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Eternal Sunshine of the Spotless Mind Page #14
CLEMENTINE:
I'll buy that. Black's always good.
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:
I was so nervous. I remember I couldn't
think of anything to say. There were
long silences.
There is a long silence.
JOEL (CONT'D)
I thought I was foolish. I thought I'd
mistaken infatuation for love. You said:
CLEMENTINE:
So what. Infatuation is good, too.
JOEL:
And I didn't have an argument.
INT. CAR - NIGHT
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.
INT. CLEMENTINE'S APARTMENT - NIGHT
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.
INT. LACUNA RECEPTION AREA - NIGHT
Mary enters the dark room, frazzled. She flips on the
fluorescent lights and searches the file folders, finds one
with her name on it. Her jaw drops. With a shaky hand, she
puts the tape into the player on her desk and presses "play."
MIERZWIAK VOICE:
Okay, so just tell me what you remember.
And we'll take it from there.
MARY'S VOICE
(shaky)
Um, I liked 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 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 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 so excited...
A SERIES OF MURKY IMAGES. NO DETAIL.
A flirtatious look from Mierzwiak.
MARY'S VOICE (CONT'D)
...Remember you bought me that little
wind-up frog?
A vague shot of a wind-up frog.
MARY'S VOICE (CONT'D)
And you said...
A vague shot of Mierzwiak mouthing to Mary's voice.
MARY'S VOICE (CONT'D)
"This is for your desk. Just a little
token"
Back to Mary sitting on the floor, listening to the tape.
MARY'S VOICE (CONT'D)
I knew then... I knew something was going
to happen... something wonderful.
INT. JOEL'S APARTMENT - NIGHT
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.
INT. ROOM - DAY
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.
INT. JOEL'S APARTMENT - NIGHT
Joel sits.
VOICE-OVER
I didn't pick up the phone to call you,
Naomi. I didn't pick up the phone.
The scene dissolves.
INT. JOEL'S APARTMENT - DAY
Namoi is red-eyed from crying. She is packing things in
boxes. Joel paces, steals glances at her, doesn't know what
to say. She holds up a book. The scene starts to fade.
NAOMI:
Yours?
JOEL:
You take it. I don't know.
She tosses it in a box.
JOEL (CONT'D)
Naomi, I really value our relationship.
I hope it's possible for us to stay in
touch.
NAOMI:
Don't do this to me now, Joel. Really.
INT. JOEL'S BEDROOM - DAY
Joel watches out the window as Naomi stuffs a final box in
the trunk of a car. There's another woman down there with
her. They get into the car and drive off.
INT. BORDER'S BOOKSTORE - NIGHT
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.
EXT. PARK - DAY
Joel walks with Naomi.
NAOMI:
So what's going on, Joel?
JOEL:
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 f***ing problems.
JOEL:
It's not somebody else.
VOICE-OVER
I hate myself.
Naomi walks off. Joel watches her. The scene fades.
INT. BORDER'S BOOKSTORE - NIGHT
Joel enters, looks around. There's no sign of Clementine.
Joel approaches a male employee.
JOEL:
Is there a Clementine who works here?
MALE EMPLOYEE #1
(calling to another male
employee)
Mark, is Clem on tonight?
MALE EMPLOYEE #2
On my dick, bro.
(turns, sese Joel, embarrassed)
Oh, hey. Yeah, I think she's upstairs in
Philosophy.
Joel climbs stairs, searches the aisle, 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:
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.
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