American Splendor Page #8

THE CAMERA TRAVELS AROUND THE ROOM TO FIND: Harvey again,

now silhouetted in the door frame, still clutching the book

and obsessed by his thoughts.

REAL HARVEY (V.O.) (cont’d)

I was more alone that weekend than

any. All I did was think about

JENNIE GERHARDT an’ Alice Quinn an’

all the decades of people I have

known.

THE CAMERA TRAVELS AGAIN TO FIND Harvey sitting on a chair in

the corner of his room. His head is bowed. His shoulders

slump over, as if he’s struggling with something weighty.

REAL HARVEY (V.O.) (cont’d)

The more I thought, the more I felt

like cryin’; Life seemed so sweet

an’ so sad an’ so hard t’let go of

in the end.

THE CAMERA TRAVELS A FINAL TIME TO FIND: Harvey sprawled

across his couch. But he’s not asleep; he’s still

obsessing. The book lies on his chest like a lover.

.

41.

Close up of Harvey’s troubled face. Beneath the pain, we see

hope and determination.

REAL HARVEY (V.O.) (cont’d)

But hey, man. Every day’s a brand

new deal, right? Just keep on

workin’ and sump’n’s bound ta turn

up.

CUT TO:

EXT. COSMIC COMICS STORE - DELAWARE - 1980’S - DAY

An urban comic book shop on a dicey but bohemian street. A

title over picture reads, “MEANWHILE, IN DELAWARE.”

INT. COSMIC COMICS STORE - 1980’S - DAY

JOYCE BRABNER, a depressive nudge with a perpetually peptic

expression frantically searches the store for something. Her

partner, a granola type named RAND, finishes unloading a

stack on the shelf.

JOYCE:

What happened to the new American

Splendor?

RAND:

We sold ‘em, babe.

JOYCE:

All of them?

RAND:

Yep.

JOYCE:

(accusatory)

Damn it! I put one aside for

myself, next to the register. I

didn’t even get a chance to read

it.

RAND:

Whoa, sorry, Joyce. I didn’t know

you were such a Splendor fan. Next

time take it home.

Joyce leans against the counter. She pushes up her glasses

and looks really upset.

42.

JOYCE:

Maybe I’ll call the publisher. But

they take so damn long. Sh*t! Why

does everything in my life have to

be such a complicated disaster ...

Joyce starts slamming things around the store. Finally Rand

grabs his stuff.

RAND:

Okay, I’m gonna hustle before the

vibe in here gets any worse.

Rand leaves. Joyce barely notices, still brewing.

CUT TO:

INT. JOYCE’S BEDROOM - 1980’S - NIGHT

The mess in this room rivals Harvey’s. A few cats add to the

clutter. Joyce lies on her disheveled bed and writes a

letter.

JOYCE (V.O.)

Dear Mr. Pekar,

Greetings from the second smallest

state in the union, an endless

plastics and nylon plantation

controlled by giant chemical

corporations.

CUT TO:

EXT. HARVEY’S APARTMENT - VESTIBULE - 1980’S - DAY

HARVEY takes his mail out of the box. He finds an oddly

decorated envelope.

JOYCE (V.O.)

To make matters more dismal, there

are no decent comic book stores in

my town, which is why my partner

and I opened one ourselves.

INT. HARVEY’S BATHROOM - 1980’S - DAY

HARVEY finishes reading the letter sitting on the toilet. A

cat runs around him.

43.

JOYCE (V.O.)

Despite our steadily faltering

business, my partner managed to

sell the last copy of American

Splendor #8 out from under me. I’m

a big fan and I hate to wait for a

new order. Is there any way I can

get it from you direct? Sincerely,

Joyce Brabner.

Harvey scratches his head. He mutters to himself.

HARVEY:

... man, she’s got good lookin’

handwritin’ ...

INT. HARVEY’S BEDROOM - 1980’S - NIGHT

BEGIN MONTAGE -- HARVEY AND JOYCE COMMUNICATING

We see Harvey in his bed writing.

HARVEY:

Dear Joyce,

Thanks for the letter. Whattya do

besides sellin’ comics?

THE SCREEN SPLITS TO ACCOMMODATE:

INT. DELAWARE PRISON CLASSROOM - 1980’S - DAY

We see Joyce standing in front of a GROUP OF PRISONERS.

JOYCE (V.O.)

I’m a sometime activist and I teach

writing to prisoners. I try to

help them build an interior life

and make art out of their

monotonous, suffocating routine.

THE SCREEN GIVES WAY TO ANOTHER FRAME

INT. BUS - 1980’S - DAY

HARVEY scribbles a letter while riding on the bus.

.

HARVEY (V.O.)

Sounds familiar. So you married or

what?

44.

INT. JOYCE’S APARTMENT - 1980’S - DAY

Joyce empties her can of cat food in a plate and slides it

towards her kitty.

JOYCE (V.O.)

I’m divorced, thank god.

INT. HARVEY’S BEDROOM - 1980’S - EVENING

Now we see Harvey (full screen) in bed in his underwear

talking on the PHONE. He’s clipping his toe nails.

HARVEY:

Look, I think you an’ I got a lot

in common. How am I gonna get you

to come visit me in Cleveland?

JOYCE (V.O.)

Cleveland? You think that’s a good

idea?

HARVEY:

It’s a great idea. You should meet

me, ‘cause I’m a great guy.

Despite the way my comics read, I

got a lot of redeeming

characteristics.

CLIP! He clips off a big one.

THE SCREEN SPLITS TO REVEAL

INT. JOYCE’S APARTMENT - 1980’S - NIGHT

Joyce sits on her equally disheveled bed dunking a tea bag.

Her hair is wet from a shower.

JOYCE:

I don’t know. Where would I stay?

HARVEY (V.O.)

With me. Don’t worry, I’m not

gonna put no moves on you or

anything.

JOYCE:

I’m not worried about that ...

(fumbling with a tea cup)

45.

JOYCE(cont'd)

Hold on, I just spilled chamomile

tea all over my bathrobe.

HARVEY (V.O.)

So what are ya worried about then?

Joyce sighs and lies down. A variety of AMERICAN SPLENDORS

are across her bed. Different interpretations of Harvey

stare up at her.

JOYCE:

(sipping)

Well, the way all those different

artists draw you, I don’t quite

know what to expect. I mean

sometimes you look like a younger

Brando, but then the way Crumb

draws you -- like a hairy ape with

all those stinky, wavy lines

radiating off your body -- it’s

kind of scary.

.

HARVEY (V.O.)

Those are motion lines. I’m an

active guy. Anyway, just come out

here an’ I’ll try to be anyone you

want me ta be.

Joyce smiles for the first time.

JOYCE:

That’s a dangerous offer. I’m a

notorious reformer ...

CUT TO:

INT. AIRPORT - ARRIVALS GATE - 1980’S - DAY

A nervous JOYCE walks off the plane into the arrivals area.

She scans the crowd of friends, family, lovers and limo

drivers waiting to meet the disembarking passengers. Where

is Harvey? What will he look like?

As Joyce surveys the unfamiliar faces, she imagines different

versions of an animated, illustrated Harvey among the people.

She double-takes as sees the R. CRUMB HARVEY -- hairy, scary,

smelly and picking his nose. Joyce rubs her eyes.

Next she sees the BRANDO HARVEY (Gary Dumm), but

unfortunately he disappears fast.

46.

Disappointed, Joyce notices the realistic DREW FRIEDMAN

HARVEY walking towards her. She smiles as he dissolves into:

HARVEY (O.S.)

Hey. Are you Joyce?

Joyce turns around. The flesh and blood HARVEY PEKAR stands

before her -- not quite as bad as the Crumb version, not

quite as good as the Dumm version, but still acceptable. She

sighs with relief.

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