father is drunk and sullen. He faces away from Joel,
|
|
looks out at the lake.
|
|
|
|
FATHER
|
|
Don't be like me, son. Don't waste
|
|
your life. You'll come to a point
|
|
someday where it'll be too late.
|
|
You'll be sewn into your fate--
|
|
|
|
JOEL
|
|
96.
|
|
|
|
|
|
It was horrifying, seeing my father
|
|
like that. There was no hope for me
|
|
if his life was such a failure. And
|
|
he saw failure in me, too, written
|
|
in my future.
|
|
|
|
Clementine watches the confused, frightened Joel.
|
|
|
|
CLEMENTINE
|
|
Joel, you're not sewn in. He's
|
|
wrong.
|
|
|
|
FATHER
|
|
-- and there'll be nowhere to go
|
|
except where you're headed, like a
|
|
train on a track. Inevitable,
|
|
unalterable.
|
|
(a quiet dirge-like
|
|
afterthought)
|
|
Chooo-chooo.
|
|
|
|
The scene pops out of existence with a flash of light.
|
|
|
|
|
|
124 EXT. THEATER - NIGHT 124
|
|
|
|
Clementine leads Joel into a crowd of people outside a
|
|
Broadway theater. They listen to conversations around them.
|
|
|
|
Clementine adopts a mock-sophisticated tone, attempting to
|
|
make it look like they are playgoers.
|
|
|
|
CLEMENTINE
|
|
Blah blah blah good acting. Blah
|
|
blah blah iambic pentameter.
|
|
|
|
JOEL
|
|
(laughing)
|
|
You always break into places?
|
|
|
|
CLEMENTINE
|
|
Second Acting is a subversive act.
|
|
Ticket prices are insane. Theater
|
|
belongs to the masses.
|
|
|
|
The theater lights flash and the crowd begins to head back
|
|
inside. Joel looks nervous. Clementine takes his hand and
|
|
leads him into the crowd.
|
|
|
|
VOICE-OVER JOEL
|
|
Your hand, I remember it. I'm done,
|
|
Clem. I'm just going to ride it
|
|
out. Hiding is clearly not working.
|
|
97.
|
|
|
|
|
|
CLEMENTINE
|
|
Yeah.
|
|
|
|
JOEL
|
|
I want to enjoy my little time left
|
|
with you.
|
|
|
|
CLEMENTINE
|
|
This is our first "date" date.
|
|
|
|
JOEL
|
|
Do you remember what we talked
|
|
about?
|
|
|
|
|
|
125 INT. THEATER - NIGHT 125
|
|
|
|
Joel and Clementine walk past the usher.
|
|
|
|
CLEMENTINE
|
|
Naomi, I guess.
|
|
|
|
JOEL
|
|
Yeah.
|
|
|
|
CLEMENTINE
|
|
What was I wearing?
|
|
|
|
JOEL
|
|
God, I should know. Your hair was
|
|
red. I remember it matched the
|
|
curtains.
|
|
|
|
CLEMENTINE
|
|
Egad, were you horrified?
|
|
|
|
JOEL
|
|
No! Oh, I think you were wearing
|
|
that black dress, y'know, with the
|
|
buttons.
|
|
|
|
She is wearing the black dress with the buttons.
|
|
|
|
CLEMENTINE
|
|
No, you were with me when I bought
|
|
that. At that place on East 6th. It
|
|
was later.
|
|
|
|
|
|
126 INT. DRESS SHOP - DAY 126
|
|
|
|
The scene has already been erased. It's just a decayed
|
|
husk.
|
|
98.
|
|
|
|
|
|
A vague Joel watches a vague Clementine model a black
|
|
dress.
|
|
|
|
|
|
127 INT. THEATER - NIGHT 127
|
|
|
|
Clementine wears a generic black dress now. As the paying
|
|
customers take their seats, Joel and Clementine search
|
|
discreetly for unoccupied seats.
|
|
|
|
JOEL
|
|
Right. Something black though.
|
|
|
|
CLEMENTINE
|
|
I'll buy that. Black's always good.
|
|
Slenderizing.
|
|
|
|
JOEL
|
|
We did talk about Naomi.
|
|
|
|
CLEMENTINE
|
|
I said: Are you sure? You seem
|
|
unsure.
|
|
|
|
JOEL
|
|
I'm sure, I said.
|
|
|
|
CLEMENTINE
|
|
But you weren't. I could tell.
|
|
|
|
JOEL
|
|
(beat)
|
|
I am now. I'm so sure.
|
|
|
|
She tears up. They kiss.
|
|
|
|
JOEL
|
|
I was nervous. I remember I
|
|
couldn't think of anything to say.
|
|
There were long silences.
|
|
|
|
There is a long silence. They both stare straight ahead and
|
|
watch the still lowered curtain.
|
|
|
|
JOEL
|
|
I thought I was foolish. I thought
|
|
I'd mistaken infatuation for love.
|
|
You said:
|
|
|
|
CLEMENTINE
|
|
So what. Infatuation is good, too.
|
|
|
|
JOEL
|
|
99.
|
|
|
|
|
|
And I didn't have an argument.
|
|
|
|
|
|
128 INT/EXT. JOEL'S CAR - NIGHT 128
|
|
|
|
Joel and Clementine pull up to Clementine's house.
|
|
|
|
JOEL
|
|
I dropped you off after. You said -
|
|
-
|
|
|
|
CLEMENTINE
|
|
(Mae West)
|
|
Come up and see me-- now.
|
|
|
|
JOEL
|
|
It's very late.
|
|
|
|
CLEMENTINE
|
|
Yes, exactly. Exactly my point.
|
|
|
|
|
|
129 INT. CLEMENTINE'S APARTMENT - NIGHT 129
|
|
|
|
Joel and Clementine are in the midst of awkward shy sex.
|
|
|
|
JOEL
|
|
This was our first time.
|
|
|
|
The scene starts to fade. Joel watches Clementine
|
|
disappear.
|
|
|
|
|
|
130 INT. LACUNA RECEPTION AREA - NIGHT 130
|
|
|
|
Mary enters the dark room, frazzled. She flips on the
|
|
fluorescent lights and searches the file folders, pulling
|
|
them out and dropping them on the floor. She can't find
|
|
what she's looking for. She exits into the inner office
|
|
area.
|
|
|
|
|
|
131 INT. MIERZWIAK'S OFFICE - NIGHT 131
|
|
|
|
Mary rifles through Mierzwiak's desk, through his personal
|
|
file cabinets, pulls boxes of papers out of the closet and
|
|
rifles through them. She finally comes upon a file with her
|
|
name on it. Her jaw drops and with a shaky hand she puts
|
|
the tape into the player the office and presses "play."
|
|
|
|
MIERZWIAK'S VOICE
|
|
100.
|
|
|
|
|
|
Okay, so just tell me what you
|
|
remember. And we'll take it from
|
|
there.
|
|
|
|
MARY'S VOICE
|
|
(shaky)
|
|
Um, okay, I like you immediately.
|
|
At the job interview. You seemed
|
|
so-- important and mature. And I
|
|
loved that you were helping all
|
|
these people. You didn't come on to
|
|
me at all. I liked that. I was so
|
|
tongue-tied around you at first. I
|
|
wanted you to think I was smart.
|
|
You were so nice. I loved the way
|
|
you smelled. I couldn't wait to
|
|
come to work. I had these fantasies
|
|
of us being married and having kids
|
|
and just--
|
|
(starts to cry)
|
|
-- and so-- then-- when-- that one
|
|
day, when I thought you looked at
|
|
me back-- like.-- Oh, Howie, I
|
|
can't do this? How can I do this?
|
|
|
|
MIERZWIAK'S VOICE
|
|
It's what's best, Mary. You know
|
|
that.
|
|
|
|
Mary slumps to the floor. We move into her eyes.
|
|
|
|
MARY'S VOICE
|
|
Yeah, I know. Oh, God. Okay, well,
|
|
I was I so excited--
|
|
|
|
A flirtatious look from Mierzwiak.
|
|
|
|
MARY'S VOICE
|
|
-- Remember you bought me that
|
|
little wind-up frog?
|
|
|
|
A vague shot of a wind-up frog.
|
|
|
|
MARY'S VOICE
|
|
And you said--
|
|
|
|
A vague shot of Mierzwiak mouthing to Mary's voice.
|
|
|
|
MARY'S VOICE
|
|
"This is for your desk. Just a
|
|
little token."
|
|
|
|
Back to Mary sitting on the floor, listening to the tape.
|
|
101.
|
|
|
|
|
|
MARY'S VOICE
|
|
I knew then-- I knew something was
|
|
going to happen-- something
|
|
wonderful.
|
|
|
|
|
|
132 INT. JOEL'S APARTMENT - NIGHT 132
|
|
|
|
Joel sits in the quiet living room. The scene is fading.
|
|
|
|
JOEL
|
|
Naomi.
|
|
|
|
VOICE-OVER
|
|
On the couch. Dark. Quiet. I
|
|
wondered if I had made a terrible
|
|
mistake. I almost reached for the
|
|
phone about a thousand times. I
|
|
thought I could take it back, erase
|
|
it, explain I had momentarily lost
|
|
my mind. Then I told myself we
|
|
weren't happy. That was the truth.
|
|
That what we were was safe. It was
|
|
unfair to you and to me to stay in
|
|
a relationship for that reason. I
|
|
thought about Clementine and the
|
|
spark when I was with her, but then
|
|
I thought what you and I had was
|
|
real and adult and therefore
|
|
significant even if it wasn't much
|
|
fun. But I wanted fun. I saw other
|
|
people having fun and I wanted it.
|
|
Then I thought fun is a lie, that
|
|
no one is really having fun; I'm
|
|
being suckered by advertising and
|
|
movie bullshit-- then I thought,
|
|
maybe not, maybe not. And then I
|
|
thought, as I always do at this
|
|
point in my argument, about dying.
|
|
|
|
|
|
133 INT. ROOM - DAY 133
|
|
|
|
An elderly man sits.
|
|
|
|
VOICE-OVER
|
|
I projected myself to the end of my
|
|
life in some vague rendition of my
|
|
old man self. I imagined looking
|
|
back with a tremendous hole of
|
|
regret in my heart.
|
|
102.
|
|
|
|
|
|
134 INT. JOEL'S APARTMENT - NIGHT 134
|
|
|
|
Joel sits on the couch. A ghostly image of Naomi sits
|
|
curled up on the other end of the couch.
|
|
|
|
JOEL
|
|
I didn't pick up the phone to call
|
|
you, Naomi. I didn't pick up the
|
|
phone.
|
|
|
|
The scene dissolves.
|
|
|
|
|
|
135 INT. JOEL'S APARTMENT - NIGHT 135
|
|
|
|
Joel sits on the couch. A ghostly image of Naomi sits
|
|
curled up on the other end of the couch.
|
|
|
|
JOEL
|
|
I didn't pick up the phone to call
|
|
you, Naomi. I didn't pick up the
|
|
phone.
|
|
|
|
The scene dissolves.
|
|
|
|
|
|
136 INT. BORDER'S BOOKSTORE - NIGHT 136
|
|
|
|
Joel talks to Clementine. The scene is fogging over.
|
|
|
|
JOEL
|
|
I told her today I need to end it.
|
|
|
|
CLEMENTINE
|
|
Is that what you want?
|
|
|
|
JOEL
|
|
I did it. I guess that means
|
|
something.
|
|
|
|
Clementine shrugs. The scene fades.
|
|
|
|
|
|
137 EXT. PARK - DAY 137
|
|
|
|
Joel walks with Naomi.
|
|
|
|
NAOMI
|
|
So what's going on, Joel?
|
|
|
|
JOEL
|
|
103.
|
|
|
|
|
|
I don't know, I've just been
|
|
thinking, maybe we're not happy
|
|
with each other.
|
|
|
|
NAOMI
|
|
What?
|
|
|
|
JOEL
|
|
Y'know, we've been, I don't know,
|
|
sort of, unhappy with each other
|
|
and --
|
|
|
|
NAOMI
|
|
Don't say "we" when you mean "you."
|
|
|
|
JOEL
|
|
I think maybe, we're both so used
|
|
to operating at this level that --
|
|
How can one person be unhappy? If
|
|
one person is unhappy, both have to
|
|
be-- by definition.
|
|
|
|
NAOMI
|
|
Bullshit. Who is it? You met
|
|
someone.
|
|
|
|
JOEL
|
|
No. I just need some space, maybe.
|
|
|
|
NAOMI
|
|
The thing is, Joel, whatever it is
|
|
you think you have with this chick,
|
|
once the thrill wears off, you're
|
|
just going to be Joel with the same
|
|
fucking problems.
|
|
|
|
JOEL VOICE-OVER
|
|
It's not somebody else. I hate
|
|
myself.
|
|
|
|
Naomi walks off. Joel watches her. The scene fades.
|
|
|
|
|
|
138 INT. BARNES AND NOBLE BOOKSTORE - NIGHT 138
|
|
|
|
Joel enters, looks around. There's no sign of Clementine.
|
|
|
|
Joel approaches a male employee.
|
|
|
|
JOEL
|
|
Is there a Clementine who works
|
|
here?
|
|
104.
|
|
|
|
|
|
MALE EMPLOYEE #1
|
|
(calling to another male
|
|
employee)
|
|
Mark, is Clem on tonight?
|
|
|
|
MALE EMPLOYEE #2
|
|
On my dick, bro.
|
|
(turns, sees Joel,
|
|
embarrassed)
|
|
Oh, hey. Yeah, I think she's in
|
|
Philosophy.
|
|
|
|
Joel climbs stairs, searches the aisles, spots Clementine.
|
|
|
|
JOEL
|
|
Hi.
|
|
|
|
She turns.
|
|
|
|
CLEMENTINE
|
|
I didn't think you'd show your face
|
|
around me again. I figured you were
|
|
humiliated. You did run away, after
|
|
all.
|
|
|
|
JOEL
|
|
Sorry to track you down like this.
|
|
I'm not a stalker. But I needed to
|
|
see you.
|
|
|
|
CLEMENTINE
|
|
(seemingly uninterested)
|
|
Yeah?
|
|
|
|
JOEL
|
|
I'd like to-- take you out or
|
|
something.
|
|
|
|
CLEMENTINE
|
|
Well, you're married.
|
|
|
|
JOEL
|
|
Not yet. Not married.
|
|
|
|
CLEMENTINE
|
|
Look, man, I'm telling you right
|
|
off the bat, I'm high maintenance.
|
|
So I'm not going to tiptoe around
|
|
your marriage or whatever it is you
|
|
got going there. If you want to be
|
|
with me, you're with me.
|
|
|
|
JOEL
|
|
105.
|
|
|
|
|
|
Okay.
|
|
|
|
CLEMENTINE
|
|
So make your domestic decisions and
|
|
maybe we'll talk again.
|
|
|
|
She goes back to stacking. Joel stands there helplessly.
|
|
|
|
JOEL
|
|
I just think that you have some
|
|
kind of-- quality that seems really
|
|
important to me.
|
|
|
|
The scene is disintegrating. Clementine's speech is
|
|
delivered without passion.
|
|
|
|
CLEMENTINE
|
|
Joel, I'm not a concept. I want you
|
|
to just keep that in your head. Too
|
|
many guys think I'm a concept or I
|
|
complete them or I'm going to make
|
|
them alive, but I'm just a fucked-
|
|
up girl who is looking for my own
|
|
peace of mind. Don't assign me
|
|
yours.
|
|
|
|
JOEL
|
|
I remember that speech really well.
|
|
|
|
CLEMENTINE
|
|
(smiling)
|
|
I had you pegged, didn't I?
|
|
|
|
JOEL
|
|
You had the whole human race
|
|
pegged.
|
|
|
|
CLEMENTINE
|
|
Probably.
|
|
|
|
JOEL
|
|
I still thought you were going to
|
|
save me. Even after that.
|
|
|
|
CLEMENTINE
|
|
I know.
|
|
|
|
JOEL
|
|
It would be different, if we could
|
|
just give it another go around.
|
|
|
|
CLEMENTINE
|
|
106.
|
|
|
|
|
|
Remember me. Try your best. Maybe
|
|
we can.
|
|
|
|
The scene is gone.
|
|
|
|
|
|
139 INT. JOEL'S APARTMENT - DAY 139
|
|
|
|
Joel is at his closet, putting on a sweater. Naomi is at
|
|
the dining room table, papers spread out before her,
|
|
writing.
|
|
|
|
Joel turns and watches her for a moment.
|
|
|
|
JOEL
|
|
So you don't mind?
|
|
|
|
NAOMI
|
|
I've got to finish this chapter
|
|
anyway.
|
|
|
|
The scene is fading.
|
|
|
|
JOEL
|
|
Okay. I wish you could come.
|
|
|
|
VOICE-OVER
|
|
This is it. The day we met. My God,
|
|
it's over.
|
|
|
|
NAOMI
|
|
Me, too.
|
|
|
|
He approaches Naomi, kisses her on the top of her head. She
|
|
continues to write.
|
|
|
|
NAOMI
|
|
Say hi to Rob and Carrie. Have some
|
|
fun! Get laid! Just kidding.
|
|
|
|
JOEL
|
|
I hope you get your work done.
|
|
|
|
NAOMI
|
|
(sighing)
|
|
Maybe when we're ninety.
|
|
|
|
|
|
140 EXT. BEACH PARKING LOT - DAY 140
|
|
|
|
Rob, Carrie, and Joel emerge from the car, parked amidst a
|
|
small cluster of cars in an otherwise empty parking lot.
|
|
107.
|
|
|
|
|
|
141 EXT. BEACH - DAY 141
|
|
|
|
Joel watches his shoes in the sand as he trudges along.
|
|
|
|
CARRIE
|
|
Is this the right way? Rob? Rob?
|
|
|
|
|
|
142 EXT. BEACH - DAY - MOMENTS LATER 142
|
|
|
|
Joel, Rob, and Carrie step out of the brush and see a
|
|
bonfire down the beach. People and music can be heard.
|
|
|
|
|
|
143 EXT. BEACH - DAY - LATER 143
|
|
|
|
Joel sits on a log, a paper plate of chicken and corn on
|
|
his lap. People warm themselves at the fire. Joel watches
|
|
couples talking, kissing, Rob sharing a joint with a guy.
|
|
|
|
JOEL
|
|
You were down by the surf. I could
|
|
just make you out in the distance.
|
|
|
|
Joel looks down to the water. There's Clementine, in her
|
|
orange sweatshirt, looking out to sea.
|
|
|
|
JOEL VOICE-OVER
|
|
Your back to me. In that I remember
|
|
being drawn to you orange
|
|
sweatshirt I would even then. I
|
|
thought, how come to know so well
|
|
and even odd, I'm drawn to
|
|
someone's hate eventually. At the
|
|
time back. I thought, I love this I
|
|
thought, how cool, an woman because
|
|
she's alone orange sweatshirt. down
|
|
there looking out at the ocean.
|
|
|
|
JOEL
|
|
But I went back to my food. The
|
|
next thing I remember, I felt
|
|
someone sitting next to me and I
|
|
saw the orange sleeve out of the
|
|
corner of my eye.
|
|
|
|
A shot of the orange sleeve. Joel looks up.
|
|
|
|
CLEMENTINE
|
|
Hi there.
|
|
|
|
JOEL VOICE-OVER
|
|
108.
|
|
|
|
|
|
Hi. I was so nervous. What were you
|
|
doing there, I wondered. Your hair
|
|
was lime green. Green revolution.
|
|
|
|
A shot of her green hair.
|
|
|
|
JOEL
|
|
You said--
|
|
|
|
CLEMENTINE
|
|
I saw you sitting over here. By
|
|
yourself. I thought, thank God,
|
|
someone normal, who doesn't know
|
|
how interact at these things
|
|
either.
|
|
|
|
JOEL
|
|
Yeah. I don't ever know what to
|
|
say.
|
|
|
|
CLEMENTINE
|
|
I can't tell you how happy I am to
|
|
hear that. I mean, I don't mean I'm
|
|
happy you're uncomfortable, but,
|
|
y'know-- I'm such a loser. Every
|
|
time I come to a party I tell
|
|
myself I'm going to be different
|
|
and it's always exactly the same
|
|
and then I hate myself after for
|
|
being such a clod.
|
|
|
|
JOEL VOICE-OVER
|
|
Even then I didn't believe But I
|
|
thought, I don't know, you
|
|
entirely. I thought how I thought
|
|
it was cool that could you be
|
|
talking to me if you were sensitive
|
|
enough to you couldn't talk to
|
|
people? know what I was feeling and
|
|
that you were attracted to it.
|
|
|
|
CLEMENTINE
|
|
But, I don't know, maybe we're the
|
|
normal ones, y'know? I mean, what
|
|
kind of people do well at this
|
|
stuff?
|
|
|
|
VOICE-OVER
|
|
And I just liked you so much.
|
|
|
|
CLEMENTINE
|
|
You did? You liked me?
|
|
109.
|
|
|
|
|
|
JOEL
|
|
You know I did.
|
|
|
|
CLEMENTINE
|
|
Yeah, I know. I'm fishing.
|
|
|
|
JOEL
|
|
You said --
|
|
|
|
She picks a drumstick off of Joel's plate.
|
|
|
|
CLEMENTINE
|
|
I'm Clementine. Can I And you
|
|
picked it out of my borrow a piece
|
|
of your plate before I could answer
|
|
chicken? It felt so intimate like
|
|
we were already lovers.
|
|
|
|
JOEL VOICE-OVER
|
|
I remember -- The grease on your
|
|
chin in the bonfire light.
|
|
|
|
Shot of a smudge of chicken grease on Clementine's chin.
|
|
|
|
CLEMENTINE
|
|
Oh God, how horrid.
|
|
|
|
JOEL VOICE-OVER
|
|
I'm Joel. No, it was lovely.
|
|
|
|
CLEMENTINE
|
|
Hi, Joel. So no jokes about my
|
|
name?
|
|
|
|
JOEL
|
|
You mean, like--
|
|
(singing)
|
|
Oh, my darlin', oh, my darlin', oh,
|
|
my darlin', Clementine-- ?
|
|
Huckleberry Hound? That sort of
|
|
thing?
|
|
|
|
CLEMENTINE
|
|
Yeah, like that.
|
|
|
|
JOEL
|
|
Nope. No jokes. My favorite thing
|
|
when I was a kid was my Huckleberry
|
|
Hound doll. I think your name is
|
|
magic.
|
|
|
|
She smiles.
|
|
110.
|
|
|
|
|
|
CLEMENTINE
|
|
(eyes welling)
|
|
This is it, Joel. It's gonna be
|
|
gone soon.
|
|
|
|
JOEL
|
|
I know.
|
|
|
|
CLEMENTINE
|
|
What do we do?
|
|
|
|
JOEL
|
|
Enjoy it. Say goodbye.
|
|
|
|
She nods.
|
|
|
|
Joel and Clementine are walking near the surf.
|
|
|
|
JOEL VOICE-OVER
|
|
So you're still on the Next thing I
|
|
remember we were Zoloft? walking
|
|
down near the surf. You were
|
|
walking as close as you could to
|
|
the water without getting wet.
|
|
|
|
CLEMENTINE
|
|
No, I stopped. I didn't want to
|
|
feel like I was being artificially
|
|
modulated.
|
|
|
|
JOEL
|
|
I know what you mean. That's why I
|
|
stopped.
|
|
|
|
CLEMENTINE
|
|
But my sleeping is really fucked
|
|
up.
|
|
|
|
JOEL
|
|
I don't think I've slept in a year.
|
|
|
|
CLEMENTINE
|
|
You should try Xanax. I mean, it's
|
|
a chemical and all, but it works--
|
|
and it works just having it around,
|
|
knowing that it's there. Like
|
|
insurance.
|
|
|
|
JOEL
|
|
Sleep insurance. The latest thing.
|
|
|
|
CLEMENTINE
|
|
111.
|
|
|
|
|
|
I'll give you a couple. See what
|
|
you think.
|
|
|
|
JOEL
|
|
Okay.
|
|
|
|
CLEMENTINE
|
|
Have you ever read any Anna
|
|
Akhmatova?
|
|
|
|
JOEL
|
|
I love her.
|
|
|
|
CLEMENTINE
|
|
Really? Me, too! I don't meet
|
|
people who even know who she is and
|
|
I work in a bookstore.
|
|
|
|
JOEL
|
|
I think she's great.
|
|
|
|
CLEMENTINE
|
|
Me too. There's this poem --
|
|
|
|
JOEL CLEMENTINE
|
|
Did this conversation come I think,
|
|
before or after we saw the house?
|
|
|
|
JOEL
|
|
Seems too coincidental that way.
|
|
|
|
CLEMENTINE
|
|
Yeah, maybe.
|
|
|
|
|
|
144 EXT. BEACH - NEAR BEACH HOUSE - DUSK 144
|
|
|
|
Joel and Clementine wander near some beach houses closed
|
|
for the winter.
|
|
|
|
CLEMENTINE
|
|
Do you know her poem that starts
|
|
"Seaside gusts of wind,/And a house
|
|
in which we don't live--
|
|
|
|
JOEL
|
|
Yeah, yeah. It goes "Perhaps there
|
|
is someone in this world to whom I
|
|
could send all these lines"?
|
|
|
|
CLEMENTINE
|
|
Yes! I love that poem. It breaks my
|
|
heart. I'm so excited you know it.
|
|
112.
|
|
|
|
|
|
(pointing to houses)
|
|
Look, houses in which we don't
|
|
live.
|
|
|
|
Joel chuckles appreciatively.
|
|
|
|
CLEMENTINE
|
|
I wish we did. You married?
|
|
|
|
JOEL
|
|
Um, no.
|
|
|
|
CLEMENTINE
|
|
Let's move into this neighborhood.
|
|
|
|
Clementine tries one of the doors on a darkened house. Joel
|
|
is nervous.
|
|
|
|
JOEL
|
|
I do sort of live with somebody
|
|
though.
|
|
|
|
CLEMENTINE
|
|
Oh.
|
|
|
|
She walks to the next house, tries the door.
|
|
|
|
CLEMENTINE
|
|
Male or female?
|
|
|
|
JOEL
|
|
Female.
|
|
|
|
CLEMENTINE
|
|
At least I'm not barking up the
|
|
wrong tree.
|
|
|
|
She finds a window that's unlatched. She lifts it.
|
|
|
|
CLEMENTINE
|
|
Cool.
|
|
|
|
JOEL
|
|
What are you doing?
|
|
|
|
CLEMENTINE
|
|
It freezing out here.
|
|
|
|
She scrambles in the window. Joel looks around, panicked.
|
|
|
|
JOEL VOICE-OVER
|
|
(whisper)
|
|
113.
|
|
|
|
|
|
I couldn't believe you did
|
|
Clementine. that. I was paralyzed
|
|
with fear.
|
|
|
|
The front door opens and Clementine stands there beckoning.
|
|
|
|
CLEMENTINE
|
|
C'mon, man. The water's fine.
|
|
Nobody's coming here tonight,
|
|
believe me. This place is closed
|
|
up. Electricity's off.
|
|
|
|
JOEL
|
|
I hesitated for what seemed I could
|
|
see you wanted to like forever.
|
|
|
|
He walks cautiously toward the door.
|
|
|
|
CLEMENTINE
|
|
As soon as you walked in. I knew I
|
|
had you. You knew I knew that,
|
|
right?
|
|
|
|
|
|
145 INT. BEACH HOUSE - CONTINUOUS 145
|
|
|
|
Joel enters the darkened house and Clementine closes the
|
|
door behind him.
|
|
|
|
JOEL
|
|
I knew.
|
|
|
|
CLEMENTINE
|
|
I knew by your nervousness that
|
|
Naomi wasn't the kind of girl who
|
|
forced you to criminally trespass.
|
|
|
|
JOEL
|
|
It's dark.
|
|
|
|
CLEMENTINE
|
|
Yeah. What's your girlfriend's
|
|
name?
|
|
|
|
JOEL
|
|
Naomi.
|
|
|
|
She's searching through drawers for something. She pulls
|
|
out a flashlight, shines it in Joel's face.
|
|
|
|
CLEMENTINE
|
|
Ah-ha! Now I can look for candles,
|
|
matches, and the liquor cabinet.
|
|
114.
|
|
|
|
|
|
JOEL
|
|
I think we should go.
|
|
|
|
CLEMENTINE
|
|
No, it's our house! Just tonight --
|
|
(looking at envelope on
|
|
counter)
|
|
-- we're David and Ruth Laskin.
|
|
Which one do you want to be? I
|
|
prefer to be Ruth but I'm flexible.
|
|
(opens cabinet)
|
|
Alcohol! You make drinks. I'm going
|
|
find the bedroom and slip into
|
|
something more Ruth. I'm ruthless
|
|
at the moment.
|
|
|
|
She runs upstairs, giggling. The room is drying out,
|
|
turning into a husk.
|
|
|
|
JOEL VOICE-OVER
|
|
(calling after her)
|
|
I didn't want to go. I was I really
|
|
should go. I really too nervous. I
|
|
thought, need to catch my ride.
|
|
maybe you were a nut. But you were
|
|
exciting. You called from upstairs.
|
|
|
|
CLEMENTINE
|
|
(flat)
|
|
So go.
|
|
|
|
JOEL
|
|
I did. I walked out the door. I
|
|
felt like a scared little kid. I
|
|
thought you knew that about me. I
|
|
ran back to the bonfire, trying to
|
|
outrun my humiliation. You said,
|
|
"so go" with such disdain.
|
|
|
|
CLEMENTINE
|
|
(poking her head
|
|
downstairs)
|
|
What if you stay this time?
|
|
|
|
JOEL
|
|
I walked out the door. There's no
|
|
more memory.
|
|
|
|
CLEMENTINE
|
|
Come back and make up a good-bye at
|
|
least. Let's pretend we had one.
|
|
115.
|
|
|
|
|
|
Clementine comes downstairs, vague and robotic, making her
|
|
way through the decaying environment.
|
|
|
|
CLEMENTINE
|
|
Bye, Joel.
|
|
|
|
JOEL
|
|
I love you.
|
|
|
|
She smiles. They kiss. It fades.
|
|
|
|
CLEMENTINE
|
|
I --
|
|
|
|
|
|
146 EXT. BEACH - NIGHT 146
|
|
|
|
Joel finds himself hurrying back to the bonfire. This
|
|
scene, too, is disintegrating. It dries up and Joel is just
|
|
standing there on a faded beach at night, the bonfire
|
|
frozen in the distance like a photograph.
|
|
|
|
|
|
147 INT/EXT. ROB AND CARRIE'S CAR - NIGHT 147
|
|
|
|
Joel sits in the back seat, Rob and Carrie are in the
|
|
front.
|
|
|
|
CARRIE
|
|
Did you have fun?
|
|
|
|
Joel nods glumly.
|
|
|
|
Carrie continues to talk, but her voice goes under as Joel
|
|
studies the faded husks of memories, piled up like refuse
|
|
outside the moving car window.
|
|
|
|
He sees dried-out version of previous interactions with
|
|
Clementine playing out in loops. He looks back and sees the
|
|
memory of his ride home from the beach with Rob and Carrie.
|
|
|
|
It, too, is decaying. Soon all has crumbled into dust.
|
|
|
|
Everything goes black.
|
|
|
|
|
|
148 INT. JOEL'S BEDROOM - EARLY MORNING 148
|
|
|
|
Howard watches the monitor. The last specks of light are
|
|
fading. It grows dark. He is tired, his eyes are hollow. He
|
|
turns to Stan, who is staring out the window at the dawn.
|
|
116.
|
|
|
|
|
|
MIERZWIAK
|
|
Okay.
|
|
|
|
Stan turns and wordlessly begins the clean-up. He pulls the
|
|
electrodes off of Joel's scalp, coils cable, packs bags.
|
|
|
|
Howard dials the bedside phone. He waits as it rings.
|
|
|
|
HOLLIS'S VOICE
|
|
Hi, you've reached the Mierzwiaks.
|
|
We can't come to --
|
|
|
|
Howard hangs up.
|
|
|
|
|
|
149 INT. MIERZWIAK'S OFFICE AREA - EARLY MORNING 149
|
|
|
|
Mary sits in the corner listening to the tape and crying.
|
|
|
|
MARY'S VOICE
|
|
-- then you said I had to have a,
|
|
y'know, an abortion.
|
|
|
|
MIERZWIAK'S VOICE
|
|
Mary, you know we both agreed to
|
|
that.
|
|
|
|
MARY'S VOICE
|
|
You said, it would be for the best.
|
|
|
|
MIERZWIAK'S VOICE
|
|
I think it was.
|
|
|
|
MARY'S VOICE
|
|
But I can't forget about the baby,
|
|
Howard! My baby. Our baby.
|
|
|
|
MIERZWIAK'S VOICE
|
|
That's why we need to take this
|
|
additional step, sweetheart. So you
|
|
can be the happy Mary you once
|
|
were.
|
|
|
|
MARY
|
|
Yes.
|
|
|
|
|
|
150 EXT. JOEL'S APARTMENT BUILDING - EARLY MORNING 150
|
|
|
|
Stan and Howard load the last of the equipment into the
|
|
back of the van. He and Howard look at each other.
|
|
|
|
STAN
|
|
117.
|
|
|
|
|
|
So, I've got to drop the van off.
|
|
|
|
MIERZWIAK
|
|
Thanks, Stan. Thanks.
|
|
(beat)
|
|
We'll talk.
|
|
|
|
Stan doesn't respond, just gets in the van and drives off.
|
|
|
|
|
|
151 INT/EXT. CLEMENTINE'S CAR - EARLY MORNING 151
|
|
|
|
Patrick and Clementine are heading home from Boston.
|
|
|
|
Clementine is silent and depressed. Patrick tries to break
|
|
the silence.
|
|
|
|
PATRICK
|
|
You want to stop for coffee or
|
|
something?
|
|
|
|
Clementine shakes her head "no." Long silence.
|
|
|
|
PATRICK
|
|
Well, it was sure beautiful on that
|
|
river. Thanks for sharing it with
|
|
me.
|
|
|
|
Clementine doesn't say anything. Silence.
|
|
|
|
PATRICK
|
|
We'll do it again soon.
|
|
|
|
|
|
152 EXT. CITY STREET - EARLY MORNING 152
|
|
|
|
Stan parks the van in front of "Lacuna." He gets out,
|
|
crosses to his car. Mary is walking out of the office with
|
|
a cardboard box of stuff.
|
|
|
|
STAN
|
|
Hey.
|
|
|
|
MARY
|
|
(walking past him toward
|
|
her car)
|
|
Hey.
|
|
|
|
STAN
|
|
I take it you're not coming back.
|
|
Got your stuff, I see.
|
|
|
|
MARY
|
|
118.
|
|
|
|
|
|
That's right. My stuff.
|
|
|
|
STAN
|
|
I don't blame you. I wouldn't come
|
|
back either.
|
|
|
|
Mary stops and turns back to Stan.
|
|
|
|
MARY
|
|
Do you swear you didn't know?
|
|
|
|
STAN
|
|
I swear.
|
|
|
|
MARY
|
|
So you didn't do the erasing.
|
|
|
|
STAN
|
|
Of course not. God. No.
|
|
|
|
MARY
|
|
(studies him)
|
|
And you never even suspected we
|
|
were together? Never saw us
|
|
behaving in any unusual way
|
|
together?
|
|
|
|
STAN
|
|
Once, maybe.
|
|
|
|
She watches him closely, waiting for him to continue.
|
|
|
|
STAN
|
|
It was here. At his car. I was
|
|
coming back from a job and spotted
|
|
you together. You seemed caught. I
|
|
waved. You giggled.
|
|
|
|
MARY
|
|
How did I look?
|
|
|
|
STAN
|
|
(beat)
|
|
Happy. Happy with a secret.
|
|
|
|
Mary starts to cry.
|
|
|
|
MARY
|
|
And after that?
|
|
|
|
STAN
|
|
119.
|
|
|
|
|
|
I never saw you together like that
|
|
again. So I figured I was imagining
|
|
things.
|
|
|
|
Mary says nothing.
|
|
|
|
STAN
|
|
I really like you, Mary. You know
|
|
that.
|
|
|
|
MARY
|
|
Do you remember anything else? What
|
|
I was wearing? Was I standing close
|
|
to him? Was I leaning against his
|
|
car like I owned it? How did he
|
|
look at me when I giggled? Tell me
|
|
everything.
|
|
|
|
STAN
|
|
(thinking)
|
|
You were in red. That red sweater
|
|
with the little flowers, I think.
|
|
You were leaning against his car.
|
|
(thinking)
|
|
He looked a little like a kid. Kind
|
|
of goofy and wide-eyed. I'd never
|
|
seen him look like that before.
|
|
Happy. You looked beautiful. You
|
|
looked in love.
|
|
|
|
MARY
|
|
(heading toward her car)
|
|
Thanks, Stan.
|
|
|
|
She stops but doesn't turn to face him.
|
|
|
|
MARY
|
|
You're really nice.
|
|
(beat)
|
|
But I love him. I knew I loved him.
|
|
I knew it! Now I know. So what am I
|
|
supposed to do?
|
|
|
|
He nods. She waves without looking back and heads to her
|
|
car.
|
|
|
|
When she arrives at it and opens the trunk, we see that is
|
|
already filled with boxes and boxes of Lacuna files. She
|
|
adds the last box and closes the trunk.
|
|
|
|
|
|
153 INT. JOEL'S BEDROOM - MORNING 153
|
|
120.
|
|
|
|
|
|
Joel awakens. The apartment is neat, like when he went to
|
|
sleep. He gets out of bed and heads into the bathroom.
|
|
|
|
|
|
154 EXT. JOEL'S APARTMENT - MORNING 154
|
|
|
|
Joel sees the dent in his car, doesn't know why it's there.
|
|
|
|
He touches it, looks around.
|
|
|
|
|
|
155 EXT. COMMUTER TRAIN STATION - MORNING 155
|
|
|
|
Joel waits on the crowded platform. The platform across the
|
|
tracks is empty. Joel's train arrives. It's packed. He
|
|
squeezes on with all the other commuters.
|
|
|
|
|
|
156 INT/EXT. MARY'S CAR - MORNING 156
|
|
|
|
Mary listens to her tape on the car radio. She cries. The
|
|
backseat of her car is piled high with Lacuna files.
|
|
|
|
|
|
157 INT. JOEL'S OFFICE - MORNING 157
|
|
|
|
Joel works in his cubicle over the light table. He seems
|
|
distracted. He dials his phone. He's nervous.
|
|
|
|
JOEL
|
|
Hi-- Naomi? Yeah, hi! How are you?
|
|
I know, I know. It's been a long
|
|
time. Not too much. You? Oh, that's
|
|
great! Congratulations! Maybe I
|
|
could buy you dinner to celebrate?
|
|
Tonight? I'm free. Okay, good!
|
|
|
|
|
|
158 INT. MARY'S APARTMENT - MORNING 158
|
|
|
|
Mary sits on the floor in an unkempt pile. Mierzwiak,
|
|
tired-looking, stares out the window. After a long silence.
|
|
|
|
MARY
|
|
Patrick Henry said, "For my part,
|
|
whatever anguish of spirit it may
|
|
cost, I am willing to know the
|
|
whole truth; to know the worst, and
|
|
to provide for it." I found that
|
|
quote last night. Patrick Henry was
|
|
a great patriot, Howard.
|
|
|
|
MIERZWIAK
|
|
121.
|
|
|
|
|
|
It's a good quote.
|
|
|
|
MARY
|
|
I don't like what you do to people.
|
|
|
|
MIERZWIAK
|
|
I understand. I'm sorry.
|
|
(beat)
|
|
I really do need the files back,
|
|
Mary.
|
|
|
|
MARY
|
|
No. The memories are mine now.
|
|
|
|
|
|
159 EXT. CITY STREET - NIGHT 159
|
|
|
|
Joel and Naomi walk, both bundled up.
|
|
|
|
NAOMI
|
|
(oddly cautious)
|
|
So-- you haven't been involved with
|
|
anyone in all this time?
|
|
|
|
JOEL
|
|
It's been a pretty lonely couple of
|
|
years.
|
|
|
|
NAOMI
|
|
I'm sorry.
|
|
|
|
JOEL
|
|
Well, it was my fault -- the break-
|
|
up. I'm sorry. I don't even know
|
|
what happened.
|
|
|
|
NAOMI
|
|
Oh, sweetie. It really does cut
|
|
both ways. We were taking each
|
|
other for granted and --
|
|
|
|
JOEL
|
|
I miss you.
|
|
|
|
NAOMI
|
|
Miss you, too.
|
|
(awkward pause)
|
|
I have been seeing someone for a
|
|
little while.
|
|
|
|
JOEL
|
|
(trying for enthusiasm)
|
|
Oh! Great. That's great!
|
|
122.
|
|
|
|
|
|
NAOMI
|
|
A religion instructor. A good guy.
|
|
He's a good guy.
|
|
|
|
JOEL
|
|
I'm sorry. I really shouldn't have
|
|
- -
|
|
|
|
NAOMI
|
|
I'm glad you called.
|
|
|
|
There is a silence and then Naomi kisses Joel.
|
|
|
|
|
|
160 INT. CLEMENTINE'S APARTMENT - NIGHT 160
|
|
|
|
Clementine lies in bed crying. Patrick sits by the window
|
|
and flips furiously through Joel's journal looking for
|
|
tips.
|
|
|
|
|
|
161 EXT. COMMUTER TRAIN STATION - MORNING 161
|
|
|
|
It's gray. The platform is packed with business commuters:
|
|
suits, overcoats. There is such a lack of color it almost
|
|
seems as if the scene is in black and white. A man holds a
|
|
red heart-shaped box. The platform across the tracks is
|
|
empty.
|
|
|
|
As an almost empty train pulls up to that platform, Joel
|
|
breaks out of the crowd, lurches up the stairs two at a
|
|
time, hurries across the overpass and down the stairs to
|
|
the other side, just as the empty train stops. The doors
|
|
open and Joel gets on the train.
|
|
|
|
|
|
162 INT. CLEMENTINE'S APARTMENT - NIGHT 162
|
|
|
|
Joel says goodbye to Clementine.
|
|
|
|
CLEMENTINE
|
|
So you'll call me, right?
|
|
|
|
JOEL
|
|
Yeah.
|
|
|
|
CLEMENTINE
|
|
When?
|
|
|
|
JOEL
|
|
Tomorrow?
|
|
|
|
CLEMENTINE
|
|
123.
|
|
|
|
|
|
Tonight. Just to test out the phone
|
|
lines.
|
|
|
|
JOEL
|
|
Yeah.
|
|
|
|
Joel exits. We stay on Clementine as she watches Joel head
|
|
to his car.
|
|
|
|
|
|
163 INT. JOEL'S APARTMENT - NIGHT 163
|
|
|
|
Joel enters, drops his overcoat on a chair, and hurriedly
|
|
dials the phone.
|
|
|
|
NAOMI'S VOICE
|
|
Hello?
|
|
|
|
JOEL
|
|
Hi, Naomi, it's Joel.
|
|
(beat)
|
|
How's it going?
|
|
|
|
NAOMI'S VOICE
|
|
Good. I called you at work today.
|
|
They said you were home sick.
|
|
|
|
JOEL
|
|
I know. I had to take the day to
|
|
think.
|
|
|
|
NAOMI'S VOICE
|
|
Yeah, I tried you at home, too. Did
|
|
you get my message?
|
|
|
|
JOEL
|
|
I just got in.
|
|
|
|
NAOMI'S VOICE
|
|
Long day's thinking into night.
|
|
|
|
Joel flips on messages with volume down.
|
|
|
|
JOEL
|
|
Yeah, I suppose so.
|
|
|
|
NAOMI ON MACHINE
|
|
(cheerful)
|
|
Hi. They told me you were sick! So-
|
|
- Where are you?! I had a really
|
|
nice time last night. Just wanted
|
|
to say hi, so-- hi. Call me. I'm
|
|
home. Call me, call me, call me!
|
|
124.
|
|
|
|
|
|
NAOMI'S VOICE
|
|
That's me.
|
|
|
|
JOEL
|
|
There you are.
|
|
(pause)
|
|
Naomi, it's just-- I'm afraid if we
|
|
fall back into this fast without
|
|
considering the problems we had--
|
|
|
|
NAOMI
|
|
(long exhalation)
|
|
Okay, Joel. I suppose you're right.
|
|
|
|
JOEL
|
|
I had a good time last night. I
|
|
really did.
|
|
|
|
NAOMI
|
|
So I'm going to get some sleep. I'm
|
|
glad you're okay.
|
|
|
|
JOEL
|
|
We'll speak soon.
|
|
|
|
NAOMI
|
|
'Night.
|
|
|
|
She hangs up and Joel stands there for a minute feeling
|
|
creepy, then he dials the number on his hand.
|
|
|
|
CLEMENTINE'S VOICE
|
|
What took you so long?
|
|
|
|
JOEL
|
|
I just walked in.
|
|
|
|
CLEMENTINE'S VOICE
|
|
Hmmm. Do you miss me?
|
|
|
|
JOEL
|
|
Oddly enough, I do.
|
|
|
|
CLEMENTINE'S VOICE
|
|
Ha Ha! You said, "I do." I guess
|
|
that means we're married.
|
|
|
|
JOEL
|
|
I guess so.
|
|
|
|
CLEMENTINE'S VOICE
|
|
Tomorrow night-- honeymoon on ice.
|
|
125.
|
|
|
|
|
|
164 EXT. CHARLES RIVER - NIGHT 164
|
|
|
|
Clementine steps out onto the ice. Joel follows nervously.
|
|
|
|
CLEMENTINE
|
|
Don't worry. It's really solid this
|
|
time of year.
|
|
|
|
JOEL
|
|
I don't know.
|
|
|
|
She takes his hand and he is suddenly imbued with
|
|
confidence.
|
|
|
|
JOEL
|
|
This is so beautiful.
|
|
|
|
She squeezes his hand.
|
|
|
|
CLEMENTINE
|
|
Isn't it?
|
|
|
|
She runs and slides on the ice. She slips and falls hard on
|
|
her ass. Joel is by himself now, watching her.
|
|
|
|
CLEMENTINE
|
|
(laughing)
|
|
Ouch! My ass. Oh my God!
|
|
|
|
JOEL
|
|
You okay?
|
|
|
|
CLEMENTINE
|
|
Yeah, come join me.
|
|
|
|
JOEL
|
|
I don't know. What if it breaks?
|
|
|
|
CLEMENTINE
|
|
What if? Do you really care right
|
|
now?
|
|
|
|
Clementine lies on her back and stares up at the stars.
|
|
Joel is paralyzed. He looks back at the shore.
|
|
|
|
JOEL
|
|
I think I should go back.
|
|
|
|
CLEMENTINE
|
|
Joel, come here. Please.
|
|
126.
|
|
|
|
|
|
He hesitates then gingerly makes his way over to her. She
|
|
reaches for his hand and gently pulls him down. He lies on
|
|
his back beside her, their bodies touching. He wants to
|
|
turn to her, but out of shyness, doesn't. She holds his
|
|
hand. They look up at the stars. She smiles, doesn't say
|
|
anything and snuggles closer to him.
|
|
|
|
JOEL
|
|
Listen, did you want to make love?
|
|
|
|
CLEMENTINE
|
|
Make love?
|
|
|
|
JOEL
|
|
Have sex. Y'know -- I don't know
|
|
what you call it.
|
|
|
|
CLEMENTINE
|
|
Oh, um--
|
|
|
|
JOEL
|
|
Because I just am not drunk enough
|
|
or stoned enough to make that
|
|
happen right now.
|
|
|
|
CLEMENTINE
|
|
That's okay. I --
|
|
|
|
JOEL
|
|
I'm sorry. I just wanted to say
|
|
that. This seems like the perfect
|
|
romantic exotic place to do it and
|
|
- -
|
|
|
|
CLEMENTINE
|
|
Hey, Joel --
|
|
|
|
JOEL
|
|
-- and I'm just too nervous around
|
|
you right now.
|
|
|
|
CLEMENTINE
|
|
I'm nervous, too.
|
|
|
|
JOEL
|
|
Yeah? I wouldn't have thought that.
|
|
|
|
CLEMENTINE
|
|
Well, you obviously don't know me.
|
|
|
|
JOEL
|
|
I'm nervous because I have an
|
|
enormous crush on you.
|
|
127.
|
|
|
|
|
|
She smiles up at the sky.
|
|
|
|
CLEMENTINE
|
|
Show me which constellations you
|
|
know.
|
|
|
|
JOEL
|
|
Um-- oh-- I don't know any.
|
|
|
|
CLEMENTINE
|
|
Show me which ones you know!
|
|
|
|
JOEL
|
|
Okay. There's Osidius.
|
|
|
|
CLEMENTINE
|
|
Where?
|
|
|
|
JOEL
|
|
There. See? It's sort of a swoop
|
|
and then a cross? Osidius the
|
|
Emphatic.
|
|
|
|
CLEMENTINE
|
|
You're full of shit. Right?
|
|
|
|
She looks at him. He continues to study the sky.
|
|
|
|
JOEL
|
|
Nope. Osidius the Emphatic. Right
|
|
there. Swoop and cross.
|
|
|
|
She punches him in the arm, looks back at the sky.
|
|
|
|
CLEMENTINE
|
|
Shut the fuck up.
|
|
|
|
|
|
165 INT. JOEL'S CAR - MORNING 165
|
|
|
|
Joel drives and sips from a paper cup of coffee. Clementine
|
|
is asleep in the seat next to him. He pulls up in front of
|
|
her house. He sits there for a few moments, shyly uncertain
|
|
about waking her; she seems so peaceful. He gingerly
|
|
touches her arm. She doesn't wake. He touches it again.
|
|
Still nothing. He touches her face.
|
|
|
|
JOEL
|
|
(whispering)
|
|
Clementine?
|
|
|
|
Nothing. He sits there. He shakes her a little.
|
|
128.
|
|
|
|
|
|
JOEL
|
|
I'm sorry to have to wake you but -
|
|
-
|
|
|
|
She opens her eyes.
|
|
|
|
CLEMENTINE
|
|
(groggy smile)
|
|
Hey.
|
|
|
|
JOEL
|
|
Hi. I'm sorry to wake you but we're
|
|
here.
|
|
|
|
She cranes her neck, sees her house.
|
|
|
|
CLEMENTINE
|
|
Okay.
|
|
(closes her eyes again,
|
|
beat)
|
|
Can I come over to your house? To
|
|
sleep? I'm so tired.
|
|
|
|
JOEL
|
|
(beat)
|
|
Yeah, sure. Okay. It's probably a
|
|
mess.
|
|
|
|
CLEMENTINE
|
|
Let me get my toothbrush.
|
|
|
|
Joel nods. She smiles and leaves the car. Joel watches her
|
|
head to the house. He leans his head back against the
|
|
headrest and closes his eyes.
|
|
|
|
He's happy, tired, and a bit anxious. He opens his eyes and
|
|
casually watches a distant figure walking in the direction
|
|
of Clementine's house on the otherwise empty sidewalk. As
|
|
the figure nears, Joel sees it's a young man.
|
|
|
|
The young man gets closer and we see that it's Patrick.
|
|
Joel watches him without any particular interest; it's just
|
|
something to look at. Patrick gets close and seems to be
|
|
about to head up to Clementine's house when he happens to
|
|
glance into Joel's car and spots Joel.
|
|
|
|
He reacts but barely and keeps walking down the block past
|
|
Clementine's house. Joel watches in his rearview mirror as
|
|
Patrick continues down the street. Joel closes his eyes
|
|
again. After a few moments there's a tap on the driver's-
|
|
side window. Joel opens his eyes and sees Patrick standing
|
|
there.
|
|
129.
|
|
|
|
|
|
Joel rolls down his window.
|
|
|
|
JOEL
|
|
Yes?
|
|
|
|
PATRICK
|
|
Can I help you?
|
|
|
|
JOEL
|
|
What do you mean?
|
|
|
|
PATRICK
|
|
Can I help you with something?
|
|
|
|
JOEL
|
|
No.
|
|
|
|
Patrick doesn't know how to continue. He takes another
|
|
stab.
|
|
|
|
PATRICK
|
|
What are you doing here?
|
|
|
|
JOEL
|
|
I'm not really sure what you're
|
|
asking me.
|
|
|
|
PATRICK
|
|
Oh.
|
|
(long pause)
|
|
So I was just wondering if I could
|
|
bum a cigarette, mister.
|
|
|
|
JOEL
|
|
No, I don't smoke. Sorry.
|
|
|
|
PATRICK
|
|
Okay, thanks.
|
|
|
|
Patrick walks off. Joel watches him again in his rearview
|
|
mirror.
|
|
|
|
|
|
166 INT. CLEMENTINE'S APARTMENT - MORNING 166
|
|
|
|
Clementine wanders around putting things in an overnight
|
|
bag.
|
|
|
|
Her toothbrush is in her mouth. She's being overly
|
|
selective in her choice of a change of clothing and
|
|
toiletries. A phone message is playing in the background.
|
|
|
|
PATRICK'S VOICE
|
|
130.
|
|
|
|
|
|
-- so where are you, Clem? I'm
|
|
worried. I feel like you're mad at
|
|
me and I don't know what I did.
|
|
What did I do? I love you so much.
|
|
I'd do anything to make you happy.
|
|
Just tell me what you want me to do
|
|
and I'll do it. Listen, I'm going
|
|
to stop by in the morning just to
|
|
make sure you're okay. I'm worried.
|
|
|
|
|
|
167 INT. JOEL'S CAR - MORNING 167
|
|
|
|
Joel waits. Clementine emerges from her place with her
|
|
overnight bag and her mail. She gets into the car.
|
|
|
|
CLEMENTINE
|
|
Vamanos, senor.
|
|
|
|
Joel smiles at her, starts the car and drives off. They
|
|
pass Patrick sitting on someone's stoop watching them.
|
|
Neither of them notices him. Clementine sifts through her
|
|
mail.
|
|
|
|
JOEL
|
|
I had a really nice time last
|
|
night.
|
|
|
|
CLEMENTINE
|
|
Nice?
|
|
|
|
JOEL
|
|
I had the best fucking time I've
|
|
ever had in my fucking life last
|
|
night.
|
|
|
|
CLEMENTINE
|
|
That's better, senor.
|
|
|
|
She looks at a small padded manila envelope with her name
|
|
and address scrawled on it. She rips it open, pulls out a
|
|
note and an audio cassette. She reads the note.
|
|
|
|
CLEMENTINE
|
|
This is weird.
|
|
(reading aloud)
|
|
Dear Clementine. We've met but you
|
|
don't remember me. I worked for a
|
|
company you hired to have part of
|
|
your memory erased.
|
|
|
|
JOEL
|
|
It's a teaser ad or something.
|
|
131.
|
|
|
|
|
|
CLEMENTINE
|
|
(reading)
|
|
You've erased your two year
|
|
relationship with Joel Barish from
|
|
your memory.
|
|
|
|
JOEL
|
|
Jesus, that's creepy. How'd they
|
|
know we even know each other?
|
|
|
|
Clementine shrugs and inserts the cassette in the tape
|
|
player. (note: the tape plays throughout the scene under
|
|
Joel and Clementine's dialogue)
|
|
|
|
CLEMENTINE'S VOICE
|
|
My name is Clementine Kruczynski
|
|
and I'm here to erase Joel Barish.
|
|
|
|
MIERZWIAK'S VOICE
|
|
Tell me all about your
|
|
relationship.
|
|
|
|
CLEMENTINE'S VOICE
|
|
Well, he's a giant asshole. Is that
|
|
enough?
|
|
|
|
MIERZWIAK'S VOICE
|
|
No, I'm afraid we really do need to
|
|
delve.
|
|
|
|
JOEL
|
|
What is this?
|
|
|
|
CLEMENTINE
|
|
I don't know.
|
|
|
|
CLEMENTINE'S VOICE
|
|
I can't stand to even look at him.
|
|
His pathetic, wimpy, apologetic
|
|
smile. That sort of wounded puppy
|
|
shit he does. Y'know? Is it so much
|
|
to ask for an actual man to have
|
|
sex with?
|
|
|
|
JOEL
|
|
What are you doing?
|
|
|
|
CLEMENTINE'S VOICE
|
|
132.
|
|
|
|
|
|
-- I might as well be a lesbian. At
|
|
least I could have someone pretty
|
|
to look at while I'm fucking. Not
|
|
that we fuck anymore. I mean, I
|
|
don't call it fucking on the rare
|
|
occasions that it happens. Not
|
|
fucking-- faking. Honey, let's fake
|
|
tonight. Make a few faces, get it
|
|
over with. Shit-
|
|
|
|
JOEL
|
|
Why did you make this tape?
|
|
|
|
CLEMENTINE
|
|
I didn't do this! I completely
|
|
don't understand what you're doing.
|
|
|
|
JOEL CLEMENTINE
|
|
It's your voice! I know!
|
|
|
|
CLEMENTINE'S VOICE
|
|
-- Now the only fuel keeping it
|
|
going is my feeling sorry for him.
|
|
He's so needy. The way he looks at
|
|
me, like I should be ashamed of
|
|
myself for going out and having
|
|
some fun in my life. I mean, I've
|
|
got to have it somewhere, right? I
|
|
suppose I could sit and watch
|
|
television with him until we both
|
|
kick. There's a plan. Y'know Joel
|
|
is a guy who is never going to do
|
|
anything with his life--
|
|
|
|
CLEMENTINE
|
|
Joel, I don't understand. I swear.
|
|
|
|
CLEMENTINE'S VOICE
|
|
-- I remember this time I made him
|
|
come out onto this frozen river
|
|
with me. He was terrified. Like a
|
|
goddamn girl--
|
|
|
|
Joel turns the car around.
|
|
|
|
JOEL
|
|
So someone just recorded you saying
|
|
this without you knowing you were
|
|
saying it.
|
|
|
|
CLEMENTINE
|
|
133.
|
|
|
|
|
|
I don't know! Maybe it's This is
|
|
fucked up! That's some kind of
|
|
Future thing, ridiculous. This is
|
|
fucked like a look into the future.
|
|
up! It's called A Christmas Like
|
|
that thing in Scrooge! Carol, not
|
|
Scrooge. Maybe some force is trying
|
|
to help us. I think I've read about
|
|
that happening. I'm sure I have.
|
|
|
|
CLEMENTINE'S VOICE
|
|
-- Ugh. I don't want to think about
|
|
all the time I've wasted in this
|
|
quote- unquote relationship. Isn't
|
|
it about fun?
|
|
|
|
Joel stops the car in back in front of Clementine's house.
|
|
|
|
She's crying.
|
|
|
|
CLEMENTINE
|
|
I didn't say this. I don't know
|
|
what this is. Look, I just --
|
|
|
|
She stops talking.
|
|
|
|
CLEMENTINE'S VOICE
|
|
-- I mean, shouldn't the good times
|
|
out number the shit times? I don't
|
|
know. I don't know what the hell to
|
|
expect. But the bloom is certainly
|
|
fucking off the rose at this point.
|
|
I want to have kids. I can't be
|
|
wasting my time with this kind of
|
|
disaster. Not to mention, do I want
|
|
my kids to have his creepy little
|
|
genes?
|
|
|
|
Joel just stares straight ahead.
|
|
|
|
CLEMENTINE
|
|
(quietly, resignedly)
|
|
Okay. I'm gonna go.
|
|
|
|
She gets out of the car.
|
|
|
|
CLEMENTINE'S VOICE
|
|
--How could I even look at them if
|
|
they looked like him? How could
|
|
anybody? Y'know, I think about
|
|
that--
|
|
|
|
Joel ejects the tape, hands it to her, and closes the door.
|
|
134.
|
|
|
|
|
|
He drives off, leaving her just standing there, crying.
|
|
After a moment, Patrick appears seemingly from nowhere.
|
|
|
|
PATRICK
|
|
Clem, what's wrong? Oh, sweetheart-
|
|
- I was just coming over to --
|
|
|
|
CLEMENTINE
|
|
Get away from me! Get the fuck away
|
|
from me! Get away from me! Get away
|
|
from me!
|
|
|
|
|
|
168 INT. CLEMENTINE'S CAR - MORNING 168
|
|
|
|
It's a bit later. Clementine drives slowly down Joel's
|
|
street. In her hand she's got a ripped out page from a
|
|
phone book with his address circled. She spots his car on
|
|
the street and parks behind it.
|
|
|
|
|
|
169 EXT. JOEL'S APARTMENT - MORNING 169
|
|
|
|
Clementine approaches the apartment entrance. As she nears,
|
|
the door opens and Frank the neighbor emerges. He holds the
|
|
door open for her.
|
|
|
|
FRANK
|
|
Hey, Clementine.
|
|
|
|
She has no idea who he is and she's freaked out.
|
|
|
|
CLEMENTINE
|
|
Hey.
|
|
|
|
|
|
170 INT. JOEL'S APARTMENT BUILDING - MORNING 170
|
|
|
|
Clementine watches the hall looking at apartment numbers
|
|
until she comes to Joel's. The door is ajar. Inside she can
|
|
hear Joel's voice, but can't make out what he's saying. She
|
|
stands there for a moment then enters.
|
|
|
|
|
|
171 INT. JOEL'S APARTMENT - DAY 171
|
|
|
|
Clementine looks around; the place is not what she
|
|
expected.
|
|
|
|
She comes upon Joel in his study. The room looks as if it's
|
|
been ransacked. He's listening to a tape of his own voice
|
|
and holding a drawing. She stands and listens, too,
|
|
unbeknownst to him.
|
|
135.
|
|
|
|
|
|
JOEL'S VOICE
|
|
-- that's Clementine all over.
|
|
Complete selfishness. Complete and
|
|
utter disregard for anyone else's
|
|
feelings.
|
|
|
|
CLEMENTINE
|
|
Hi.
|
|
|
|
He looks, up, his eyes are red-rimmed and wild-looking.
|
|
They stare at each other.
|
|
|
|
JOEL
|
|
Hey.
|
|
|
|
Joel's taped voice drones on in the background. He holds up
|
|
the drawing for Clementine to see. It's the picture of her
|
|
in the skeleton costume.
|
|
|
|
JOEL
|
|
Look what I found.
|
|
|
|
She studies it, touched and confused. She doesn't know what
|
|
to say.
|
|
|
|
CLEMENTINE
|
|
Well, you made me look skinny.
|
|
|
|
JOEL'S VOICE
|
|
She's like a train wreck, tearing
|
|
people apart leaving chaos and
|
|
destruction in her wake. And --
|
|
|
|
CLEMENTINE
|
|
It's a nice place you have.
|
|
|
|
JOEL
|
|
Thanks. Y'know, it's-- relatively
|
|
cheap. I like it. The location's
|
|
good. It's not usually this messy.
|
|
|
|
CLEMENTINE
|
|
It's nice.
|
|
|
|
JOEL'S VOICE
|
|
-- seems obvious to me that it's
|
|
all based on some kind of mammoth
|
|
insecurity.
|
|
|
|
JOEL
|
|
I'm sorry I yelled at you.
|
|
|
|
JOEL'S VOICE
|
|
136.
|
|
|
|
|
|
She plays at being this rebel,
|
|
free-spirit.
|
|
|
|
CLEMENTINE
|
|
It's okay.
|
|
(beat)
|
|
I like you so much. I hate that I
|
|
said mean things about you.
|
|
|
|
JOEL
|
|
I'll turn this off.
|
|
|
|
CLEMENTINE
|
|
No. I think it's-- I think it's
|
|
only fair.
|
|
|
|
JOEL'S VOICE
|
|
I mean, the whole thing with the
|
|
hair? It's all bullshit. And it's
|
|
sort of pathetic when you're thirty
|
|
and you're still doing that shit.
|
|
|
|
JOEL
|
|
I really like your hair.
|
|
|
|
CLEMENTINE
|
|
Thank you.
|
|
|
|
JOEL
|
|
Can I get you something to drink?
|
|
|
|
CLEMENTINE
|
|
Do you have any whiskey? I'm cold.
|
|
|
|
JOEL
|
|
Yeah.
|
|
|
|
Clementine enters the study as Joel exits into the kitchen.
|
|
|
|
|
|
172 INT. KITCHEN - DAY 172
|
|
|
|
Joel finds his almost empty bottle of scotch in the
|
|
cabinet.
|
|
|
|
He pours the little left into two glasses, exits.
|
|
|
|
|
|
173 INT. JOEL'S STUDY - DAY 173
|
|
|
|
Joel enters with the two glasses of whiskey. Clementine
|
|
sits on the couch, looking stunned. He hands her a glass.
|
|
137.
|
|
|
|
|
|
JOEL
|
|
Sorry, I thought there was more.
|
|
|
|
JOEL'S VOICE
|
|
-- that's what's occurred to me
|
|
that night, that the only way Clem
|
|
thinks she can get people to like
|
|
her is to fuck them or at least
|
|
dangle the possibility of getting
|
|
fucked in front of them. And I
|
|
think she's so desperate and
|
|
insecure that she'll sooner or
|
|
later she'll just go around fucking
|
|
everyone.
|
|
|
|
CLEMENTINE
|
|
I don't do that.
|
|
|
|
JOEL
|
|
I wouldn't have thought so.
|
|
|
|
CLEMENTINE
|
|
Because I don't.
|
|
|
|
JOEL
|
|
I know.
|
|
|
|
Joel turns off the tape.
|
|
|
|
CLEMENTINE
|
|
(crying)
|
|
Because it really hurts me that you
|
|
said that. Because I don't do that.
|
|
|
|
JOEL
|
|
Okay. I'm sorry.
|
|
|
|
They both stare off. Finally:
|
|
|
|
CLEMENTINE
|
|
I'm sorry about this. I'm Okay.
|
|
Yeah.
|
|
|
|
JOEL
|
|
I'm sorry. going to go. I'm a
|
|
little confused. I don't think I
|
|
can be here.
|
|
|
|
Clementine gets up.
|
|
|
|
CLEMENTINE
|
|
So-- bye. It was nice meeting you
|
|
and all.
|
|
138.
|
|
|
|
|
|
JOEL
|
|
Yeah, you too. I had a good time.
|
|
|
|
She exits.
|
|
|
|
|
|
174 INT. APARTMENT HALLWAY - DAY 174
|
|
|
|
Clementine walks down the hall. Joel appears behind her.
|
|
|
|
JOEL
|
|
Hey, wait.
|
|
|
|
CLEMENTINE
|
|
What?
|
|
|
|
JOEL
|
|
I just wanted to--
|
|
|
|
He doesn't know what to say, stops.
|
|
|
|
CLEMENTINE
|
|
What?
|
|
|
|
JOEL
|
|
I just wanted to-- Um, I was just
|
|
wondering-- how your bruise is?
|
|
From falling. Y'know?
|
|
|
|
CLEMENTINE
|
|
It hurts. My ass is purple.
|
|
|
|
JOEL
|
|
I'm sorry. It was a nasty fall. I
|
|
mean, it was sort of funny once I
|
|
realized you weren't dead.
|
|
|
|
CLEMENTINE
|
|
I'm good for a laugh, anyway.
|
|
|
|
JOEL
|
|
No, that's not what I meant.
|
|
|
|
CLEMENTINE
|
|
Anyway, look, I'm gonna go. Take
|
|
care of yourself.
|
|
|
|
JOEL
|
|
You too.
|
|
|
|
She heads down the hall.
|
|
139.
|
|
|
|
|
|
JOEL
|
|
Wait!
|
|
|
|
CLEMENTINE
|
|
What?
|
|
|
|
JOEL
|
|
I came up with another hair color.
|
|
|
|
CLEMENTINE
|
|
(not turning)
|
|
Oh, yeah?
|
|
|
|
JOEL
|
|
Brown versus The Board of
|
|
Education.
|
|
|
|
CLEMENTINE
|
|
(walking, no change of
|
|
expression)
|
|
It's a little cumbersome.
|
|
|
|
JOEL
|
|
Wait!
|
|
|
|
She stops and turns.
|
|
|
|
CLEMENTINE
|
|
(impatiently)
|
|
What, Joel? What do you want?
|
|
|
|
JOEL
|
|
(at a loss)
|
|
I don't know.
|
|
|
|
JOEL
|
|
(pause)
|
|
Just wait. I just want you to wait
|
|
for a while.
|
|
|
|
They lock eyes for a long moment: Clementine stone-faced,
|
|
Joel with a worried, knit brow. Clementine cracks up.
|
|
|
|
CLEMENTINE
|
|
Okay.
|
|
|
|
JOEL
|
|
Really?
|
|
|
|
CLEMENTINE
|
|
140.
|
|
|
|
|
|
I'm not a concept, Joel. I'm just a
|
|
fucked-up girl who is looking for
|
|
my own peace of mind. I'm not
|
|
perfect.
|
|
|
|
JOEL
|
|
I can't think of anything I don't
|
|
like about you right now.
|
|
|
|
CLEMENTINE
|
|
But you will. You will think of
|
|
things. And I'll get bored with you
|
|
and feel trapped because that's
|
|
what happens with me.
|
|
|
|
JOEL
|
|
Okay.
|
|
|
|
CLEMENTINE
|
|
Okay.
|
|
|
|
THE END
|
|
|