diff --git "a/scripts/Eternal Sunshine of the Spotless Mind.txt" "b/scripts/Eternal Sunshine of the Spotless Mind.txt" new file mode 100644--- /dev/null +++ "b/scripts/Eternal Sunshine of the Spotless Mind.txt" @@ -0,0 +1,7673 @@ + 1. + + + + FADE IN: + + +1 EXT. COMMUTER TRAIN STATION - DAY 1 + + It's gray. The platform is packed with business commuters: + suits, overcoats. There is such a lack of color it almost + seems as if it's a black and white shot, except one + commuter holds a bright red heart-shaped box of candy under + his arm. + + The platform across the tracks is empty. + + As an almost empty train pulls up to that platform, one of + the suited men 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 at the empty train + stops. The doors open and the man gets on that train. + + As the empty train pulls from the station, the man watches + the crowd of commuters through the train's dirty window. We + see his face for the first time. + + This is Joel Barish. He is in his 30's, sallow, a bit + puffy. + + His hair is a little messy, his suit is either vintage or + just old and dirty and sort of threadbare. His bright tie + has a photograph of a rodeo printed on it. + + +2 EXT. MONTAUK TRAIN STATION - DAY 2 + + Joel talks on a payphone. The wind howls around him. He + tries to shield the mouthpiece as he talks. His speech is a + self-conscious mumble, especially difficult to hear over + the elements. + + JOEL + Hi, Cindy. It's Joel. Joel. I'm not + feeling well this morning. No, food + poisoning, I think. I had clams. + Clams! I'm sorry it took me so long + to call in, but I've been vomiting + a lot. I've been vomiting! Yes, + that's right, a lot! + + +3 EXT. BEACH - DAY 3 + 2. + + + Joel wanders the windy, empty beach, with his briefcase. He + passes an old man with a metal detector. They nod at each + other. + + +4 EXT. BEACH - DAY 4 + + Later: Joel looks out at the ocean. + + +5 EXT. BEACH - DAY 5 + + Later: Joel sits on a rock and pulls a big, tattered + notebook from his briefcase. He opens it and reads his last + entry. + + JOEL (V.O.) + January 6, 2001. Nothing much. + Naomi and I coexisting. Roommates. + Nothing. Will it go on like this + forever? My best guess? Yes. + + Under the entry is a detailed drawing of a paranoid, wild- + eyed man huddled in the corner of a damp basement lit by a + bare bulb on a cord. Joel notices something odd: a great + many pages have been torn out after the last entry. He + ponders it for a moment, then writes on the next page: + + JOEL (V.O.) + Valentine's Day 2003. First entry + in two years. Where did those years + go? If you're not careful it gets + away from you. And then it's over + and you're dead. And within a few + years who even remembers you were + here? + (thinks) + Called in sick today. Took the + train out to Montauk. + (thinks) + Cold. + (thinks some more) + Don't know what else to say. I saw + Naomi last night. First time since + the break- up. We had sex. It was + odd to fall into our old familiar + sex life so easily. Like no time + has passed. Suddenly we're talking + about getting together again. I + guess that's good. + 3. + + + He has no other thoughts, does some work on the drawing on + the opposite page. He glances up, spots a female figure in + the distance, walking in his direction. She stands out + against the gray in a fluorescent orange hooded sweatshirt. + + This is Clementine. + + She's in her early thirties, zaftig. He watches her for a + bit, then as she nears, he goes back to his drawing, or at + least pretends to. Once she has passed, he watches her walk + away. She stops and stares out at the ocean. Joel writes. + + JOEL (V.O.) + Constitutionally incapable of + making eye- contact with a woman I + don't know. Guess I'd better get + back with Naomi. Ought to buy her a + Valentine. She loves roses, I + believe. + + +6 EXT. BEACH - DAY 6 + + LATER: Joel walks up near the beach houses closed for the + season. He peeks cautiously in a dark window. + + +7 EXT. BEACH - DAY 7 + + LATER: Joel digs into the sand with a stick. + + +8 INT. DINER - DAY 8 + + It's a local tourist place, but off-season empty. An old + couple drink coffee at the counter. Joel sits in a booth + and eats a grilled cheese sandwich and a bowl of tomato + soup. In his notebook he is drawing a wizened old man with + a metal detector. His metal detector has led him to another + dead old man clutching a metal detector. Joel meekly, + unsuccessfully, tries to get the waitress's attention for + more coffee. + + Clementine enters, looks around, takes off her hood. Joel + glances at her bright blue hair. She picks an empty booth + and sits. Joel studies her discreetly. The waitress + approaches her with a coffee pot. + + CLEMENTINE + Hi, it's me again! My home away + from home. + + WAITRESS + 4. + + + Coffee? + + CLEMENTINE + God, yes. You've saved my life! + Brrr! + + The waitress pours the coffee. + + WAITRESS + You know what you want? + + CLEMENTINE + (laughing) + Ain't that the question of the + century. + + The waitress is not amused. Clementine gets business-like. + + CLEMENTINE + You got grilled cheese and tomato + soup again today? + + WAITRESS + We're having a run on it. + + The waitress heads to the grill. Clementine fishes in her + bag, brings the coffee cup under the table for a moment, + pours something in, then brings the cup back up. + + CLEMENTINE + (calling) + And some cream, please. + + Clementine looks around the place. Her eyes meet Joel's + before he is able to look away. She smiles vaguely. He + looks embarrassed, then down at his journal. + + Clementine pulls a book from her purse and starts to read. + + Joel glances up, tries to see the book's cover. It's blue + and white. He can't make out the title. + + +9 EXT. BEACH - DAY 9 + + Joel stares out at the ocean. Far down the beach Clementine + stares at it, too. Joel glances sideways at her then back + at the ocean. + + +10 EXT. MONTAUK TRAIN STATION PLATFORM - LATE AFTERNOON 10 + 5. + + + Joel sits on a bench waiting for the train. Clementine + enters the platform, sees Joel, the only other person + there. She waves, sort of goofily enthusiastic, playing as + if they're old friends. He waves back, embarrassed. + + She takes a seat on a bench far down the platform. Joel + stares at his hands, pulls his journal from his briefcase + and tries to write in order to conceal his awkwardness. + + JOEL (V.O.) + Why do I fall in love with every + woman I see who shows me the least + bit of attention? + + +11 INT. TRAIN - LATE AFTERNOON 11 + + Joel sits at the far end of the empty car and watches the + slowly passing desolate terrain. After a moment the door + between cars opens and Clementine enters. Joel looks up. + + Clementine is not looking at him; she busies herself + deciding + + where to sit. She settles on a seat at the opposite end of + the car. Joel looks out the window. He feels her watching + him. The train is picking up speed. Finally: + + CLEMENTINE + (calling over the rumble) + Hi! + + Joel looks over. + + JOEL + I'm sorry? + + CLEMENTINE + What? I couldn't hear you. + + JOEL + I said, I'm sorry. + + CLEMENTINE + Why are you sorry? I just said hi. + + JOEL + No, I didn't know if you were + talking to me, so-- + + She looks around the empty car. + + CLEMENTINE + 6. + + + Really? + + JOEL + (embarrassed) + Well, I didn't want to assume. + + CLEMENTINE + Aw, c'mon, live dangerously. Take + the leap and assume someone is + talking to you in an otherwise + empty car. + + JOEL + Anyway. Sorry. Hi. Hello. Hi. + +Clementine giggles, makes her way down the aisle toward +Joel. + + CLEMENTINE + It's okay if I sit closer? So I + don't have to scream? Not that I + don't need to scream sometimes, + believe you me. + (pause) + But I don't want to bug you if + you're trying to write something. + + JOEL + (mumbling) + No, I'm just-- I don't really, um - + - + + CLEMENTINE + What? You don't really what? + +She hesitates in the middle of the car, looks back where +she came from. + + JOEL + It's okay if you want to sit down. + + CLEMENTINE + Just, you know, to chat a little, + maybe. I have a long trip ahead of + me. + (sits across aisle from + Joel) + How far are you going? On the + train, I mean, of course. Not in + life. + + JOEL + Rockville Center. + 7. + + + CLEMENTINE + Get out! Me too! What are the odds? + +She stares at him. He gets uncomfortable. + + CLEMENTINE + Do I know you? + + JOEL + I don't think so. + + CLEMENTINE + Hmmmm. Do you ever shop at Barnes + and Noble? + + JOEL + Sure. + + CLEMENTINE + That's it. That's me: book slave + there for, like, five years now. I + thought I'd seen you somewhere. + + JOEL + Really? Because -- + + CLEMENTINE + Jesus, is it five years? I gotta + quit right now. + + JOEL + -- I go there all the time. I think + I'd remember you. + + CLEMENTINE + Well, I'm there. I've seen you, + man. I hide in the back as much as + is humanly possible. You have a + cell phone? I need to quit right + this minute. I'll call in dead. + I'll go on the dole like my daddy + before me. Might be the hair. + + JOEL + What might? + + CLEMENTINE + Changes a lot. That's why you might + not recognize me. What color am I + today? + (pulls a strand in front + of her eyes, studies it) + 8. + + +Blue, right? It's called Blue Ruin. +The color. Snappy name, huh? + + JOEL +I like it. + + CLEMENTINE +Blue ruin is cheap gin, in case +you're wondering. + + JOEL +Yeah. Tom Waits says it in -- + + CLEMENTINE +Exactly! Tom Waits. Which song? + + JOEL +I can't remember. + + CLEMENTINE +Anyway, this company makes a whole +line of colors with equally snappy +names. Red Menace, Yellow Fever, +Green Revolution. That'd be a job, +coming up with those names. How do +you get a job like that? That's +what I'll do. Fuck the dole. + + JOEL +I don't really know how -- + + CLEMENTINE +Purple Haze, Pink Eraser. + + JOEL +You think that could possibly be a +full- time job? How many hair +colors could there be? Fifty, tops? + + CLEMENTINE + (pissy) +Somebody's got that job. + (excited) +Agent Orange! I came up with that +one. Anyway, there are endless +color possibilities and I'd be +great at it. + + JOEL + (mumbly) +I'm sure you would. + + CLEMENTINE + 9. + + + My writing career! Your hair + written by Clementine Kruczynski. + (thought) + The Tom Waits album is Rain Dogs. + + JOEL + You sure? I don't know that album - + - + + CLEMENTINE + I think. Anyway, I've tried all + their colors. More than once. I'm + getting too old for this. But it + keeps me from having to develop an + actual personality. I apply my + personality in a paste. You? + + JOEL + Oh, I doubt that's the case. + + CLEMENTINE + Well, you don't know me, so-- you + don't know, do you? + + JOEL + Sorry. I was just trying to be + nice. + + CLEMENTINE + Yeah, I got it. + +There's a silence. + + CLEMENTINE + My name's Clementine, by the way. + + JOEL + I'm Joel. + + CLEMENTINE + No jokes about my name? Oh, you + wouldn't do that; you're trying to + be nice. + + JOEL + I don't know any jokes about your + name. + + CLEMENTINE + Huckleberry Hound? + + JOEL + I don't know what that means. + 10. + + + CLEMENTINE + Huckleberry Hound! What, are you + nuts? + + JOEL + It's been suggested. + + CLEMENTINE + (singing) + "Oh my darlin', oh my darlin', oh + my darlin' Clementine"? No? + Nothin'? + + JOEL + Sorry. It's a pretty name, though. + It means "merciful", right? + Clemency? + + CLEMENTINE + (impressed) + Yeah. Although it hardly fits. I'm + a vindictive little bitch, truth be + told. + + JOEL + See, I wouldn't think that about + you. + + CLEMENTINE + (pissy) + Why wouldn't you think that about + me? + + JOEL + I don't know. I was just-- I don't + know. I was just-- You seemed nice, + so -- + + CLEMENTINE + Now I'm nice? Don't you know any + other adjectives? There's careless + and snotty and overbearing and + argumentative-- mumpish. + + JOEL + (mumbling) + Well, anyway-- Sorry. + +They sit in silence for a while. + + CLEMENTINE + 11. + + + I just don't think "nice" is a + particularly interesting thing to + be. + +The conductor enters the car. + + CONDUCTOR + Tickets. + +Joel hands the conductor his ticket. The conductor punches +it and hands it back. + + CLEMENTINE + What is nice, anyway? I mean, + besides an adjective? I guess it + can be an adverb, sort of. + +The conductor turns to Clementine. She fishes in her bag. + + CLEMENTINE + It doesn't reveal anything. Nice is + pandering. Cowardly. And life is + more interesting than that. Or + should be. Jesus God, I hope it is- + - someday. + (to conductor) + I know it’s here. + +The conductor and Joel watch as she gets more agitated. + + CLEMENTINE + I don't need nice. I don't need + myself to be it and I don't need + anyone else to be it at me. + + JOEL + Okay, I understand. + + CLEMENTINE + Shit. Shit. I know it's here. Hold + on. + +She dumps the contents of the bag onto the seat and sifts +frantically through. Joel sees the book she was reading in +the diner. It's The Red Right Hand by Joel Townsley Rogers. + +Joel eyes the book. + + CLEMENTINE + Damn it. DAMN IT! + (there it is) + Oh. Here. + 12. + + +She hands the conductor the ticket, smiles sweetly. He +punches it, hands it back to her, and walks away. + + CONDUCTOR + Next stop Southampton. + +The conductor heads into the next car. Clementine shoves +stuff back into her purse. Her hands are a little shaky. +She pulls an airline-sized bottle of alcohol from her +pocket, opens it, and downs it. Joel is watching all of +this but pretending not to. She looks out the window for a +while. The train pulls into the station. The doors open. +Nobody gets on. + +The doors close. The train pulls out. + + CLEMENTINE + Joel? It's Joel, right? + + JOEL + Yes? + + CLEMENTINE + I'm sorry I-- yelled at you. Was it + yelling? I can't really tell. + Whatever, I'm a little out of sorts + today. + + JOEL + (trying for a joke) + Hey, Old Yeller would be a good + color. + + CLEMENTINE + (not seeming to hear) + 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 + \ No newline at end of file