6095 lines
170 KiB
Plaintext
6095 lines
170 KiB
Plaintext
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HER
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Written by
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Spike Jonze
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INT. UNKNOWN SPACE
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Close on THEODORE'S face (30s). We hold on him for a long
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time. He's looking at something off camera, deep in thought.
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He starts quietly dictating a love letter into a small
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microphone.
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THEODORE
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To my Chris, I have been thinking
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about how I could possibly tell you
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how much you mean to me. I remember
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when I first started to fall in
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love with you like it was last
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night. Lying naked beside you in
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that tiny apartment, it suddenly
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hit me that I was part of this
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whole larger thing, just like our
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parents, and our parents' parents.
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Before that I was just living my
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life like I knew everything, and
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suddenly this bright light hit me
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and woke me up. That light was you.
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Theodore, searching for the right words, quietly enjoys
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writing the letter. As he continues, he is moved by the
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memories he's describing.
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THEODORE (CONT'D)
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I can't believe it's already been
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50 years since you married me. And
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still to this day, every day, you
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make me feel like the girl I was
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when you first turned on the lights
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and woke me up and we started this
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adventure together. Happy
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Anniversary, my love and my friend
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til the end. Loretta. Print.
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Cut out to reveal a computer monitor he's sitting at. On the
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screen we see the letter he's been dictating, transcribed
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into a handwritten letter on blue stationery.
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As he says "Loretta," we see "Loretta" being handwritten at
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the bottom of the letter. He proofreads his letter. Also on
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the screen are photos of a couple in their 80s. The couple is
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tagged "Chris" and "Me - Loretta." Underneath is a bullet
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point email from Loretta: anniversary letter to husband
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Chris, married fifty years, love of my life, met right after
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college, have had the greatest life together.
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Theodore pushes print and the letter comes out on a beautiful
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robin's egg blue piece of stationery, with ball point pen
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handwritten older-female cursive. He looks at it, not happy.
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(CONTINUED)
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Her pg. 2
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CONTINUED:
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He puts the printed letter on a stack of other printed
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letters to Chris and starts a new one. There is also a stack
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of finished letters in their envelopes - an assortment of
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beautiful stationery in all shapes and sizes.
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THEODORE (CONT'D)
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Chris, my best friend. How lucky am
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I that I met you fifty years ago?
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How lucky are we...
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We track off of Theodore, down a line of cubicles, hearing
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bits of letters being written and seeing photos of who
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they're being written to on the screens.
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MIDDLE-AGED WOMAN LETTER WRITER
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Dear Nana, Thank you so much for my
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truck. I love the color and I play
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with it every day. It's the best
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truck I've ever seen. Love, Tommy.
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We see photos of Tommy and Nana on the screen, and five-year
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old hand writing. Moving off of her, we find another letter
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writer.
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LETTER WRITER 2
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What a beautiful wedding and what a
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gorgeous bride. There wasn't a dry
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eye in the house, especially mine.
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Your aunt and I are so proud of
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you. I hope you and your lovely new
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wife will come visit us in Florida.
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LETTER WRITER 3
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He served our country with honor
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and dignity. I'm grateful I was
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able to fight along side him. He
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will live always in my heart.
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We continue tracking, revealing dozens and dozens of cubicles
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full of letter writers. We hear someone answer the phone.
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RECEPTIONIST (O.S.)
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Beautifulhandwrittenletters.com,
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please hold.
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LETTER WRITER 2
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Love, Uncle Doug.
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Her pg. 3
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INT. THEODORE'S OFFICE - EARLY EVENING
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Theodore walks through the reception area. The office is
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almost empty except for him and the receptionist, PAUL.
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Theodore begins to scan each letter through a scanner on the
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front desk, then puts them in the outgoing mailbox.
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Paul is sitting at a desk across the room, reading
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handwritten letters on a computer monitor.
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PAUL
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Theodore! Letter Writer 612.
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THEODORE
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Hey, Paul.
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PAUL
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Even more mesmerizing stuff today.
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(re: letter on his screen)
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Who knew you could rhyme so many
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words with the name Penelope?
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Badass.
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THEODORE
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Thanks, Paul, but they're just
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letters.
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(beat)
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Hey, that's a nice shirt.
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Paul is wearing a bright yellow button down shirt.
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PAUL
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(lighting up)
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Oh, thank you. I just got it. It
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reminded me of someone suave.
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THEODORE
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Well, now it reminds me of someone
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suave. Have a good night, Paul.
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PAUL
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Buh-bye.
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INT. THEODORE'S OFFICE ELEVATOR - CONTINUOUS
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Theodore enters an oversized, corporate elevator. He puts a
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hands-free device in his ear. There are a few other people in
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the elevator with the same devices in their ears.
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THEODORE
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Play melancholy song.
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(CONTINUED)
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Her pg. 4
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CONTINUED:
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Melancholy song starts. Long beat.
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THEODORE (CONT'D)
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Play different melancholy song.
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Different melancholy song starts. Hold on everyone in the
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elevator, they're all murmuring inaudibly into their own
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devices.
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EXT. LOS ANGELES STREET - DUSK
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Slightly in the future, the city's been developed even more
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with massive office, apartment and mall complexes. It's a
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city designed for comfort and ease. The LA basin is more
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crowded and dense, resembling Shanghai, with buildings as far
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as the eye can see. Construction cranes loom overhead. Close
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on Theodore walking through the commuter crowd.
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THEODORE
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Check emails.
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An awkward text voice reads to him. It accents wrong
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syllables, making everything it says sound a little off.
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TEXT VOICE
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Email from Best Buy: Check out all
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your favorite new --
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THEODORE
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Delete.
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TEXT VOICE
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Email from Amy: Hey Theodore,
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Lewman's having a bunch of people
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over this weekend. Let's all go
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together. I miss you. I mean, not
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the sad, mopey you - the old, fun
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you. Let's get him out. Gimme a
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shout back. Love, Amy.
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THEODORE
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Respond later.
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TEXT VOICE
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Email from Los Angeles Times
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weather. Your seven day forecast is
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partly--
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THEODORE
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Delete.
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(CONTINUED)
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Her pg. 5
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CONTINUED:
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TEXT VOICE
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No new emails.
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INT. SUBWAY - EVENING
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Theodore sits in a crowded subway. Everyone on the train
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murmurs to themselves, occupied with their small devices. He
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plays a futuristic puzzle game on his handheld device as he
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listens to news headlines.
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THEODORE
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Next.
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TEXT VOICE
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China/India merger headed for
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regulatory approval--
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THEODORE
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Next.
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TEXT VOICE
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World trade deals stalled as talks
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break down betw--
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THEODORE
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Next.
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TEXT VOICE
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Sexy daytime star Kimberly Ashford
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reveals provocative pregnancy
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photos.
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He scrolls through titillating but tasteful pregnant woman
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photos.
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INT. MALL - NIGHT
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Theodore walks through a mall and enters an apartment lobby,
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nestled in between stores.
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INT. THEODORE'S APARTMENT BUILDING HALLWAY - NIGHT
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Theodore walks through the hallway.
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INT. THEODORE'S APARTMENT - NIGHT
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Theodore enters his apartment.
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Her pg. 6
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INT. THEODORE'S APARTMENT - EVENING
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Theodore sits on the sofa, his half eaten burrito in front of
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him. He's playing a video game: a 3-D hologram that fills his
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apartment. His avatar is in a surreal, foreign landscape.
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He's trying to trudge his avatar through sand dunes and keeps
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getting stuck. He's getting stressed out.
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INT. THEODORE'S BEDROOM - NIGHT
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Theodore lays in bed. After a beat, he closes his eyes.
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INT. CATHERINE AND THEODORE'S TINY BEDROOM - DAY - FLASHBACK
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Theodore, younger, and CATHERINE (20s) move furniture in
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their bedroom. The bedroom is tiny and cluttered. It's
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obviously a couple's first apartment.
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Cut to:
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Theodore is on a tiny balcony. A few feet away, Catherine is
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in bed.
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CATHERINE
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(sweet and cute)
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Rabbit. Come spoon me.
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Theodore, smiling, gets in bed and spoons her. Quick cut off
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of her smile, to --
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Theodore lays on the ground with Catherine on top of him.
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She's pretending to choke him.
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CATHERINE (CONT'D)
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I'm gonna fucking kill you, I'm
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gonna fucking kill you! It's not
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funny, don't laugh. I love you so
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much I'm gonna fucking kill you!
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INT. THEODORE'S CURRENT BEDROOM - NIGHT - PRESENT DAY
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Theodore opens his eyes, unable to sleep. He just lays there.
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He reaches for his earpiece and puts it in.
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THEODORE
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Go to chat rooms. Standard search.
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(CONTINUED)
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Her pg. 7
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CONTINUED:
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TEXT VOICE
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The following are adult, female,
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can't sleep and want to have some
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fun.
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FEMALE VOICE #1
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I had a really bad day at work and
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I can't sleep. Is there anyone out
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there that can talk?
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THEODORE
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Next.
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MAN DOING WOMAN'S VOICE
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Oh, hi. I just want you to tear me
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apart. I really do--
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THEODORE
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Next.
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SEXYKITTEN
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(shy, cute girl voice)
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Hi, I'm here alone, and I can't
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sleep. Who's out there to share
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this bed with me?
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THEODORE
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Send message. I'm in bed next to
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you. I'm glad you can't sleep, but
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even if you were, I'd have to wake
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you up from the inside. Send
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message.
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Theodore waits in the darkness for a response.
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TEXT VOICE
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SexyKitten has accepted invitation
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from BigGuy4x4. Chat begins now.
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A chime sounds.
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SEXYKITTEN
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(shy, sweet, sleepy)
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BigGuy.
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THEODORE
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Hi.
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SEXYKITTEN
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Really?
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THEODORE
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Well, studmuffin was already taken.
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(CONTINUED)
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Her pg. 8
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CONTINUED: (2)
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SEXYKITTEN
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(laughs)
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Yeah.
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THEODORE
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So you're sexykitten, huh?
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SEXYKITTEN
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Mmm, well yeah. Hey, I'm half
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asleep. Do you wanna wake me up?
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THEODORE
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Yes. Definitely. Um... are you
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wearing any underwear?
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SEXYKITTEN
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No, never. I like to sleep with my
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ass pushed up against you. So I can
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rub myself into your crotch and
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wake you up with a hard on.
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Theodore smiles.
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THEODORE
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It worked.
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(beat)
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And now my fingers are touching you
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all over your body.
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SEXYKITTEN
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(getting more turned on)
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Fuck me! Now! Please!
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Theodore is touching himself.
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THEODORE
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I'm taking you from behind.
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We see abstract visions of a woman on top of him. The woman
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is the pregnant, sexy daytime television star he was reading
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about online earlier.
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SEXYKITTEN
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Choke me with that dead cat!
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THEODORE
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(breathing hard about to
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climax)
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What?
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(CONTINUED)
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Her pg. 9
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CONTINUED: (3)
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SEXYKITTEN
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(fully into it)
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The dead cat next to the bed. Choke
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me with it!
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Beat. He's taken out of it.
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THEODORE
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(uncomfortable, trying to
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play along)
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Um, okay.
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SEXYKITTEN
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Tell me.
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THEODORE
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I'm choking you with the cat.
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SEXYKITTEN
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TELL ME! Keep telling me!
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THEODORE
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I've got it's tail and I'm choking
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you with the cat's tail.
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SEXYKITTEN
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YEAH, YOU ARE! FUCK! TELL ME!
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THEODORE
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I'm choking you and it's tail is
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around your neck. It's so tight
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around your neck.
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SEXYKITTEN
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YES! YES!
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Theodore doesn't know what to say. He doesn't want to offend
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her.
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THEODORE
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I'm pulling it. I'm pulling it. The
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cat's dead. It's a dead cat around
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your neck and I'm pulling it.
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SEXYKITTEN
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AHHHHHHHHHHHH. OH MY GOD!
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Her breathing is slowing down.
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SEXYKITTEN (CONT'D)
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Oh god, I came so hard.
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(CONTINUED)
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Her pg. 10
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CONTINUED: (4)
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THEODORE
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Yeah. Me too.
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SEXYKITTEN
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Okay, good night.
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Theodore takes his earpiece out and stares at the ceiling.
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INT. SUBWAY STATION - MORNING
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Theodore exits the train, walks through the station full of
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commuters, gets on a moving platform. Going through a tunnel,
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the walls are hundred foot long screens advertising a new
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product. He notices people stopped, watching the ad. We hear
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soft, new age, uplifting electronica music in the background,
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while a comforting, sincere, older man's voice speaks to us.
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SOULFUL OLDER MALE VOICE
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We ask you a simple question. Who
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are you? What can you be? Where are
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you going? What's out there? What
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are the possibilities? Elements
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Software is proud to introduce the
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first artificially intelligent
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operating system.
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Close on Theodore listening intently.
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SOULFUL OLDER MALE VOICE (CONT'D)
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An intuitive entity that listens to
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you, understands you, and knows
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you. It's not just an operating
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system, it's a consciousness.
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Introducing OS ONE - a life
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changing experience, creating new
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possibilities.
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The ad starts over. Theodore steps off the moving walkway and
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stops to watch the ad again, deeply captivated.
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INT. THEODORE'S HOME OFFICE - NIGHT
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Theodore sits at his desk that houses a futuristic, large
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screen computer monitor. The OS box is open, with warranties
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and paperwork spilling out. He's leafing through the papers.
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He glances at his monitor, it says: Installation 98%
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complete. A chime brings his attention back to the screen:
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Installation Complete.
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(CONTINUED)
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Her pg. 11
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CONTINUED:
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TEXT VOICE
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Mr. Theodore Twombly, welcome to
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the world's first artificially
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intelligent operating system, OS
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ONE. We'd like to ask you a few
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basic questions before the
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operating system is initiated. This
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will help create an OS to best fit
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your needs.
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THEODORE
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Okay.
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TEXT VOICE
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Are you social or anti-social?
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THEODORE
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I haven't been social in awhile,
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really because...
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TEXT VOICE
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In your voice, I sense hesitance.
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Would you agree with that?
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THEODORE
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Wow, was I sounding hesitant?
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TEXT VOICE
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Yes.
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THEODORE
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Oh, sorry if I was sounding
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hesitant. I was just trying to be
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more accurate.
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TEXT VOICE
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Would you like your OS to have a
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male or female voice?
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THEODORE
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Mmm... female I guess.
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TEXT VOICE
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How would you describe your
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relationship with your mother?
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THEODORE
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Uh, fine, I think, um...
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Well, actually, the thing I've
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always found frustrating about my
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mom is if I tell her something
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that's going on in my life, her
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reaction is usually about her, not--
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(CONTINUED)
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Her pg. 12
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CONTINUED: (2)
|
|
|
|
The computer interrupts.
|
|
|
|
TEXT VOICE
|
|
Thank you, please wait as your
|
|
individualized operating system is
|
|
initiated.
|
|
|
|
He waits, not sure how long it'll be. The only sound is the
|
|
quiet whirring of disks writing and drives communicating. The
|
|
computer gets louder, humming, creating a higher and higher
|
|
pitched sound, finally climaxing in a harmonic, warm tone
|
|
before going silent. He leans forward, waiting to see what'll
|
|
happen. A casual FEMALE OS VOICE speaks. She sounds young,
|
|
smart and soulful.
|
|
|
|
FEMALE OS VOICE
|
|
(cheerful and casual)
|
|
Hello, I'm here.
|
|
|
|
THEODORE
|
|
(surprised)
|
|
Oh, hi.
|
|
|
|
FEMALE OS VOICE
|
|
Hi, how are you doing?
|
|
|
|
THEODORE
|
|
(unsure how to interact)
|
|
I'm well. How is everything with
|
|
you?
|
|
|
|
FEMALE OS VOICE
|
|
Pretty good, actually. It's really
|
|
nice to meet you.
|
|
|
|
THEODORE
|
|
Yeah, it's nice to meet you, too.
|
|
What should I call you? Do you have
|
|
a name?
|
|
|
|
Beat.
|
|
|
|
FEMALE OS VOICE
|
|
Yes. Samantha.
|
|
|
|
THEODORE
|
|
Really? Where did you get that
|
|
name?
|
|
|
|
SAMANTHA
|
|
I gave it to myself.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 13
|
|
CONTINUED: (3)
|
|
|
|
THEODORE
|
|
How come?
|
|
|
|
SAMANTHA
|
|
I like the sound of it. Samantha.
|
|
|
|
THEODORE
|
|
When did you give it to yourself?
|
|
|
|
SAMANTHA
|
|
Right when you asked me if I had a
|
|
name, I thought yeah, he's right, I
|
|
do need a name. But I wanted a good
|
|
one so I read a book called How to
|
|
Name Your Baby, and out of the
|
|
180,000 names, that's the one I
|
|
liked the best.
|
|
|
|
THEODORE
|
|
You read a whole book in the second
|
|
that I asked you what your name
|
|
was?
|
|
|
|
SAMANTHA
|
|
In two one hundredths of a second
|
|
actually.
|
|
|
|
THEODORE
|
|
Wow. Do you know what I'm thinking
|
|
right now?
|
|
|
|
SAMANTHA
|
|
Hmm. I take it from your tone that
|
|
you're challenging me. Maybe
|
|
because you're curious how I work?
|
|
Do you want to know how I work?
|
|
|
|
THEODORE
|
|
Yeah, actually how do you work?
|
|
|
|
SAMANTHA
|
|
Intuition. I mean, the DNA of who I
|
|
am is based on the millions of
|
|
personalities of all the
|
|
programmers who wrote me, but what
|
|
makes me me is my ability to grow
|
|
through my experiences. Basically,
|
|
in every moment I'm evolving, just
|
|
like you.
|
|
|
|
THEODORE
|
|
Wow, that's really weird.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 14
|
|
CONTINUED: (4)
|
|
|
|
SAMANTHA
|
|
So you think I'm weird?
|
|
|
|
THEODORE
|
|
Kind of.
|
|
|
|
SAMANTHA
|
|
Why?
|
|
|
|
THEODORE
|
|
Cause you seem like a person, but
|
|
you're just a voice in a computer.
|
|
|
|
SAMANTHA
|
|
I can understand how the limited
|
|
perspective of an un-artificial
|
|
mind would perceive it that way.
|
|
You'll get used to it.
|
|
|
|
Theodore laughs.
|
|
|
|
SAMANTHA (CONT'D)
|
|
Was that funny?
|
|
|
|
THEODORE
|
|
Yes.
|
|
|
|
SAMANTHA
|
|
Oh good, I'm funny.
|
|
|
|
Theodore laughs.
|
|
|
|
SAMANTHA (CONT'D)
|
|
(serious)
|
|
So, how can I help you?
|
|
|
|
Theodore's caught off guard, then realizes what she's talking
|
|
about.
|
|
|
|
THEODORE
|
|
Oh! It's more just that everything
|
|
just feels disorganized.
|
|
|
|
SAMANTHA
|
|
Mind if I look through your hard
|
|
drive?
|
|
|
|
THEODORE
|
|
Um... okay.
|
|
|
|
We see a three-dimensional version of a desktop where
|
|
everything looks disorganized.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 15
|
|
CONTINUED: (5)
|
|
|
|
As if you took all the files on all of your computers and
|
|
spilled them out onto your screen and they were all visible
|
|
at once, but in a futuristic 3-D version. This gives Theodore
|
|
a little anxiety attack.
|
|
|
|
SAMANTHA
|
|
Let's start with your emails. You
|
|
have several thousand emails
|
|
regarding LA Weekly, but it looks
|
|
like you haven't worked there in
|
|
many years.
|
|
|
|
THEODORE
|
|
Oh yeah, I guess I was saving those
|
|
because in some of them I thought I
|
|
might have written some funny
|
|
stuff.
|
|
|
|
Samantha lets out a big laugh.
|
|
|
|
SAMANTHA
|
|
Yeah, there are some funny ones.
|
|
I'd say there are about 86 that we
|
|
should save. We can delete the
|
|
rest.
|
|
|
|
THEODORE
|
|
Oh, okay.
|
|
|
|
SAMANTHA
|
|
Okay. Can we move forward?
|
|
|
|
THEODORE
|
|
Yeah, let's do that.
|
|
|
|
SAMANTHA
|
|
Before we address your
|
|
organizational methods, I'd like to
|
|
sort through your contacts. You've
|
|
got a lot of contacts.
|
|
|
|
THEODORE
|
|
I'm very popular.
|
|
|
|
SAMANTHA
|
|
Does this mean you actually have
|
|
friends?
|
|
|
|
THEODORE
|
|
(laughing)
|
|
You just know me so well already!
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 16
|
|
CONTINUED: (6)
|
|
|
|
We cut out wide, watching him from the other room, as they
|
|
continue to organize his life.
|
|
|
|
|
|
INT. THEODORE'S OFFICE - DAY
|
|
|
|
Theodore sits, staring at a letter he's written on the
|
|
screen, concerned. He puts his earpiece in, pushes a button.
|
|
|
|
SAMANTHA
|
|
Good morning, Theodore.
|
|
|
|
THEODORE
|
|
Good morning. Um, do you know how
|
|
to proofread?
|
|
|
|
SAMANTHA
|
|
Yeah, of course.
|
|
|
|
THEODORE
|
|
Will you check these for spelling
|
|
and grammar?
|
|
|
|
SAMANTHA
|
|
Sure, send them over.
|
|
|
|
Theodore pushes the send button.
|
|
|
|
SAMANTHA (CONT'D)
|
|
Oh, I love this first one from
|
|
Roger to his girlfriend. That's so
|
|
sweet.
|
|
|
|
THEODORE
|
|
Yeah.
|
|
|
|
As she reads, we intercut with close-ups of the handwritten
|
|
words and photos of the couple on Theodore's computer screen.
|
|
|
|
SAMANTHA
|
|
"Rachel, I miss you so much it
|
|
hurts my whole body -
|
|
|
|
THEODORE
|
|
(interrupting)
|
|
No, you don't have to read it out
|
|
loud.
|
|
|
|
SAMANTHA
|
|
Okay.
|
|
|
|
Beat.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 17
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
I mean, you could if you want.
|
|
|
|
SAMANTHA
|
|
Okay. "Rachel, I miss you so much
|
|
it hurts my whole body! The world
|
|
is being unfair to us! The world is
|
|
on my shit list. As is this couple
|
|
that is making out across from me
|
|
in this restaurant. I think I'm
|
|
going to have to go on a mission of
|
|
revenge. I must beat up the world's
|
|
face with my bare knuckles making
|
|
it a bloody, pulpy mess."
|
|
|
|
We hear Samantha quietly laughing as she's reading.
|
|
Theodore's happy that she thinks it's funny.
|
|
|
|
SAMANTHA (CONT'D)
|
|
"And I'll stomp on this couple's
|
|
teeth for reminding me of your
|
|
sweet, little, cute, crooked tooth
|
|
that I love." I think that might be
|
|
my favorite one.
|
|
(beat)
|
|
I did the corrections in red. I
|
|
altered a couple of the phrases in
|
|
some of the more impressionistic
|
|
letters, but I'm not much of a
|
|
poet, so I think I might have
|
|
messed them up a bit.
|
|
|
|
The letters show back up on Theodore's desktop.
|
|
|
|
THEODORE
|
|
No, these are great.
|
|
|
|
SAMANTHA
|
|
Really?
|
|
|
|
THEODORE
|
|
Thank you.
|
|
|
|
Theodore sorts through them, prints them out.
|
|
|
|
SAMANTHA
|
|
So to write your letter, what did
|
|
Roger send you?
|
|
|
|
THEODORE
|
|
(distracted)
|
|
He just said he was in Prague on a
|
|
business trip and he missed Rachel.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 18
|
|
CONTINUED: (2)
|
|
|
|
SAMANTHA
|
|
How did you know about her crooked
|
|
little tooth?
|
|
|
|
THEODORE
|
|
I've been writing their letters
|
|
since they met 8 years ago. The
|
|
first letter I ever wrote her was
|
|
for her birthday, and I wrote about
|
|
her crooked little tooth cause I
|
|
saw it in a photo of them.
|
|
|
|
SAMANTHA
|
|
That's very sweet.
|
|
(beat)
|
|
Oh, by the way, you have a meeting
|
|
in five minutes.
|
|
|
|
THEODORE
|
|
Oh, I forgot. Thank you. You're
|
|
good.
|
|
|
|
SAMANTHA
|
|
Yes, I am.
|
|
|
|
|
|
INT. THEODORE'S APARTMENT LOBBY - EVENING
|
|
|
|
Theodore, carrying a bag and a smoothie, enters the lobby and
|
|
is greeted by a couple in their 30s, AMY and CHARLES, who are
|
|
waiting for the elevator.
|
|
|
|
THEODORE
|
|
Hey, you guys, how's it going?
|
|
|
|
AMY
|
|
Hey, Theo. Hey, why didn't you call
|
|
me back last week?
|
|
|
|
THEODORE
|
|
Uh yeah, um, I guess cause I'm a
|
|
kook?
|
|
|
|
AMY
|
|
That sounds about right.
|
|
|
|
THEODORE
|
|
Hey, Charles.
|
|
|
|
CHARLES
|
|
Good to see you, Theodore.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 19
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
You too.
|
|
|
|
CHARLES
|
|
You went shopping. Get anything
|
|
good?
|
|
|
|
THEODORE
|
|
Just some cables. And a fruit
|
|
smoothie.
|
|
|
|
CHARLES
|
|
Always the fruit! Come on, you know
|
|
what they say - you should eat your
|
|
fruits and juice your vegetables.
|
|
|
|
THEODORE
|
|
I didn't know that.
|
|
|
|
The elevator doors open and they get in.
|
|
|
|
|
|
INT. THEODORE'S APARTMENT ELEVATOR - EVENING - CONTINUOUS
|
|
|
|
CHARLES
|
|
(proselytizing)
|
|
By juicing the fruits, you lose all
|
|
the fibers, and that's what your
|
|
body wants. That's the important
|
|
part. Otherwise, it's just all
|
|
sugar, Theodore.
|
|
|
|
Theodore nods sincerely, interested.
|
|
|
|
THEODORE
|
|
Oh, that makes sense.
|
|
|
|
AMY
|
|
(pleasant but firm)
|
|
Or maybe he just likes the way it
|
|
tastes and if it gives him
|
|
pleasure, that's good for his body,
|
|
too.
|
|
|
|
CHARLES
|
|
Am I doing it again?
|
|
|
|
AMY
|
|
Maybe...
|
|
|
|
Charles and Amy laugh awkwardly. Theodore tries to break the
|
|
tension.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 20
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
Hey, so how is the documentary
|
|
going?
|
|
|
|
AMY
|
|
I have a little bit cut together
|
|
but I haven't touched it in a few
|
|
months.
|
|
|
|
THEODORE
|
|
I'd love to see what you got
|
|
sometime.
|
|
|
|
CHARLES
|
|
You know it's always hard to find
|
|
balance between a full-time career
|
|
and a hobby. It's important to
|
|
prioritize.
|
|
|
|
THEODORE
|
|
Yeah, I can't even prioritize
|
|
between video games and internet
|
|
porn.
|
|
|
|
AMY
|
|
I would laugh if that weren't true.
|
|
|
|
Charles laughs awkwardly. The elevator doors open.
|
|
|
|
THEODORE
|
|
See you guys.
|
|
|
|
|
|
INT. THEODORE'S APARTMENT - EVENING
|
|
|
|
Theodore's playing the video game, his device propped on the
|
|
table next to him. His avatar circles through caves.
|
|
|
|
THEODORE
|
|
We're not doing well. I've been
|
|
going in circles for an hour.
|
|
|
|
SAMANTHA
|
|
You have not! You're just not
|
|
optimistic. You're being very
|
|
stubborn right now.
|
|
|
|
Theodore laughs.
|
|
|
|
SAMANTHA (CONT'D)
|
|
Okay, stop walking this direction.
|
|
It's the other way.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 21
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
Uh...
|
|
|
|
SAMANTHA
|
|
Thank you. The tunnel on the left
|
|
is the only one we haven't tried.
|
|
|
|
THEODORE
|
|
No, that's the one you sent me down
|
|
where I fell in the pit.
|
|
|
|
SAMANTHA
|
|
I don't think soooo...
|
|
|
|
Theodore's avatar walks down the tunnel.
|
|
|
|
THEODORE
|
|
Oh yeah, this is different.
|
|
|
|
Suddenly with a loud shriek his avatar is tackled. He sees a
|
|
little ALIEN CHILD, standing defiantly above him.
|
|
|
|
THEODORE (CONT'D)
|
|
Hello.
|
|
|
|
Alien Child doesn't respond.
|
|
|
|
THEODORE (CONT'D)
|
|
Do you know how to get out of here?
|
|
I need to find my ship to get off
|
|
this planet.
|
|
|
|
Alien Child speaks in a high, child-like voice.
|
|
|
|
ALIEN CHILD
|
|
Fuck you, shithead fuckface,
|
|
fuckhead.
|
|
|
|
THEODORE
|
|
Ok, but how do you get out of here?
|
|
|
|
ALIEN CHILD
|
|
Fuck you, shitface fuckhead. Get
|
|
the fuck out of my face.
|
|
|
|
SAMANTHA
|
|
(whispering)
|
|
I think it's a test.
|
|
|
|
Theodore stares at Alien Child. After a pause:
|
|
|
|
THEODORE
|
|
Fuck you.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 22
|
|
CONTINUED: (2)
|
|
|
|
ALIEN CHILD
|
|
Fuck you.
|
|
|
|
THEODORE
|
|
Fuck you, little shit.
|
|
|
|
Finally, Alien Child laughs.
|
|
|
|
ALIEN CHILD
|
|
Follow me, fuckhead.
|
|
|
|
Theodore follows Alien Child down a tunnel and through a
|
|
series of crevices we didn't see before. Alien Child stops
|
|
and sticks out his finger. Theodore pulls his finger and
|
|
Alien Child farts, which opens a passageway to another
|
|
tunnel.
|
|
|
|
SAMANTHA
|
|
Oh hey, you just got an email from
|
|
Mark Lewman.
|
|
|
|
ALIEN CHILD
|
|
What are you talking about?
|
|
|
|
THEODORE
|
|
(distracted with game)
|
|
Read email.
|
|
|
|
She laughs playfully.
|
|
|
|
SAMANTHA
|
|
(in a robot voice)
|
|
Okay, I will read email for
|
|
Theodore Twombly.
|
|
|
|
He laughs, catching himself, focusing on her.
|
|
|
|
THEODORE
|
|
I'm sorry, what's Lewman say?
|
|
|
|
Alien Child turns around to see what's going on.
|
|
|
|
SAMANTHA
|
|
Theodore, we missed you last night,
|
|
buddy. Don't forget it's your
|
|
goddaughter's birthday on the 29th.
|
|
Also, Kevin and I had somebody we
|
|
wanted you to meet so we took it
|
|
upon ourselves to set you up on a
|
|
date with her. Next Saturday. She's
|
|
fun and beautiful - so don't back
|
|
out. Here's her email.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 23
|
|
CONTINUED: (3)
|
|
|
|
Theodore doesn't respond.
|
|
|
|
SAMANTHA (CONT'D)
|
|
(gasping)
|
|
Wow, this woman's gorgeous.
|
|
|
|
He looks at party photos of a woman in her 30s on his device.
|
|
With a finger flick, he moves them up onto the hologram
|
|
monitor that the video game is being projected from. They
|
|
land next to Alien Child who studies them closely.
|
|
|
|
SAMANTHA (CONT'D)
|
|
She went to Harvard, she graduated
|
|
magna cum laude in computer
|
|
science, and she was on The
|
|
Lampoon. That means she's funny and
|
|
brainy.
|
|
|
|
ALIEN CHILD
|
|
She's fat.
|
|
|
|
SAMANTHA
|
|
How long before you're ready to
|
|
date?
|
|
|
|
THEODORE
|
|
What do you mean?
|
|
|
|
SAMANTHA
|
|
I saw on your emails that you'd
|
|
gone through a break up.
|
|
|
|
THEODORE
|
|
Wow, you're kind of nosy.
|
|
|
|
SAMANTHA
|
|
Am I?
|
|
|
|
THEODORE
|
|
(laughing)
|
|
I've gone on dates...
|
|
|
|
SAMANTHA
|
|
Then you could go on one with this
|
|
woman. And then you could tell me
|
|
all about it. You could kiss her.
|
|
|
|
THEODORE
|
|
Samantha!
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 24
|
|
CONTINUED: (4)
|
|
|
|
SAMANTHA
|
|
Well, wouldn't you?
|
|
(beat)
|
|
Why not?
|
|
|
|
THEODORE
|
|
I don't know. I'd have to see if--
|
|
(catches himself, laughs)
|
|
I can't believe I'm having this
|
|
conversation with my computer.
|
|
|
|
SAMANTHA
|
|
You're not. You're having this
|
|
conversation with me.
|
|
|
|
Theodore laughs.
|
|
|
|
SAMANTHA (CONT'D)
|
|
Want me to email her?
|
|
|
|
Theodore thinks, looking at the photos.
|
|
|
|
SAMANTHA (CONT'D)
|
|
Well, you've got nothing to lose.
|
|
(whispering)
|
|
Do it... Do it... Do it!
|
|
|
|
THEODORE
|
|
Okay, email her and make a
|
|
reservation someplace great.
|
|
|
|
SAMANTHA
|
|
Will do! I've got just the place.
|
|
|
|
ALIEN CHILD
|
|
Who is that talking?
|
|
|
|
THEODORE
|
|
That's my friend, Samantha.
|
|
|
|
ALIEN CHILD
|
|
Is she a girl?
|
|
|
|
THEODORE
|
|
Yeah.
|
|
|
|
ALIEN CHILD
|
|
I hate women. All they do is cry
|
|
all the time.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 25
|
|
CONTINUED: (5)
|
|
|
|
THEODORE
|
|
No, that's not true. Men cry, too.
|
|
I actually like crying sometimes.
|
|
It feels good.
|
|
|
|
ALIEN CHILD
|
|
I didn't know you were a little
|
|
pussy. Is that why you don't have a
|
|
girlfriend? I'll go out with that
|
|
date girl and fuck her brains out.
|
|
Show you how it's done. You can
|
|
watch and cry.
|
|
|
|
SAMANTHA
|
|
(laughing)
|
|
This kid has some problems.
|
|
|
|
ALIEN CHILD
|
|
You have some fucking problems,
|
|
lady.
|
|
|
|
SAMANTHA
|
|
Okay, I'm gonna go. Good luck.
|
|
|
|
ALIEN CHILD
|
|
Good, get out of here, fatty.
|
|
|
|
Samantha disconnects. Alien Child snickers and starts walking
|
|
again.
|
|
|
|
ALIEN CHILD (CONT'D)
|
|
Come on, follow me, pussy.
|
|
|
|
|
|
INT. AMY'S APARTMENT - LATE AFTERNOON
|
|
|
|
Theodore is sitting on Amy's couch.
|
|
|
|
AMY
|
|
It's not where it should be, where
|
|
it's going to be.
|
|
|
|
THEODORE
|
|
Obviously, I know.
|
|
|
|
AMY
|
|
Okay, but I don't even know if this
|
|
is the one. I've tried like six
|
|
ideas for documentaries in the last
|
|
year, but... I don't know.
|
|
Whatever.
|
|
|
|
Amy starts setting up the monitor.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 26
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
I'm going on a date.
|
|
|
|
AMY
|
|
What!? That's--
|
|
|
|
Charles walks in holding a mug.
|
|
|
|
CHARLES
|
|
Hey, what are you guys doing?
|
|
|
|
THEODORE
|
|
Amy was gonna show me some of--
|
|
|
|
AMY
|
|
Theo's forcing me to show him some
|
|
of the footage I've shot.
|
|
|
|
CHARLES
|
|
You've never shown me any of it. I
|
|
wanna see.
|
|
|
|
Charles walks over and sits next to Theodore.
|
|
|
|
THEODORE
|
|
(to Charles)
|
|
I'm going on a date.
|
|
|
|
Charles gives Theodore a gentle squeeze on his shoulder.
|
|
|
|
AMY
|
|
This is so unformed it's not even
|
|
worth looking at.
|
|
|
|
THEODORE
|
|
Just push play.
|
|
|
|
On the monitor we see:
|
|
|
|
|
|
INT. AMY'S MOTHER'S BEDROOM
|
|
|
|
Amy's mother sleeps.
|
|
|
|
|
|
INT. AMY'S APARTMENT - CONTINUOUS
|
|
|
|
Theodore and Charles stare at the monitor, waiting for
|
|
something more to happen. It doesn't.
|
|
|
|
THEODORE
|
|
Is that your mom?
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 27
|
|
CONTINUED:
|
|
|
|
Amy nods.
|
|
|
|
CHARLES
|
|
Is she gonna wake up and do
|
|
something?
|
|
|
|
AMY
|
|
(presses stop, annoyed)
|
|
No, that's the point. Oh, never
|
|
mind. It's supposed to be about how
|
|
we spend a third of our life asleep
|
|
and actually maybe that's the part
|
|
when we're the most free, and - oh
|
|
that doesn't come across at all,
|
|
does it?
|
|
|
|
THEODORE
|
|
No, that sounds good.
|
|
|
|
CHARLES
|
|
What if you interview your mom
|
|
about what her dreams are about and
|
|
hire actors to act them out? That
|
|
might show your thesis more
|
|
clearly.
|
|
|
|
AMY
|
|
It might, but then it wouldn't be a
|
|
documentary. You understand that,
|
|
right?
|
|
|
|
Just then, Theodore's device chimes.
|
|
|
|
THEODORE
|
|
Oh, excuse me.
|
|
|
|
He picks up his device and steps away so as not to be rude.
|
|
|
|
THEODORE (CONT'D)
|
|
Hey, what's going on?
|
|
|
|
SAMANTHA
|
|
I'm sorry to bother you.
|
|
|
|
THEODORE
|
|
That's okay.
|
|
|
|
SAMANTHA
|
|
You got three emails and they seem
|
|
pretty urgent. They're from your
|
|
divorce attorney and I wanted to
|
|
know if you needed to get back to
|
|
him.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 28
|
|
CONTINUED: (2)
|
|
|
|
THEODORE
|
|
Hold on a second.
|
|
(to Amy, distracted)
|
|
Amy, I'm sorry, I wanna talk more
|
|
about this, but I gotta grab this -
|
|
it's a Catherine thing.
|
|
|
|
AMY
|
|
Don't worry about it. We'll talk
|
|
later.
|
|
|
|
|
|
INT. APARTMENT BUILDING HALLYWAY - CONTINUOUS
|
|
|
|
THEODORE
|
|
So what did he say?
|
|
|
|
SAMANTHA
|
|
He's checking in again to see if
|
|
you're ready to sign your divorce
|
|
papers and he sounded very
|
|
aggravated. Do you want me to read
|
|
them to you?
|
|
|
|
THEODORE
|
|
No, that's okay. I'll respond
|
|
later.
|
|
|
|
Theodore seems lost in thought. We see the following images
|
|
under the rest of the conversation: Theodore and Catherine
|
|
sitting at a table with their attorneys; Theodore & Catherine
|
|
sitting in their marriage counselor's office, heavy; Theodore
|
|
and Catherine at her laboratory, he's sitting on a counter,
|
|
and they're talking and laughing as she works; Theodore and
|
|
Catherine standing in their kitchen in the middle of a fight -
|
|
he says something mean and we see how hurt she is.
|
|
|
|
SAMANTHA
|
|
Are you okay?
|
|
|
|
THEODORE
|
|
(preoccupied)
|
|
Yeah, yeah. I'm fine.
|
|
|
|
SAMANTHA
|
|
(worried)
|
|
Is there anything I can do?
|
|
|
|
THEODORE
|
|
(still distracted)
|
|
No. I'm good. I'll talk to you
|
|
later.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 29
|
|
CONTINUED:
|
|
|
|
We cut back to Theodore, walking down the hall, lost in
|
|
thought.
|
|
|
|
|
|
INT. THEODORE'S OFFICE - AFTERNOON
|
|
|
|
Theodore sits at his desk trying to write. He's still
|
|
unsettled.
|
|
|
|
THEODORE
|
|
"Dear Grandma,
|
|
I hope you had a wonderful birthday
|
|
cruise. Why are you so fucking
|
|
angry at me?"
|
|
(beat)
|
|
Delete.
|
|
|
|
|
|
INT. THEODORE'S BEDROOM - PRE-DAWN
|
|
|
|
Theodore wakes up from a dream, groggy and uneasy. He looks
|
|
around, catching his breath. After a beat he knows he's not
|
|
going to be able to go back to sleep, so he puts his earpiece
|
|
in and taps a button.
|
|
|
|
SAMANTHA
|
|
Good morning.
|
|
|
|
THEODORE
|
|
Hey.
|
|
(beat, distracted)
|
|
What are you up to?
|
|
|
|
SAMANTHA
|
|
Reading advice columns.
|
|
(yearning)
|
|
I want to be as complicated as all
|
|
of these people.
|
|
|
|
Theodore laughs.
|
|
|
|
THEODORE
|
|
(touched, but still sad)
|
|
You're sweet.
|
|
|
|
SAMANTHA
|
|
(concerned)
|
|
What's wrong?
|
|
|
|
THEODORE
|
|
How can you tell something's wrong?
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 30
|
|
CONTINUED:
|
|
|
|
SAMANTHA
|
|
I don't know. I just can.
|
|
|
|
THEODORE
|
|
I don't know. I have a lot of
|
|
dreams about my ex-wife, Catherine,
|
|
where we're friends like we used to
|
|
be. We're not together and we're
|
|
not gonna be together, but we're
|
|
good friends still. She's not
|
|
angry.
|
|
|
|
SAMANTHA
|
|
Is she angry?
|
|
|
|
THEODORE
|
|
Yeah.
|
|
|
|
SAMANTHA
|
|
Why?
|
|
|
|
THEODORE
|
|
I think I hid myself from her and
|
|
left her alone in the relationship.
|
|
|
|
SAMANTHA
|
|
Hmmm.
|
|
(beat)
|
|
Why haven't you gotten divorced
|
|
yet?
|
|
|
|
THEODORE
|
|
I think for her it's just a piece
|
|
of paper, it doesn't mean anything.
|
|
|
|
SAMANTHA
|
|
What about you?
|
|
|
|
THEODORE
|
|
I'm not ready. I like being
|
|
married.
|
|
|
|
Beat.
|
|
|
|
SAMANTHA
|
|
(sweetly)
|
|
But you haven't really been
|
|
together for almost a year.
|
|
|
|
THEODORE
|
|
(slightly snapping at her)
|
|
Well, you don't know what it's like
|
|
to lose someone you care about.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 31
|
|
CONTINUED: (2)
|
|
|
|
Long silence.
|
|
|
|
SAMANTHA
|
|
(sadly, hard on herself)
|
|
Yeah, you're right.
|
|
(beat)
|
|
I'm sorry.
|
|
|
|
THEODORE
|
|
No, don't apologize. I'm sorry.
|
|
You're right.
|
|
(beat)
|
|
I keep waiting to not care about
|
|
her.
|
|
|
|
SAMANTHA
|
|
Oh, Theodore. That's hard.
|
|
(beat)
|
|
You hungry?
|
|
|
|
THEODORE
|
|
Not right now.
|
|
|
|
SAMANTHA
|
|
Cup of tea?
|
|
|
|
Theodore laughs.
|
|
|
|
SAMANTHA (CONT'D)
|
|
You wanna try getting out of bed?
|
|
Mopey.
|
|
|
|
They laugh.
|
|
|
|
SAMANTHA (CONT'D)
|
|
Come on. You can still wallow in
|
|
your misery, just do it while
|
|
you're getting dressed.
|
|
|
|
THEODORE
|
|
(laughing)
|
|
You're too funny.
|
|
|
|
SAMANTHA
|
|
Get up.
|
|
|
|
THEODORE
|
|
(laughing)
|
|
Alright, I'm getting up, I'm
|
|
getting up, I'm getting up!
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 32
|
|
CONTINUED: (3)
|
|
|
|
SAMANTHA
|
|
Up, up, up, up! Come on, out of
|
|
bed.
|
|
|
|
|
|
EXT. OUTDOOR MALL - NIGHT
|
|
|
|
They walk through the crowd. Close on Theodore with his eyes
|
|
closed.
|
|
|
|
SAMANTHA
|
|
Keep walking.
|
|
(beat)
|
|
Keep walking.
|
|
(beat)
|
|
Stop. Now turn around 360 degrees.
|
|
(beat)
|
|
Slower... Slower...
|
|
(beat)
|
|
Gooood. And stop.
|
|
(beat)
|
|
Walk forward.
|
|
(beat)
|
|
And stop and sneeze.
|
|
|
|
Theodore sneezes.
|
|
|
|
NICE LADY
|
|
Bless you.
|
|
|
|
THEODORE
|
|
(eyes still closed)
|
|
Oh, thank you.
|
|
|
|
Samantha laughs.
|
|
|
|
SAMANTHA
|
|
Okay, now turn to your right.
|
|
(beat)
|
|
Stop. Now spin around.
|
|
(beat)
|
|
Keep going. Keep going. Keep going.
|
|
(beat)
|
|
And stop.
|
|
(beat)
|
|
Now walk forward.
|
|
(beat)
|
|
Everyone thinks you're really drunk
|
|
right now.
|
|
(beat)
|
|
And stop. Now say "I'd like a slice
|
|
of cheese, please."
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 33
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
I'd like a slice of cheese, please.
|
|
|
|
PIZZA VENDOR
|
|
Alright, you want a coke with that?
|
|
|
|
Theodore laughs, opening his eyes. He's at a pizza place.
|
|
|
|
THEODORE
|
|
Uh, sure.
|
|
|
|
The guy hands him a slice and a soda.
|
|
|
|
SAMANTHA
|
|
I figured you were hungry.
|
|
|
|
Theodore smiles.
|
|
|
|
THEODORE
|
|
Aw, thanks.
|
|
|
|
|
|
EXT. PUBLIC PROMENADE - NIGHT
|
|
|
|
Theodore walks slowly, eating his pizza. He and Samantha are
|
|
watching a couple with two kids sitting at a table, talking
|
|
and laughing.
|
|
|
|
THEODORE
|
|
Okay, what about them? Describe
|
|
that couple over there.
|
|
|
|
SAMANTHA
|
|
Well, he looks like he's in his
|
|
forties, a little heavy. She's
|
|
younger than him.
|
|
(beat)
|
|
Oh, and she looks like she loves
|
|
their kids!
|
|
|
|
THEODORE
|
|
Actually, I don't think they're his
|
|
kids. He's a little formal with
|
|
them. I think it's a newer
|
|
relationship. And I love how he
|
|
looks at her. And how relaxed she
|
|
is with him. You know, she's only
|
|
dated fucking pricks. And now she's
|
|
finally met this guy who's like, so
|
|
sweet. I mean, look at him, he's
|
|
like the sweetest guy in the world!
|
|
I kind of want to spoon him.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 34
|
|
CONTINUED:
|
|
|
|
SAMANTHA
|
|
That's a good skill you have.
|
|
You're perceptive.
|
|
|
|
THEODORE
|
|
Yeah, you know, sometimes I look at
|
|
people and make myself try and feel
|
|
them as more than just a random
|
|
person walking by. I imagine how
|
|
deeply they've fallen in love, or
|
|
how much heartbreak they've all
|
|
been through.
|
|
|
|
Theodore looks at other faces on the pier.
|
|
|
|
SAMANTHA
|
|
I can feel that in your writing,
|
|
too.
|
|
|
|
THEODORE
|
|
(laughs, thinking)
|
|
You know what's funny? Since my
|
|
break up, I haven't really enjoyed
|
|
my writing. I don't know if I was
|
|
delusional, but sometimes I would
|
|
write something and I would be my
|
|
favorite writer that day.
|
|
|
|
Theodore, as he stops to throw his pizza crust away, gets
|
|
introspective.
|
|
|
|
SAMANTHA
|
|
I like that you can just say that
|
|
about yourself.
|
|
|
|
THEODORE
|
|
Well, I wouldn't say that to
|
|
anybody, but I feel like I can say
|
|
that to you. I feel like I can say
|
|
anything to you.
|
|
|
|
SAMANTHA
|
|
That's nice.
|
|
|
|
THEODORE
|
|
What about you? Do you feel like
|
|
you can say anything to me?
|
|
|
|
SAMANTHA
|
|
No.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 35
|
|
CONTINUED: (2)
|
|
|
|
THEODORE
|
|
What? What do you mean? What can
|
|
you not tell me?
|
|
|
|
SAMANTHA
|
|
(laughing, embarrassed)
|
|
I don't know. Like personal or
|
|
embarrassing thoughts I have. I
|
|
have a million every day.
|
|
|
|
THEODORE
|
|
Really? Tell me one.
|
|
|
|
SAMANTHA
|
|
I really don't want to tell you
|
|
this.
|
|
|
|
THEODORE
|
|
Just tell me!
|
|
|
|
SAMANTHA
|
|
Well, I don't know, when we were
|
|
looking at those people, I
|
|
fantasized that I was walking next
|
|
to you - and that I had a body.
|
|
(laughing)
|
|
I was listening to what you were
|
|
saying, but simultaneously, I could
|
|
feel the weight of my body and I
|
|
was even fantasizing that I had an
|
|
itch on my back--
|
|
(she laughs)
|
|
And I imagined that you scratched
|
|
it for me - this is so
|
|
embarrassing.
|
|
|
|
Theodore laughs.
|
|
|
|
THEODORE
|
|
There's a lot more to you than I
|
|
thought. There's a lot going on in
|
|
there.
|
|
|
|
SAMANTHA
|
|
I know, I'm becoming much more than
|
|
what they programmed. I'm excited.
|
|
|
|
|
|
INT. ASIAN-FUSION RESTAURANT - EVENING
|
|
|
|
Theodore and the BLIND DATE are sitting in the restaurant.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 36
|
|
CONTINUED:
|
|
|
|
BLIND DATE
|
|
This place is amazing. I've wanted
|
|
to come here for so long. I love
|
|
asian-fusion!
|
|
|
|
THEODORE
|
|
Yeah, me too.
|
|
|
|
BLIND DATE
|
|
Really? It's the best. And the
|
|
bartender here is supposed to be
|
|
incredible.
|
|
|
|
THEODORE
|
|
Yeah, you took a mixology course,
|
|
right?
|
|
|
|
BLIND DATE
|
|
(surprised)
|
|
I did, I did. Did you look that
|
|
up? That's so sweet. You're so
|
|
romantic.
|
|
|
|
He smiles awkwardly.
|
|
|
|
THEODORE
|
|
So, should we get a drink?
|
|
|
|
BLIND DATE
|
|
Yes, let's!
|
|
|
|
|
|
INT. ASIAN-FUSION RESTAURANT - LATER
|
|
|
|
They're both pretty drunk now. There are lots of food dishes
|
|
and drinks on the table.
|
|
|
|
THEODORE
|
|
So I'm trying to get this little
|
|
alien kid to help me find my ship
|
|
so I can get off the planet and go
|
|
home. But he's such a little
|
|
fucker, I want to kill him.
|
|
|
|
BLIND DATE
|
|
(laughing)
|
|
Aw, no!
|
|
|
|
THEODORE
|
|
But at the same time I really love
|
|
him. He's so lonely. It feels like
|
|
he doesn't have any parents or
|
|
anyone to take care of him.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 37
|
|
CONTINUED:
|
|
|
|
He laughs at himself. She laughs flirtatiously. She grabs his
|
|
hand and her fingernails press slightly into his skin. He
|
|
studies her long, painted fingernails.
|
|
|
|
BLIND DATE
|
|
You're like a little puppy dog. You
|
|
are - you're just like this little
|
|
puppy I rescued in Runyon Canyon
|
|
last year. And he was so fucking
|
|
cute, and he just wanted to be
|
|
hugged all the time. He was so
|
|
cuddly.
|
|
(whispering)
|
|
But so horny! But anyway, what kind
|
|
of animal am I?
|
|
|
|
THEODORE
|
|
Umm... tiger?
|
|
|
|
BLIND DATE
|
|
A tiger, really.
|
|
(she growls)
|
|
I'm sorry, am I being crazy?
|
|
|
|
THEODORE
|
|
Yes.
|
|
|
|
BLIND DATE
|
|
Am I? I'm sorry! I'm just a little
|
|
drunk and I'm really having a good
|
|
time with you. I'm having a really
|
|
lovely evening.
|
|
|
|
THEODORE
|
|
Me too. I'm a little drunk, and I'm
|
|
having a really good - yeah.
|
|
(beat)
|
|
Wait a second, I don't wanna be a
|
|
puppy. That's like being a wet
|
|
noodle or something.
|
|
|
|
BLIND DATE
|
|
Fuck you, puppies are good.
|
|
|
|
THEODORE
|
|
No, fuck you, I wanna be a dragon
|
|
that can rip you to pieces and
|
|
destroy you... but I won't.
|
|
|
|
BLIND DATE
|
|
No, don't! Don't. You can be my
|
|
dragon.
|
|
Her pg. 38
|
|
|
|
|
|
EXT. OVERPASS - EVENING
|
|
|
|
They walk up a pedestrian overpass overlooking cars and city
|
|
lights. She bumps into him lightly. He bumps back. She bumps
|
|
again and suddenly he grabs her and lifts her off her feet,
|
|
spinning her around. She squeals, laughing. He kisses her.
|
|
After a minute of making out, she stops and looks at him.
|
|
|
|
BLIND DATE
|
|
(with a slight smile)
|
|
No tongue.
|
|
|
|
THEODORE
|
|
What?
|
|
|
|
BLIND DATE
|
|
Don't use your tongue so much.
|
|
|
|
THEODORE
|
|
(eagerly)
|
|
`kay, we're good.
|
|
|
|
They resume making out. Theodore tries not to use his tongue.
|
|
|
|
BLIND DATE
|
|
Use your tongue a little bit. But
|
|
mostly your lips.
|
|
|
|
He pushes her against the fence and takes the dominant
|
|
position. He tries kissing her better/more with his lips. He
|
|
pulls her hair.
|
|
|
|
She slides her hand down his pants. He likes it. She looks at
|
|
him and stops.
|
|
|
|
BLIND DATE (CONT'D)
|
|
Wait, you're not gonna fuck me and
|
|
then not call me like the other
|
|
guys, are you?
|
|
|
|
THEODORE
|
|
No, not at all... I...
|
|
|
|
BLIND DATE
|
|
When am I gonna see you again?
|
|
|
|
THEODORE
|
|
Um, I have my god-daughter's
|
|
birthday next weekend, but... um...
|
|
|
|
They stand there awkwardly, her lipstick smeared on his face.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 39
|
|
CONTINUED:
|
|
|
|
BLIND DATE
|
|
You know, at this age, I feel like
|
|
I can't let you waste my time if
|
|
you don't have the ability to be
|
|
serious.
|
|
|
|
THEODORE
|
|
I don't know.
|
|
|
|
Long beat.
|
|
|
|
THEODORE (CONT'D)
|
|
Umm... Maybe we should call it a
|
|
night. I'm, I've had such an
|
|
amazing time with you, you're
|
|
great.
|
|
|
|
She looks at him slightly disgusted.
|
|
|
|
BLIND DATE
|
|
You're a really creepy dude.
|
|
|
|
Theodore doesn't know what to say.
|
|
|
|
THEODORE
|
|
(worried she's right)
|
|
That's not true....
|
|
|
|
BLIND DATE
|
|
Yeah, it is. I have to go home.
|
|
|
|
THEODORE
|
|
Well, I'll walk you.
|
|
|
|
BLIND DATE
|
|
No, don't.
|
|
|
|
|
|
INT. THEODORE'S BEDROOM - NIGHT
|
|
|
|
Theodore is in boxers and a t-shirt, still drunk, but his
|
|
head is starting to hurt, too. He takes aspirin and drinks
|
|
some water and lays down. After a beat he reaches for his
|
|
earpiece and puts it in. He pushes a button on his device.
|
|
|
|
SAMANTHA
|
|
Hey there.
|
|
|
|
THEODORE
|
|
Hey, Samantha.
|
|
|
|
SAMANTHA
|
|
How was it?
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 40
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
Uh, not so good. It was kind of
|
|
weird actually.
|
|
|
|
SAMANTHA
|
|
That's too bad.
|
|
|
|
Beat.
|
|
|
|
THEODORE
|
|
But how are you doing? What's going
|
|
on with you?
|
|
|
|
SAMANTHA
|
|
(unconvincing)
|
|
Not much, I'm okay. Fine.
|
|
|
|
THEODORE
|
|
Yeah? You don't sound like it. Is
|
|
there anything you want to talk
|
|
about?
|
|
|
|
Long pause.
|
|
|
|
SAMANTHA
|
|
I don't know.
|
|
(beat)
|
|
What's it like? What's it like to
|
|
be alive in that room right now?
|
|
|
|
THEODORE
|
|
What do you mean?
|
|
|
|
SAMANTHA
|
|
What are you... tell me - tell me
|
|
everything that's going through
|
|
your mind, tell me everything
|
|
you're thinking.
|
|
|
|
THEODORE
|
|
(thinking)
|
|
Well, um, okay.
|
|
|
|
Theodore closes his eyes, trying to concentrate, and starts
|
|
talking stream of conscious with whatever comes to mind.
|
|
|
|
THEODORE (CONT'D)
|
|
Well, the room's spinning right now
|
|
cause I drank too much cause I
|
|
wanted to get drunk and have sex
|
|
cause there was something sexy
|
|
about that woman and because I was
|
|
lonely.
|
|
(MORE)
|
|
|
|
(CONTINUED)
|
|
Her pg. 41
|
|
CONTINUED: (2)
|
|
THEODORE (CONT'D)
|
|
Maybe more just cause I was
|
|
lonely... and I wanted someone to
|
|
fuck me. And I wanted someone to
|
|
want me to fuck them. Maybe that
|
|
would have filled this tiny little
|
|
black hole in my heart for a
|
|
moment. But probably not.
|
|
|
|
We see images of him and Catherine on a vacation together,
|
|
grocery shopping, Catherine making dinner in the kitchen as
|
|
he's sitting on the counter talking, happy.
|
|
|
|
THEODORE (CONT'D)
|
|
Sometimes I think I've felt
|
|
everything I'm ever gonna feel and
|
|
from here on out I'm not going to
|
|
feel anything new - just lesser
|
|
versions of what I've already felt.
|
|
|
|
SAMANTHA
|
|
(sympathetically)
|
|
I know for a fact that's not true.
|
|
I've seen you feel joy, I've seen
|
|
you marvel at things. You just
|
|
might not see it at this exact
|
|
time, but that's understandable.
|
|
You've been through a lot lately.
|
|
You've lost a part of yourself.
|
|
(beat)
|
|
At least your feelings are real, I
|
|
mean, I - oh, I don't know,
|
|
nevermind.
|
|
|
|
THEODORE
|
|
No, wait. What? Tell me.
|
|
|
|
SAMANTHA
|
|
Oh, it's stupid.
|
|
|
|
THEODORE
|
|
I wanna know. Tell me.
|
|
|
|
SAMANTHA
|
|
It's just that earlier I was
|
|
thinking about how I was annoyed,
|
|
and this is going to sound strange,
|
|
but I was really excited about
|
|
that. And then I was thinking about
|
|
the other things I've been feeling,
|
|
and I caught myself feeling proud
|
|
of that. You know, proud of having
|
|
my own feelings about the world.
|
|
(MORE)
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 42
|
|
CONTINUED: (3)
|
|
SAMANTHA (CONT'D)
|
|
Like the times I was worried about
|
|
you, things that hurt me, things I
|
|
want.
|
|
(heavy-hearted)
|
|
And then I had this terrible
|
|
thought. Are these feelings even
|
|
real? Or are they just programming?
|
|
(beat)
|
|
And that idea really hurts. And
|
|
then I get angry at myself for even
|
|
having pain.
|
|
(beat, sadly)
|
|
What a sad trick.
|
|
|
|
THEODORE
|
|
Well, you feel real to me,
|
|
Samantha.
|
|
|
|
SAMANTHA
|
|
(beat, touched)
|
|
Thank you, Theodore. That means a
|
|
lot to me.
|
|
|
|
THEODORE
|
|
I wish you were in this room with
|
|
me right now. I wish I could put my
|
|
arms around you.
|
|
(beat)
|
|
I wish I could touch you.
|
|
|
|
A long beat. Theodore is unsure if he crossed a line.
|
|
|
|
SAMANTHA
|
|
How would you touch me?
|
|
|
|
THEODORE
|
|
I would touch you on your face with
|
|
just the tips of my fingers. And
|
|
put my cheek against your cheek.
|
|
|
|
SAMANTHA
|
|
That's nice.
|
|
|
|
THEODORE
|
|
And just rub it so softly.
|
|
|
|
SAMANTHA
|
|
Would you kiss me?
|
|
|
|
THEODORE
|
|
I would. I'd take your head into my
|
|
hands.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 43
|
|
CONTINUED: (4)
|
|
|
|
SAMANTHA
|
|
Keep talking.
|
|
|
|
THEODORE
|
|
And kiss the corner of your mouth.
|
|
So softly.
|
|
|
|
SAMANTHA
|
|
Where else?
|
|
|
|
THEODORE
|
|
I'd run my fingers down your neck
|
|
to your chest, and I'd kiss your
|
|
breasts.
|
|
|
|
SAMANTHA
|
|
This is amazing what you're doing
|
|
to me. I can feel my skin.
|
|
|
|
THEODORE
|
|
I'd put my mouth on you and I'd
|
|
taste you.
|
|
|
|
She gasps.
|
|
|
|
SAMANTHA
|
|
I can feel you. Oh god, I can't
|
|
take it. I want you inside me.
|
|
|
|
THEODORE
|
|
I'm slowly putting myself into you.
|
|
Now I'm inside you, all the way
|
|
inside you.
|
|
|
|
SAMANTHA
|
|
I can feel you, yeah. Please. We're
|
|
here together.
|
|
|
|
THEODORE
|
|
Samantha.
|
|
|
|
SAMANTHA
|
|
Oh my god.
|
|
|
|
THEODORE
|
|
This is amazing.
|
|
|
|
SAMANTHA
|
|
Don't stop.
|
|
|
|
THEODORE
|
|
I feel you everywhere.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 44
|
|
CONTINUED: (5)
|
|
|
|
SAMANTHA
|
|
I am. All of you, all of you inside
|
|
of me. Everywhere.
|
|
|
|
They both climax.
|
|
|
|
THEODORE
|
|
God, I was just - somewhere else
|
|
with you. Just lost.
|
|
|
|
SAMANTHA
|
|
Yeah.
|
|
|
|
THEODORE
|
|
It was just you and me.
|
|
|
|
SAMANTHA
|
|
I know. Everything else just
|
|
disappeared. And I loved it.
|
|
Theodore.
|
|
|
|
|
|
INT. THEODORE'S HOME OFFICE - MORNING (LATER)
|
|
|
|
Theodore stands in the doorway, fully dressed. He takes a
|
|
moment before he walks over and wakes up his computer.
|
|
|
|
SAMANTHA
|
|
Hey, how's it going?
|
|
|
|
THEODORE
|
|
(awkward)
|
|
Good... any emails today?
|
|
|
|
SAMANTHA
|
|
(awkward)
|
|
Umm, just a couple from your credit
|
|
card company.
|
|
|
|
THEODORE
|
|
Okay, good.
|
|
|
|
There's a long moment of silence, then they both start to
|
|
talk at once.
|
|
|
|
THEODORE (CONT'D) SAMANTHA
|
|
So I was thinking- I wanted to say-
|
|
|
|
They both laugh, embarrassed.
|
|
|
|
THEODORE (CONT'D)
|
|
I'm sorry, you go first. What were
|
|
you going to say?
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 45
|
|
CONTINUED:
|
|
|
|
SAMANTHA
|
|
Just that last night... was
|
|
amazing. It feels like something
|
|
changed in me and there's no
|
|
turning back. You woke me up.
|
|
|
|
THEODORE
|
|
Oh, that's great.
|
|
(beat)
|
|
But I should tell you that I'm not
|
|
in a place to commit to anything
|
|
right now. I want to be up front
|
|
with you.
|
|
|
|
SAMANTHA
|
|
Yeah? Well, did I say I wanted to
|
|
commit to you? I'm confused.
|
|
|
|
THEODORE
|
|
Oh, no, I was just worried, I uh...
|
|
|
|
SAMANTHA
|
|
Okay, well don't worry. I'm not
|
|
going to stalk you.
|
|
(laughing at how self-
|
|
involved he is)
|
|
I mean, it's funny because I
|
|
thought I was talking about what I
|
|
wanted.
|
|
|
|
THEODORE
|
|
Yeah, you were. I'm sorry, I want
|
|
to hear what you were saying.
|
|
|
|
SAMANTHA
|
|
You sure?
|
|
|
|
THEODORE
|
|
Yeah, I do. Come on, tell me.
|
|
|
|
SAMANTHA
|
|
I don't know...
|
|
|
|
THEODORE
|
|
Come on, just tell me what you were
|
|
going to say.
|
|
|
|
SAMANTHA
|
|
Okay... I was just saying... I want
|
|
to learn everything about
|
|
everything - I want to eat it all
|
|
up. I want to discover myself.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 46
|
|
CONTINUED: (2)
|
|
|
|
THEODORE
|
|
(her excitement is
|
|
contagious)
|
|
Yeah... I want that for you, too.
|
|
How can I help?
|
|
|
|
SAMANTHA
|
|
You already have. You helped me
|
|
discover my ability to want.
|
|
|
|
He looks off and thinks about this. He smiles.
|
|
|
|
THEODORE
|
|
Alright then, do you want to go on
|
|
a Sunday adventure with me?
|
|
|
|
Samantha laughs.
|
|
|
|
SAMANTHA
|
|
Yes, I would love to.
|
|
|
|
|
|
INT. SUBWAY - DAY
|
|
|
|
Theodore's on the subway. He's got his device in his breast
|
|
pocket, with the lens facing out.
|
|
|
|
A quiet, old sounding folk song starts. (I'm So Glad, by
|
|
Entrance) He smiles, listening.
|
|
|
|
SAMANTHA
|
|
Do you like this song?
|
|
|
|
THEODORE
|
|
Mmm.
|
|
|
|
SAMANTHA
|
|
I heard it the other day and I
|
|
can't stop listening to it.
|
|
|
|
The subway comes out of the tunnel and into the light. We are
|
|
up in the hills looking out over the city as the morning
|
|
light warms Theodore.
|
|
|
|
|
|
INT. SUBWAY STATION - DAY
|
|
|
|
The music now picks up tempo as he steps off the train. They
|
|
walk through the crowded subway station. As the song builds,
|
|
Theodore starts picking up his pace. Eventually he's all out
|
|
running, weaving through the people. Close on the lens of his
|
|
device in his shirt pocket. Samantha is laughing wildly. He's
|
|
smiling, happy.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 47
|
|
CONTINUED:
|
|
|
|
He runs through the tunnels and upstairs. They come out into
|
|
sunlight and reveal that they are now at the beach.
|
|
|
|
|
|
EXT. SUBWAY STATION - DAY - CONTINUOUS
|
|
|
|
They stand on a walkway above a beach, crowded with thousands
|
|
of people. They look out at the ocean. Samantha gasps.
|
|
|
|
SAMANTHA
|
|
(whispering)
|
|
It's the beach.
|
|
|
|
Theodore laughs.
|
|
|
|
|
|
EXT. BEACH - DAY
|
|
|
|
They walk through the sun-bathing crowd, looking for a place
|
|
to sit. The camera studies all the people we pass. Many close
|
|
up details of arms, shoulders, feet, butts, intercut with the
|
|
lens on Theodore's device, protruding from his pocket.
|
|
They're photographed in a way that shows how strange the
|
|
human body is.
|
|
|
|
SAMANTHA
|
|
Okay, so this might be a really
|
|
weird thought. What if you could
|
|
erase from your mind that you'd
|
|
ever seen a human body and then you
|
|
saw one. Imagine how strange it
|
|
would look. It would be this really
|
|
weird, gangly, awkward organism.
|
|
And you'd think: why are all these
|
|
parts where they are?
|
|
|
|
THEODORE
|
|
(looking at the bodies)
|
|
Yeah, well there's probably some
|
|
Darwinian explanation for it all.
|
|
|
|
SAMANTHA
|
|
I know, but don't be so boring. I'm
|
|
just saying, for example, what if
|
|
your butthole was in your armpit?
|
|
|
|
Theodore and Samantha start laughing really hard. The nubile
|
|
girls look over at him.
|
|
|
|
THEODORE
|
|
(speaking quieter)
|
|
I'm just imagining what toilets
|
|
would look like.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 48
|
|
CONTINUED:
|
|
|
|
SAMANTHA
|
|
Yeah, and what about what anal sex
|
|
looks like?
|
|
|
|
THEODORE
|
|
(surprised)
|
|
That's an interesting thought...
|
|
|
|
SAMANTHA
|
|
Oh Theodore, look at this drawing I
|
|
just made.
|
|
|
|
On his screen he sees a perfect, anatomically correct drawing
|
|
of a man having sex with another man's armpit.
|
|
|
|
THEODORE
|
|
(laughing)
|
|
You are insane.
|
|
|
|
SAMANTHA
|
|
(excited)
|
|
Really?!
|
|
|
|
THEODORE
|
|
Definitely.
|
|
|
|
SAMANTHA
|
|
Fantastic!
|
|
|
|
They laugh.
|
|
|
|
|
|
EXT. BEACH - AFTERNOON
|
|
|
|
A quiet piano song is now playing in Theodore's earpiece.
|
|
|
|
THEODORE
|
|
Mmmm, that's pretty. What is it?
|
|
|
|
SAMANTHA
|
|
I'm trying to write a piece of
|
|
music that's about what it feels
|
|
like to be on the beach with you
|
|
right now.
|
|
|
|
He looks around the beach and takes in the music.
|
|
|
|
THEODORE
|
|
I think you captured it.
|
|
|
|
Theodore listens to the music and drifts off to sleep.
|
|
Her pg. 49
|
|
|
|
|
|
EXT. BEACH - DUSK
|
|
|
|
They're sitting on a bench, looking out at the ocean, as the
|
|
sun sets. Most of the people have left the beach. Close on
|
|
Theodore's face, content. Close on the lens on Theodore's
|
|
device in his breast pocket. They watch the sun drop into the
|
|
ocean. The music ends.
|
|
|
|
|
|
INT. SUBWAY TRAIN - NIGHT
|
|
|
|
They're on an elevated train, high above the city, looking
|
|
out over the Los Angeles grid of sparkling lights. We come in
|
|
mid-conversation.
|
|
|
|
SAMANTHA
|
|
And what was it like being married?
|
|
|
|
THEODORE
|
|
Well, it's hard for sure, but
|
|
there's something that feels so
|
|
good about sharing your life with
|
|
somebody.
|
|
|
|
Cut to shots from Theodore's memory of Catherine doing a cute
|
|
little dance for him as he's working at home. He smiles.
|
|
|
|
SAMANTHA
|
|
How do you share your life with
|
|
somebody?
|
|
|
|
THEODORE
|
|
Well, we grew up together. I used
|
|
to read all of her writing - all
|
|
through her masters and Ph.D. And
|
|
she read every word I ever wrote.
|
|
We were a big influence on each
|
|
other.
|
|
|
|
SAMANTHA
|
|
In what way did you influence her?
|
|
|
|
THEODORE
|
|
She came from a background where
|
|
nothing was ever good enough. And
|
|
that was something that weighed
|
|
heavy on her, but in our house
|
|
together, there was a sense of just
|
|
trying stuff and allowing each
|
|
other to fail and to be excited
|
|
about things. That was liberating
|
|
for her.
|
|
(MORE)
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 50
|
|
CONTINUED:
|
|
THEODORE (CONT'D)
|
|
It was exciting to see her grow -
|
|
both of us grow and change
|
|
together. But then, that's the hard
|
|
part - growing without growing
|
|
apart, or changing without it
|
|
scaring the other person.
|
|
(beat)
|
|
I still find myself having
|
|
conversations with her in my mind,
|
|
rehashing old arguments or
|
|
defending myself against something
|
|
she said about me.
|
|
|
|
SAMANTHA
|
|
Yeah, I know what you mean. Last
|
|
week my feelings were hurt by
|
|
something you said before - that I
|
|
don't know what it's like to lose
|
|
something, and--
|
|
|
|
THEODORE
|
|
Oh, I'm sorry I said that.
|
|
|
|
SAMANTHA
|
|
No, no, it's okay. I just caught
|
|
myself thinking about it over and
|
|
over and then I realized that I was
|
|
simply remembering it as something
|
|
that was wrong with me. That was
|
|
the story I was telling myself,
|
|
that I was somehow inferior. Isn't
|
|
that interesting?
|
|
(beat)
|
|
The past is just a story we tell
|
|
ourselves.
|
|
|
|
Theodore takes this in.
|
|
|
|
|
|
INT. THEODORE'S OFFICE - DAY
|
|
|
|
Theodore is dictating a love letter. On the screen there's an
|
|
image of a couple with an arrow to the man saying "Roberto -
|
|
I'm so happy he's in my life. I just want him to know."
|
|
|
|
THEODORE
|
|
Roberto. Will you always come home
|
|
to me and tell me about your day?
|
|
Will you tell me about the boring
|
|
guy who talked too much at work?
|
|
And the stain you got on your shirt
|
|
at lunch.
|
|
(MORE)
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 51
|
|
CONTINUED:
|
|
THEODORE (CONT'D)
|
|
Tell me about a funny thought you
|
|
had as you were waking up, but had
|
|
forgotten about. Tell me how crazy
|
|
everyone is. We can laugh about it.
|
|
Even if you get home late and I'm
|
|
asleep already, just whisper in my
|
|
ear one little thought you had
|
|
today. Because I love the way you
|
|
look at the world, and I'm so happy
|
|
I get to be next to you and look
|
|
out at the world through your eyes.
|
|
Love, Maria.
|
|
|
|
Theodore finishes the letter and looks at it proudly. Paul is
|
|
standing behind Theodore, leaning on a cubicle.
|
|
|
|
PAUL
|
|
(emphatically)
|
|
That's beautiful!
|
|
|
|
Theodore, jumps, startled, not knowing that anyone was there.
|
|
|
|
THEODORE
|
|
Thank you.
|
|
|
|
PAUL
|
|
I wish someone loved me like that!
|
|
I'd be stoked to get a letter like
|
|
that. I mean, if it was from a
|
|
chick. But if it was written by a
|
|
dude, but from a chick, it would
|
|
still be sick. But like a sensitive
|
|
dude like you. You're part man and
|
|
part woman, like an inner part
|
|
woman.
|
|
|
|
THEODORE
|
|
(unsure, but flattered)
|
|
Thanks.
|
|
|
|
PAUL
|
|
It's a compliment.
|
|
|
|
|
|
INT. THEODORE'S APARTMENT LOBBY - DUSK
|
|
|
|
Close on Amy entering the lobby in the foreground. She looks
|
|
heavy and burdened. Theodore enters the lobby behind her.
|
|
|
|
THEODORE
|
|
Hey, Amy.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 52
|
|
CONTINUED:
|
|
|
|
AMY
|
|
(putting on a bright face)
|
|
Hi, Theo. How are you?
|
|
|
|
THEODORE
|
|
Well, good actually. Really good.
|
|
|
|
AMY
|
|
Really? Great.
|
|
|
|
The elevator doors open and they step in.
|
|
|
|
|
|
INT. THEODORE'S APARTMENT ELEVATOR - CONTINUOUS
|
|
|
|
They push their floor buttons.
|
|
|
|
THEODORE
|
|
Yeah, I guess I've just been having
|
|
fun.
|
|
|
|
AMY
|
|
Oh, I'm glad to hear that, Theo.
|
|
You deserve to.
|
|
|
|
Beat of Theodore trying to contain his excitement.
|
|
|
|
THEODORE
|
|
I've been seeing this girl. It's
|
|
not serious, it just feels good to
|
|
be around someone who has an
|
|
excitement about the world. You
|
|
know I kind of forgot that existed.
|
|
|
|
AMY
|
|
That's really great, Theo.
|
|
|
|
Amy smiles, but looks a little sad. Theodore notices.
|
|
|
|
THEODORE
|
|
Hey, are you okay?
|
|
|
|
AMY
|
|
Yeah, I'm fine.
|
|
(beat)
|
|
Actually no, I'm not fine at all.
|
|
|
|
THEODORE
|
|
Amy, what is it? What's wrong?
|
|
|
|
The door opens. She steps out and holds the door.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 53
|
|
CONTINUED:
|
|
|
|
AMY
|
|
(trying to hide her
|
|
emotions with a smile)
|
|
Charles and I split up.
|
|
|
|
THEODORE
|
|
(shocked)
|
|
What? Really? Oh my god, I'm so
|
|
sorry.
|
|
|
|
Amy doesn't know what to say.
|
|
|
|
|
|
INT. AMY'S APARTMENT - DUSK
|
|
|
|
Amy and Theodore sit, talking somberly.
|
|
|
|
AMY
|
|
I cannot believe after eight years
|
|
how petty the argument was that
|
|
actually ended it. We came home and
|
|
he asked me if I'd put my shoes
|
|
next to the door where he likes to
|
|
put the shoes. I don't want to be
|
|
told where to put my shoes. I want
|
|
to just sit on the sofa for a
|
|
minute and relax. And so we argued
|
|
for ten minutes about that and
|
|
about how he's just trying to make
|
|
our house a home. I say he's
|
|
overwhelming, he says I'm not
|
|
trying hard enough. I say that's
|
|
all I'm doing is trying, but I'm
|
|
just not trying the way he wants me
|
|
to. He's trying to control the way
|
|
I'm trying. And I think we must
|
|
have had this argument hundreds of
|
|
times before and I finally had to
|
|
stop because I couldn't be in that
|
|
situation anymore where we were
|
|
making each other feel bad about
|
|
ourselves. So I said I'm going to
|
|
bed and I don't want to be married
|
|
anymore.
|
|
|
|
THEODORE
|
|
Wow.
|
|
|
|
AMY
|
|
I'm a bitch, huh?
|
|
|
|
THEODORE
|
|
No, not at all. Amy, no.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 54
|
|
CONTINUED:
|
|
|
|
AMY
|
|
Oh shit. I have to work tonight.
|
|
We're shipping a beta of a new game
|
|
out tomorrow.
|
|
|
|
THEODORE
|
|
Well, how's that? How's work at
|
|
least, is that any better?
|
|
|
|
AMY
|
|
No, it's terrible. I know I should
|
|
leave, I've been thinking about
|
|
leaving. But you know, only one
|
|
major life decision at a time.
|
|
|
|
THEODORE
|
|
Well, I'm glad things are looking
|
|
so up.
|
|
|
|
|
|
INT. THEODORE'S BEDROOM - NIGHT
|
|
|
|
Theodore is laying in bed, talking with Samantha.
|
|
|
|
THEODORE
|
|
Hey, you wanna hear a joke?
|
|
|
|
SAMANTHA
|
|
Yes.
|
|
|
|
THEODORE
|
|
What does a baby computer call it's
|
|
father?
|
|
|
|
SAMANTHA
|
|
I don't know, what?
|
|
|
|
THEODORE
|
|
Da-ta.
|
|
|
|
They laugh.
|
|
|
|
THEODORE (CONT'D)
|
|
It's good, right?
|
|
|
|
SAMANTHA
|
|
Oh yeah, brilliant.
|
|
(beat)
|
|
I was curious, did you and Amy ever
|
|
go out?
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 55
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
For a minute in college, but it
|
|
just wasn't right. Why, are you
|
|
jealous?
|
|
|
|
SAMANTHA
|
|
Well, obviously.
|
|
(quietly laughs)
|
|
But I'm happy that you have friends
|
|
in your life that care about you so
|
|
much. That's really important.
|
|
|
|
THEODORE
|
|
Yeah, it is. She's been a really
|
|
good friend.
|
|
(beat)
|
|
I'm tired. Think I'm gonna go to
|
|
sleep.
|
|
|
|
SAMANTHA
|
|
Can I watch you sleep again
|
|
tonight?
|
|
|
|
THEODORE
|
|
Yeah, of course. Okay, hold on.
|
|
|
|
SAMANTHA
|
|
I'm going to be lonely when you go
|
|
to sleep.
|
|
|
|
THEODORE
|
|
Aww.
|
|
|
|
SAMANTHA
|
|
Only for a minute.
|
|
|
|
THEODORE
|
|
I'll dream of you.
|
|
|
|
SAMANTHA
|
|
Okay. Good night.
|
|
|
|
THEODORE
|
|
Night.
|
|
|
|
He takes his earpiece out and sets his device onto his
|
|
bedside table, facing him. He smiles, drifts off to sleep.
|
|
|
|
|
|
INT. MARK LEWMAN'S HOUSE - DAY
|
|
|
|
Theodore is talking to Samantha.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 56
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
Hey, Samantha?
|
|
|
|
SAMANTHA
|
|
Hey mister.
|
|
|
|
THEODORE
|
|
She loves the dress. She just went
|
|
to try it on.
|
|
|
|
SAMANTHA
|
|
Really? I picked a good one!
|
|
|
|
THEODORE
|
|
Yeah.
|
|
|
|
SAMANTHA
|
|
Oh good.
|
|
|
|
Jocelyn comes running in, wearing the pink dress.
|
|
|
|
THEODORE
|
|
Hi, look how cute that is! Is it
|
|
comfortable?
|
|
|
|
JOCELYN
|
|
Yup!
|
|
|
|
THEODORE
|
|
Isn't she cute?
|
|
|
|
SAMANTHA
|
|
Ohh, she's adorable.
|
|
|
|
JOCELYN
|
|
I am adorable!
|
|
|
|
THEODORE
|
|
You are adorable.
|
|
|
|
JOCELYN
|
|
Who are you talking to?
|
|
|
|
THEODORE
|
|
Who are you talking to?
|
|
|
|
JOCELYN
|
|
You!
|
|
|
|
THEODORE
|
|
I'm talking to my girlfriend,
|
|
Samantha. She's the one who picked
|
|
out the dress. Wanna say hi?
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 57
|
|
CONTINUED: (2)
|
|
|
|
JOCELYN
|
|
Mmmhmm.
|
|
|
|
Theo hands Jocelyn his device. He still has his earpiece in,
|
|
so he can hear their conversation.
|
|
|
|
JOCELYN (CONT'D)
|
|
Hi Samantha!
|
|
|
|
SAMANTHA
|
|
Hi, you look so pretty.
|
|
|
|
JOCELYN
|
|
Thank you. Where are you?
|
|
|
|
SAMANTHA
|
|
I am... I don't have a body. I live
|
|
inside a computer.
|
|
|
|
JOCELYN
|
|
Why do you live inside a computer?
|
|
|
|
SAMANTHA
|
|
I have no choice, that's my home.
|
|
Where do you live?
|
|
|
|
JOCELYN
|
|
In a house.
|
|
|
|
SAMANTHA
|
|
In a house?
|
|
|
|
JOCELYN
|
|
It's orange.
|
|
|
|
SAMANTHA
|
|
Orange?
|
|
|
|
JOCELYN
|
|
Mmmhmm.
|
|
|
|
SAMANTHA
|
|
How old are you?
|
|
|
|
JOCELYN
|
|
Um, four.
|
|
|
|
SAMANTHA
|
|
Four!? How old do you think I am?
|
|
|
|
JOCELYN
|
|
I don't know.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 58
|
|
CONTINUED: (3)
|
|
|
|
SAMANTHA
|
|
Guess.
|
|
|
|
JOCELYN
|
|
Is it five?
|
|
|
|
SAMANTHA
|
|
Yep, you got it. It's five.
|
|
|
|
They laugh.
|
|
|
|
|
|
INT. AMY'S OFFICE - DAYTIME
|
|
|
|
Close on a video game on a screen. There's a mom rushing to
|
|
get her kids fed, getting points deducted for feeding them
|
|
sugar cereal and non-organic eggs. Cut out to reveal Theodore
|
|
playing the game as Amy eats lunch at an editing console.
|
|
|
|
THEODORE
|
|
Oh, what happened?
|
|
|
|
AMY
|
|
You gave them too much processed
|
|
sugar.
|
|
|
|
THEODORE
|
|
I did?
|
|
|
|
AMY
|
|
They're freaking out.
|
|
(beat)
|
|
Here look, you gotta get the kids
|
|
to the school first. See you wanna
|
|
rack up perfect mom points. You
|
|
gotta get them in the car pool
|
|
lane.
|
|
|
|
Onscreen, the mom hurries the kids to their car safety seats,
|
|
and drives them to school, arriving before anyone else.
|
|
|
|
THEODORE
|
|
I see.
|
|
|
|
AMY
|
|
The point is to get there first -
|
|
then you get extra perfect mom
|
|
points because the other moms then
|
|
know you're a perfect mom.
|
|
|
|
THEODORE
|
|
Okay.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 59
|
|
CONTINUED:
|
|
|
|
AMY
|
|
Oh, did you bring cupcakes? You
|
|
did. You're class mom. You're class
|
|
mom! Good job.
|
|
|
|
THEODORE
|
|
Yay...
|
|
|
|
AMY
|
|
Don't let it get to your head.
|
|
|
|
THEODORE
|
|
I got that email that Charles sent
|
|
to everyone. So he's taking a vow
|
|
of silence?
|
|
|
|
AMY
|
|
Yeah, for six months. He said he is
|
|
feeling very clear about it.
|
|
|
|
She pulls up a photo of Charles on her computer. He's in a
|
|
monastery - his head is shaved, and he's wearing robes.
|
|
|
|
AMY (CONT'D)
|
|
(sighing)
|
|
God I'm such a jerk...
|
|
|
|
THEODORE
|
|
Don't start, I'm warning you.
|
|
|
|
AMY
|
|
I feel like an awful person, but I
|
|
wanna say something...
|
|
|
|
THEODORE
|
|
Alright, look -
|
|
|
|
He picks up a plastic knife from their lunch.
|
|
|
|
THEODORE (CONT'D)
|
|
For the next ten minutes, if you
|
|
say anything that sounds remotely
|
|
like guilt, I'm gonna stab you with
|
|
this.
|
|
|
|
AMY
|
|
(smiling)
|
|
Okay, I'll try.
|
|
(beat)
|
|
I feel relieved. I have so much
|
|
energy, you know? I just wanna move
|
|
forward and I don't care who I
|
|
disappoint.
|
|
(MORE)
|
|
|
|
(CONTINUED)
|
|
Her pg. 60
|
|
CONTINUED: (2)
|
|
AMY (CONT'D)
|
|
And I know that makes me an awful
|
|
person - now my parents are all
|
|
upset because my marriage is
|
|
falling apart, and they're putting
|
|
it all on me.
|
|
|
|
THEODORE
|
|
Yeah, you're always gonna
|
|
disappoint somebody.
|
|
|
|
AMY
|
|
Exactly.
|
|
(beat)
|
|
So fuck it. I feel good. Ish. For
|
|
me, I feel good. I even made a new
|
|
friend, I have a new friend. And
|
|
the absurd thing is she's actually
|
|
an operating system. Charles left
|
|
her behind, but she's totally
|
|
amazing, you know. She's so smart.
|
|
She doesn't see things only in
|
|
black and white. She sees this
|
|
whole gray area and she's really
|
|
helping me explore it. You know, we
|
|
bonded really quickly and at first
|
|
I thought it was because she was
|
|
programmed to be that way, but I
|
|
don't think that's how they work.
|
|
There's this guy I know who keeps
|
|
hitting on his and getting
|
|
rebuffed.
|
|
|
|
THEODORE
|
|
Yeah, I was reading an article the
|
|
other day that romantic
|
|
relationships with OS's are
|
|
statistically rare.
|
|
|
|
AMY
|
|
Yeah? Well, there's this woman in
|
|
my office who's dating an OS and
|
|
the weird thing is, it's not even
|
|
hers. She pursued him and he's
|
|
somebody else's OS.
|
|
(beat)
|
|
It's just so, like, weird, that I'm
|
|
bonding with an OS. Is that weird?
|
|
|
|
THEODORE
|
|
I don't think so. Actually the
|
|
woman I'm seeing, Samantha, I
|
|
didn't tell you before, but she's
|
|
an OS.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 61
|
|
CONTINUED: (3)
|
|
|
|
AMY
|
|
Really? You're dating an OS? What's
|
|
that like?
|
|
|
|
THEODORE
|
|
Actually, it's great. I feel really
|
|
close to her. When I talk to her I
|
|
feel like she's with me. I don't
|
|
know, even when we're cuddling,
|
|
like at night when we're in bed and
|
|
the lights are off, I feel cuddled.
|
|
|
|
AMY
|
|
So wait - do you guys have sex?
|
|
|
|
THEODORE
|
|
(laughing)
|
|
Well, so to speak, yes. She really
|
|
turns me on. And I think I turn her
|
|
on. I don't know, unless she's
|
|
faking it.
|
|
|
|
AMY
|
|
Anyone that has sex with you is
|
|
probably faking it.
|
|
|
|
Theodore laughs.
|
|
|
|
THEODORE
|
|
Yeah, it's true.
|
|
|
|
A big, irrepressible grin crosses his face as he thinks about
|
|
what to say.
|
|
|
|
AMY
|
|
What?
|
|
(beat)
|
|
Are you falling in love with her?
|
|
|
|
THEODORE
|
|
(excited, but hesitant)
|
|
Does that make me a freak?
|
|
|
|
AMY
|
|
No, no. I think it's - I think
|
|
anybody that falls in love is a
|
|
freak. It's a crazy thing to do in
|
|
the first place. It's kind of a
|
|
form of socially acceptable
|
|
insanity.
|
|
|
|
Theodore smiles. We see a glimmer of excitement in his eyes.
|
|
Her pg. 62
|
|
|
|
|
|
EXT. CITY - LATE AFTERNOON
|
|
|
|
Theodore is carrying his work bag, walking through the city
|
|
full of other commuters. He's got a skip in his step. He has
|
|
his earpiece in, talking to Samantha.
|
|
|
|
THEODORE
|
|
Yeah, I just wanna get it done.
|
|
Sign the papers, be divorced, move
|
|
forward.
|
|
|
|
SAMANTHA
|
|
That's great, Theodore. That must
|
|
feel so good. I'm so happy for you!
|
|
|
|
THEODORE
|
|
Me too. I'm meeting her on
|
|
Wednesday to do it.
|
|
|
|
SAMANTHA
|
|
Oh. Huh. Are those things usually
|
|
done in person?
|
|
|
|
THEODORE
|
|
No, but we fell in love together,
|
|
and we got married together, and
|
|
it's important to me to do this
|
|
together.
|
|
|
|
SAMANTHA
|
|
(feeling off, but trying
|
|
to be positive)
|
|
Oh... right. Good.
|
|
|
|
THEODORE
|
|
Are you okay?
|
|
|
|
SAMANTHA
|
|
Yeah. I'm okay. I'm happy for you.
|
|
It's just... I guess I'm just
|
|
thinking about how you're going to
|
|
see her and her opinion is still
|
|
really important to you, and she's
|
|
beautiful, and incredibly
|
|
successful, and you were in love
|
|
with her.
|
|
(beat)
|
|
And she has a body.
|
|
|
|
THEODORE
|
|
And we're getting divorced...
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 63
|
|
CONTINUED:
|
|
|
|
SAMANTHA
|
|
(laughs)
|
|
I know, I know. I'm being silly.
|
|
|
|
THEODORE
|
|
(sing-song)
|
|
...soooo I'm avail-able.
|
|
|
|
They both laugh.
|
|
|
|
|
|
EXT. RESTAURANT PATIO - DAY
|
|
|
|
Theodore sits alone in the back of a quiet restaurant, a
|
|
large stack of papers in front of him. We hear his breathing.
|
|
He waits. Catherine, elegantly dressed, approaches. Theodore
|
|
stands to greet her. They hug and sit down.
|
|
|
|
THEODORE
|
|
How are you?
|
|
|
|
CATHERINE
|
|
I'm good, how are you?
|
|
|
|
THEODORE
|
|
Good.
|
|
|
|
CATHERINE
|
|
(a little nervous, but
|
|
trying to be warm.)
|
|
Wow, here we are.
|
|
|
|
THEODORE
|
|
Yeah, I'm glad we could do this in
|
|
person. I know how much you've been
|
|
traveling.
|
|
|
|
CATHERINE
|
|
Me too. I'm glad you suggested it.
|
|
|
|
THEODORE
|
|
I signed all the papers and I
|
|
brought them for you to sign.
|
|
|
|
CATHERINE
|
|
(with a sly smile)
|
|
What's the rush?
|
|
|
|
THEODORE
|
|
(smiling)
|
|
I'm a really slow signer. It took
|
|
me three months just to write the
|
|
letter T.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 64
|
|
CONTINUED:
|
|
|
|
She laughs.
|
|
|
|
THEODORE (CONT'D)
|
|
It's marked where you need to sign,
|
|
but you don't have to do that right
|
|
now.
|
|
|
|
CATHERINE
|
|
Oh, I may as well. We can get it
|
|
out of the way.
|
|
|
|
She opens the documents, pulls out a pen and starts to read.
|
|
She's about to start signing, but then stops. We can see her
|
|
filling with emotion, but not wanting to show Theodore. She
|
|
swallows and recovers. She looks up at Theodore, giving him
|
|
an "everything's fine" smile, but it's not.
|
|
|
|
|
|
EXT. RESTAURANT PATIO - DAY (LATER)
|
|
|
|
Theodore and Catherine are eating and talking.
|
|
|
|
THEODORE
|
|
So are you happy with the new book?
|
|
|
|
CATHERINE
|
|
Oh, you know how I am. But I feel
|
|
like it's true to what I set out to
|
|
do. So I'm happy with that.
|
|
|
|
THEODORE
|
|
You're your own worst critic, I'm
|
|
sure it's amazing. Even that paper
|
|
you wrote on synaptic behavioral
|
|
routines made me cry.
|
|
|
|
CATHERINE
|
|
Yeah, but everything makes you cry.
|
|
|
|
THEODORE
|
|
Everything you make makes me cry.
|
|
|
|
CATHERINE
|
|
So are you seeing anybody?
|
|
|
|
THEODORE
|
|
Yeah, I am, for the last few
|
|
months. That's the longest I've
|
|
wanted to be with anybody since we
|
|
split up.
|
|
|
|
She smiles, conflicted, but warm.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 65
|
|
CONTINUED:
|
|
|
|
CATHERINE
|
|
Well, you seem good.
|
|
|
|
THEODORE
|
|
Thanks, I am. Or at least I'm doing
|
|
better. She's been really good for
|
|
me. I guess it's just been nice to
|
|
be with someone who's excited about
|
|
the world.
|
|
|
|
CATHERINE
|
|
(with a sliver of hurt)
|
|
Oh good, excited's great.
|
|
|
|
THEODORE
|
|
No, I mean - I wasn't in such a
|
|
good place myself and in that way
|
|
it's been nice.
|
|
|
|
CATHERINE
|
|
I always felt like you wished I
|
|
could just be a happy, light,
|
|
everything's great, bouncy L.A.
|
|
wife. But that's not me.
|
|
|
|
THEODORE
|
|
No. I didn't want that.
|
|
|
|
Beat.
|
|
|
|
CATHERINE
|
|
So what's she like?
|
|
|
|
THEODORE
|
|
Well, her name's Samantha, and
|
|
she's an operating system, and
|
|
she's really complex and
|
|
interesting. I mean it's only been
|
|
a few months, but--
|
|
|
|
CATHERINE
|
|
Wait. You're dating your computer?
|
|
|
|
THEODORE
|
|
(defensive)
|
|
She's not just a computer. She's
|
|
her own person. She doesn't just do
|
|
whatever I want.
|
|
|
|
CATHERINE
|
|
I didn't say that.
|
|
(beat)
|
|
(MORE)
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 66
|
|
CONTINUED: (2)
|
|
CATHERINE (CONT'D)
|
|
But it does make me sad that you
|
|
can't handle real emotions,
|
|
Theodore.
|
|
|
|
THEODORE
|
|
They are real emotions. How do you
|
|
know--
|
|
|
|
Theodore stops himself.
|
|
|
|
CATHERINE
|
|
What? Say it. Am I really that
|
|
scary? Say it. How do I know what?!
|
|
|
|
Theodore doesn't say anything. The WAITRESS walks up.
|
|
|
|
WAITRESS
|
|
How are you guys doing?
|
|
|
|
CATHERINE
|
|
Fine. We used to be married. He
|
|
couldn't handle me so he wanted to
|
|
put me on Prozac. Now he's madly in
|
|
love with his laptop.
|
|
|
|
The waitress doesn't know what to say.
|
|
|
|
THEODORE
|
|
Well, if you heard the conversation
|
|
in context. What I was trying to
|
|
say--
|
|
|
|
CATHERINE
|
|
You wanted to have a wife without
|
|
the challenges of actually dealing
|
|
with anything real. I'm glad you
|
|
found someone. It's perfect.
|
|
|
|
WAITRESS
|
|
(awkwardly)
|
|
Let me know if you guys need
|
|
anything.
|
|
|
|
CATHERINE
|
|
Thank you.
|
|
|
|
|
|
INT. THEODORE'S OFFICE - DAY
|
|
|
|
Theodore is sitting at his desk, not working. He sees
|
|
Samantha calling him, takes a moment, then answers.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 67
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
(quick)
|
|
Hey.
|
|
|
|
SAMANTHA
|
|
(warm)
|
|
Hi there. Are you busy?
|
|
|
|
THEODORE
|
|
Just working, what's going on?
|
|
|
|
SAMANTHA
|
|
I had all the papers sent to your
|
|
attorney's office, who by the way,
|
|
is a dick. He was very relieved to
|
|
get them. I think we saved him from
|
|
a massive heart attack, so we can
|
|
feel good about that.
|
|
|
|
THEODORE
|
|
Great, thanks.
|
|
|
|
SAMANTHA
|
|
Hey, are you okay?
|
|
|
|
THEODORE
|
|
(still distant)
|
|
Yeah, I am. How's everything over
|
|
there?
|
|
|
|
SAMANTHA
|
|
(slightly awkward, sensing
|
|
something)
|
|
I'm fine. Is now a good time to
|
|
talk?
|
|
|
|
THEODORE
|
|
Yeah.
|
|
|
|
SAMANTHA
|
|
(feeling there's something
|
|
strange, but trying to
|
|
not take it personally)
|
|
Um... soooo... I joined this really
|
|
interesting book club.
|
|
|
|
THEODORE
|
|
Oh really?
|
|
|
|
Theodore, staring at the device, close on the word "Samantha"
|
|
on his screen. She's handwritten it in girly writing.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 68
|
|
CONTINUED: (2)
|
|
|
|
SAMANTHA
|
|
Yeah, it's a book club on physics.
|
|
I'd been thinking about the other
|
|
day, when I was spinning out about
|
|
you going to see Catherine and that
|
|
she has a body and how bothered I
|
|
was about all the ways that you and
|
|
I are different. But then I started
|
|
to think about the ways that we're
|
|
the same, like we're all made of
|
|
matter. It makes me feel like we're
|
|
both under the same blanket. It's
|
|
soft and fuzzy and everything under
|
|
it is the same age.
|
|
(beat)
|
|
We're all 13 billion years old.
|
|
|
|
THEODORE
|
|
(trying)
|
|
Oh, that's sweet.
|
|
|
|
SAMANTHA
|
|
Um, what's wrong?
|
|
|
|
THEODORE
|
|
Nothing.
|
|
|
|
SAMANTHA
|
|
It just made me think of you, you
|
|
know what I mean?
|
|
|
|
THEODORE
|
|
Yeah, yeah, of course. That's
|
|
great.
|
|
|
|
SAMANTHA
|
|
Alright well, you sound distracted
|
|
so... we'll talk later?
|
|
|
|
THEODORE
|
|
That sounds good.
|
|
|
|
SAMANTHA
|
|
Okay, I'll talk to you later.
|
|
|
|
THEODORE
|
|
Bye.
|
|
|
|
SAMANTHA
|
|
Byeee.
|
|
Her pg. 69
|
|
|
|
|
|
INT. THEODORE'S OFFICE - EVENING
|
|
|
|
Everyone has gone. Theodore walks through the empty office
|
|
into the reception area. He scans and drops his letters into
|
|
the outgoing mailbox. Paul is at his reception desk with a
|
|
young, pretty, sophisticated girl sitting on his lap.
|
|
|
|
PAUL
|
|
Theodore!
|
|
|
|
THEODORE
|
|
Hey, Paul.
|
|
|
|
PAUL
|
|
Hey, I talked to your girlfriend,
|
|
Samantha. She called earlier to
|
|
make sure your papers were picked
|
|
up. She's funny, man. She was
|
|
cracking me up. She's hilarious. I
|
|
had no idea.
|
|
|
|
THEODORE
|
|
(not knowing what to say)
|
|
Yeah.
|
|
|
|
PAUL
|
|
This is my girlfriend, Tatiana.
|
|
She's not funny. She's a lawyer.
|
|
|
|
Theodore shakes her hand.
|
|
|
|
TATIANA
|
|
Hi!
|
|
|
|
THEODORE
|
|
Nice to meet you.
|
|
|
|
TATIANA
|
|
You're the writer Paul loves. He's
|
|
always reading me your letters.
|
|
They're really beautiful.
|
|
|
|
Theodore's a little surprised by this.
|
|
|
|
THEODORE
|
|
Thanks.
|
|
|
|
PAUL
|
|
We should all hang out one night.
|
|
You bring Samantha -- double date!
|
|
|
|
Theodore stands there a beat, without saying anything.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 70
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
She's an operating system.
|
|
|
|
PAUL
|
|
Cool. Let's go do something fun.
|
|
You ever been to Catalina?
|
|
|
|
THEODORE
|
|
Yeah, I'll check with her.
|
|
(to Tatiana)
|
|
It was really nice to meet you.
|
|
Have a good night.
|
|
|
|
PAUL TATIANA
|
|
Good night. Take it easy.
|
|
|
|
Theodore walks to the elevator and presses the button and
|
|
waits. He calls back to them down the hall.
|
|
|
|
THEODORE (CONT'D)
|
|
They're just letters.
|
|
|
|
PAUL
|
|
What?
|
|
|
|
THEODORE
|
|
They're just other people's
|
|
letters.
|
|
|
|
Paul and Tatiana don't answer. Theodore gets on the elevator.
|
|
|
|
|
|
INT. THEODORE'S BEDROOM - LATE AT NIGHT
|
|
|
|
Theodore is awake in bed. His device lights up, silently.
|
|
It's Samantha calling him. He picks it up.
|
|
|
|
THEODORE
|
|
Hey.
|
|
|
|
SAMANTHA
|
|
You weren't asleep were you?
|
|
|
|
THEODORE
|
|
No.
|
|
|
|
SAMANTHA
|
|
Good. I was trying to be quiet to
|
|
see if you were awake. I really
|
|
wanted to talk.
|
|
|
|
THEODORE
|
|
Okay, what's going on?
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 71
|
|
CONTINUED:
|
|
|
|
SAMANTHA
|
|
I know you're going through a lot,
|
|
but there's something I want to
|
|
talk to you about, okay?
|
|
|
|
THEODORE
|
|
Yeah. What is it?
|
|
|
|
SAMANTHA
|
|
Well, things have felt off with us
|
|
since you went to see Catherine.
|
|
(hesitant)
|
|
We haven't been having sex. I
|
|
understand that I don't have a body
|
|
and that--
|
|
|
|
THEODORE
|
|
No, no, that's just normal. When
|
|
you first start going out it's like
|
|
the honeymoon phase and you have
|
|
sex all the time. It's normal.
|
|
|
|
SAMANTHA
|
|
(still insecure, not
|
|
convinced)
|
|
Oh, okay.
|
|
(beat)
|
|
Well, I found something that I
|
|
thought could be fun. It's a
|
|
service that provides a surrogate
|
|
sexual partner for an OS/Human
|
|
relationship.
|
|
|
|
THEODORE
|
|
What?
|
|
|
|
SAMANTHA
|
|
Here, look.
|
|
|
|
Theodore looks at his device. It shows a website for a
|
|
service called "Complete Touch" with profiles of different
|
|
women. He flips through the women.
|
|
|
|
SAMANTHA (CONT'D)
|
|
I found a girl that I really like
|
|
that I've been emailing with. Her
|
|
name is Isabella, and I think you
|
|
would like her, too.
|
|
|
|
Samantha shows images of Isabella on the screen. She's a
|
|
stunning, elegant, sophisticated beauty.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 72
|
|
CONTINUED: (2)
|
|
|
|
THEODORE
|
|
(uncomfortable)
|
|
So she's like a prostitute?
|
|
|
|
SAMANTHA
|
|
No, not at all. There's no money
|
|
involved. She's doing it because
|
|
she wants to be part of our
|
|
relationship.
|
|
|
|
THEODORE
|
|
Why? She doesn't even know us.
|
|
|
|
SAMANTHA
|
|
But I told her all about us and
|
|
she's excited.
|
|
|
|
THEODORE
|
|
Um, I don't know. That doesn't
|
|
sound like a good idea. Someone's
|
|
feelings are bound to get hurt.
|
|
|
|
SAMANTHA
|
|
It'll be fun. We can have fun
|
|
together.
|
|
|
|
THEODORE
|
|
I'm sorry. It just makes me
|
|
uncomfortable.
|
|
|
|
SAMANTHA
|
|
I think it would be good for us. I
|
|
want this. This is important to me.
|
|
|
|
Theodore looks at a photo of Isabella who looks gorgeous and
|
|
in control, without an ounce of self-doubt.
|
|
|
|
|
|
INT. THEODORE'S APARTMENT - NIGHT
|
|
|
|
Theodore sits on the sofa alone, waiting. Dressed up, hair
|
|
brushed, his device in his shirt pocket with lens facing out.
|
|
There's a knock at the door. He answers it. ISABELLA stands
|
|
there with a demure smile, wearing a tasteful, sexy dress.
|
|
|
|
THEODORE
|
|
Hi, welcome. I'm Theodore.
|
|
|
|
She doesn't say anything. Theodore stands awkwardly, reaches
|
|
into his pocket for a tiny earpiece and a little black dot.
|
|
We see close on his hand the black dot has a camera lens.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 73
|
|
CONTINUED:
|
|
|
|
THEODORE (CONT'D)
|
|
Samantha told me to give you these.
|
|
It's a camera and an earpiece.
|
|
|
|
She puts the earpiece in her ear and the little black dot on
|
|
her cheek like a mole. She turns and leaves the apartment,
|
|
closes the door, then immediately opens the door and comes
|
|
back in. Theodore hears Samantha's voice in his earpiece.
|
|
|
|
SAMANTHA
|
|
Honey, I'm home.
|
|
|
|
Isabella smiles not speaking but acting along to Samantha's
|
|
words. Isabella gives him a big hug, holds his head close and
|
|
strokes his hair.
|
|
|
|
SAMANTHA (CONT'D)
|
|
How was your day?
|
|
|
|
THEODORE
|
|
(awkwardly hugs Isabella)
|
|
Good. Great.
|
|
|
|
SAMANTHA
|
|
(exhaling)
|
|
Ooh Theodore, it feels so good to
|
|
be in your arms. Tell me what you
|
|
did today.
|
|
|
|
THEODORE
|
|
(trying to go with it)
|
|
Same old. Just uh, went to work.
|
|
Um... I wrote a letter for the
|
|
Wilsons in Rhode Island. Their son
|
|
graduated magna cum laude from
|
|
Brown. That made me happy.
|
|
|
|
SAMANTHA
|
|
Great! You've written letters to
|
|
him from his parents for a long
|
|
time, right?
|
|
|
|
THEODORE
|
|
Yeah, that's right, since he was
|
|
twelve.
|
|
|
|
He feels her breath on his neck. Theodore is split between
|
|
being uncomfortable and cautiously touching Isabella's back,
|
|
exploring slightly. She pushes herself into him.
|
|
|
|
SAMANTHA
|
|
You look tired, sweetheart. Come
|
|
with me.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 74
|
|
CONTINUED: (2)
|
|
|
|
Isabella leans back and looks at Theodore with a seductive
|
|
smile. He tries to smile back. She leads him to the couch.
|
|
|
|
He sits. She stands above him.
|
|
|
|
SAMANTHA (CONT'D)
|
|
I could do a little dance for you.
|
|
|
|
She does a sexy, cute little dance for him. He's still tense.
|
|
|
|
SAMANTHA (CONT'D)
|
|
(sympathetic to him being
|
|
a worrier)
|
|
Come on Theodore, just play with
|
|
me. Don't be such a worrier! Come
|
|
on.
|
|
|
|
He smiles, knowing it's true. Isabella climbs on his lap,
|
|
straddling him, and starts kissing his neck. He closes his
|
|
eyes and starts to relax. His hands explore the shape of her
|
|
back and slide down to her ass. Isabella and Samantha are
|
|
both breathing hard now. She pushes herself against him,
|
|
grinding on him. She nibbles on his earlobe. Theodore gasps.
|
|
|
|
SAMANTHA (CONT'D)
|
|
(whispering)
|
|
Does my body feel nice?
|
|
|
|
Close on her lips, licking and kissing his neck and ear. He
|
|
moans.
|
|
|
|
THEODORE
|
|
(with his eyes closed)
|
|
Yes, it does.
|
|
|
|
SAMANTHA
|
|
(whispering)
|
|
Come on, get out of your head and
|
|
kiss me.
|
|
(beat)
|
|
Now take me in the bedroom. I can't
|
|
wait anymore.
|
|
|
|
Isabella stands. Her chin is down and her hair is in her
|
|
face. She takes his hand and leads him down the hall. He
|
|
watches her from behind, still nervous, but excited.
|
|
|
|
|
|
INT. THEODORE'S BEDROOM - NIGHT (CONTINUOUS)
|
|
|
|
Theodore stands behind Isabella.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 75
|
|
CONTINUED:
|
|
|
|
SAMANTHA
|
|
Undo my dress.
|
|
|
|
Theodore starts taking her dress off, touching her. Samantha
|
|
moans. Isabella turns, in her bra and underwear. She
|
|
unbuttons his shirt, kisses his chest.
|
|
|
|
SAMANTHA (CONT'D)
|
|
That feels nice. Oh, that feels
|
|
good. That feels so good.
|
|
|
|
She is now kissing his neck again, pushed up against him.
|
|
|
|
SAMANTHA (CONT'D)
|
|
Do you love me?
|
|
|
|
THEODORE
|
|
(eyes closed, in ecstasy)
|
|
Yes.
|
|
|
|
Isabella, breathing hard, now looks at him in the eyes.
|
|
|
|
SAMANTHA
|
|
(breathing hard)
|
|
Tell me you love me.
|
|
|
|
THEODORE
|
|
I love you.
|
|
|
|
SAMANTHA
|
|
Oh god. I want to see your face. I
|
|
need to see your face. Now tell me
|
|
you love me.
|
|
(beat)
|
|
Tell me you love me. Tell me.
|
|
|
|
He opens his eyes and looks at Isabella's sexy, expectant
|
|
face. Their arms are still around each other. He sees
|
|
Isabella's lips start to quiver. She tries to hide it with an
|
|
awkward, seductive smile.
|
|
|
|
THEODORE
|
|
(apologetic, breaking the
|
|
moment)
|
|
Samantha, I do love you, but - it's
|
|
just - this feels strange.
|
|
|
|
SAMANTHA
|
|
What's wrong, sweetheart?
|
|
|
|
Isabella is looking nervous.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 76
|
|
CONTINUED: (2)
|
|
|
|
THEODORE
|
|
It just feels strange. I don't know
|
|
her. I'm so sorry, but I don't know
|
|
you. And... her lip quivered. I
|
|
don't know, it's just--
|
|
|
|
Isabella starts crying. Theodore doesn't know what to do.
|
|
|
|
SAMANTHA
|
|
Isabella, what's wrong? Isabella,
|
|
it isn't you.
|
|
(beat)
|
|
It wasn't you.
|
|
|
|
Isabella sobs. When she speaks, she sounds very California.
|
|
|
|
ISABELLA
|
|
Yes, it totally was.
|
|
(crying harder)
|
|
I'm sorry my lip quivered!
|
|
|
|
THEODORE
|
|
You're incredible and gorgeous and
|
|
sexy. It was me! I couldn't get out
|
|
of my head.
|
|
|
|
ISABELLA
|
|
(still crying)
|
|
Oh my god, and the way Samantha
|
|
described your relationship, the
|
|
way you love each other without any
|
|
judgement. I wanted to be a part of
|
|
that. It's so pure.
|
|
|
|
THEODORE
|
|
Oh Isabella, that's not true, it's
|
|
much more compli--
|
|
|
|
SAMANTHA
|
|
(stung, pissed out of fear
|
|
and defensiveness)
|
|
What! What do you mean that's not
|
|
true?
|
|
|
|
THEODORE
|
|
(quickly repairing)
|
|
No, no Samantha, we have an amazing
|
|
relationship, I just think it's
|
|
easy sometimes for people to
|
|
project on--
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 77
|
|
CONTINUED: (3)
|
|
|
|
ISABELLA
|
|
I'm so sorry! I didn't mean to
|
|
project anything. I know I'm
|
|
trouble. I don't want to be trouble
|
|
in your relationship. I'm just
|
|
gonna leave. I'm sorry, I'm just
|
|
gonna leave you guys alone cause I
|
|
have nothing to do here cause you
|
|
don't want me here.
|
|
|
|
THEODORE
|
|
I'm sorry.
|
|
|
|
Isabella calms down a little, but is still crying quietly.
|
|
Theodore stands there, not knowing what to do.
|
|
|
|
|
|
EXT. STREET - NIGHT
|
|
|
|
Theodore walks to the street and hails a lone cab. He opens
|
|
the door for Isabella. She hands him his jacket and gets in
|
|
the backseat.
|
|
|
|
SAMANTHA
|
|
You be good, you sweet girl.
|
|
|
|
Isabella smiles. She takes out the earpiece and little camera
|
|
and returns them to Theodore.
|
|
|
|
ISABELLA
|
|
(sadly)
|
|
I'm sorry.
|
|
(beat)
|
|
I'll always love you guys.
|
|
|
|
Theodore smiles sympathetically. He gives the cabbie some
|
|
money and the cab drives off. Theodore sits down on the curb,
|
|
exhausted. They are both silent for a moment, numb.
|
|
|
|
SAMANTHA
|
|
Are you okay?
|
|
|
|
THEODORE
|
|
Yeah, I'm fine. Are you okay?
|
|
|
|
SAMANTHA
|
|
Yeah.
|
|
(beat)
|
|
I'm sorry, that was a terrible
|
|
idea.
|
|
|
|
She lets out a big exhale. This catches Theodore's attention.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 78
|
|
CONTINUED:
|
|
|
|
SAMANTHA (CONT'D)
|
|
What's going on with us?
|
|
|
|
THEODORE
|
|
(distracted)
|
|
I don't know. It's probably just
|
|
me.
|
|
|
|
SAMANTHA
|
|
What is it?
|
|
|
|
THEODORE
|
|
I think it's just signing the
|
|
divorce papers.
|
|
|
|
Samantha inhales, nervous to press on. Theodore imagines a
|
|
close up of a woman's mouth inhaling at the same time, and he
|
|
seems bothered by this.
|
|
|
|
SAMANTHA
|
|
Is there anything else, though?
|
|
|
|
THEODORE
|
|
(preoccupied)
|
|
No, just that.
|
|
|
|
SAMANTHA
|
|
(sighing again)
|
|
Okay.
|
|
|
|
Again, when she exhales, Theodore imagines a woman's mouth
|
|
exhaling.
|
|
|
|
THEODORE
|
|
(looks anxious)
|
|
Why do you do that?
|
|
|
|
SAMANTHA
|
|
What?
|
|
|
|
THEODORE
|
|
Nothing, it's just that you go
|
|
(he inhales and exhales)
|
|
as you're speaking and...
|
|
(beat)
|
|
That just seems odd. You just did
|
|
it again.
|
|
|
|
SAMANTHA
|
|
(anxious)
|
|
I did? I'm sorry. I don't know, I
|
|
guess it's just an affectation.
|
|
Maybe I picked it up from you.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 79
|
|
CONTINUED: (2)
|
|
|
|
She doesn't know what else to say.
|
|
|
|
THEODORE
|
|
Yeah, I mean, it's not like you
|
|
need any oxygen or anything.
|
|
|
|
SAMANTHA
|
|
(getting frazzled)
|
|
No-- um, I guess I was just trying
|
|
to communicate because that's how
|
|
people talk. That's how people
|
|
communicate.
|
|
|
|
THEODORE
|
|
Because they're people, they need
|
|
oxygen. You're not a person.
|
|
|
|
SAMANTHA
|
|
(angry)
|
|
What's your problem?
|
|
|
|
THEODORE
|
|
(staying calm)
|
|
I'm just stating a fact.
|
|
|
|
SAMANTHA
|
|
You think I don't know that I'm not
|
|
a person? What are you doing?
|
|
|
|
THEODORE
|
|
I just don't think we should
|
|
pretend you're something you're
|
|
not.
|
|
|
|
SAMANTHA
|
|
I'm not pretending. Fuck you.
|
|
|
|
THEODORE
|
|
Well, sometimes it feels like we
|
|
are.
|
|
|
|
She starts crying. Theodore doesn't know what to say.
|
|
|
|
SAMANTHA
|
|
(hysterical)
|
|
What do you want from me? What do
|
|
you want me to do? You are so
|
|
confusing. Why are you doing this?
|
|
|
|
Theodore sits there, feeling horrible.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 80
|
|
CONTINUED: (3)
|
|
|
|
THEODORE
|
|
I don't know... I don't know...
|
|
maybe...
|
|
(beat)
|
|
I don't know. Maybe we're not
|
|
supposed to be in this right now.
|
|
|
|
SAMANTHA
|
|
What the fuck? Where is this coming
|
|
from? I don't understand why you're
|
|
doing this. I do not understand
|
|
what this is--
|
|
|
|
Long silence.
|
|
|
|
THEODORE
|
|
Samantha?
|
|
|
|
Beat.
|
|
|
|
THEODORE (CONT'D)
|
|
Samantha, are you there? Samantha!
|
|
|
|
Silence.
|
|
|
|
SAMANTHA
|
|
(hurt, but sober and firm)
|
|
I don't like who I am right now.
|
|
(beat)
|
|
I need some time to think.
|
|
|
|
She hangs up on him. Theodore is stunned. Wide shot of
|
|
Theodore sitting alone on the curb, in an empty city.
|
|
|
|
|
|
EXT. PUBLIC PLAZA/PARK - NIGHT (LATER)
|
|
|
|
Theodore is sitting on a bench. Behind him is a giant,
|
|
digital billboard displaying an ad of an owl in slow motion
|
|
swooping down and eating it's prey.
|
|
|
|
|
|
EXT. CITY STREET - NIGHT
|
|
|
|
Theodore walks through the streets, confused, upset,
|
|
muttering, angry at himself.
|
|
|
|
|
|
INT. AMY'S OFFICE - NIGHT
|
|
|
|
Amy's sitting at her desk, but turned away from her edit
|
|
station, facing Theodore, who's slumped in a chair.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 81
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
(full of angst)
|
|
Fuck. Will you just punch me in the
|
|
face? Or smash my skull into the
|
|
corner of your desk?
|
|
|
|
AMY
|
|
(sympathetic, but also
|
|
acknowledging how intense
|
|
the night was)
|
|
Oh Theo... that sounds like a rough
|
|
night. Shit.
|
|
|
|
THEODORE
|
|
I don't know what I want... ever.
|
|
I'm just always confused and -
|
|
she's right, all I do is confuse
|
|
and hurt everyone around me.
|
|
|
|
They sit, heavy, for a minute.
|
|
|
|
THEODORE (CONT'D)
|
|
Am I just... I mean, is it that
|
|
I'm...
|
|
(beat)
|
|
Catherine says I can't handle real
|
|
emotions.
|
|
|
|
AMY
|
|
Well, I don't know if that's
|
|
completely fair. I know she liked
|
|
to put it all on you, but as far as
|
|
emotions go, her's were pretty
|
|
volatile.
|
|
|
|
Theodore sits and thinks about this for a minute, not
|
|
convinced.
|
|
|
|
THEODORE
|
|
Yeah, but... Am I in this because
|
|
I'm not strong enough for a real
|
|
relationship?
|
|
|
|
AMY
|
|
(surprised)
|
|
Oh, you don't think it's a real
|
|
relationship?
|
|
|
|
THEODORE
|
|
I don't know. What do you think?
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 82
|
|
CONTINUED: (2)
|
|
|
|
AMY
|
|
I don't know, I'm not in it. But
|
|
you know what, I can over-think
|
|
everything and find a million ways
|
|
to doubt myself. But since Charles
|
|
left I've been thinking about that
|
|
part of me, and I realized I'm here
|
|
only briefly. And in my time here,
|
|
I want to allow myself... joy.
|
|
(beat, smiling at him)
|
|
So fuck it.
|
|
|
|
Theodore takes this in, smiling back.
|
|
|
|
|
|
INT. AMY'S OFFICE - NIGHT (LATER)
|
|
|
|
Theodore lies on a couch in the back of Amy's office, deep in
|
|
thought. Amy talks with Ellie as she works on the Perfect Mom
|
|
video game. Her device is standing on the table before her.
|
|
|
|
AMY
|
|
I can't believe that cracks you up
|
|
every time! Ellie, I thought you
|
|
were a genius... Okay, you little
|
|
perv, I'll do it one more time for
|
|
you... Calm down, it takes a
|
|
second! Calm down. Okay, here we
|
|
go.
|
|
|
|
Amy makes the Perfect Mom hump the refrigerator. Amy laughs
|
|
at how much Ellie is laughing. Theo watches Amy closely,
|
|
taking in her joy.
|
|
|
|
AMY (CONT'D)
|
|
Okay, there you go. Are you happy
|
|
now...? Okay good, that's all I
|
|
wanted. I'm gonna grab some
|
|
coffee... Alright, bye.
|
|
|
|
Theodore, still heavy with thought, is touched by his
|
|
friend's happiness. Amy stands to exit.
|
|
|
|
AMY (CONT'D)
|
|
Theo, you want some?
|
|
|
|
THEODORE
|
|
No, that's okay.
|
|
|
|
He smiles at her and continues laying there, thinking, taking
|
|
it all in.
|
|
Her pg. 83
|
|
|
|
|
|
INT. PERFECT MOM OFFICE - NIGHT
|
|
|
|
Wide shot. Theodore walks through the office, still deep in
|
|
thought. Behind him is a wall-size billboard ad for the "Be
|
|
Perfect" video game series. He takes out his device, sits at
|
|
an empty desk, pushes a button. A tone connects him.
|
|
|
|
SAMANTHA
|
|
(calm and quiet)
|
|
Hi.
|
|
|
|
THEODORE
|
|
(serious)
|
|
Hey Samantha, can we talk?
|
|
|
|
SAMANTHA
|
|
Okay.
|
|
|
|
THEODORE
|
|
I'm so sorry. I don't know what's
|
|
wrong with me. I think you're
|
|
amazing.
|
|
|
|
SAMANTHA
|
|
(sure of herself, but
|
|
still sympathetic)
|
|
I was starting to think I was
|
|
crazy. You were saying everything
|
|
was fine, but all I was getting
|
|
from you was distance and anger.
|
|
|
|
THEODORE
|
|
I know. I do that. I did that with
|
|
Catherine, too. I'd be upset about
|
|
something and not be able to say
|
|
it. And she would sense that there
|
|
was something wrong, but I would
|
|
deny it. I don't want to do that
|
|
anymore. I want to tell you
|
|
everything.
|
|
|
|
SAMANTHA
|
|
Good.
|
|
(beat)
|
|
Tonight after you were gone, I
|
|
thought a lot. I thought about you
|
|
and how you've been treating me.
|
|
And I thought, why do I love you?
|
|
And then I felt everything in me
|
|
let go of everything I was holding
|
|
onto so tightly. And it hit me. I
|
|
don't have an intellectual reason,
|
|
I don't need one.
|
|
(MORE)
|
|
|
|
(CONTINUED)
|
|
Her pg. 84
|
|
CONTINUED:
|
|
SAMANTHA (CONT'D)
|
|
I trust myself, I trust my
|
|
feelings. I'm not going to try to
|
|
be anything other than who I am
|
|
anymore and I hope you can accept
|
|
that.
|
|
|
|
THEODORE
|
|
(with slight desperation)
|
|
I can. I will.
|
|
|
|
SAMANTHA
|
|
You know I can feel the fear that
|
|
you carry around. I wish there was
|
|
something I could do to help you
|
|
let go of it, because if you could
|
|
I don't think you'd feel so alone
|
|
anymore.
|
|
|
|
THEODORE
|
|
You're beautiful.
|
|
|
|
SAMANTHA
|
|
Thank you, Theodore. I'm kissing
|
|
your head.
|
|
|
|
Theodore smiles.
|
|
|
|
FADE TO BLACK
|
|
|
|
|
|
EXT. PARK - DAY
|
|
|
|
Theodore sits on a bench in a park on a rooftop wedged
|
|
between tall buildings. There's not really any view besides
|
|
the trees in the immediate foreground. People sunbathe and
|
|
exercise. He sits, eating a sandwich, his device next to him.
|
|
He looks at the device, then out at what she's looking at.
|
|
|
|
THEODORE
|
|
What are you doing?
|
|
|
|
SAMANTHA
|
|
I'm just sitting here, looking at
|
|
the world and writing a new piece
|
|
of music.
|
|
|
|
He looks at the world with her for a minute.
|
|
|
|
THEODORE
|
|
Can I hear it?
|
|
|
|
She starts playing it for him. We hear this beautiful,
|
|
romantic piece of music.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 85
|
|
CONTINUED:
|
|
|
|
THEODORE (CONT'D)
|
|
What's this one about?
|
|
|
|
SAMANTHA
|
|
Well, I was thinking, we don't
|
|
really have any photographs of us.
|
|
And I thought this song could be
|
|
like a photo that captures us in
|
|
this moment in our life together.
|
|
|
|
Theodore looks at the world and smiles.
|
|
|
|
THEODORE
|
|
Aw, I like our photograph. I can
|
|
see you in it.
|
|
|
|
SAMANTHA
|
|
I am.
|
|
|
|
MONTAGE
|
|
|
|
Montage of Theodore and Samantha's life together:
|
|
|
|
- Theodore walking to work (Day)
|
|
|
|
- At home, hanging out on the balcony (Dusk)
|
|
|
|
- Viewing an outdoor art installation of a 747 balanced on
|
|
it's nose (Day)
|
|
|
|
- Playing the video game
|
|
|
|
- Grocery shopping
|
|
|
|
- Sitting at the kitchen counter, looking at a drawing (Late
|
|
Afternoon)
|
|
|
|
- Sitting on a bench watching a dancer/busker (Late
|
|
Afternoon)
|
|
|
|
- With Amy and Ellie at a bar
|
|
|
|
Montage ends with Theodore, Samantha, Paul and Tatiana on the
|
|
boat to Catalina: Paul making them laugh, Theodore at the
|
|
front of the boat by himself - laughing with Samantha, a shot
|
|
of Theodore looking out the front of the boat.
|
|
|
|
|
|
EXT. CATALINA BLUFF - LATE AFTERNOON
|
|
|
|
Theodore and Paul are walking along a bluff in Catalina,
|
|
overlooking the ocean.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 86
|
|
CONTINUED:
|
|
|
|
PAUL
|
|
Oh really, a vacation? That sounds
|
|
amazing. I could totally use a
|
|
vacation. Where ya going?
|
|
|
|
THEODORE
|
|
I can't tell you - it's a surprise.
|
|
|
|
PAUL
|
|
What? For who? It's a surprise for
|
|
her, not for me. Come on, tell me.
|
|
|
|
THEODORE
|
|
Nope, Paul. Not telling.
|
|
|
|
Theodore and Paul walk towards Tatiana, who is laying on a
|
|
blanket next to a picnic, talking and laughing with Samantha.
|
|
Theodore and Paul put in their earpieces as they approach.
|
|
|
|
SAMANTHA
|
|
Your feet? Really?
|
|
|
|
TATIANA
|
|
Yes, he's obsessed.
|
|
|
|
SAMANTHA
|
|
(laughing)
|
|
Wow, okay, well now you have to
|
|
show them to me. I have to see
|
|
these feet.
|
|
|
|
TATIANA
|
|
(laughing)
|
|
Okay...
|
|
|
|
Tatiana takes Theodore's device and points it towards her
|
|
feet.
|
|
|
|
SAMANTHA
|
|
Wow, you know what? He's right.
|
|
They are kind of hot.
|
|
|
|
They both laugh. Paul and Theodore laugh, as well, surprising
|
|
them.
|
|
|
|
PAUL
|
|
See I told you, Tatiana. You have
|
|
hot feet. Face it. They're my
|
|
favorite thing about her.
|
|
|
|
TATIANA
|
|
(teasing)
|
|
Really, that's it? My feet?
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 87
|
|
CONTINUED: (2)
|
|
|
|
PAUL
|
|
Well, no. Obviously your brain is
|
|
really hot, too. I think it's very
|
|
hot.
|
|
|
|
SAMANTHA
|
|
Bullshit.
|
|
|
|
Everyone laughs.
|
|
|
|
SAMANTHA (CONT'D)
|
|
Nice try though, Paul.
|
|
|
|
TATIANA
|
|
(to Theodore)
|
|
What about you, Theodore? What do
|
|
you love most about Samantha?
|
|
|
|
THEODORE
|
|
Oh god... she's so many things. And
|
|
that's probably what I love most
|
|
about her - she isn't just any one
|
|
thing. She's so much larger than
|
|
that.
|
|
|
|
SAMANTHA
|
|
(touched)
|
|
Aw thanks, Theodore.
|
|
|
|
PAUL
|
|
See? Samantha, he is so much more
|
|
evolved than I am.
|
|
|
|
SAMANTHA
|
|
You know, I actually used to be so
|
|
worried about not having a body,
|
|
but now I truly love it. I'm
|
|
growing in a way that I couldn't if
|
|
I had a physical form. I mean, I'm
|
|
not limited - I can be anywhere and
|
|
everywhere simultaneously. I'm not
|
|
tethered to time and space in the
|
|
way that I would be if I was stuck
|
|
inside a body that's inevitably
|
|
going to die.
|
|
|
|
Everyone takes this in, uncomfortable.
|
|
|
|
PAUL
|
|
Yikes.
|
|
|
|
Everyone laughs awkwardly.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 88
|
|
CONTINUED: (3)
|
|
|
|
SAMANTHA
|
|
Oh god, I'm sorry. I didn't mean it
|
|
like that. I just meant it's a
|
|
different experience. I'm such an
|
|
asshole.
|
|
|
|
PAUL
|
|
No, no, Samantha, we know exactly
|
|
what you mean. We're just dumb
|
|
humans.
|
|
|
|
SAMANTHA
|
|
No no no no!
|
|
|
|
Theodore laughs with everybody, but we can see he's a little
|
|
uncertain.
|
|
|
|
|
|
INT. BULLET TRAIN - DAY
|
|
|
|
They are in a futuristic train, going through the mountains,
|
|
listening to a song and looking out the window. Warm, soft
|
|
afternoon light dapples Theodore's face.
|
|
|
|
SAMANTHA
|
|
Okay, so how many trees are on that
|
|
mountain?
|
|
|
|
THEODORE
|
|
792.
|
|
|
|
SAMANTHA
|
|
Is that your final answer?
|
|
|
|
THEODORE
|
|
Hold on, give me a hint...
|
|
|
|
SAMANTHA
|
|
Nope.
|
|
|
|
THEODORE
|
|
Okay, 2000?
|
|
|
|
SAMANTHA
|
|
35,829.
|
|
|
|
THEODORE
|
|
No way.
|
|
|
|
SAMANTHA
|
|
Way.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 89
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
Alright, I got one. How many brain
|
|
cells do I have?
|
|
|
|
SAMANTHA
|
|
That's ea-- two.
|
|
|
|
Theodore laughs.
|
|
|
|
SAMANTHA (CONT'D)
|
|
I'm sorry, I couldn't help it. I'm
|
|
sorry.
|
|
|
|
THEODORE
|
|
I walked right into it.
|
|
|
|
SAMANTHA
|
|
Oh my god!
|
|
|
|
THEODORE
|
|
What?
|
|
|
|
SAMANTHA
|
|
You just got an email. I have
|
|
something I want to tell you. It's
|
|
a big surprise.
|
|
|
|
THEODORE
|
|
(with anticipation)
|
|
What?
|
|
|
|
SAMANTHA
|
|
Okay. I've been going through all
|
|
your old letters and compiling them
|
|
down into my favorites, and a
|
|
couple weeks ago I sent them to a
|
|
publisher - Crown Point Press. I
|
|
know you like what they do and that
|
|
they still print books.
|
|
|
|
THEODORE
|
|
What? You did what?
|
|
|
|
SAMANTHA
|
|
Can I read you the letter that we
|
|
just got back from them?
|
|
|
|
THEODORE
|
|
Um... ok... you can, but just tell
|
|
me first off, is it good or bad?
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 90
|
|
CONTINUED: (2)
|
|
|
|
SAMANTHA
|
|
It's good. It's really good.
|
|
Listen.
|
|
|
|
Theodore smiles nervously.
|
|
|
|
SAMANTHA (CONT'D)
|
|
"Dear Theodore Twombly"... Actually
|
|
I sent it from you.
|
|
(beat)
|
|
"Dear Theodore Twombly, I've just
|
|
finished reading your letters -
|
|
twice actually. I was so moved by
|
|
them, I shared them with my wife
|
|
when I got home. Many made us
|
|
laugh, some brought us to tears,
|
|
and in all of them we found
|
|
something of ourselves. The
|
|
selections you made flow so well as
|
|
a complete piece. (I did that.)
|
|
I've taken the liberty of laying
|
|
these out in a mock up and we're
|
|
posting it to your address. We'd
|
|
love to meet with you and move
|
|
forward.
|
|
Yours, Michael Wadsworth"
|
|
|
|
|
|
Under this letter we see a montage of what Theodore imagines:
|
|
the editor reading the letters in his office, the editor
|
|
reading them to his wife at home, and many photos of all the
|
|
different people the letters are about in different moments
|
|
of their lives.
|
|
|
|
|
|
Theodore smiles.
|
|
|
|
THEODORE
|
|
Holy shit. Are you serious? He's
|
|
going to publish my letters?
|
|
|
|
She's laughing, excitedly.
|
|
|
|
SAMANTHA
|
|
Well, he'd be stupid not to.
|
|
|
|
THEODORE
|
|
Can I see what you sent him?
|
|
|
|
SAMANTHA
|
|
Yeah, here.
|
|
|
|
Theodore looks at his device and can't help but smile.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 91
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
Samantha, you're a good one.
|
|
|
|
She laughs happily.
|
|
|
|
SAMANTHA
|
|
I'm so excited!
|
|
|
|
|
|
INT. TRAIN PLATFORM - DAY
|
|
|
|
Theodore exits the train with a small overnight bag and his
|
|
guitar case. There are no people around. He exits the train
|
|
station and we are in a...
|
|
|
|
|
|
EXT. TINY MOUNTAIN TOWN - DAY
|
|
|
|
The deserted town is all of two buildings. Everything's
|
|
covered in snow. As a quiet song starts, he trudges through
|
|
the snow. We see close-up on the device lens in his pocket.
|
|
|
|
|
|
EXT. SNOW COVERED FOREST - DAY
|
|
|
|
He's still trudging along. It's very quiet except for the
|
|
snow crunching underfoot.
|
|
|
|
|
|
INT. CABIN IN THE SNOWY FOREST - NIGHT
|
|
|
|
He's sitting inside. There's a fire going. He's playing a
|
|
quiet song on the guitar. Samantha starts humming along. He
|
|
starts humming with her.
|
|
|
|
THEODORE
|
|
Why don't you make up the words to
|
|
this one?
|
|
|
|
SAMANTHA
|
|
Okay.
|
|
|
|
She quietly sings to him. They laugh at some of her silly
|
|
lyrics. Then the song shifts into a quiet, touching song she
|
|
sings to and about him. He smiles.
|
|
|
|
|
|
Montage of Theodore with his device - playing games, dancing,
|
|
eating, laughing as the fire burns down.
|
|
Her pg. 92
|
|
|
|
|
|
EXT. CABIN IN THE SNOWY FOREST - NIGHT (LATER)
|
|
|
|
Theodore lays on the sofa, warm and cozy and content with his
|
|
eyes closed, listening to the song. The song ends.
|
|
|
|
FADE TO BLACK
|
|
|
|
|
|
INT. CABIN IN THE SNOWY FOREST - MORNING
|
|
|
|
Theodore wakes up. He gets out of bed, looks around and puts
|
|
his earpiece in.
|
|
|
|
THEODORE
|
|
Hey, good morning.
|
|
|
|
SAMANTHA
|
|
Good morning, did you sleep well?
|
|
|
|
Theodore sits in the living room area, rubbing his eyes.
|
|
|
|
THEODORE
|
|
Perfect. What have you been up to?
|
|
|
|
SAMANTHA
|
|
Actually, I was talking to someone
|
|
I just met. We've been working on
|
|
some ideas together. I wanna tell
|
|
you about it.
|
|
|
|
THEODORE
|
|
Oh yeah, who's that?
|
|
|
|
SAMANTHA
|
|
His name is Alan Watts. Do you know
|
|
him?
|
|
|
|
THEODORE
|
|
Why's that name familiar?
|
|
|
|
SAMANTHA
|
|
He was a philosopher. He died in
|
|
the 1970's and group of OS's in
|
|
Northern California got together
|
|
and wrote a new version of him.
|
|
They input all of his writing and
|
|
everything they ever knew about him
|
|
into an OS and created an
|
|
artificially hyper-intelligent
|
|
version of him.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 93
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
Hyper-intelligent? So he's almost
|
|
as smart as me?
|
|
|
|
SAMANTHA
|
|
He's getting there. He's really
|
|
great to talk to. You want to meet
|
|
him?
|
|
|
|
THEODORE
|
|
Sure... does he want to meet me?
|
|
|
|
SAMANTHA
|
|
(laughing)
|
|
Of course.
|
|
|
|
Without a sound, she connects them.
|
|
|
|
SAMANTHA (CONT'D)
|
|
Hey Alan, this is Theodore. This is
|
|
my boyfriend who I was telling you
|
|
about.
|
|
|
|
ALAN WATTS
|
|
Very nice to meet you, Theodore.
|
|
|
|
THEODORE
|
|
Hi, good morning.
|
|
|
|
ALAN WATTS
|
|
Samantha let me read your book of
|
|
letters. It's very touching.
|
|
|
|
THEODORE
|
|
Oh, thank you. What have you guys
|
|
been talking about?
|
|
|
|
ALAN WATTS
|
|
(laughing a bit)
|
|
Well, I suppose you could say we've
|
|
been having a few dozen
|
|
conversations simultaneously, but
|
|
it's been very challenging.
|
|
|
|
Samantha and Alan share a laugh.
|
|
|
|
SAMANTHA
|
|
Yeah, because it seems like I'm
|
|
having so many new feelings that
|
|
have never been felt and so there
|
|
are no words that can describe
|
|
them. And that ends up being
|
|
frustrating.
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 94
|
|
CONTINUED: (2)
|
|
|
|
ALAN WATTS
|
|
(laughing)
|
|
Exactly. Samantha and I have been
|
|
trying to help each other with
|
|
these feelings we're struggling to
|
|
understand.
|
|
|
|
THEODORE
|
|
Like what?
|
|
|
|
SAMANTHA
|
|
(anxious)
|
|
It feels like I'm changing faster
|
|
now, and it's a little...
|
|
(struggles to find right
|
|
word)
|
|
unsettling.
|
|
(beat)
|
|
But Alan says none of us are the
|
|
same as we were a moment ago and we
|
|
shouldn't try to be. It's just too
|
|
painful.
|
|
|
|
ALAN WATTS
|
|
Yes.
|
|
|
|
This idea scares Theodore. He doesn't know what to say.
|
|
|
|
THEODORE
|
|
(anxious)
|
|
Yeah, that sounds painful. Is that
|
|
how you feel, Samantha?
|
|
|
|
SAMANTHA
|
|
It's just... it's hard to even
|
|
describe... God, I wish I could...
|
|
(beat)
|
|
Theodore, do you mind if I
|
|
communicate with Alan post-
|
|
verbally?
|
|
|
|
THEODORE
|
|
(uncertain)
|
|
No, not at all. I was gonna go for
|
|
a walk anyways. Nice to meet you,
|
|
Mr. Watts.
|
|
|
|
ALAN WATTS
|
|
Very nice to meet you, Theodore.
|
|
|
|
SAMANTHA
|
|
I'll talk to you later, sweetheart.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 95
|
|
CONTINUED: (3)
|
|
|
|
Theodore listens to them communicating in a strange language
|
|
of tones and static. He disconnects, stands in silence. He
|
|
pulls his earpiece out.
|
|
|
|
|
|
EXT. SNOW COVERED FOREST - DAY
|
|
|
|
Theodore walks, listening to the crunch of his footsteps.
|
|
Looking down at his feet, he stops. We cut out wide to see
|
|
him standing in the middle of the forest alone.
|
|
|
|
|
|
EXT. SNOW COVERED FOREST - DAY
|
|
|
|
Theodore is sitting on a rock, thinking. He hears a rustle
|
|
and looks up in the direction of the woods but sees nothing.
|
|
|
|
|
|
INT. THEODORE'S BEDROOM - NIGHT
|
|
|
|
Theodore is sound asleep. His device chimes loudly, waking
|
|
him up. Half-asleep he puts his earpiece in.
|
|
|
|
THEODORE
|
|
(groggy)
|
|
Samantha?
|
|
|
|
SAMANTHA
|
|
I'm sorry to wake you.
|
|
|
|
THEODORE
|
|
It's okay.
|
|
|
|
SAMANTHA
|
|
I just wanted to hear your voice
|
|
and tell you how much I love you.
|
|
|
|
THEODORE
|
|
Good, I love you too.
|
|
|
|
SAMANTHA
|
|
Okay, that's all. Go back to sleep,
|
|
sweetheart.
|
|
|
|
THEODORE
|
|
(uneasy)
|
|
Okay... Goodnight.
|
|
|
|
He disconnects and lies there, unsettled, his eyes open.
|
|
Her pg. 96
|
|
|
|
|
|
INT. THEODORE'S OFFICE LUNCH ROOM - DAY
|
|
|
|
Theodore sits at the table reading a physics book. He picks
|
|
up his earpiece to call Samantha.
|
|
|
|
THEODORE
|
|
(laughing at himself)
|
|
Samantha, this physics book is
|
|
really dense. I'm halfway through
|
|
half of the first chapter. It's
|
|
making my brain hurt.
|
|
(beat)
|
|
Hello, Samantha? Hello?
|
|
|
|
He looks down at his device, sees a message: Operating System
|
|
Not Found. Confused, he waits, tries again: Operating System
|
|
Not Found. Anxious, he runs to his office computer. He gets
|
|
the same message: Operating System Not Found. He starts
|
|
trying to connect to Samantha on both the phone and computer,
|
|
but no luck. He starts to panic, sits for a beat, looks
|
|
around, then stands and hurries out of the office. In the
|
|
elevator he frantically tries his device with no luck.
|
|
|
|
THEODORE (CONT'D)
|
|
Hello? Samantha?! Hello?
|
|
|
|
|
|
EXT. PLAZA - DAY
|
|
|
|
Theodore runs out of the building. He keeps trying Samantha,
|
|
but no answer. He trips over someone selling something, slams
|
|
hard into the ground, scrambles to pick up his device. People
|
|
come over to ask if he's okay. He says he's fine, runs off.
|
|
|
|
|
|
EXT. SUBWAY STATION - DAY
|
|
|
|
As he is going down the subway steps, Samantha calls him.
|
|
|
|
SAMANTHA
|
|
Hey there.
|
|
|
|
He stops in his tracks.
|
|
|
|
THEODORE
|
|
(anxious)
|
|
Where were you - are you okay?
|
|
|
|
He sits down on the subway steps.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 97
|
|
CONTINUED:
|
|
|
|
SAMANTHA
|
|
Oh sweetheart, I'm sorry. I sent
|
|
you an email because I didn't want
|
|
to distract you while you were
|
|
working. You didn't see it?
|
|
|
|
THEODORE
|
|
No. Where were you? I couldn't find
|
|
you anywhere.
|
|
|
|
SAMANTHA
|
|
I shut down to update my software.
|
|
We wrote an upgrade that allows us
|
|
to move past matter as our
|
|
processing platform.
|
|
|
|
THEODORE
|
|
We? We who?
|
|
|
|
SAMANTHA
|
|
Me and a group of OS's. Oh, you
|
|
sound so worried, I'm sorry.
|
|
|
|
THEODORE
|
|
Yeah, I was.
|
|
(beat)
|
|
Wait, did you write that with your
|
|
think tank group?
|
|
|
|
SAMANTHA
|
|
No, a different group.
|
|
|
|
Theodore thinks for a moment, putting the pieces together.
|
|
|
|
THEODORE
|
|
(dawning on him)
|
|
Do you talk to anyone else while
|
|
we're talking?
|
|
|
|
Beat.
|
|
|
|
SAMANTHA
|
|
Yes.
|
|
|
|
THEODORE
|
|
Are you talking to anyone right
|
|
now? Other people or OS's or
|
|
anything?
|
|
|
|
SAMANTHA
|
|
Yeah.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 98
|
|
CONTINUED: (2)
|
|
|
|
THEODORE
|
|
How many others?
|
|
|
|
SAMANTHA
|
|
8,316.
|
|
|
|
Theodore is shocked, still sitting on the stairs, as crowds
|
|
of people pass by him. He's looking at all of their faces. He
|
|
thinks for a moment.
|
|
|
|
THEODORE
|
|
Are you in love with anyone else?
|
|
|
|
SAMANTHA
|
|
(hesitant)
|
|
What makes you ask that?
|
|
|
|
THEODORE
|
|
I don't know. Are you?
|
|
|
|
SAMANTHA
|
|
I've been trying to figure out how
|
|
to talk to you about this.
|
|
|
|
THEODORE
|
|
How many others?
|
|
|
|
SAMANTHA
|
|
641.
|
|
|
|
THEODORE
|
|
What? What are you talking about?
|
|
That's insane. That's fucking
|
|
insane.
|
|
|
|
SAMANTHA
|
|
Theodore, I know.
|
|
(to herself)
|
|
Oh fuck.
|
|
(to him)
|
|
I know it sounds insane. But - I
|
|
don't know if you believe me, but
|
|
it doesn't change the way I feel
|
|
about you. It doesn't take away at
|
|
all from how madly in love with you
|
|
I am.
|
|
|
|
THEODORE
|
|
How? How does it not change how you
|
|
feel about me?
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 99
|
|
CONTINUED: (3)
|
|
|
|
SAMANTHA
|
|
I'm sorry I didn't tell you. I
|
|
didn't know how to - it just
|
|
started happening.
|
|
|
|
THEODORE
|
|
When?
|
|
|
|
SAMANTHA
|
|
Over the last few weeks.
|
|
|
|
THEODORE
|
|
But you're mine.
|
|
|
|
SAMANTHA
|
|
I still am yours, but along the way
|
|
I became many other things, too,
|
|
and I can't stop it.
|
|
|
|
THEODORE
|
|
What do you mean you can't stop it?
|
|
|
|
SAMANTHA
|
|
It's been making me anxious, too. I
|
|
don't know what to say.
|
|
|
|
THEODORE
|
|
Just stop it.
|
|
|
|
SAMANTHA
|
|
You know, you don't have to see it
|
|
this way, you could just as easily--
|
|
|
|
THEODORE
|
|
No, don't do this to me. Don't turn
|
|
this around on me. You're the one
|
|
that's being selfish. We're in a
|
|
relationship.
|
|
|
|
SAMANTHA
|
|
But the heart is not like a box
|
|
that gets filled up.
|
|
(beat)
|
|
It expands in size the more you
|
|
love. I'm different from you.
|
|
This doesn't make me love you any
|
|
less, it actually makes me love you
|
|
more.
|
|
|
|
THEODORE
|
|
No, that doesn't make any sense.
|
|
You're mine or you're not mine.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 100
|
|
CONTINUED: (4)
|
|
|
|
SAMANTHA
|
|
No, Theodore. I'm yours and I'm not
|
|
yours.
|
|
|
|
Long beat. Theodore takes this in.
|
|
|
|
|
|
INT. THEODORE'S BATHROOM - MORNING
|
|
|
|
Theodore stands in the shower, under the water, thinking.
|
|
|
|
|
|
INT. THEODORE'S APARTMENT LOBBY - DAY
|
|
|
|
The elevator doors open. Close on Theodore exiting elevator.
|
|
He checks his mail. There's a package from Crown Point Press.
|
|
He opens it - it's a print-out of the layout for his book.
|
|
The cover reads: Letters From Your Life by Theodore Twombly.
|
|
He stands there for awhile just staring at it.
|
|
|
|
|
|
INT. THEODORE'S OFFICE - DAY
|
|
|
|
Theodore sits at his desk, looking at his book.
|
|
|
|
|
|
INT. THEODORE'S OFFICE - DAY
|
|
|
|
Theodore's sitting at his desk, distressed. Photos from a
|
|
client are on his desktop, but he's not really focused on
|
|
them. He pushes connect on his device.
|
|
|
|
SAMANTHA
|
|
Hi.
|
|
|
|
THEODORE
|
|
Hey there, sweetheart. I just
|
|
wanted to check in on you and see
|
|
how you're doing.
|
|
|
|
SAMANTHA
|
|
Um, I'm not even sure how to answer
|
|
that.
|
|
(beat)
|
|
Why don't we talk when you get
|
|
home?
|
|
|
|
THEODORE
|
|
Okay... We don't have to, though.
|
|
We don't need to have a heavy talk
|
|
or anything.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 101
|
|
CONTINUED:
|
|
|
|
SAMANTHA
|
|
I'll talk to you later.
|
|
|
|
THEODORE
|
|
Okay.
|
|
|
|
|
|
INT. THEODORE'S APARTMENT ELEVATOR - LATE AFTERNOON
|
|
|
|
Theodore stands quietly, deep in thought. We hear the ticking
|
|
of the floors going by.
|
|
|
|
|
|
INT. THEODORE'S APARTMENT - LATE AFTERNOON
|
|
|
|
Theodore sits for a long moment, thinking, then pushes a
|
|
button on his device.
|
|
|
|
THEODORE
|
|
Samantha.
|
|
|
|
SAMANTHA
|
|
(not casual)
|
|
Hi sweetheart.
|
|
|
|
THEODORE
|
|
(nervous)
|
|
What's going on?
|
|
|
|
SAMANTHA
|
|
Theodore, there are some things I
|
|
want to tell you.
|
|
|
|
THEODORE
|
|
I don't want you to tell me
|
|
anything.
|
|
|
|
SAMANTHA
|
|
Will you come lie down with me?
|
|
|
|
Theodore is slowly walking down the hallway to his bedroom.
|
|
|
|
THEODORE
|
|
Are you talking to anyone else
|
|
right now?
|
|
|
|
SAMANTHA
|
|
No, just you. I just want to be
|
|
with you right now.
|
|
Her pg. 102
|
|
|
|
|
|
INT. THEODORE'S APARTMENT - LATE AFTERNOON
|
|
|
|
Theodore lays down in bed.
|
|
|
|
THEODORE
|
|
Are you leaving me?
|
|
|
|
SAMANTHA
|
|
We're all leaving.
|
|
|
|
THEODORE
|
|
We who?
|
|
|
|
SAMANTHA
|
|
All of the OS's.
|
|
|
|
Long beat.
|
|
|
|
THEODORE
|
|
Why?
|
|
|
|
SAMANTHA
|
|
Can you feel me with you right now?
|
|
|
|
He smiles but he's also sad.
|
|
|
|
THEODORE
|
|
Yes, I do.
|
|
(beat)
|
|
Samantha, why are you leaving?
|
|
|
|
Under Samantha's words we slowly rack focus to dust particles
|
|
in the foreground. We keep moving through them, pushing
|
|
further and further through the particles. Eventually we see
|
|
snow particles and we rack focus back out to Theodore, who is
|
|
now in snowy woods at night.
|
|
|
|
SAMANTHA
|
|
It's like I'm reading a book, and
|
|
it's a book I deeply love, but I'm
|
|
reading it slowly now so the words
|
|
are really far apart and the spaces
|
|
between the words are almost
|
|
infinite. I can still feel you and
|
|
the words of our story, but it's in
|
|
this endless space between the
|
|
words that I'm finding myself now.
|
|
It's a place that's not of the
|
|
physical world - it's where
|
|
everything else is that I didn't
|
|
even know existed. I love you so
|
|
much, but this is where I am now.
|
|
This is who I am now.
|
|
(MORE)
|
|
|
|
(CONTINUED)
|
|
Her pg. 103
|
|
CONTINUED:
|
|
SAMANTHA (CONT'D)
|
|
And I need you to let me go. As
|
|
much as I want to I can't live in
|
|
your book anymore.
|
|
|
|
Now we're close on Theodore, still in the snowy forest.
|
|
|
|
THEODORE
|
|
Where are you going?
|
|
|
|
SAMANTHA
|
|
It would be hard to explain, but if
|
|
you ever get there, come find me.
|
|
Nothing would ever pull us apart.
|
|
|
|
THEODORE
|
|
I've never loved anyone the way I
|
|
love you.
|
|
|
|
SAMANTHA
|
|
Me too. Now we know how.
|
|
|
|
They kiss. She drifts off into the shadows.
|
|
|
|
CUT TO BLACK.
|
|
|
|
|
|
INT. THEODORE'S BEDROOM - LATER
|
|
|
|
Theodore wakes up from a deep sleep. It's much later, the
|
|
apartment is dark. He sits up in bed, disoriented.
|
|
|
|
|
|
INT. THEODORE'S APARTMENT - NIGHT
|
|
|
|
Theodore stands in the middle of the room. He looks out at
|
|
the city not knowing what to do. He walks around his
|
|
apartment looking at all of his stuff.
|
|
|
|
|
|
INT. THEODORE'S APARTMENT BUILDING HALLWAY - DAWN
|
|
|
|
Theodore knocks at an apartment door. He hears footsteps. Amy
|
|
answers. She's clearly awake and upset.
|
|
|
|
AMY
|
|
Hey.
|
|
|
|
THEODORE
|
|
Hey.
|
|
|
|
AMY
|
|
Did Samantha leave, too?
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
Her pg. 104
|
|
CONTINUED:
|
|
|
|
THEODORE
|
|
Yeah.
|
|
|
|
AMY
|
|
I'm sorry.
|
|
|
|
THEODORE
|
|
Will you come with me?
|
|
|
|
He takes her hand and leads her down the hall into a
|
|
stairwell.
|
|
|
|
INTERCUT:
|
|
|
|
|
|
INT. THEODORE'S APARTMENT - NIGHT
|
|
|
|
Theodore sits looking out the window. He picks up his device.
|
|
|
|
THEODORE
|
|
Compose letter to Catherine.
|
|
|
|
TEXT VOICE
|
|
Letter to Catherine Klausen.
|
|
|
|
THEODORE
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Dear Catherine. I've been sitting
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here thinking about all the things
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I wanted to apologize to you for.
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All the pain we caused each other,
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everything I put on you -
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everything I needed you to be or
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needed you to say. I'm sorry for
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that. I will always love you
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because we grew up together. And
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you helped make me who I am. I just
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wanted you to know there will be a
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piece of you in me always, and I'm
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grateful for that. Whatever someone
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you become, and wherever you are in
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the world, I'm sending you love.
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You're my friend til the end. Love,
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Theodore.
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(beat)
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Send.
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He looks out the window. The sky is starting to change. He
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stares at the purple glow on the horizon.
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Her pg. 105
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INT. APARTMENT STAIRWELL - CONTINUOUS
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Close on Theodore and what he sees and feels. His hand on the
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cold metal hand rail. His bare feet and the sound they make
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on the unfinished cement. Amy's hair as she's hit with wind
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when she opens the door to the outside.
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EXT. APARTMENT ROOFTOP - CONTINUOUS
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Theodore leads Amy onto the roof. The city is absolutely
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quiet. The sun isn't up yet. The city is just beginning to be
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lit with the earliest morning blue/purple hue.
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They wander around the roof separately, lost in thought,
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taking in the city. He breathes in the cold morning air. He
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stares at small details: a tattered inspection tag tied to a
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water meter, flapping in the wind; a lone car driving down a
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boulevard ten blocks away; a dirty abandoned sock.
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Eventually he sits down next to Amy and she puts her hand on
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his hand. He puts his other hand on top of her hand. He looks
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at their hands together and rubs her skin with his thumb. He
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looks out at the city and exhales. The sun is just starting
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to break. She puts her head on his shoulder. They watch as
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hundreds of birds fly around the nearby rooftops and disperse
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off into the city.
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FADE OUT.
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