Eternal Sunshin of the Spotless Mind
Executive Summary
Poster

Overview
Genres: Drama, Romance, Sci-Fi, Mystery, Psychological, Thriller, Coming-of-age, Psychological Thriller
Setting: Contemporary, with elements of the near future, New York City, including various modern and surreal settings such as a publishing house, doctor's office, commuter tubes, and intimate apartments.
Overview: Eternal Sunshine of the Spotless Mind follows Joel Barish, a man who, after a painful breakup with the vibrant and unpredictable Clementine, discovers that she has undergone a procedure to erase all memories of their relationship. In a desperate attempt to forget his own heartache, Joel decides to undergo the same procedure. As the memories are erased, Joel experiences a surreal journey through their shared past, reliving moments of love, joy, and pain. He grapples with the implications of erasing memories and ultimately fights to preserve the essence of their connection, leading to profound realizations about love and identity.
Themes: Memory and Erasure, Love and Connection, Identity and Selfhood, Emotional Pain and Mental Health, The Cyclical Nature of Relationships and Life, Truth and Illusion, The Search for Meaning and Happiness
Conflict and Stakes: The central conflict revolves around Joel's emotional struggle with his relationship with Clementine and the ethical implications of memory erasure, with the stakes being the loss of meaningful connections and the consequences of forgetting one's past.
Overall Mood: Melancholic and introspective, with moments of humor and surrealism.
Mood/Tone at Key Scenes:
- Scene 1: The tone is melancholic as the old woman struggles to be heard, reflecting themes of isolation and desperation.
Standout Features:
- Unique Hook: The concept of memory erasure as a therapeutic procedure raises ethical questions and personal dilemmas.
- Plot Twist: The revelation that Clementine has also undergone memory erasure, complicating their relationship further.
- Innovative Ideas: The use of surreal visuals to represent memory decay and emotional states enhances the storytelling.
- Distinctive Settings: The contrast between the cold, clinical environments of the memory clinic and the warmth of personal memories.
- Character Depth: Complex characters with relatable struggles that resonate with audiences.
Comparable Scripts:
- Eternal Sunshine of the Spotless Mind
- Being John Malkovich
- Her
- The Science of Sleep
- Synecdoche, New York
- Anomalisa
- The Notebook
- Lost in Translation
- The Fountain
Writing Style:
The screenplay exhibits a distinctive blend of introspective and emotionally resonant storytelling, characterized by complex human relationships, existential themes, and often a touch of surrealism or unconventional narrative structures. Dialogue is frequently sharp, authentic, and delves into the characters' inner worlds and personal dilemmas. There's a recurring emphasis on nuanced character dynamics and the exploration of internal conflicts.
Style Similarities:
- Charlie Kaufman
- Michel Gondry
- Sofia Coppola
Pass/Consider/Recommend
Explanation:
USP: The screenplay's unique selling proposition lies in its revolutionary approach to the romance genre by blending high-concept science fiction with intimate psychological drama. Unlike traditional love stories, it explores relationships through the lens of memory manipulation, creating a profound meditation on how love persists even when memories are erased. The non-linear structure that moves backward through a relationship's dissolution while the protagonist fights to preserve it creates an emotionally resonant and intellectually stimulating experience that challenges conventional storytelling.
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 18-45, particularly those interested in romantic dramas, science fiction, and psychological explorations.
Marketability: The screenplay's unique premise and emotional depth have the potential to attract a diverse audience, especially fans of thought-provoking narratives.
The blend of romance and science fiction, along with strong character development, appeals to both indie film enthusiasts and mainstream audiences.
While the themes are complex, the film's exploration of memory and relationships resonates with contemporary societal issues, making it relevant.
Profit Potential: Moderate to high, as the film could perform well at the box office and gain traction through awards and critical acclaim, appealing to both niche and broader audiences.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a delicate balance of melancholy, introspection, and a subtle, often understated, emotional resonance. This is manifested through understated yet emotionally charged dialogue, a narrative style that prioritizes internal experience and atmosphere over overt action, and directorial cues that emphasize quiet observation and the weight of unspoken emotions. There's a consistent undercurrent of surrealism and a profound engagement with themes of memory, loss, identity, and the search for connection in a world that often feels indifferent.
Best representation: Scene 4 - A Chance Encounter. Scene 4 best showcases the author's unique voice due to its masterful blend of introspective voice-overs, minimalistic dialogue, and atmospheric descriptions. The scene perfectly captures the writer's signature melancholic and contemplative mood, focusing on Joel's internal journey of isolation and dissatisfaction. The desolate beach setting amplifies the theme of loneliness, while Joel's quiet reflections and the symbolic act of digging in the sand powerfully illustrate the search for connection amidst a backdrop of personal dissatisfaction, all hallmarks of the writer's distinct style.
Memorable Lines:
- CLEMENTINE: Too many guys think I'm a concept or I complete them or I'm going to make them alive, but I'm just a fucked-up girl who is looking for my own peace of mind. Don't assign me yours. (Scene 44)
- JOEL: I loved you on this day. (Scene 26)
- OLD WOMAN: This book — It's essential that people read it because – — It's the truth. And only I know it. (Scene 1)
- JOEL: I don't want to lose you, Clem. (Scene 27)
- JOEL: I miss you. (Scene 51)
Characters
Joel Barish:A sensitive and introspective man in his 30s who struggles with loneliness and emotional connection.
Clementine Kruczynski:A vibrant and impulsive woman with blue hair, who embodies spontaneity and emotional depth, often contrasting with Joel's reserved nature.
Dr. Howard Mierzwiak:A therapist who runs the memory erasure clinic, representing the ethical dilemmas of memory manipulation.
Mary:The receptionist at the memory erasure clinic, who becomes emotionally involved with the implications of the procedure.
Patrick:A lab technician who becomes romantically involved with Clementine, complicating the narrative of memory and relationships.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - The Weight of Truth | Mysterious, Intriguing, Melancholic | 8.5 | 9 | 8 | 9 | 9 | 7 | 8 | 7.5 | 7 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 2 - Unspoken Tensions | Professional, Intimate, Playful | 8.2 | 8 | 8 | 7.5 | 9 | 7 | 8 | 7.5 | 6 | 7 | 5 | 8 | 7 | 8 | 8 | 8.5 | 8.5 | 8 | 8 | |
| 3 - Clementine's Confession | Reflective, Introspective, Neutral | 8.5 | 8 | 8 | 8.5 | 9 | 7 | 9 | 8 | 7 | 7 | 6 | 8 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
| 4 - Solitary Reflections | Melancholic, Reflective, Introspective | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 8 | 8 | |
| 5 - A Chance Encounter | Melancholic, Reflective, Subdued | 8.5 | 8 | 8 | 7.5 | 9 | 7 | 8 | 6 | 6 | 7 | 7 | 8 | 7 | 9 | 9 | 8.5 | 8 | 8 | 8 | |
| 6 - Awkward Encounters on the Train | Awkward, Introspective, Playful | 8.7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 7 - A Chance Encounter | Introspective, Melancholic, Awkward, Hopeful | 8.5 | 8 | 8 | 7.5 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 8 - A Night of Gin and Vulnerability | Intimate, Reflective, Emotional | 8.7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 4 | 7 | 3 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 9 - Fleeting Shadows | Mysterious, Intense, Conflicted, Regretful | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 10 - Fading Connections | Melancholic, Regretful, Yearning | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 9 | 9 | |
| 11 - The Beginning of Forgetting | Melancholic, Surreal, Clinical | 8.5 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 12 - The Beginning of Forgetting | Emotional, Surreal, Introspective | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 13 - Disconnected Despair | Melancholic, Regretful, Lonely | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7.5 | 7 | 8 | 8 | 9 | 7 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 14 - Revelations of Loss | Emotional, Conflicted, Reflective | 8.7 | 9 | 9 | 8 | 9 | 9 | 9 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 15 - Faded Memories | Detached, Surreal, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8.5 | 8 | 8 | 8 | |
| 16 - Dents and Regrets | Tense, Confrontational, Regretful | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 17 - Fleeting Memories | Emotional, Intense, Surreal | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 6 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 18 - Fading Connections | Tense, Emotional, Regretful | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 19 - Fading Desires | Intense, Emotional, Confrontational | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 20 - Fleeting Connections | Drunkenness, Anger, Regret, Vulnerability | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 21 - Fading Connections | Emotional, Tense, Reflective | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 7 | 8 | 6 | 7 | 7 | 9 | 9 | 8.5 | 8 | 8 | 8 | |
| 22 - Emotional Disconnect | Tense, Melancholic, Reflective | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 6 | 8 | 6 | 8 | 8 | 6 | 9 | 8 | 8 | 7 | 7 | 7 | |
| 23 - Fading Memories | Emotional, Intense, Reflective | 9.2 | 9 | 9 | 8 | 9 | 9 | 9 | 7 | 8 | 8 | 8 | 9 | 7 | 10 | 10 | 9 | 8 | 9 | 9 | |
| 24 - A Night of Urgency and Reflection | Emotional, Intimate, Reflective | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 6 | 7 | 6 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 25 - Fading Memories | Emotional, Surreal, Intense | 8.5 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 26 - Fading Memories | Emotional, Surreal, Intense | 9.2 | 9 | 9 | 8 | 9 | 9 | 9 | 7.5 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
| 27 - Childhood Echoes and Technical Failures | Emotional, Surreal, Intense | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 28 - Urgent Disarray | Tense, Mysterious, Anxious | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 29 - Memories and Heartache | Intimate, Reflective, Emotional | 8.7 | 9 | 8 | 9 | 9 | 9 | 8 | 7.5 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 30 - Unexpected Encounters | Tense, Anxious, Mysterious | 8.5 | 9 | 8 | 8.5 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 8.5 | 8.5 | 8 | |
| 31 - Memories in Transition | Intimate, Reflective, Surreal | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 6 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 32 - Fleeting Memories | Melancholic, Surreal, Intense | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 33 - Childhood Fears and Bullying | Vulnerable, Intense, Heartbreaking | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 7 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 34 - Awkward Memories | Melancholic, Reflective, Surreal | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 35 - Fading Memories | Nostalgic, Regretful, Intimate | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 36 - Forbidden Memories | Intimate, Emotional, Tense | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 37 - Fractured Connections | Emotional, Tense, Conflicted | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 38 - Fleeting Memories and Fatalism | Melancholic, Reflective, Introspective | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 39 - Fleeting Memories | Reflective, Intimate, Nostalgic | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 6 | 6 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | 9 | 9 | |
| 40 - Fleeting Memories | Nostalgic, Reflective, Intimate | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 4 | 7 | 3 | 6 | 8 | 9 | 9 | 9 | 8.5 | 9 | 9 | |
| 41 - Echoes of Lost Love | Emotional, Reflective, Intimate | 8.5 | 8 | 8 | 8.5 | 9 | 7 | 9 | 7.5 | 3 | 8 | 4 | 7 | 7 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 42 - Reflections of Regret | Reflective, Regretful, Emotional | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 4 | 7 | 3 | 6 | 7 | 9 | 8 | 8 | 8 | 8 | 8 | |
| 43 - Confronting Unhappiness | Reflective, Emotional, Introspective | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 44 - A Chance Encounter | Reflective, Intimate, Emotional | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 45 - Emotional Decay | Reflective, Melancholic, Introspective | 8.7 | 9 | 8 | 8 | 9 | 7 | 8 | 6 | 6 | 7 | 5 | 7 | 6 | 9 | 8 | 7 | 8 | 8 | 8 | |
| 46 - Echoes of a Forgotten Night | Reflective, Melancholic, Regretful | 8.5 | 8 | 8 | 8.5 | 9 | 8 | 8 | 7 | 5 | 7 | 6 | 8 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 47 - Nostalgic Encounters | Intimate, Reflective, Nostalgic | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 4 | 6 | 5 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 48 - Fleeting Farewells | Melancholic, Reflective, Intimate | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 7 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 49 - Fading Memories and New Beginnings | Melancholic, Reflective, Regretful | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 50 - Confrontation of the Past | Emotional, Intense, Confrontational | 8.5 | 8 | 8 | 8 | 9 | 8 | 9 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 51 - Echoes of the Past | Reflective, Regretful, Awkward | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 6 | 6 | 7 | 5 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 52 - Echoes of Emotion | Emotional, Reflective, Intimate | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7.5 | 6 | 8 | 5 | 7 | 7 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 53 - Under the Stars | Intimate, Reflective, Awkward | 8.5 | 8 | 8 | 8.5 | 9 | 8 | 8 | 7.5 | 6 | 7 | 5 | 7 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 54 - Revelations and Reconnection | Emotional, Reflective, Intimate | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 55 - The Consequences of Memory Theft | Tense, Emotional, Confrontational | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 56 - Flirtatious Connection | Intimate, Playful, Sensual | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 6 | 4 | 6 | 5 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 57 - The Weight of Memories | Emotional, Tense, Reflective | 8.5 | 9 | 8 | 9 | 9 | 9 | 9 | 7.5 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 58 - Echoes of Trauma | Disturbing, Emotional, Tense | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 59 - Fragments of Memory | Emotional, Intense, Reflective | 8.7 | 9 | 8 | 9 | 9 | 9 | 8 | 7 | 9 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 60 - Echoes of Lost Love | Melancholic, Reflective, Emotional | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 8 | |
Scene 1 - The Weight of Truth
It's grand and modern. Random House-Knopf-Taschen is etched on the
wall in large gold letters. An old woman enters carrying a tattered
manuscript, maybe a thousand pages. She seems haunted, hollow-eyed,
sickly. The young receptionist, dressed in a shiny, stretchy one-
piece pantsuit, looks up.
RECEPTIONIST
Oh, hi.
OLD WOMAN
(apologetically)
Hi, I was in the neighborhood and thought I'd see —
RECEPTIONIST
I think he's in a conference. Unfortunately. I'm really sorry.
OLD WOMAN
Would you just try him? You never know. . As long as I'm
here. You never know.
RECEPTIONIST
Of course. Please have a seat.
The old woman smiles and sits, the bulky manuscript on her lap. She
stares politely straight ahead.
RECEPTIONIST (CONT'D)
(quietly into headset)
It's her — I know, but couldn't you just — Yes, I know, but —
I know, but she's old and it would be a nice — Yes, sorry.
(to Old woman)
I'm sorry, ma'am, he's not in right now. It's a crazy time of
year for us.
The receptionist gestures toward a Christinas tree in the corner. Its
ornaments are holograms.
OLD WOMAN
This book — It's essential that people read it because –
(gravely, patting the manuscript)
— It's the truth. And only I know it.
RECEPTIONIST
(nodding sympathetically)
Maybe after the holidays then.
© 2003 Focus Features
INT. TILED HALLWAY - DAY
The old woman carries her manuscript haltingly down a subway hall.
She stops to catch her breath, then continues and passes several
archways with letters printed above them. When she arrives at one
topped by an LL, she slips a card in a slot. A plastic molded chair
drops into the archway. She sits in the chair; it rises.
INT. TUBE - DAY
The woman is still in the chair as it slips gracefully into a line of
chairs shooting through a glass tube. The other chairs are peopled
with commuters. We stay with the woman as she and the other commuters
travel over Hew York City in the tube. There are hundreds of these
commuter tubes crisscrossing the skyline. The woman glances at the
manuscript in her lap. It's called:
Eternal Sunshine of the Spotless Mind.
This serves as the movie's opening title. The other credits follow,
as the old woman studies commuters in passing tubes. Their faces are
variously harsh and sad and lonely and blank.
Ratings
Scene 2 - Unspoken Tensions
SUBTITLE: FIFTY YEARS EARLIER
Every doctor's office waiting room; chairs against the wall,
magazines on end tables, a sad-looking potted plant, generic seascape
paintings on the walls. The receptionist, Mary, 25, can he seen
typing in the reception area. Behind her are shelves and shelves of
medical files. The door opens and Clementine enters. She's in her
early thirties, zaftig in a faux fur winter coat over an orange
hooded sweatshirt. She's decidedly funky and has blue hair. Mary
looks up.
MARY
May I help you?
CLEMENTINE
(approaching reception area)
Yeah, hi, I have a one o'clock with Dr. Mierzwiak. Clementine
Kruczynski.
MARY
Yes, please have a seat. He'll be right with you.
Clementine sits. She looks tired, maybe hung-over. She picks up a
magazine at random and thumbs through without interest.
© 2003 Focus Features
INT. INNER OFFICE AREA – CONTINUOUS
Mary pads down the hallway. She knocks on a closed door.
MIERZWIAK (O.S.)
Yes?
Mary opens the door, peeks in. Howard Mierzwiak, 40's, professional,
dry, sits behind his desk studying some papers
MARY
Howard, your one o'clock.
MIERZWIAK
(not looking up)
Thanks, Mary. You can bring her in.
She smiles and nods. It's clear she's in love. It's equally clear
that Mierzwiak doesn't have a clue. Mary turns to leave.
MIERZWIAK (CONT'D)
(looking up)
Mary...
MARY
(turning back)
Yes?
MIERZWIAK
Order me a pastrami for after?
MARY
Cole slaw, iced tea?
MIERZWIAK
(nodding)
Thanks.
MARY
Welcome, Howard.
She smiles and heads down the hall, Stan, 30's, tall, spindly, and
earnest in a lab coat pops out of a doorway.
STAN
BOO.
MARY
Hi.
She glances back nervously at Mierzwiak's open door.
© 2003 Focus Features
STAN
Barely seen you all morning, kiddo.
He leans in to kiss her. She cranes her neck to keep him off.
MARY
(reprimanding whisper)
Stan... c'mon...
STAN
Sorry. I just --
MARY
(somewhat guiltily)
It's just...y'know... I mean...
STAN
I know. Anyway —
MARY
Anyway, I've got to do my little tap dance here.
She indicates the door to the reception area. Stan nods.
STAN
See you later, alligator.
MARY
'kay.
STAN
Hey, if you're ordering lunch for Mierzwiak, would you —
MARY
I better do this, Stan.
Stan nods again and Mary opens the door to the waiting room.
MARY (CONT'D)
Ms. Kruczynski?
CLEMENTINE (O.S.)
Hi.
After a moment, Clementine appears in the doorway. Mary leads her
down, the hall, not looking back.
MARY
(professionally courteous)
How are you today?
© 2003 Focus Features
CLEMENTINE
Okay, I guess.
MARY
(at Mierzwiak's office)
Here we are.
Mierzwiak steps out from behind his desk.
MIERZWIAK
Ms. Kruczynski, please come in.
Clementine enters the office. Mary smiles at Mierzwiak and closes the
door, leaving them alone.
Ratings
Scene 3 - Clementine's Confession
Mierzwiak directs Clementine to a chair next to a coffee table and a
conspicuously placed box of tissues. Mierzwiak sits across from her.
He smiles.
MIERZWIAK
How are you today?
CLEMENTINE
Okay, I guess.
MIERZWIAK
(nodding sympathetically)
Well, why don't you tell me what's going on? Do you mind of I
turn this on?
He indicates a tape recorder.
CLEMENTINE
I don't care.
He turns it on, smiles at her, gestures for her to begin.
CLEMENTINE (CONT'D)
Well, I've been having a bad time of it with, um, my
boyfriend, I guess.
MIERZWIAK
You guess he's your boyfriend? Or you guess you're having a bad
time with him?
CLEMENTINE
What? No. I don't like the term boyfriend. It's so gay.
Mierzwiak nods. He's attentive, pleasant, and neutral throughout.
© 2003 Focus Features
CLEMENTINE (CONT'D)
Maybe gay isn't the right word. But, anyway, it's been rough
with him... whatever the fuck he is. Heheh. My significant
other... heh heh. And I guess on a certain level, I want to
break it off, but I feel... y'know... it's like this constant
questioning and re-questioning. Do I end it? Should I give it
more time? I'm not happy, but what do I expect? Relationships
require work. You know the drill. The thing that I keep
coming back to is, I'm not getting any younger, I want to
have a baby... at some point... maybe... right? So then I
think I should settle — which is not necessarily the best
word -- I mean, he's a good guy. It's not really settling.
Then I think maybe I'm just a victim of movies, y'know? That
I have some completely unrealistic notion of what a
relationship can be. But then I think, no. this is what I
really want, so I should allow myself the freedom to go out
and fucking find it. You know? Agreed? But then I think he is
a good guy and... It's complicated. Y'know?
MIERZWIAK
I think I know. I think we can help. Why don't you start by
telling me about your relationship. Everything you can think
of. Everything about him. Everything about you. And we'll
take it from there.
She nods, thinks.
CLEMENTINE
Um, well, he's a fucking tidy one --
Ratings
Scene 4 - Solitary Reflections
SUBTITLE: TWO WEEKS LATER
The platform is crowded with business commuters. Joel is among them.
He is in his 30's, gaunt, and holding a briefcase. The platform
across the tracks from him is empty. Suddenly he turns and makes his
way through the crowd. He climbs the stairs, crosses the overpass to
the empty platform. Soon an almost empty train pulls up to that
platform. Joel gets on and watches the business commuters through the
dirty window as his train pulls out of the station.
© 2003 Focus Features
EXT. MONTAUK TRAIN STATION - LATER
Joel talks on a payphone. The wind howls around him. He tries to
shield the mouthpiece as he talks.
JOEL
Hi, Cindy. Joel. Listen, I'm not feeling well this morning.
No. Food poisoning, I think. Sorry it took me so long to call
in, but I've been vomiting.
EXT. BEACH - DAY
Joel wanders the windy, empty beach, with his briefcase. He passes an
old man with a metal detector. They nod at each other.
Later: Joel looks out at the ocean.
Later: Joel sits on a rock and pulls out a notebook. He opens it and
writes with a gloved hand.
JOEL (V.O.)
January 13th, 2006. Today I skipped work and took the train
out to Montauk.
(thinks)
It's cold.
(thinks some more)
The sky is gray.
(thinks some more)
I don't know what else to say. Nothing happens. Nothing
changes. I saw Naomi last night. We had sex. It was weird to
fall into pur old familiar sex life so easily. Like no time
has passed. After two years apart suddenly we're talking
about getting together again. I guess that's good.
He has no other thoughts. He glances up, spots a female figure in the
distance, walking in his direction. She stands out against the gray
in a fluorescent orange hooded sweatshirt. It's Clementine. He
watches her for a bit, then as she nears, he goes back to his
writing, or at least pretends to. Once she has passed, he watches her
walk away. She stops and stares out at the ocean. Joel writes.
JOEL (V.O.) (CONT'D)
If I'm constitutionally incapable of making eye-contact with
a woman I don't know. I guess I'd better get back with Naomi.
© 2003 Focus Features
Later Joel walks up near the beach houses closed for the season. He
peeks cautiously in a dark window.
Later: Joel digs into the sand with a stick.
Ratings
Scene 5 - A Chance Encounter
It's a local tourist place, but off-season empty. Joel sits in a
booth and eats a grilled cheese sandwich and a bowl of tomato soup.
An elderly couple drink coffee at the counter. Clementine enters,
looks around, takes off her hood. Joel glances at her bright blue
hair. She picks an empty booth and sits. Joel studies her discreetly.
The waitress approaches her with a coffee pot.
WAITRESS
Coffee?
CLEMENTINE
God, yes. You've saved my life!
The waitress pours the coffee.
WAITRESS
You know what you want yet?
CLEMENTINE
(laughing)
Ain't that the question of the century.
The waitress is not amused.
CLEMENTINE (CONT'D)
You got grilled cheese and tomato soup?
WAITRESS
Yeah, we're having a run on it.
The waitress heads to the grill. Clementine fishes in her bag, brings
the coffee cup under the table for a moment, pours something in, then
brings the cup back up.
CLEMENTINE
(calling)
And some cream, please.
Clementine looks around the place. Her eyes meet Joel's before he is
able to look away. She smiles vaguely. He looks embarrassed, then
down at his journal. Clementine pulls a book from her purse and
starts to read. Joel glances up, tries to see the cover. It's blue.
He can't read the title.
© 2003 Focus Features
Ratings
Scene 6 - Awkward Encounters on the Train
Joel stares out at the ocean. Far down the beach Clementine stares at
it, too. Joel glances sideways at her then back at the ocean.
EXT. MONTAUK TRAIN STATION PLATFORM - LATE AFTERNOON
Joel sits on a bench waiting for the train. Clementine enters the
platform, sees Joel, the only other person there. She waves, sort of
goofily enthusiastic, playing as if they're old friends. He waves
back, embarrassed. She takes a seat on a bench far down the platform.
Joel stares at his hands, pulls out his journal and tries to write in
order to conceal his awkwardness,
INT. TRAIN - A BIT LATER
Joel sits at the far end of the empty car and watches the slowly
passing desolate terrain. After a moment the door between cars opens
and Clementine enters. Joel looks up. Clementine is not looking at
him; she busies herself deciding where to sit. She settles on a seat
at the opposite end of the car. Joel looks out the window. He feels
her watching him. The train is picking up speed. Finally:
CLEMENTINE
(calling over the rumble)
Hi!
Joel looks over.
JOEL
I'm sorry?
CLEMENTINE
Why?
JOEL
Why what?
CLEMENTINE
Why are you sorry? I just said hi.
JOEL
No, I didn't know if you were talking to me, so...
She looks around the empty car.
CLEMENTINE
Really?
© 2003 Focus Features
JOEL.
(embarrassed)
Well, I didn't want to assume.
CLEMENTINE
Aw, c'mon, live dangerously. Take the leap and assume someone
is talking to you in an otherwise empty car.
JOEL
Anyway. Sorry. Hi,
Clementine makes her way down the aisle toward Joel
CLEMENTINE
It's okay if I sit closer? So I don't have to scream. Not
that I don't need to scream sometimes, believe me.
(pause)
But I don't want to bug you if you're trying to write or
something.
JOEL
Ho, I mean, I don't know. I can't really think of much to say
probably.
CLEMENTINE
Oh. So...
She hesitates in the middle of the car, looks back where she came
from.
JOEL
I mean, it's okay if you want to sit down here. I didn't mean
to —
CLEMENTINE
No, I don't want to bug you if you're trying to —
JOEL
It's okay, really.
CLEMENTINE
Just, you know, to chat a little, maybe. I have a long trip
ahead of me.
(sits across aisle from Joel)
How far are you going? On the train, I mean, of course.
JOEL
Rockville Center.
© 2003 Focus Features
CLEMENTINE
Get out! Me too! What are the odds?
JOEL
The weirder part is I think actually I recognize you. I
thought that earlier in the diner. That's why I was looking
at you. You work at Borders, right?
CLEMENTINE
Ucch, really? You're kidding. God. Bizarre small world, huh?
Yeah, that's me: book slave there for, like, five years now.
JOEL
Really? Because --
CLEMENTINE
Jesus, is it five years? I gotta quit right now.
JOEL
— because I go there all the time. I don't think I ever saw
you before.
CLEMENTINE
Well, I'm there. I hide in the back as much as is humanly
possible. You have a cell phone? I need to quit right his
minute. I'll call in dead.
JOEL
I don't have one.
CLEMENTINE
I'll go on the dole. Like my daddy before me.
JOEL
I noticed your hair. I guess it made an impression on me,
that's why I was pretty sure I recognized you.
CLEMENTINE
Ah, the hair.
(pulls a strand in front of her eyes, studies it)
Blue, right? It's called Blue Ruin. The color. Snappy name,
huh?
JOEL
I like it.
© 2003 Focus Features
CLEMENTINE
Blue ruin is cheap gin in case you were wondering.
JOEL
Yeah. Tom Waits says it in —
CLEMENTINE
Exactly! Tom Waits. Which song?
JOEL
I can't remember.
CLEMENTINE
Anyway, this company makes a whole line of colors with
equally snappy names. Red Menace, Yellow Fever, Green
Revolution. That'd be a job, coming up with those names. How
do you get a job like that? That's what I'll do. Fuck the
dole.
JOEL
I don't really know how —
CLEMENTINE
Purple Haze, Pink Eraser.
JOEL
You think that could possibly be a full-time job? How many
hair colors could there be?
CLEMENTINE
(pissy)
Someone's got that job.
(excited)
Agent Orange! I came up with that one. Anyway, there are
endless color possibilities and I'd be great at it.
JOEL
I'm sure you would.
CLEMENTINE
My writing career! Your hair written by Clementine
Kruczynski.
(thought)
The Tom Waits album is Rain Dogs.
JOEL
You sure? That doesn't sound —
© 2003 Focus Features
CLEMENTINE
I think. Anyway, I've tried all their colors. More than once.
I'm getting too old for this. But it keeps me from having to
develop an actual personality. I apply my personality in a
paste. You?
JOEL
Oh, I doubt that's the case,
CLEMENTINE
Well, you don't know me, so... you don't know, do you?
JOEL
Sorry. I was just trying to be nice.
CLEMENTINE
Yeah, I got it.
There's a silence.
CLEMENTINE (CONT'D)
My name's Clementine, by the way.
JOEL
I'm Joel.
CLEMENTINE
No jokes about my name? Oh, you wouldn't do that; you're
trying to be nice.
JOEL
I don't know any jokes about your name.
CLEMENTINE
Huckleberry Hound?
JOEL
I don't know what that means.
CLEMENTINE
Huckleberry Hound! What, are you nuts?
JOEL
I'm not nuts.
CLEMENTINE
(singing)
"Oh my darlin', oh my darlin', oh my dar1in' Clementine"? No?
© 2003 Focus Features
JOEL
Sorry. It's a pretty name, though. It means 'merciful',
right?
CLEMENTINE
(impressed)
Yeah. Although it hardly fits. I'm a vindictive little bitch,
truth be told.
JOEL
See, I wouldn't think that about you.
CLEMENTINE
(pissy)
Why wouldn't you think that about me?
JOEL
Oh. I don't know. I was just... I don't know. I was... You
seemed nice, so --
CLEMENTINE
Now I'm nice? Don't you know any other adjectives? There's
careless and snotty and overbearing and argumentative...
mumpish.
JOEL
Well, anyway... Sorry.
They sit in silence for a while.
CLEMENTINE
I just don't think 'nice' is a particularly interesting thing
to be.
The conductor enters the car.
CONDUCTOR
Tickets.
Joel hands the conductor his ticket. The conductor punches it and
hands it back,
CLEMENTINE
What is nice, anyway? I mean, besides an adjective? I guess
it can be an adverb, sort of.
The conductor turns to Clementine. She fishes in her bag.
CLEMENTINE (CONT'D)
It doesn't reveal anything. Nice is pandering. Cowardly.
© 2003 Focus Features
CLEMENTINE (CONT'D)
And life is more interesting than that. Or should be. Jesus
God, I hope it is... someday.
(to conductor)
I know it's here.
The conductor and Joel watch as she gets more agitated.
CLEMENTINE (CONT'D)
I don't need nice. I don't need myself to be it and I don't
need anyone else to be it at me,
JOEL
Okay.
CLEMENTINE
Shit. Shit. I know it's here. Hold on.
She dumps the contents of the bag onto the seat and sifts frantically
through. Joel sees the book she was reading in the diner. It's The
Play by Stephen Dixon.
CLEMENTINE (CONT'D)
Damn it. DAMN IT!
(there it is)
Oh. Here.
She hands the conductor the ticket, smiles sweetly. He punches it,
hands it back to her, and walks away.
CONDUCTOR
Next stop Southampton.
The conductor heads into the next car. Clementine shoves stuff back
into her purse. Her hands are a little shaky. She pulls a airline-
sized bottle of alcohol from her pocket, opens it, and downs it. Joel
is watching all of this but pretending not to. She looks out the
window for a while. The train pulls into the station. The doors open.
Nobody gets on. The doors close. The train pulls out.
CLEMENTINE
Joel? It's Joel, right?
JOEL
Yes?
CLEMENTINE
I'm sorry I... yelled at you. Was it yelling? I can't really
tell. Whatever, I'm a little out of sorts today.
© 2003 Focus Features
JOEL
That's okay.
CLEMENTINE
(stares out window)
My embarrassing admission is I really like that you're nice.
Right now, anyway. I can't tell from one moment to the next
what I'm going to like. But right now I'm glad you said,
"that's okay' to me. That was nice of you.
JOEL
It's no problem. Anyway, I have some stuff I need to —
CLEMENTINE
Oh, okay. Well, sure, I'll just...
(stands, throws bag over shoulder)
Take care, then.
JOEL
(pulling journal from briefcase)
Probably see you at the book store.
CLEMENTINE
(heading toward other end of car)
Unless I get that hair-color-naming job.
Clementine sits and stares out the window.
INT. TRAIN - LATER
There are a few more people in the car now. Clementine has inched a
few seats closer to Joel. She watches him. His head is immersed in
his journal.
INT. TRAIN - LATER
It's dark out. The train is pretty crowded. Joel stares out the
window. Clementine sits closer still to Joel eyes him.
Ratings
Scene 7 - A Chance Encounter
The doors open and Joel emerges -along with others. He heads to the
parking lot, arrives at his car. There's a big dented scrape along
the driver's side. He gets in.
© 2003 Focus Features
INT. CAB. - MOMENTS LATER
Joel drives. He passes Clementine walking. She looks cold. He
considers, slows, rolls down his window.
JOEL
Hi. I could give you a ride if you need.
CLEMENTINE
No, that's okay. Thanks, though.
JOEL
You sure? It's cold.
CLEMENTINE
I don't want to take you out of your way.
JOEL
It's okay.
CLEMENTINE
Yeah?
He pulls over. She climbs in. They drive.
JOEL
Where do you live?
CLEMENTINE
You're not a stalker or anything, right?
JOEL
Well, I probably wouldn't say if I were, but no.
CLEMENTINE
You can't be too careful. I've been stalked. I've been told
I'm highly stalkable. I don't need that.
JOEL
I'm not a stalker.
CLEMENTINE
(beat)
You know Wilmont?
JOEL
Yeah.
CLEMENTINE
Wilmont. Near the high school.
© 2003 Focus Features
Joel turns. They drive in silence.
CLEMENTINE (CONT'D)
Look, I'm very sorry I came off sort of nutso. I'm not
really.
JOEL
It's okay. I didn't think you were.
There's a silence
CLEMENTINE
So you like bookstores, huh?
JOEL
I like to read.
CLEMENTINE
Me too. It is Rain Dogs, by the way.
JOEL
Yeah? I can't remember that album very well. I remember
liking it. But —
CLEMENTINE
The song's 9th and Hennepin. I spent most of the train ride
trying to remember. “Till you're full of rag water and
bitters and blue ruin/And you spill out/Over the side to
anyone who'll listen.” Remember?
JOEL
Sort of, um...
CLEMENTINE
Remember? "And you take on the dreams of the ones who have
slept there/And I'm lost in the window/I hide on the
stairway/I hang in the curtain/I sleep in your hat..
(starts to cry)
Oh, shit. I'm so stupid. Sorry.
JOEL
What?
CLEMENTINE
I'm just a bit of a wreck. "I sleep in your hat" makes me
cry.
(pointing to a house)
Me.
© 2003 Focus Features
Joel pulls over.
CLEMENTINE (CONT'D)
Thanks very much. That was very nice of you.
JOEL
Well, I wouldn't want to be —
CLEMENTINE
Oh, geez. I'm full of shit. I already told you that.
(pause)
Anyway. See ya.
Clementine opens the car door.
JOEL
Take care.
CLEMENTINE
(turning back)
Hey, do you want to have a drink? I have lots of drinks. And
I could --
JOEL
Um --
CLEMENTINE
Never mind. Sorry, that was stupid. I'm embarrassed. Good
night, Joel.
Ratings
Scene 8 - A Night of Gin and Vulnerability
Joel stands in the living room, somewhat nervously. He tries to calm
himself by focusing on the surroundings. He looks at the books on her
shelves. Clementine is in the kitchen. We see her as she passes by
the doorway several times, preparing drinks and chatting.
CLEMENTINE
Thanks. I like it, too. Been here about four years. It's
really cheap. My downstairs neighbor is old so she's quiet,
which is great. And the landlord's sweet, which is bizarre,
but great, and I have a little porch in the back, which is
great, because I can read there, and listen to my crickets
and...
Clementine is in the living room now with two gin and tonics.
© 2003 Focus Features
CLEMENTINE (CONT'D)
Two blue ruins ...
Joel is looking at a framed black and white photograph of crows
flying.
CLEMENTINE (CONT'D)
You like that?
JOEL
Very much.
CLEMENTINE
This... someone gave that to me, just, like, recently. I like
it, too. I like crows. I think 1 used to be a crow.
She caws and hands Joel a drink.
JOEL
Thanks. That was good, that crow sound.
CLEMENTINE
Do you believe in that stuff? Reincarnation?
JOEL
I don't know.
CLEMENTINE
Me neither. Oh, there's an inscription on the back.
(takes it off the wall, reads:)
The way a crow/Shook down on me/The dust of snow/From a
hemlock tree/Has given my heart/A change of mood/And saved
some part/Of a day I rued.
JOEL
Frost?
CLEMENTINE
(impressed)
Yeah. I'm not, like, a Robert Frost lover by any stretch. His
stuff seems strictly grade school to me. But this made me cry
for some reason. Maybe because it is grade school. Y'know?
JOEL
It's pretty.
© 2003 Focus Features
CLEMENTINE
I miss grade school. I don't why I'm calling it grade school
all of a sudden. When I went we called it elementary school.
But I like grade school better. Sounds like something someone
from the forties would call it. I'd like to be from then.
Everyone wore hats. Anyway, cheers!
JOEL
Cheers.
They click glasses. Clementine giggles and takes a big gulp of her
drink. Joel sips. She plops down on the couch and pulls her boots
off.
CLEMENTINE
God, that feels so fucking good. Take yours off.
JOEL
I'm fine.
CLEMENTINE
Yeah? Well, have a seat, anyway.
Joel sits in a chair across the room. Clementine finishes her drink.
CLEMENTINE (CONT'D)
Ready for another?
JOEL
No, I'm okay for now,
She heads toward the kitchen with her glass.
CLEMENTINE
Well, I'm ready. Put some music on.
Joel crosses to the CD's and studies them.
JOEL
What do you want to hear?
CLEMENTINE (O.S.)
You pick it.
JOEL
You just say. I'm not really —
© 2003 Focus Features
CLEMENTINE (O.S.)
I don't know! I can't see them from here, Joel! Just pick
something good.
Joel studies the unfamiliar CD's. He picks up Bang On a Can
performing Brian Eno's Music for Airports to look at. Clementine
reenters with her drink.
CLEMENTINE (CONT'D)
Oh, excellent choice.
She grabs it and sticks it in the CD player. The music is dreamy and
haunting and slow. Clementine falls back onto the couch, closes her
eyes and sips her drink.
CLEMENTINE (CONT'D)
Mmmrrarmm. Way to go, Joel. You pick good.
Joel sits down in his chair and drinks. There's a silence, which
seems fine to Clementine but makes Joel anxious.
JOEL
Well, I should probably get going.
CLEMENTINE
No, stay. Just for a little while.
(opens her eyes, brightly)
Refill?
JOEL
No. I —
CLEMENTINE
I Know a man who needs a refill.
She grabs Joel's drink from his hand, takes it into the kitchen.
CLEMENTINE (CONT'D) (O.S.) (CONT-D)
God bless alcohol, is what I say. Where would I be without
it. Oh, Jesus, Mary, and Joseph, maybe I don't want to think
about that.
She giggles. Joel looks around the room again. There are several
potatoes dressed as women in beautiful handmade costumes: a nurse
potato, a stripper potato, a schoolteacher potato, a housewife
potato. Clementine returns with Joel's drink and a refill for
herself.
JOEL
Thanks.
© 2003 Focus Features
CLEMENTINE
Drink up, young man. It'll make the whole seduction part
less repugnant.
Joel looks a little alarmed.
CLEMENTINE (CONT'D)
I'm just kidding. C'mon.
She sits back on the couch, closes her eyes. Joel watches her, looks
at her breasts. She opens her eyes, smiles drunkenly at him.
CLEMENTINE (CONT'D)
Y'know, I'm sort of psychic.
JOEL
Yeah?
CLEMENTINE
Well, I go to a psychic and she's always telling me I'm
psychic. She should know. Do you believe in that stuff?
JOEL
I don't know.
CLEMENTINE
Me neither. But sometimes I have premonitions, so, I don't
know. Maybe that's just coincidence. Right? Y'know, you think
something and then it happens, or you think a word and then
someone says it? Y'know?
JOEL
Yeah, I don't know. It's hard to know.
CLEMENTINE
Exactly. Exactly! That's exactly my feeling about it. It's
hard to know. Like, okay, but how many times do I think
something and it doesn't happen? That's what you're saying,
right? You forget about those times. Right?
JOEL
Yeah, I guess.
CLEMENTINE
(dreamy beat)
But I think I am. I like to think I am.
© 2003 Focus Features
CLEMENTINE (CONT'D)
It's helpful to think there's some order to things. You're
kind of closed-mouthed, aren't you?
JOEL
Sorry. My life isn't that interesting. I go to work. I go
home. I don't know what to say.
CLEMENTINE
Oh.
(considers this)
Does that make you sad? Or anxious? I'm always anxious
thinking I'm not living my life to the fullest, y'know?
Taking advantage of every possibility? Just making sure that
I'm not wasting one second of the little time I have.
JOEL
I think about that.
She looks at him really hard for a long moment. Joel tries to hold
her gaze, but can't. He looks down at his drink. Clementine starts to
cry again.
CLEMENTINE
You're really nice. I'm sorry I yelled at you before about
it. God, I'm an idiot.
JOEL
I do have a tendency to use that word too much.
CLEMENTINE
I like you. That's the thing about my psychic thing. I think
that's my greatest psychic power, that I get a sense about
people. My problem is I never trust it. But I get it. And
with you I get that you're a really good guy.
JOEL
Thanks.
CLEMENTINE
And, anyway, you sell yourself short. . I can tell. There's a
lot of stuff going on in your brain. I can tell. My goal...
can I tell you my goal?
JOEL
Yeah.
© 2003 Focus Features
CLEMENTINE
(ala Paul Simon)
What's the goal, Joel?
(laughs)
My goal, Joel, is to just let it flow through me? Do you know
what I mean? It's like, there's all these emotions and ideas
and they come quick and they change and they leave and they
come back in a different form and I think we're all taught we
should be consistent. Y'know? You love someone -- that's it.
Forever. You choose to do something with your lice -- that's
it, that's what you do. It's a sign of maturity to stick with
that and see things through. And my feeling is that's how you
die, because you stop listening to what is true, and what is
true is constantly changing. You know?
JOEL
Yeah. I think so. It's hard to —
CLEMENTINE
Like I wanted to talk to you. I didn't need any more reason
to do it. Who knows what bigger cosmic reason might exist?
JOEL
Yeah.
CLEMENTINE
You're very nice. God, I have to stop saying that. You're
nervous around me, huh?
JOEL
No.
CLEMENTINE
I'm nervous. You don't need to be nervous around me, though.
I like you. Do you think I'm repulsively fat?
JOEL
No, not at all.
CLEMENTINE
I don't either. I used to. But I'm through with that.
Y'know, if I don't love my body, then I'm just lost. You
know?
© 2003 Focus Features
CLEMENTINE (CONT'D)
With all the wrinkles and scars and the general falling apart
that's coming 'round the bend.
(beat)
So, I've been seeing this guy...
Joel looks slightly crestfallen.
CLEMENTINE (CONT'D)
(off his reaction)
Well, for the last week, anyway! He's kind of a kid. Kind
of a goofball, but he's really stuck on me, which is
flattering. Who wouldn't like that? And he's, like, a dope,
but he says these smart and moving things sometimes, out of
nowhere, that just break my heart. He's the one who gave me
that crow photograph.
JOEL
Oh, yeah.
CLEMENTINE
That made me cry. But, anyway, we went up to Boston, because
I had this urge to lie on my back on the Charles River. It
gets frozen this time of year.
JOEL
That's scary sounding.
CLEMENTINE
Exactly! I used to do it in college and I had this urge to
go do it again, so I got Patrick and we drove all night to
get there and he was sweet and said nice things to me, but I
was really disappointed to be there with him. Y'know? And
that's where my psychic stuff comes in. Like, it just isn't
right with him. Y'know?
JOEL
I think so.
CLEMENTINE
I don't believe in that soulmate crap anymore, but... he says
so many great things. We like the same writers. This writer
Stephen Dixon he turned me on to. And he's cute. It's fucked
up. Joel, you should come up to the Charles with me
sometime.
© 2003 Focus Features
JOEL
Okay.
CLEMENTINE
Yeah? Oh, great!
She sits closer to him.
CLEMENTINE (CONT'D)
I'll pack a picnic — a night picnic — night picnics are
different — and —
JOEL
(shy)
Sounds good. But right now I should go.
CLEMENTINE
(pause)
You should stay.
JOEL
I have to get up early in the morning tomorrow, so...
CLEMENTINE
(beat)
Okay.
Joel puts on his overcoat. Clementine heads to the phone table, pulls
out a notepad.
CLEMENTINE (CONT'D)
I would like you to call me. Would you do that? I would like
it.
JOEL
Yes.
She scribbles her phone number, hands it to him. He puts it in his
pocket. He stands there uncomfortably for a moment, then forces
himself to speak.
JOEL (CONT'D)
I don't think your personality comes out of a tube. I think
the hair is just... a pretty topping.
She tears up, swallows, and kisses him on the cheek. He's surprised
and pleased and nervous.
JOEL (CONT'D)
(shyly formal)
So, I enjoyed meeting you.
© 2003 Focus Features
CLEMENTINE
You'll call me, right?
JOEL
Yeah.
CLEMENTINE
When?
JOEL
Tomorrow?
CLEMENTINE
Tonight. Just to test out the phone lines and all.
JOEL
Okay.
We stay with Clementine as she watches Joel tromping through the snow
and getting in his car.
Ratings
Scene 9 - Fleeting Shadows
Joel speeds through the suburban Rockville Center
neighborhood. There is no snow on the ground. He seems
different, somehow foggy and disoriented
SUBTITLE THREE DAYS EARLIER
He arrives at his apartment building and parks.
EXT. JOEL'S APARTMENT BUILDING - CONTINUOUS
Joel gets out of his car, spots a van parked across the street.
There are two dark figures inside.
VOICE-OVER
Them.
He hurries inside the building.
INT. JOEL'S APARTMENT - NIGHT
Joel enters, dumps his overcoat on a chair, turns off the lights,
crosses to look furtively out the window. It's snowing in large
flakes which seem to fall only in the beam of a streetlight.
JOEL VOICE-OVER
It was snowing. There are two of them.
Couldn't make them out.
The orange glow of a
cigarette.
© 2003 Focus Features
Joel squints to see inside the van. Two dark figures talk. One sucks
on a cigarette and a dim orange light momentarily illuminates the
interior. The figure in the driver seat rolls down his window and
gives a cheery wave to Joel.
JOEL VOICE-OVER
The driver waved. So I'm like a joke to them.
casual, friendly.
Joel pulls away from the window, his face blanched.
VOICE-OVER
I guess they figure they can act like they want. They don't
have to worry about me remembering. •
He paces, mulling things over. As he does, the scene starts to
change, almost as if it is drying out.
JOEL VOICE-OVER
I might be making a Maybe I'm making a mistake.
mistake. Maybe I just need to learn to
live with this. First of all,
I'll get over it. Secondly, it
happened. Those who do not
remember history are condemned
to repeat it. Who said that?
Churchill? I'm not sure. But I
don't care. She did it to me.
I have to rid myself of this.
Fuck her.
JOEL
Fuck you, Clementine.
The colors bleach, the surroundings become slightly vague. Even
Joel's persona and voice-over seem to alter, his emotional intensity
becoming diffused, Joel does not seem aware of this. He stops pacing,
takes a small vial from his pocket, dumps the lone pill onto his
palm. He looks at it. It's pink. There's some illegible initials
stamped on it.
JOEL (CONT'D) VOICE-OVER
Pink. The pill was pink, I remember.
(beat) It had some letters and numbers
There was a number on it. on it. What were they? AL 1718?
I remember AL 1718? AL something. Four digits. I
(beat) don't like taking pills when I
I have to follow through don’t know what they are. I
with this. I have no have no choice.
choice.
© 2003 Focus Features
He swallows it, peeks out the window again, takes off his clothes,
lips into a pair of pajamas fresh from the store packaging. He sits
on the edge of the bed, dials the phone.
JOEL (CONT'D) RECORDED VOICE
We're sorry, the number you We’re sorry, the number you
We're sorry, the number you have dialed is no longer in
have dialed... service. If you think you
(beat) have reached this recording
Screw you, Clementine, for in error —
doing this ...
JOEL (CONT'D}
Bye.
Joel hangs up and lies on his back on the bed. By now the scene is
lifeless, almost a husk. He hears the apartment building door open.
He hears footsteps.
JOEL (CONT'D) VOICE-OVER
It's them. It's too late.
His eyelids are getting heavy. He closes his eyes.
BLACK.
He hears a key in his apartment door.
JOEL
Fuck.
Ratings
Scene 10 - Fading Connections
Joel sits in the bookstore coffee shop. It's a jarring transition,
visually and emotionally. Joel is in the midst of some traumatic
state of mind. He fingers the vial with the pink pill in it as he
watches Clementine stack books on shelves. Her hair is bright orange
now.
JOEL VOICE-OVER
I should maybe talk to you. Clementine. I should just
maybe talk to her.
Joel rises and heads toward Clementine.
JOEL
I love you and if you knew VOICE-OVER
that… If I told you what Maybe if I just explain what
happened… I’ll explain happened, I wouldn’t have to
everything, what we meant to go through this and I could
each other. I’ll tell you tell you everything and it
everything about our time would be like you knew and
together. You’ll know we could rebuild and we
everything again and… could be happy again and…
© 2003 Focus Features
Right before Joel gets there, Patrick, a skinny young man
approaches Clementine. Joel stops, watches. The young man
seems out of breath. He glances over at Joel, then taps
Clementine on the shoulder. She turns, annoyed, sees who it
is and her face lights up.
JOELVOICE-OVER
Clementine. That's your look for me.
Clementine giggles, stands and pokes Patrick playfully in the ribs.
PATRICK
I just thought I'd say hi. I was in the neighborhood.
CLEMENTINE
You were not.
PATRICK
I was not.
Joel is mesmerized by their familiarity. As he stands there, the
scene starts to dry out. Clementine and Patrick continue their
flirtation but it's turning lifeless, as if they are just reciting
lines. The bookstore start to lose its color and immediacy.
CLEMENTINE
Come over after I'm done here?
PATRICK
I can't. I want to, but I have to study.
CLEMENTINE
You rat.
PATRICK
I really want to, but tonight's important. Test tomorrow.
JOEL
How could she have done this to me? How could anyone do this
to anyone?
CLEMENTINE
(to Patrick)
You didn't say anything' about my hair.
PATRICK
It's so cool. You're by far the most sensational person
in the room.
© 2003 Focus Features
CLEMENTINE
In the room?
PATRICK
In the world.
Joel seems dazed, in some sort of dream confusion, as he realizes the
world around him is looking increasingly odd.
JOEL
What's happening here?
(looks at watch; it's 9:30)
Oh, God! I have to go home. They'll be there soon.
Joel turns to leave.
INT. JOEL'S CAR - NIGHT
Joel drives fast, recklessly. The intensity is back. He's weeping as
he drives.
JOEL VOICE-OVER
Gotta get home. How could Oh, God. I miss her. I
she do this to me? How can't believe she's with
could she not care about that guy now! I'm never
what we meant to each going to see her again. I
other. What a fuck! What a love her so much. What a
fucking monster she is! fucking monster she is!
The scene is faded as he parks in front of his apartment building,
and gets out of the car. Joel spots the parked van. We've seen this
before, but it's dried out now.
JOEL
Them.
Ratings
Scene 11 - The Beginning of Forgetting
Joel trudges along carrying two big trash bags full of stuff. He's
been crying. He looks behind him and finds himself looking out the
window of his apartment at the dark van on the snowy street. He turns
back to the New York Street and spots the address he was looking for:
610 llth Avenue.
INT. WAITING ROOM - DAY
Joel sits in the small room with his bags. A woman across from him
cradles a box full of belongings in her lap. Her eyes are red from
crying. Mary, the receptionist, pokes her head through her window
into the waiting room.
© 2003 Focus Features
MARY
Hello again, Mr. Barish. Good, you've got your stuff.
INT. HALLWAY - DAY
Joel walks with his bags behind Mary.
MARY
(not looking back)
How are you today?
(at lab)
Here we are.
INT. LABORATORY - DAY
Joel enters. Mierzwiak stands there with Stan in his lab coat.
MIERZWIAK
Ah, Mr. Barish. This is Stan. He'll be in charge of your
procedure tonight.
Stan nods professionally.
STAN
Mr. Barish.
JOEL
How exactly is this going to work tonight?
As Mierzwiak talks, the room colors start to fade, Mierzwiak' s tone
of voice is also affected; it becomes dry and monotonous.
MIERZWIAK
We'll start with your most recent memories and go backwards —
There is an emotional core to each of our memories — As we
eradicate this core, it starts its degradation process — By
the time you wake up in the morning, all memories we've
targeted will have withered and • • disappeared. Like a dream
upon waking.
JOEL
Is there any sort of risk of brain damage?
© 2003 Focus Features
MIERZWIAK
Well, technically, the procedure itself is brain damage, but
on a par with a night of heavy drinking. Nothing you'll miss.
Joel looks quizzically at the eroding environment. Suddenly he gets
it.
JOEL
It's happening now! I'm already in my brain.
Mierzwiak looks at the fading room.
MIERZWIAK
Yes, I suppose you are.
(back in his faded memory persona)
So, let's get started — If we want the procedure underway
tonight, we have some work to do.
Joel is sitting in a chair. Electrodes connect him to some electronic
machinery monitored by Stan. Mierzwiak watches from the corner.
STAN
We use the articles you brought to create a map of Clementine
in your brain. Tonight while you sleep we'll be able to trace
the map and erase.
JOEL
But you're tracing and erasing now. It's already started. I'm
home in my bed.
Stan pulls a snow globe from one of Joel's bags, shows it to Joel.
The equipment registers Joel's reaction.
STAN
Very good.
Stan pulls out a potato dressed as a Vegas showgirl. Joel studies it.
The machines register his response.
MIERZWIAK
We'll dispose of these mementos when we're done here. That
way you won't be confused later by their unexplainable
presence in your home.
© 2003 Focus Features
Stan pulls out a coffee mug with a photo of Clementine printed on it.
Joel looks at the cup. The machines record his reaction.
STAN
Good. We're getting healthy read-outs.
The room, Stan, and Mierzwiak are now vague and wispy.
STAN'S VOICE
Patrick, do me a favor —
Joel is watching Stan. Stan is not speaking, yet his voice continues.
STAN'S VOICE (CONT'D)
-- and check the voltage levels, I'm not wiping as clean as I
would like here.
Joel looks up. Stan's voice seems to be coming from above.
INT. JOEL'S APARTMENT - NIGHT
Joel lies on his back in fresh pajamas. His eyes are closed and
electrodes connect his head to several machines. The machines are
operated by Stan, now in grubby street clothes and in need of a
shave, and by Patrick, dressed similarly. The monitor on one of the
machines traces a myriad of light blips running like streams through
an image of Joel's brain. Stan presses buttons and operates a
joystick, aiming for the lines. Patrick (who we saw earlier with
Clementine at the bookstore) studies a meter on one of the machines.
PATRICK
The voltage looks fine.
STAN
Then check the connections.
Patrick fiddles with some jacks.
PATRICK
Does that help?
STAN
Yeah, that looks better. Thanks.
INT. LAB ROOM - DAY
The memory is becoming vague, characters' affects flat. Stan pulls
out a pile of loose-leaf pages, Mierzwiak smiles.
© 2003 Focus Features
MIERZWIAK
Ah, your journal, This will be • invaluable.
STAN
(reading)
December 15th, 2004. I met someone tonight. Oh, Christ. I
don't know what to do. Her name is Clementine and she's
amazing. So alive and spontaneous and passionate and
sensitive. Things with Naomi and I have been stagnant for so
long.
The scene is just a shell of itself as Stan rattles on.
STAN'S VOICE
I think we got this one. Let's push on.
Joel looks up at the ceiling.
INT. JOEL'S APARTMENT - DAY
Joel, snapped into a new memory, cries as he fills two large plastic
garbage bags with mementos of his relationship with Clementine. There
are funny little gifts, wind-up toys, some potatoes dressed as women,
some clothing Clementine has left there, some CD's. He pulls a big
clump of pages out of his loose-leaf journal and dumps them in the
bag.
He gets some clean loose-leaf paper and writes:
December 15, 2004 Nothing much happened today, I stayed home. Naomi
worked on her dissertation.
The scene is fading as he continues to write.
Ratings
Scene 12 - The Beginning of Forgetting
Joel looks for an office number. He finds it. The plaque on the door
reads Lacuna Ltd. Joel enters.
INT. WAITING ROOM - DAY
Joel enters the Lacuna waiting room. Mary sits in the reception area.
MARY
May I help you?
JOEL
My name is Joel Barish. I have an appointment.
© 2003 Focus Features
MARY
Please have a seat. Dr. Mierzwiak will be right with you.
INT. OFFICE HALL - DAY
Mary leads Joel down the hall.
MARY
(without turning)
How are you today?
JOEL
Not great.
MARY
(at Mierzwiak's office)
Here we are.
Joel glimpses Mary smiling coquettishly at Mierzwiak.
INT. MIERZWIAK'S OFFICE - DAY
Joel and Mierzwiak are in the sitting area. Joel looks at the tape
recorder.
MIERZWIAK
I'm sorry you saw one of our notification card. You never
should have.
JOEL
Well... I did.
MIERZWIAK
We can help you through this. Why don't you start now by
telling me everything you can remember about your
relationship with Clementine.
JOEL
(thinks, then:)
It was a mess. I don't know how it got that way...
PATRICK'S VOICE
It's kind of a dump, don't you think? -
Joel looks up, trying to locate the voice.
INT. JOEL'S APARTMENT - NIGHT
Patrick is checking out the apartment. Stan monitors the
equipment.
© 2003 Focus Features
STAN
(uninterested)
It's an apartment.
PATRICK
Not a dump, then, but kind of plain. Uninspired. And there's
a stale smell. Sort of stuffy. I don't know. Stuffy.
STAN
Patrick, let's just get through this. We have a long night
ahead of us.
PATRICK
Yeah.
Patrick returns to the bedside, focuses on the machines for a moment.
He glances at the unconscious Joel
PATRICK
So who do you think is better-looking, me or this guy?
Stan glances sideways at Patrick.
Ratings
Scene 13 - Disconnected Despair
Mierzwiak sits with Joel in the sitting area.
MIERZWIAK
So we'll need you to go home and bring in everything you
ever received from Clementine and anything that might
remind you of her...
The scene is faded and disappearing fast. It's gone.
INT. JOEL'S OFFICE – DAY
Joel gets off the elevator and approaches the receptionist.
JOEL VOICE-OVER
So then she just stops I wasn't going to call
calling her. Not after the way
she was.
JOEL
Any messages. Carmen?
Carmen the receptionist shakes her head.
Next day: Joel approaches the receptionist.
© 2003 Focus Features
JOEL (CONT'D)
Any messages for me. Carmen. -
CARMEN VOICE-OVER
Nothing, Joel. It's bullshit. She's
punishing me for being
honest with her.
Joel is at his office desk on the phone.
PHONE MACHINE VOICE
You have no messages.
INT. JOEL'S APARTMENT - NIGHT
Joel enters, checks his phone machine: zero messages.
INT. JOEL'S OFFICE - DAY
Joel gets off the elevator, approaches Carmen, who is in conversation
with someone else.
JOEL
Sorry, Carmen. Any messages?
Carmen shakes her head "no", goes back to her conversation.
INT. JOEL'S APARTMENT - NIGHT
Joel checks his machine: zero messages.
VOICE-OVER
That's it. I'm just gonna—
Without a moment's hesitation, he dials the phone,
VOICE-OVER (CONT'D)
I'm gonna tell her I'm through playing games and —
RECORDED VOICE
The number you have dialed has been disconnected.
Joel's eye's bug.
Ratings
Scene 14 - Revelations of Loss
Joel sits across from Rob and Carrie, mid-40'S.
© 2003 Focus Features
JOEL
Why would she do that?
VAGUE RECORDED VOICE
If you think you have reached this recording in error,
please check your number and dial again.
CARRIE
I don't know, honey. It's horrible.
JOEL
She's punishing me for being honest. I should just go to her
house.
ROB
I don't think you should go there, Joel.
JOEL
Yeah, I don't want to seem desperate.
CARRIE
Maybe you need to look at this as a sign to move on. Just
make a clean break.
JOEL
I don't know. I'm so... I can't believe she'd be so goddamn
immature!
ROB
Joel, look, the thing is —
CARRIE
(agitated, interrupting)
Joel, honey... We have to feed the dog. Would you just wait
here? Just a second.
Joel nods, confused, as Rob and Carrie leave the room and close the
door behind them. Joel hears a hushed argument ensue in the hall. He
notices the dog asleep on the floor. He grabs a magazine off the
coffee table, flips through it distractedly as he paces, puts it
down, picks up another. A subscription card falls to the floor. He
picks it up and is about to shove it back in the magazine when he
sees it is not a subscription card at all. It reads:
Clementina Kruczynski has had Joel Barish erased from her memory.
Please never mention their relationship to her again. Thank you.
Lacuna Ltd. 610 llth Avenue, NY, NY
Joel stares at the card, incredulous.
© 2003 Focus Features
Later: Rob and Carrie are now back in the room,
CARRIE (CONT'D)
You weren't supposed to see that.
JOEL
They can't erase memories. It's a joke. It's a nasty
Clementine hoax.
CARRIE
Sweetie, we called the company.
Joel just stands there.
Close-up of a vague dictionary page.
VOICE-OVER
Lacuna: Noun. A blank, a missing portion, especially in a
manuscript.
INT. JOEL'S APARTMENT NIGHT Joel is on the phone, pacing.
CARRIE'S VOICE
You can't tell her, Joel. They explained that. Like waking a
sleepwalker. It might have a devastating effect.
INT. JOEL'S CAR - NIGHT
Joel drives past vague local landmarks.
CARRIE'S VOICE
Think about it: to be told you lived an existence of which
you have no recollection.
JOEL'S VOICE CARRIE'S VOICE
But what am I supposed Move on, sweetie.
to do?
JOEL'S VOICE
How can I? How can I move on when I know I'm the only one to
carry this love we had? How do I do that?
INT. CAR - NIGHT
Joel in his parked car next to a fence surrounding a drive-in movie
closed for the season. He weeps. The windows fog up until the outside
is completely obscured.
© 2003 Focus Features
Ratings
Scene 15 - Faded Memories
Joel looks for an address,
INT. ELEVATOR - DAY
Joel gets off on the sixth floor. He searches for a room number. As
he turns the corner, he sees that the hallway is faded, vague and
mostly erased. He keeps walking, comes to the door marked Lacuna and
opens it. Inside he can see vague, erased version of Mary the
receptionist.
MARY
(dead monotone)
Hi, May I help you?
These degraded, faded memories allow Joel to detach himself and hear
what's going on in his bedroom.
STAN'S VOICE
So, Mary's coming over tonight.
Joel looks up.
INT. JOEL'S APARTMENT - WIGHT
Stan works the joystick. Patrick sits on the bed with Joel.
PATRICK
Yeah?
STAN
Just wanted to let you know.
PATRICK
I like Mary. I like when she comes to visit. I just don't
think she likes me.
STAN
She likes you okay.
PATRICK
I wonder if I should invite my girlfriend over, too. I have a
girlfriend now.
STAN
You can if you want.
PATRICK
Did I tell you I have a new girlfriend?
© 2003 Focus Features
STAN
(re: memory on monitor)
This one's history. Moving on...
PATRICK
The thing is ... my situation is a little weird. My
girlfriend situation.
STAN
Patrick, we need to focus.
Stan aims the joystick.
Ratings
Scene 16 - Dents and Regrets
Joel distractedly reads a book, checks the clock, goes back to the
book. The door opens. He looks up. Clementine is staggering in,
drunk.
CLEMENTINE
Yo ho ho!
JOEL VOICE-OVER
It's three. Shit. The last time I
saw you.
CLEMENTINE (CONT'D) JOEL
Anyhoo, sweetie, I done I can't believe you
a bad thing. I kinda wrecked my car.
sorta wrecked your car… your car...
CLEMENTINE
JOEL (CONT'D) ...a little. I was a
You're driving drunk, little tipsy. Don't call
it's pathetic. me pathetic.
JOEL
Well it is pathetic. And fucking irresponsible. You could've
killed somebody.
The scene is starting to degrade. The acting becomes anemic.
JOEL (CONT'D)
I don't know, maybe you did kill somebody.
CLEMENTINE VOICE-OVER
Oh Christ I didn't kill Right! She called me an
anybody. It's just a old. lady here, too! And I
fucking dent. You're like like some old remember, I
some old lady or something said... lady or something.
© 2003 Focus Features
JOEL (CONT'D)
And what are you like? A wino?
CLEMENTINE
A wino? Jesus, Are you from the fifties? A wino!
(laughs)
Face it, Joel. You're freaked out because I was out late
without you, and in your little wormy brain, you're trying to
figure out, did she fuck someone tonight?
JOEL
No, see, Clem, I assume you fucked someone tonight. Isn't
that how you get people to like you?
This shuts Clementine up. She is stung and she starts gathering up
her belongings, which are strewn about the apartment. Joel is
immediately sorry he's said this. He follows her around.
JOEL (CONT'D)
I'm sorry. Okay. I didn't mean that. I just... I was just...
pissed, I guess.
Clementine is out the door. Joel follows.
EXT. STREET - NIGHT
Joel looks at his dented car, looks at Clementine clomping off in the
distance.
Ratings
Scene 17 - Fleeting Memories
Joel drives to catch up to Clementine. He rolls down his window to
talk to her.
JOEL
Let me drive you home
CLEMENTINE
(without turning)
Fuck you, Joel. Faggot.
JOEL
Look at it out here. It's falling apart. I'm erasing you. And
I'm happy.
She keeps clomping.
© 2003 Focus Features
JOEL (CONT'D)
You did it to me. I can't believe you did this to me. By
morning you'll be gone. Ha!
He stops the car, gets out.
EXT. STREET - CONTINUOUS
It's a street you might see in a dream, more an impression of a quiet
street than an actual one, with what little detail there is obscured
in darkness. Joel wanders it. In the distance Clementine walks off,
but as in an animated loop, she doesn't get any farther away. It's
lonely.
PATRICK'S VOICE
See, remember that girl? The one we did last week? The one
with the potatoes?
Joel looks up, startled.
STAN'S VOICE
Yeah, that's this guy's girlfriend. Was.
INT. JOEL'S APARTMENT - NIGHT
Stan watches the screen. Patrick paces, fidgets, looks at the
unconscious Joel.
PATRICK
I gotta tell you something. I kind of fell in love with her
that night.
STAN
She was unconscious, Patrick.
PATRICK
She was beautiful. So sweet and funky and voluptuous. I kind
of stole a pair of her panties, is what.
STAN
Jesus, Patrick!
EXT. STREET - NIGHT
On the vague street Joel listens to Patrick and Stan.
PATRICK'S VOICE
I know. It's not like... I mean, they were clean and all.
© 2003 Focus Features
STAN'S VOICE
Look, just don't tell me this stuff. I don't want to
know this shit.
PATRICK'S VOICE
Yeah, okay.
STAN'S VOICE
We have work to do.
There's a click and Joel finds himself in —
Ratings
Scene 18 - Fading Connections
Joel and Clementine sit and eat dinner in front of the TV. It's hard
to make out what they're watching. They sit on opposite ends of the
couch. They look bored. The scene quickly degenerates. The room
fades.
PATRICK'S VOICE
Okay, but there's more.
Joel listens.
PATRICK'S VOICE (CONT'D)
After we did her, I went to where she worked and I asked her out.
Joel looks over at the faded Clementine across the couch. She stares
straight ahead at the TV.
STAN'S VOICE
Patrick... do you know how unethical...
JOEL VOICE-OVER
That must be the guy I In the bookstore that
saw you with. night. The skinny guy.
There's a click and Joel finds himself in —
INT. JOEL'S APARTMENT - NIGHT
Joel watches TV. Clementine walks by in her underwear, looks at the
TV. She slips into a skirt.
CLEMENTINE
How can you watch this crap?
JOEL
Where are you going?
CLEMENTINE
I'm fucking crawling out of my skin.
© 2003 Focus Features
The scene starts to fade. Clementine puts on her shoes and heads out
the door.
Ratings
Scene 19 - Fading Desires
Joel and Clementine walk around unhappily. They barely look at the
animals. Clementine watches parents with babies.
JOEL
Oh shit. I remember this.
(to Clementine)
Want to go?
CLEMENTINE
(pissy)
I want to have a baby
JOEL
Let's talk about it later.
CLEMENTINE
No. I want to have a baby. I have to have a baby.
JOEL
I don't think we're ready.
CLEMENTINE
You're not ready.
JOEL
Clementine, do you really think you could take care of a kid?
She turns violently toward him, glaring.
CLEMENTINE
What?!
JOEL
(numbly)
I don't want to talk about this here.
CLEMENTINE
Joel, We're fucking gonna talk about it!
Joel looks around. People are watching.
CLEMENTINE (CONT'D)
You can't fucking say something like that and say you don't
want to talk about it!
© 2003 Focus Features
JOEL
Clem, I'm sorry. I shouldn't have —
CLEMENTINE
(screaming now)
I'd make a fucking good mother! I love children! I'm creative
and smart and I'd make a fucking good mother!
The scene starts to fade. Clementine's rant continues but becomes
attenuated and vague.
JOEL CLEMENTINE
Oh, thank God. It's It's you! It's you who
going. can't commit to anything!
You have no idea how
lucky you are I'm
interested in you! I
don't even know why I am!
I should just end it
right here, Joel. Leave
you in the 200. Maybe you
could find a nice sloth
to hang out with!
She's crying now, but it's almost animatronic, no real emotion in it.
The scene is a husk.
JOEL
It's going, Clementine. All the crap and hurt and
disappointment. It's all being wiped away.
She looks up at him.
CLEMENTINE
I'm glad.
Their eyes lock. She is fading before his eyes.
JOEL
Me, too.
Ratings
Scene 20 - Fleeting Connections
It's noisy and crowded. Joel and Clementine sit at a small table. She
is drunk and stating off, blankly.
JOEL
So, um —
CLEMENTINE
(swiveling head toward him)
Would you get me another, Joely?
© 2003 Focus Features
Joel sighs, stands, and heads to the crowded bar.
CLEMENTINE (CONT'D)
Thanky! Thanky!
Joel is at the bar, trying to get the bartender's attention.
Joel is paying the bartender. He turns with the drink to head back to
the table. He sees Clementine flirting with a man in Joel's seat.
Joel is at the table. Clementine looks up from her conversation.
CLEMENTINE (CONT'D)
Joel, this is Mark. He likes my boobs. He came over special
to tell me that. Isn't that nice. He doesn't think I'm fat.
The scene starts to fade. Mark rises.
MARK
I didn't know she was with someone, man.
CLEMENTINE
S'okay, Mark. Joel doesn't like my boobs.
(stage whisper)
I don't think he likes girls. The bar gets quiet and vague.
JOEL
You're drunk.
CLEMENTINE
You're a whiz kid. So perceptive, so —
Clementine keeps talking but there are no more intelligible words,
just a whisper — like a breeze.
A doorbell buzzes. Joel looks up.
Ratings
Scene 21 - Fading Connections
Patrick opens the door. Mary stands there with in a winter coat,
carrying a backpack.
MARY
(coolly)
Oh, hey, Patrick.
© 2003 Focus Features
PATRICK
Hi, Mary. How's it going?
She walks in past him.
STAN
Hey, you.
Stan and Mary kiss. She looks down at Joel as she takes off her coat,
MARY
It's freezing out.
STAN
You found us okay?
MARY
Yeah.
(re: Joel)
Poor guy.
(looking around)
He have anything to drink?
STAN
We haven't checked.
MARY
Well, allow me to do the honors. It's fucking freezing and I
need something.
She heads into the kitchen. Stan turns back to monitor the slivers of
light.
PATRICK
Mary hates me. I've never been popular with the ladies.
STAN
Maybe if you stopped stealing their panties.
PATRICK
(guilty beat)
Okay, There's more, Stan —
Stan looks over at Patrick. Mary returns with a bottle of scotch and
two glasses.
MARY
Hey, hey.
She pours the whiskey.
© 2003 Focus Features
MARY (CONT'D)
Oh, Patrick, you didn't want any? did you?
PATRICK
Nan, I don't know.
Mary hands a glass to Stan. She holds hers up in a toast.
MARY
Blessed are the forgetful, for they get the better even of
their blunders.
Mary and Stan click glasses.
MARY (CONT'D)
Nietzsche. Beyond, Good and_Evil. Found it my Bartletts,
STAN
That's a good one.
MARY
Yeah, I can't wait to tell Howard! It seems really
appropriate.
STAN
(a little sulky)
It's a good one all right.
PATRICK
What's your bartlett's?
STAN
It's a quote book.
MARY
I love quotes. So did Winston Churchill. He actually has a
quotation in Bartlett's about Bartlett's, isn't that trippy?
PATRICK
(trying to engage)
Yeah, Cool.
MARY
"The quotations when engraved upon the memory give you good
thoughts."
PATRICK
Very cool. Trippy.
© 2003 Focus Features
MARY
I like to read what smart people say. So many beautiful,
important things.
STAN
Yup.
MARY
Don't you think Howard's like that? Smart? Important?
STAN
(beat)
Yup.
PATRICK
Definitely!
MARY
I think he'll be in Bartlett's one day.
Stan focuses on his monitor. Mary pours herself another drink.
PATRICK
Definitely.
INT. JOEL'S BEDROOM - NIGHT
It's dark. Joel and Clementine are in bed. The memory is already in
the midst of being erased. Clementine is talking in a monotonous,
robotic manner.
CLEMENTINE
You don't tell me things, Joel. I'm an open book. I tell you
everything. Every damn embarrassing thing. You don't trust
me.
JOEL
No, it isn't that.
CLEMENTINE
I want to know you.
JOEL
I just don't have anything very interesting about my life.
CLEMENTINE
Joel, you're a liar.
© 2003 Focus Features
The scene is faded completely now and Joel just lies there for a
moment, registering Clementine's Statement.
Ratings
Scene 22 - Emotional Disconnect
Joel and Clementine eat dinner in silence. Joel looks around at other
couples in the restaurant. Some seem happy and engaged. Others seem
bored with each other. He turns back to his food.
JOEL VOICE-OVER
How's the chicken? Is that like us? Are we
just bored with each
other?
CLEMENTINE
Good.
He watches her as she downs her wine and pours herself another glass.
She holds the wine bottle up Co Joel.
CLEMENTINE (CONT'D)
More?
JOEL
No. Thanks.
There's a silence.
CLEMENTINE
How's the fish?
The scene is fading.
JOEL
It's good.
They continue to eat in silence as the scene dissolves.
PATRICK'S VOICE
Hi, Clementine! — Why, what's wrong? — Oh, I'm sorry. — Well,
I'm not sure, I kind of have to study for my test —
INT. JOEL'S APARTMENT - NIGHT
Patrick is on the phone next to Joel's bed. Stan watches the lights
on the computer screen.
PATRICK
Hold on. Let me ask my friend.
(covering mouthpiece)
Stan, can I leave for a little while? My girlfriend is very--
© 2003 Focus Features
STAN
Patrick, we're in the middle of —
PATRICK
She's right in the neighborhood. She's upset.
Mary is in the kitchen. She pokes her head out. She's got some pie
on. a plate.
MARY
Let him go, Stan. I can help.
STAN
(sighing, to Patrick)
Go.
PATRICK
(quietly)
Mary hates me.
(into phone)
I'll be right over, Tangerine.
Ratings
Scene 23 - Fading Memories
Candles are lit. Joel and Clementine are under a blanket on the
living room rug listening to music.
CLEMENTINE
Joely...
JOEL
Yeah, Tangerine?
CLEMENTINE
Do you know The Velveteen Rabbit?
JOEL
No.
CLEMENTINE
It's my favorite book. Since I was a kid. It's about these
toys. There's this part where the Skin Horse tells the rabbit
what it means to be real.
(crying)
I can't believe I'm crying already. He says, 'It takes a long
time. That's why it doesn't often happen to people who break
easily or have sharp edges, or who have to be carefully kept.
(MORE)
© 2003 Focus Features
CLEMENTINE (CONT'D)
Generally by the time you are Real, most of your hair has
been loved off, and your eyes drop out and you get loose in
the joints and very shabby. But these things don't matter at
all, because once you are Real you can't be ugly, except to
people who don't understand.'
She's weeping. Joel is stroking her hair. They kiss and begin to make
love under the blanket. It's sweet and gentle and then it starts to
fade.
JOEL
(screaming)
No! Jesus, No!
He looks down and Clementine's tear-streaked face is fading. She
continues as if she's still being made love to, even though Joel is
completely beside himself. He jumps up naked and yells at the
ceiling.
JOEL (CONT'D)
Please! Please! I've changed my mind!
(looks down at fading Clementine, then at ceiling)
I don't want this. Wake me up! Stop the procedure! Plea --
INT. JOEL'S APARTMENT - NIGHT
Joel is unconscious on the bed, completely still. Mary and Stan watch
the monitor and smoke a joint. After a silence:
MARY
It's amazing, isn't it? Such a gift Howard gave the world.
STAN
(a sigh)
Yeah.
MARY
To let people begin again. It's beautiful. You look at a baby
and it's so fresh, so clean, so free. And adults... they're
like this messy tangle of anger and phobias and sadness...
hopelessness. And Howard just makes it go away.
STAN
You love him, don't you?
© 2003 Focus Features
Mary seems surprised, taken aback, caught. She is silent for a long
moment.
MARY
No.
(beat)
Besides, Howard's married, Stan. He's a very serious and
ethical man. I'm not going to tempt him to betray all he
believes in. Stan takes another drag on the joint, passes it
to Mary.
Ratings
Scene 24 - A Night of Urgency and Reflection
Patrick, bundled up and carrying a full backpack, trudges through the
snow.
INT. CLEMENTINE'S APARTMENT - CONTINUOUS
Clementine watches out the window as Patrick nears. She's crying. He
makes his way up her front stairs. She swings open the door and hugs
him.
PATRICK
Oh, baby, what's going on?
CLEMENTINE
I don't know. I'm lost. I'm scared, I feel like I'm
disappearing. I'm getting old and nothing makes any sense to
me.
PATRICK
Oh, Tangerine.
CLEMENTINE
Nothing makes any sense. Nothing makes any sense.
She pushes herself out of the embrace and looks at Patrick.
CLEMENTINE (CONT'D)
Come up to Boston with me?
PATRICK
Sure. Well go next weekend and —
CLEMENTINE
Now. Now! I have to go now. I have to see the frozen Charles!
Now! Tonight!
PATRICK
Um, okay. I'll call my study partner.
© 2003 Focus Features
CLEMENTINE
Yay! It'll be great! I'll get my shit.
She runs into the bedroom. Patrick is at the phone and realizes he
doesn't know Joel's number. After a moment's thought, he *69's. The
phone rings.
JOEL'S VOICE
Hi, it's Joel. Please leave a message after the beep.
Beep.
PATRICK
(whisper)
Stan, it's Patrick. Pick up.
STAN'S VOICE
Hey, where are you?
PATRICK
I got into a situation with the old lady. Can you handle
things tonight alone? I'm really sorry, man.
INT. JOEL'S APARTMENT - CONTINUOUS
Stan is on the phone. He's really stoned and watches Mary, stoned
herself, dancing in a sexy trance to something soft and low on the
stereo.
STAN
I can handle it. He's pretty much on auto-pilot anyway.
INT. CLEMENTINE'S APARTMENT - CONTINUOUS
PATRICK
Thanks, Stan, I owe you.
Patrick hangs up, rifles quickly through his backpack. He pulls out a
silver bracelet, puts it in his pocket, then pulls out a journal,
flips through it, keeping an eye on the bedroom door. The handwriting
is a woman's. He finds what he's looking for. He reads:
CLEMENTINE'S VOICE
I took Joel to walk on Charles River with me last night. It
was. so beautiful and charming. Joel was nervous about
stepping onto the ice, but he wanted to please me so much —
he's so sweet — that he came out after me.
(MORE)
© 2003 Focus Features
CLEMENTINE'S VOICE (CONT'D)
We lay down right in the center and watched the stars. He
took my hand and said, "I could...
Ratings
Scene 25 - Fading Memories
Joel and Clementine lie together holding hands on the frozen river.
They look up at the stars.
JOEL
... die right now. Clem. I'm just... happy. I've never felt
that before. I'm just exactly where I want to be.
Clementine looks over at him. Her eyes are filled with love and
tears. Then they get vague. The scene is being erased. Joel is
panicked.
JOEL (CONT'D)
Clem, no! This can't keep happening, please! Oh, fuck!
Please!
Crazily, Joel runs off, passing through a series of decayed scenes:
He and Clementine arguing in a car, having sex on the beach, laughing
and holding hands at a movie, eating grilled cheese and tomato soup
together in bed, Joel watching her sleep, them drinking at a bar. He
arrives at a decayed version of his first meeting with Mierzwiak.
MIERZWIAK
We can help you through this. Why don't you start now by
telling me everything you can remember about
JOEL
You have to stop this!
MIERZWIAK
What? What do you mean?
JOEL
I'm trapped in my head and everything I love is being erased!
Stop it now!
MIERZWIAK
Yes, but... I'm just something you're imagining. What can I
do? I'm in your head, too.
INT. CLEMENTINE'S APARTMENT – NIGHT
Patrick reads the journal.
© 2003 Focus Features
CLEMENTINE'S VOICE
... and we made love right on the ice. It was absolutely
freezing on my ass! It was wonderful.
Clementine enters, dressed for the cold. Patrick puts the notebook
away.
CLEMENTINE
I'm so excited. Yay!
PATRICK
I'm excited, too. Oh, and I wanted to give you this. It's a
little... thing.
Patrick pulls the bracelet from his pocket, hands it to her.
PATRICK (CONT'D)
I didn't have a chance to wrap it.
CLEMENTINE
It's gorgeous.
(slipping it on)
Just my taste. I've never gone out with a guy who bought me a
piece of jewelry I liked.
(kisses him)
Thanks. So let's get going. Long drive.
INT. JOEL'S APARTMENT - NIGHT
Stan and Mary have sex on the floor next to Joel's bed.
Ratings
Scene 26 - Fading Memories
Joel and Clementine are hiking, Clementine in front.
CLEMENTINE
Such a beautiful view.
JOEL
(looking at her)
Yes indeed.
(snapping out of memory)
Fuck! They're erasing you. Clem!
CLEMENTINE
Oh?
JOEL
I hired them to. We're in my brain. But I want it to stop,
before I wake up and don't know you anymore.
© 2003 Focus Features
CLEMENTINE
Wow. Um, well... can't you just force yourself awake?
JOEL
I don't know.
He concentrates. Nothing happens.
JOEL (CONT'D)
Aaargh! It's horrible! I'm Crapped!
He starts to have a fit, banging against trees, storming his feet,
screaming. But even while he's doing this the memory and Clementine
are fading around him.
INT. JOEL'S APARTMENT - DAY
It's raining out. Joel is reading, slouched in a chair. He looks over
at Clementine, stretched out on her belly in her underwear. She's
reading, too.
VOICE-OVER JOEL
She's so sexy. I loved you on this day.
I love this memory. The
rain. Us just hanging.
Clementine looks over at him, smiles. Her brow furrows in thought
CLEMENTINE
What if you hide me?
JOEL
What do you mean?
CLEMENTINE
(formulating)
Well... if they're looking for me in memories I'm in, what if
you take me to a memory I'm not in?
(proud)
And we can hide there till morning.
Joel ponders this. The scene and Clementine are beginning to
dissolve. Joel grabs Clementine's hand. She giggles with glee. He
pulls her out of the scene as it degrades.
JOEL
Where? Where? Where?
He drags her through the landscape of already decayed memories and
turns off into:
© 2003 Focus Features
Ratings
Scene 27 - Childhood Echoes and Technical Failures
The kitchen is dated and vague. Joel and Clementine are in an
oversized playpen; they're adults but small. Joel wears footsie
pajamas with some vague little animals on them. He holds a a red
furry huckleberry hound doll. Clementine is still in her panties and
bra. An oversized woman in high-heels, seen from a low angle, hurries
back and forth preparing dinner.
CLEMENTINE
Jesus. What's this?
Joel looks around at the kitchen, at his doll, at the woman.
JOEL
I must be about two.
(oddly)
I want my mommy. She's busy. She's not looking at me.
(back to himself, re: doll)
Look, my Huckleberry Hound doll! I told you about this!
(beat)
I want my mommy!
He starts to cry. Clementine tries to comfort him. She hugs him.
JOEL (CONT'D)
(crying still)
I want mommy.
(adult, to Clementine)
I don't want to lose you, clem.
CLEMENTINE
I'm right here.
JOEL
I'm scared. I want my mommy. I don't want to lose you. I
don't want to lose....
CLEMENTINE
Joel, Joely, look... it's not fading.
The memory. I think we're hidden.
Joel sucks in some snot. His mother scurries back and forth clanging
pots. The room is not decaying. Joel smiles.
© 2003 Focus Features
INT JOEL'S BEDROOM - NIGHT
Stan and Mary lie on the floor, their stoned minds wandering after
sex. Stan suddenly perks up. He looks at the monitor.
STAN
It's stopped.
MARY
What?
STAN
Listen, it's not erasing.
He makes his way, naked, to the computer screen.
STAN (CONT'D)
It's not erasing. He's off the screen.
MARY
Where?
STAN
I don't know. He's not on the map.
Stan tries to break through his marijuana haze. He fiddles nervously
with the equipment.
STAN (CONT'D)
I don't know what to do! I don't know what to do! Crap.
Crap...
MARY
Well, what should we do?
STAN
I don't know! I just said that!
MARY
Sor-ry.
(beat)
We have to do something. He can't wake up half done.
STAN
Shit!
He jerks the joystick spastically. Mary, also naked, gets up and
looks over his shoulder at the screen.
MARY
(definitively)
We should call Howard.
© 2003 Focus Features
Stan turns and looks at her. He's stoned and trying to understand her
motivation.
STAN
No way. I can handle this,
MARY
This guy's only half cooked. There's no time to fuck around,
Stan.
Stan tries to think. He paces. Mary watches him. Finally:
STAN
(without making eye contact)
Okay.
He dials the phone, waits.
STAN (CONT'D)
Hello, Howard?
Ratings
Scene 28 - Urgent Disarray
The room is dark. A groggy Mierzwiak is in bed on the phone. His wife
lies beside him, eyes open, listening.
MIERZWIAK
Stan? What's going on?
STAN'S VOICE
The guy we're doing? He's disappeared from the map. I can't
find him anywhere.
MIERZWIAK
Okay, what happened right before he disappeared?
STAN'S VOICE
I was away from the monitor for a second. I had it on
automatic. I had to go pee.
MIERZWIAK
Well, where was Patrick?
STAN'S VOICE
He went home sick.
MIERZWIAK
Jesus. All right, what's the address.
STAN'S VOICE
1062 Sherman Drive. Apartment IE, Rockville Center.
© 2003 Focus Features
Mierzwiak writes it down on a bedside note pad. He hangs tip.
INT. JOEL'S APARTMENT - NIGHT
Stan hangs up the phone, looks at Mary.
MARY
He's coming?
STAN
You better go.
MARY
Hell no.
She starts getting dressed.
MARY (CONT'D)
Shit, I'm so stoned. I don't want him to see me stoned. Stop
being stoned, Mary!
She hurries into the bathroom with her bag.
MARY (CONT'D) (O.C.) (CONT'D)
God, I look like shit! God!
Mary slams the bathroom door. Stan puts his head in his hands.
Ratings
Scene 29 - Memories and Heartache
Joel and Clementine are in the playpen. Joel's oversized mother
reaches down as she hurries by and pats Joel on the head.
MOTHER
How's my baby boy?
She's gone.
JOEL
I really want her to pick me up. It's weird how strong that
desire is.
Clementine holds his hand. He looks over at her.
CLEMENTINE
You know, we're okay. They're not finding us. You'll remember
me in the morning. And you'll come to me and tell me about us
and we'll start over.
© 2003 Focus Features
JOEL
I loved you so much this day. On my bed in your panties. I
remember I thought, how impossibly lucky am I to have you on
my bed in your panties.
She kisses him.
CLEMENTINE
You remember what happened next?
JOEL
I came over to the bed and you smelled so good, like you just
woke up, slightly sweaty. And I climbed on the bed with you
and you said something like —
CLEMENTINE
— another rainy day. Whatever shall we do?
He laughs. She unbuttons his pajamas. They begin to make love. Joel's
mother hurries around the kitchen. Joel stops, looks at Clementine.
JOEL
There's this guy!
CLEMENTINE
What?
JOEL
There's this guy. I heard him talking in my apartment. He's
one of the eraser guys. And he fell for you when they were
erasing you, so he introduced himself the next day as if he
were a stranger and now you're dating him.
CLEMENTINE
Really? Is he cute?
JOEL
He stole a pair of your panties while you were being erased!
CLEMENTINE
Gross! You must remember to tell me this in the morning. I'm,
like, so freaked out now.
© 2003 Focus Features
INT. CLEMENTINE'S CAR - NIGHT
It's a rust bucket. Clementine drives through the snow. She's crying
and holding Patrick's hand.
CLEMENTINE
What's wrong with me?
PATRICK
Nothing is wrong with you. You're the most wonderful person
I've ever met.
She glances gratefully over at him then starts to cry even harder.
Ratings
Scene 30 - Unexpected Encounters
Stan works on trying to get the signal back. His hair is combed and
he's dressed neatly, looking professional but still stoned. Mary is
pacing nervously to and from the window, looking out into the night.
She's dressed also, and she's wearing more make-up now. Her hair is
pulled up into some sort of style. Suddenly she freezes at the
window.
MARY
There he is. Oh my God. Oh my God. Do I look okay?
Stan doesn't say anything.
MARY (CONT'D)
I'm still stoned. Are you? Crap.
She looks in the mirror.
MARY (CONT'D)
(to Joel)
Your Visine didn't do shit, fella.
The doorbell buzzes. Mary lunges for the door, then calms herself
before opening it. Mierzwiak, holding an equipment bag, looks
surprised.
MIERZWIAK
Mary. What are you doing here?
STAN
She came to help, Howard.
MARY
I wanted to learn as much about the procedure as possible,
Howard.
© 2003 Focus Features
MARY {CONT'D)
I think it's important for my job... to help comfort the
clientele. You know.
Mierzwiak looks from Mary to Stan, nods, and enters. Mary closes the
door. Mierzwiak crosses, to the equipment.
MIERZWIAK
Let's get to the bottom of this. Shall we?
He sits down in front of the computer and does some fiddling.
MIERZWIAK (CONT'D)
Odd.
He fiddles some more. Mary looks on, fascinated.
STAN
I tried that already.
MIERZWIAK
Did you try going in through C-Gate?
STAN
Yeah. Of course.
Mierzwiak ponders. He unzips his equipment bag, pulls out another
laptop computer and plugs it in to the system.
MIERZWIAK
I'm going to do a Spectrum search throughout his memory, see
if anything comes up.
Mierzwiak presses some more buttons. The program starts up. A much
more complex and detailed human brain appears on this screen. It
rotates. Eventually Mierzwiak sees a small distant light in the
brain. He zeroes in on it.
MIERZWIAK (CONT'D)
Okay, here it is. I don't know why it's off the map like
that, but —
Ratings
Scene 31 - Memories in Transition
Joel is being bathed in the oversized sink by his oversized mother.
Clementine sits in the water with him, laughing. The mother doesn't
seem to see her.
MOTHER
Little baby getting awwwwl cleean. Awl clean.
© 2003 Focus Features
JOEL
(to Clementine)
I love getting bathed in the sink. It's such a feeling of
security.
CLEMENTINE
(giggling)
I've never seen you happier.
The elements of the scene flash explosively away: Joel's mother, his
Huckleberry Hound doll, the details of the kitchen, Clementine. Joel
is thrown into:
INT. CAR - NIGHT
He sits with Clementine in the parked car, outside a drive-in movie
theater. The movie on the giant screen is partially obscured by a
fence. Joel and Clementine drink wine.
INT. JOEL'S BEDROOM - NIGHT
Mierzwiak looks up from the computer screen.
KIERZWIAK
Okay, we're back in.
MARY
That was beautiful to watch, Howard. Like a surgeon or a
concert pianist.
MIERZWIAK
Well, thank you, Mary.
STAN
(sighing)
You get some sleep, Howard. I'll take it from here.
MIERZWIAK
Yeah, probably a good idea.
Ratings
Scene 32 - Fleeting Memories
Clementine and Joel laugh as they try to give voice to what the
characters on the screen are saying.
CLEMENTINE
But can't you see... I love you, Antoine.
JOEL
Don't call me Antoine. My name is Wally.
© 2003 Focus Features
CLEMENTINE
Yes, but I can't love a man named Wally.
She starts to fade. The scene starts to fade. Joel remembers their
previous plan.
JOEL
They found us before. The plan didn't work. I don't know what
to do now.
CLEMENTINE
(mouthing to woman on screen)
Hide me somewhere deeper? Somewhere buried?
Joel grabs her. They run off just as the scene decays into a husk
behind them.
INT. JOEL'S BEDROOM - NIGHT
Stan is back at the controls. Mierzwiak.'s at the door with Mary.
STAN
Howard, they've disappeared again.
MIERZWIAK
Oh dear.
MARY
I'm so sorry, Howard, you must be tired.
He nods, distractedly. She smiles to herself as he heads back to the
equipment.
Ratings
Scene 33 - Childhood Fears and Bullying
Joel, now the size of a junior high school kid and dressed
accordingly, is peering around the corner of the school building
toward the bike rack. Clementine is with him, dressed as she was in
the parked car.
CLEMENTINE
Look at you, cutey! What are we doing?
JOEL VOICE-OVER
This kid, Joe Early, is I'm terrified. I thought
going to beat the shit if I hung around the art
out of me. room
long enough, he'd go home
and I could get my bike.
They head toward the bike rack. Joel's is the only bike remaining.
© 2003 Focus Features
CLEMENTINE (CONT'D)
Poor Joel.
They're at the bike rack and a bunch of kids, including giant, fat
Joe Early come around the corner.
JOE EARLY JOEL
Hi, Jill. He calls me Jill.
Everyone calls me Jill
after this.
The other kids laughs.
JOEL
Just shut up, Joe. I'm going home.
JOE EARLY
I don't think so. We're fighting.
JOEL
I don't want to fight you.
The kids start chanting, "fight, fight, fight..." Joe Early throws a
wild punch that hits Joel in the side. Joel falls and stays down,
covering himself.
JOE EARLY
C'mon, Jill. Get up, faggot. C'mon.
Joel doesn't say anything. He peeks humiliated at Clementine. She's
watching him. She's got a tear in her eye. She kneels down beside
him, puts her arm around him.
JOEL
I'm too scared to even throw a punch. When I tell people this
story I leave that part out.
The scene flashes violently to white and is gone.
INT JOEL'S APARTMENT – NIGHT
Mierzwiak is at the machines.
MIERZWIAK
We got him back. Stan, I think I'm just going to have to get
through this manually. We're running late.
Ratings
Scene 34 - Awkward Memories
It's cold. Joel and Clementine walk, all bundled up. She points at a
house up the beach.
© 2003 Focus Features
CLEMENTINE
Our house! Our house!
She runs ahead, laughing. The scene is decaying. Joel chases after
her.
JOEL
Clem, c'mon, we've got to hide you. Remember?
He grabs her arm and yanks and they are in:
INT. BOY'S BEDROOM - NIGHT
It's dark. Joel, junior high school size, is in bed masturbating.
Clementine is in there, too, in her winter coat, still laughing from
before. She realizes what's going on.
CLEMENTINE
(mock offended)
Joel!
JOEL
(continuing to masturbate)
I don't like it either, but I'm just trying to find horrible
secret place to --
Joel's mother pops her head in the door
MOTHER
Joel, I was just —
(sees what's going on)
Oh. Um... I'll ask you in the morning, honey. Have a good
night.
The mother backs out, closes the door. Joel cringes. Clementine
laughs, still in the mode of the memory she was swiped from. Flash!
It's all gone.
Ratings
Scene 35 - Fading Memories
Joel and Clementine are laughing as she blows out the candle on a
slice of cheesecake in front of her. Joel hands her a small wrapped
box.
JOEL
Happy birthday.
CLEMENTINE
(unwrapping the gift)
Thanks, Joely. A present! Oh hoy!
© 2003 Focus Features
She pulls out a bracelet. It's the same bracelet Patrick gave her
CLEMENTINE (CONT'D)
Oh, Joel. It's beautiful!
(slip it on)
I mean, you're the first guy who ever bought me a piece of
jewelry I could honestly say that about.
He notices she's starting to fade.
JOEL
I scoured the city for it.
CLEMENTINE
I love it!
She leans across the table to kiss him. He grabs her and runs through
the decaying scene and into the vague night.
EXT. SUBURBAN STREET - DAY
Joel is one of a group of five year olds. He holds a hammer and is
poised to hit a dead bird in a red wagon. The other boys are goading
him.
BOYS
C'mon, Joel, you have to. Do it already.
Joel doesn't want to. Clementine watches.
JOEL VOICE-OVER
I can't. I have to go I didn't want to do
home. I’ll do it later. this. But I had to or
they would've called me
a girl.
Joel miserably smashes the bird repeatedly with the hammer. Red jelly
guts cover the hammer and the wagon bottom. The kids hoot.
VOICE-OVER
I can't believe I did that. I'm so ashamed.
A live bird watches from a tree. Clementine, still dressed for her
birthday dinner (wearing her new bracelet), pulls Joel away from the
other boys. The two of them walk down Joel's suburban street.
CLEMENTINE
It's okay. You were a little kid.
(beat)
(MORE)
© 2003 Focus Features
CLEMENTINE (CONT'D)
This is a great birthday present. Getting to see you as a
boy.
She kisses him and they walk holding hands.
JOEL
(pointing)
That's where I live. Lived.
Joel looks down at her hand. It's fading. The bracelet is gone.
Clementine is gone. His childhood house is gone.
Ratings
Scene 36 - Forbidden Memories
Mierzwiak works the equipment. He has located a small area of light
in the brain imaging and eradicates them.
MIERZWIAK
I'm getting the hang of it. I still understand it. But I'm
finding him quickly enough. I'm hopeful there won't be too
much peripheral eradication.
Mary sits on the bed.
MARY
(a little giggly)
I like watching you work.
Stan sighs, grabs his coat.
STAN
I'll go out for a smoke. If no one minds.
MIERZWIAK
(not looking up)
That's fine, Stan.
Mary doesn't say anything, Stan huffs and is out the door. Mierzwiak
continues to find and erase points of light. Mary gets up her courage
to speak.
MARY
Do you like quotes, Howard?
MIERZWIAK
How do you mean?
MARY
Oh, um, like famous quotes. I find reading them inspirational
to me. And in my reading I've come across some I thought you
might like, too.
© 2003 Focus Features
MIERZWIAK
Oh. Well, I'd love to hear some.
Mary is thrilled, beside herself. She tries to calm down.
MARY
Okay, um, there's one that goes “Blessed are the forgetful,
for they get the better even of their blunders.”
MIERZWIAK
Is that Nietzsche?
MARY
Yeah, yeah it is, Howard. And here I was thinking I could
tell you something you didn't know.
MIERZWIAK
It's a good quote, Mary. I'm glad we both know it.
He smiles at her. She's flustered, flattered.
MARY
(sputtering)
There's another one I like, I read. It's by Pope Alexander.
MIERZWIAK
Alexander Pope?
MARY
Yes, shit. Oops, sorry!
(puts hand over mouth)
Sorry. It's just I told myself I wasn't going to say Pope
Alexander and sound like a dope and then I go ahead and do it
it. Like I psyched myself out.
MIERZWIAK
It's no big deal.
MARY
You are such a sweetheart.
There's an embarrassed moment as that line hangs in the air. Then
Mary plunges ahead to bury.it.
MARY (CONT'D)
Anyway, the quote goes 'How happy is the blameless Vestal's
lot!
(MORE)
© 2003 Focus Features
MARY (CONT'D)
The world forgetting, by the world forgot: Eternal sunshine
of the spotless mind! Each prayer accepted, and, each wish
resign'd"
She smiles, proud and embarrassed.
MIERZWIAK
That's lovely.
MARY
Really? I thought it was appropriate maybe. That's all.
(beat, then quickly)
I really admire the work that you do. I know it's not proper
to be so familiar but I guess since we're outside the
workplace I feel a certain liberty to --
MIERZWIAK
It's fine, Mary. I'm happy to hear it.
MARY
Okay. Good. Great. Thanks
(blurting)
I like you, Howard... an awful lot. Is that terrible?
Mierzwiak seems momentarily taken aback, then returns to his
unflappable self.
MIERZWIAK
You're a wonderful girl, Mary.
She leans over and kisses him, then pulls away quickly.
MARY
I've loved you for a very long time. I'm sorry! I shouldn't
have said that.
MIERZWIAK
I've got a wife, Mary. Kids. You know that.
MARY
(suddenly weepy)
I wish I was your wife. I wish I had your kids.
Mierzwiak comforts her with a hug. It turns into a kiss. He pulls
away.
MIERZWIAK
We can't do this.
© 2003 Focus Features
MARY
No, you're right. Once again. You're a decent man, Howard.
He smiles sadly at her. She smiles courageously at him.
MIERZWIAK-
I want you to know it's not because I'm not interested. If
that means anything.
They look at each other for a long while, then Howard goes back to
locating and eradicating blips of light.
EXT. JOEL'S APARTMENT BUILDING - NIGHT
Stan sits in the van and smokes a cigarette. He has an unobstructed
view into Joel's bedroom window. He watches Mierzwiak and Mary.
They're talking as Howard works. It appears to be a very serious
discussion. A car pulls up outside. Stan turns to see. A middle-aged
woman gets out, checks the address on Joel's building, approaches the
only lit window, watches Kierzwiak and Mary inside. Mierzwiak's
resolve has apparently weakened and he and Mary kiss again. This time
it leads to groping, partial undressing, and falling onto the bed
alongside the unconscious Joel. The woman in the window is
transfixed. As Mierzwiak fumbles to unzip his pants, he catches sight
of the woman in the window. He practically shrieks and jumps up.
Ratings
Scene 37 - Fractured Connections
Joel and Clementine walking, hand-in-hand, look up simultaneously.
INT. JOEL'S BEDROOM – CONTINUOUS
Mary looks confusedly at Howard.
MARY
What?
She follows his eyes and sees the woman in the window, who turns and
walks off in a huff.
MARY (CONT'D)
Oh my God!
Mierzwiak. is already in his coat. He's out the door.
EXT. JOEL'S APARTMENT BUILDING - CONTINUOUS
The woman is at her car. Stan watches from the van. Mierzwiak is
hurrying to the woman.
© 2003 Focus Features
MIERZWIAK
Hollis! Hollis!
HOLLIS (THE MIDDLE-AGED WOMAN)
I knew it, Howard. I don't even know why I bothered to copy
the damn address.
MIERZWIAK
It didn't start out to be this. I came here to work. It's a
one-time mistake.
Mary is right behind Mierzwiak now. Hollis is in her car.
MARY
(heroically)
Mrs. Mierzwiak, it's true. And it's not Mr. Mierzwiak's
fault. I'm a stupid little girl with a stupid little crush. I
basically forced him into it. I swear.
Hollis turns, looks at Mary and then at Mierzwiak.
HOLLIS
Don't be a monster, Howard. Tell the girl.
Stan is out of the van now, listening. Mary shivers in the cold, hugs
herself. There's a long silence. Then:
MARY
Tell me what?
Hollis and Mierzwiak have locked eyes, Mary looks back and forth
between them. Hollis starts her car.
HOLLIS
Poor kid. You can have him. You did.
She drives off. Mary watches Howard with increased foreboding.
MARY
What, Howard?
MIERZWIAK
We... have a history. I'm sorry. You wanted the procedure.
You wanted it done... to get past. I have to finish in there.
It's almost morning. We'll talk later.
He shuffles inside. Mary stands there, unable to digest this,
struggling in vain to remember. Stan watches.
© 2003 Focus Features
STAN
Let me take you home.
Mary shakes her head "no." She walks off, dazed.
EXT. CHARLES RIVER - NIGHT
Clementine and Patrick lie on the their backs on the frozen river and
look up at the night sky.
PATRICK
I could die right now. Clem. I'm just happy. I've never felt
that before. I'm just exactly where I want to be.
Clementine looks over at him. Their eyes meet. She sobs.
CLEMENTINE
I want to go home.
She hurries toward the shore, slips on the ice, gets up, and
continues, now running.
INT. COMMUTER TRAIN - NIGHT
Mary, in shock, sits in the empty fluorescent car. She tries to look
out the window but can only see her own reflection.
Ratings
Scene 38 - Fleeting Memories and Fatalism
It's deathly silent as Mierzwiak and Stan work on completing the job.
Mierzwiak locates a light hidden very deep in the map of Joel's
brain. He targets it.
EXT. ROWBOAT - DAY
Joel, the site of a ten year old, sits fishing with his oversized
father. Clementine is naked and in the boat, too. She's reading The
Play by Stephen Dixon.
CLEMENTINE
I love this book, Joel. Thank you so much for telling me
about it.
Joel is his father. The father is drunk and sullen. He faces away
from Joel, looks out at the lake.
© 2003 Focus Features
FATHER JOEL
Don't be like me, son. It was horrifying,
Don't waste your life. seeing my my father like
You’ll come to a point that. There was no hope
someday where it’ll be for me if his life was
too late. You’ll be sewn such a failure. And he
into your fate… saw failure in me, too,
written in my future.
Clementine watches the frightened, confused Joel,
CLEMENTINE (CONT'D)
Joel, you're not sewn in. He's wrong.
FATHER
... and there'll be nowhere to go except where you're
headed, like a train on a track. Inevitable, unalterable.
The scene pops out of existence with a flash of light.
Ratings
Scene 39 - Fleeting Memories
Joel finds himself eating Chinese food and sitting across from
Clementine. He is ragged and jarred.
JOEL
I'm done, Clem. I'm just going to ride it out. Hiding is
clearly not working.
CLEMENTINE
Yeah.
JOEL
I want to enjoy my little time left with you.
CLEMENTINE
This is our first "date" date.
JOEL
Do you remember what we talked about?
CLEMENTINE
Naomi, I guess.
JOEL
Yeah.
CLEMENTINE
What was I wearing?
© 2003 Focus Features
JOEL
God, I should know. Your hair was red. I remember it
matched the wallpaper.
CLEMENTINE
Egad, were you horrified?
JOEL
No! I think you were wearing that black dress, y'know,
with the buttons.
She is wearing the black dress.
CLEMENTINE
No, you were with me when I bought that. At that place on
East 6th. It was later.
INT. DRESS SHOP - DAY
The scene has already been erased. It's, just a decayed husk. A vague
Joel watches a vague Clementine model a black, dress.
Ratings
Scene 40 - Fleeting Memories
Clementine wears a generic black dress now.
JOEL
Right. Something black though.
CLEMENTINE
I'll buy that. Black's always good.
JOEL
We did talk about Naomi.
CLEMENTINE
I said: Are you sure? You seem unsure.
JOEL
I'm sure, I said.
CLEMENTINE
But you weren't. I could tell.
JOEL
I was so nervous. I remember I couldn't think of anything to
say. There were long silences.
There is a long silence.
© 2003 Focus Features
JOEL (CONT'D)
I thought I was foolish. I thought I'd mistaken infatuation
for love. You said:
CLEMENTINE
So what. Infatuation is good, too.
JOEL
And I didn't have an argument.
INT. CAR - NIGHT
Joel and Clementine pull up to Clementine's house.
JOEL
I dropped you off after. You said —
CLEMENTINE
(Mae West)
Come up and see me... now.
JOEL
It's very late.
CLEMENTINE
Yes, exactly. Exactly my point.
INT. CLEMENTINE'S APARTMENT - NIGHT
Joel and Clementine are in the midst of awkward shy sex.
JOEL
This was our first time.
The scene starts to fade. Joel watches Clementine disappear.
Ratings
Scene 41 - Echoes of Lost Love
Mary enters the dark room, frazzled. She flips on the fluorescent
lights and searches the file folders, finds one with her name on it.
Her jaw drops. With a shaky hand, she puts the tape into the player
on her desk and presses 'play.'
MIERZWIAK'S VOICE
Okay, so just tell me what you remember. And we'll take it
from there.
MARY'S VOICE(shaky)
Um, I liked you immediately. At the job interview. You seemed
so... important and mature. And I loved that you were helping
all these people,
© 2003 Focus Features
MARY'S VOICE (CONT'D)
You didn't come on to me at all. I liked that. I was so
tongue-tied around you at first. I wanted you to think I was
smart. You were so nice. I loved the way you smelled. I
couldn't wait to come to work. I had these fantasies of us
being married and having kids and just...
(starts to cry)
... and so.. then... when... that one day, when I thought
you looked at me back... like... Oh, Howie, I can't do this?
How can I do this?
MIERZWIAK'S VOICE
It's what's best, Mary. You know that.
Mary slumps to the floor. We move into her eyes.
MARY'S VOICE
Yeah, I know. Oh, God. Okay, well, I was so excited...
A SERIES OF MURKY IMAGES. NO DETAIL.
A flirtatious look from Mierzwiak.
MARY'S VOICE
... Remember you bought me that little wind-up frog?
A vague shot of a wind-up toy frog.
MARY'S VOICE (CONT'D)
And you said...
A vague shot of Mierzwiak mouthing to Mary's voice
MARY'S VOICE (CONT'D)
"This is for your desk. Just a little token"
Back to Mary sitting on the floor, listening to the tape.
MARY'S VOICE (CONT'D)
I knew then... I knew something was going to happen...
something wonderful.
Ratings
Scene 42 - Reflections of Regret
Joel sits in the quiet living room. The scene is fading.
JOEL
Naomi.
© 2003 Focus Features
VOICE-OVER
On the couch. Dark. Quiet. I wondered if I had made a
terrible mistake, I almost reached for the phone about a
thousand times. I thought I could take it back, erase it,
explain I had momentarily lost my mind. Then I told myself we
weren't happy. That was the truth. That what we were was
safe. It was unfair to you and to me to stay in a
relationship for that reason. I thought about Clementine and
the spark when I was with her, but then I thought what you
and I had was real and adult and therefore significant even
if it wasn't much fun. But I wanted fun. I saw other people
having fun and I wanted it. Then I thought fun is a lie,
that no one is really having fun. I'm being suckered by
advertising and movie bullshit... then I thought maybe not,
maybe not. And then I thought, as I always do at this point
in my argument, about dying.
INT. ROOM - DAY
An elderly man sits.
VOICE-OVER
I projected myself to the end of my life in some vague
rendition of my old man self. I imagined looking back with a
tremendous hole of regret in my heart.
INT. JOEL'S APARTMENT – NIGHT
Joel sits.
VOICE-OVER
I didn't pick up the phone to call you, Naomi. I didn't pick
up the phone.
The scene dissolves.
INT. JOEL'S APARTMENT - DAY
Naomi is red-eyed from crying. She is packing things in boxes. Joel
paces, steals glance's at her, doesn't know what to say. She holds up
a book. The scene starts to fade.
NAOMI
Yours?
© 2003 Focus Features
JOEL
You take it. I don't know.
She tosses it in a box.
JOEL (CONT'D)
Naomi, I really value our relationship. I hope it's possible
for us to stay in touch..
NAOMI
Don't do this to me now, Joel. Really.
INT. JOEL'S BEDROOM - DAY
Joel watches out the window as Naomi stuffs a final box in the trunk
of a car. There's another woman down there with her. They get into
the car and drive off.
Ratings
Scene 43 - Confronting Unhappiness
Joel talks to Clementine. The scene is fogging over.
JOEL
I told her today I need to end it.
CLEMENTINE
Is that what you want?
JOEL
I did it. I guess that means something.
Clementine shrugs. The scene fades.
EXT PARK - DAY
Joel walks with Naomi.
NAOMI
So what's going on, Joel?
JOEL
I don't know, I've just been thinking, maybe we're not happy
with each other.
NAOMI
What?
JOEL
Y'know, we've been, I don't know, sort of, unhappy with
each other and —
© 2003 Focus Features
NAOMI
Don't say 'we' when you mean you.
JOEL
I think maybe, we're both so used to operating at this level
that — How can one person be unhappy? If one person is
unhappy, both have to be... by definition.
NAOMI
Bullshit. Who is it? You met someone.
JOEL
NO. I just need some space, maybe.
NAOMI
The thing is, Joel, whatever it is you think you have with
this chick, once the thrill wears off, you're just going to
be Joel with the same fucking problems.
JOEL VOICE-OVER
It's not somebody else. I hate myself.
Naomi walks off. Joel watches her. The scene fades.
Ratings
Scene 44 - A Chance Encounter
Joel enters, looks around. There's no sign of Clementine. Joel
approaches a male employee.
JOEL
Is there a Clementine who works here?
MALE EMPLOYEE #l
(calling to another male employee)
Mark, is Clem on tonight?
MALE EMPLOYEE #2
On my dick, bro.
(turns, sees Joel, embarrassed)
Oh, hey. Yeah, I think she's upstairs in Philosophy.
Joel climbs stairs, searches the aisles, spots Clementine.
JOEL
Hi.
She turns.
© 2003 Focus Features
CLEMENTINE
I didn't think you'd show your face around me again. I
figured you were humiliated. You did run away, after all.
JOEL
Sorry to trade you down like this. I'm not a stalker. But I
needed to see you.
CLEMENTINE
{seemingly uninterested)
Yeah?
JOEL
I'd like to... take you out or something.
CLEMENTINE
Well, you're married.
JOEL
Not yet. Not married.
CLEMENTINE
Look, man, I'm telling you right off the bat, I'm high
maintenance. So I'm not going to tiptoe around your marriage
or whatever it is you got going there. If you want to be with
me, you're with me.
JOEL
Okay.
CLEMENTINE
So make your domestic decisions and maybe we'll talk again.
She goes back to stacking. Joel stands there helplessly.
JOEL
I just think that you have some kind of... quality that
seems really important to me.
The scene is disintegrating. Clementine's speech is delivered without
passion.
CLEMENTINE
Joel, I'm not a concept. I want you to just keep that in your
head.
© 2003 Focus Features
CLEMENTINE (CONT'D)
Too many guys think I'm a concept or I complete them or I'm
going to make them alive, but I'm just a fucked-up girl who
is looking for my own peace of mind. Don't assign me yours.
JOEL
I remember that speech really well.
CLEMENTINE
(smiling)
I had you pegged, didn't I?
JOEL
You had the whole human race pegged.
CLEMENTINE
Probably.
JOEL
I still thought you were going to save me. Even after that.
CLEMENTINE
I know.
JOEL
It would be different, if we could just give it another go
around.
CLEMENTINE
Remember me. Try your best. Maybe we can.
The scene is gone.
Ratings
Scene 45 - Emotional Decay
Joel sits forlornly in the back seat. Rob drives and Carrie sits in
the front passenger seat. The car stops in front of Joel's apartment
building.
JOEL
Thanks, guys.
CARRIE
I hope you feel better, sweetie.
JOEL
Yeah.
CARRIE
Say hi to Naomi.
© 2003 Focus Features
The car door closes.
INT. BUILDING STAIRWAY - NIGHT
Joel climbs the stairs.
VOICE-OVER
I hope she's not up. I need to think.
INT. JOEL'S BEDROOM - NIGHT
The lights are off. Joel sits on a chair near the window, writing in
his journal. The streetlight illuminates the paper. Naomi sleeps in
the bed.
VOICE-OVER
I met someone tonight at a party on the beach. Her name is
Clementine. There is something alive about her.
Naomi turns over in bed, sees Joel.
NAOMI
(full of sleep)
--Hi.
JOEL
Hi.
NAOMI
How was it?
JOEL
You didn't miss much. Rob and Carrie say hello.
NAOMI
Hi, Rob and Carrie.
JOEL
Go back to sleep.
The room is starting to decompose.
NAOMI
Yeah. Come to bed. I'm cold.
JOEL
In a minute.
Naomi turns over. Joel goes back to his writing.
© 2003 Focus Features
VOICE-OVER
(more and more emotionless)
I don't know what to do about this. I've been feeling so
alienated and numb lately. Forever. The thought of not
acknowledging my feelings again seems self-destructive.
How can I continue on this path toward a living death, a
life filled with obligation and guilt and responsibility
but joyless, hopeless? I need to speak with Clementine.
The scene has turned to a husk.
Ratings
Scene 46 - Echoes of a Forgotten Night
Joel is at his closet, putting on a sweater. Naomi is at the dining
room table, papers spread out before her, writing. Joel turns and
watches her for a moment.
JOEL
So you don't mind?
NAOMI
I've got to finish this chapter anyway.
The scene is fading.
JOEL VOICE-OVER
Okay. I wish you could This is it. The night
come. we met. My God, it's
over.
NAOMI (CONT'D)
Me, too.
He approaches Naomi, kisses her on the top of the head. She continues
to write.
NAOMI (CONT'D)
Say hi to Rob and Carrie. Have some fun!
JOEL
I hope you get your work done.
NAOMI
(sighing)
Yeah.
INT. ROB AND CARRIE'S CAR - NIGHT
Rob drives. Carrie fiddles with the radio dial in the front passenger
seat. Joel sits in the back.
© 2003 Focus Features
CARRIE
I’m sorry Naomi couldn't make it. You okay? You seem quiet.
JOEL VOICE-OVER VOICE-OVER
Just a little The trip to the party
overworked, maybe. where I met
Clementine. My first
memory of her is now my
last memory of her.
Joel looks out the window. Carrie turns around and says something to
Joel. She is backlit, her hair a halo of frizz.
JOEL
I remember you turned around. Your face was dark and your
hair was backlit — I could see a halo of frizz -- You asked
me if things were okay between Naomi and me.
CARRIE
I did. You said, things were fine.
JOEL
I remember.
CARRIE
This is the night you met Clementine, Joel. I remember
watching you walk down the beach with her and I thought. Oh
shit.
JOEL CARRIE
Yeah, you told me that I told you that later.
later.
Joel looks out he window. He sees the husk of a memory on a the
darkened roadside. It's Joel and Carrie in:
Ratings
Scene 47 - Nostalgic Encounters
Faded. Carrie and Joel sit at the table with coffee.
CARRIE
Who was the girl you walked off with?
JOEL
No one.
EXT. BEACH PARKING LOT - WIGHT
Rob, Carrie, and Joel emerge from the car, parked amidst a small
cluster of cars in an otherwise empty parking lot.
© 2003 Focus Features
EXT. BEACH - NIGHT
Joel watches his shoes in the sand as he trudges along.
CARRIE
Is this the right way?
EXT. BEACH - MOMENTS LATER
Joel, Rob, and Carrie step out of the brush and see a bonfire down
the beach. People and music can be heard.
EXT. BEACH - LATER
Joel sits on a log. a paper plate of chicken and corn on his lap.
People warm themselves at the fire. Joel watches couples talking,
kissing, Rob sharing a joint with a guy.
JOEL
You were down by the surf. I could just make you out in the
dark.
Joel looks down to the water. There's Clementine, in her orange
hooded sweatshirt, looking out to sea.
JOEL (CONT'D) VOICE-OVER
Your back to me. In that I remember being drawn to you
orange sweatshirt I would even then. I thought, how
come to know so well and odd, I'm drawn to someone's
even hate eventually. At back. I thought, I love this
the time I thought, how woman because she's alone
cool, an orange down there looking out at the
sweatshirt. black ocean.
JOEL (CONT'D)
But I went back to my food. The next thing I remember, I felt
someone sitting next to me and I saw the orange sleeve out of
the corner of my eye.
A shot of the orange sleeve. Joel looks up.
CLEMENTINE
Hi there.
JOEL VOICE-OVER
Hi. I was so nervous. What were
you doing there, I wondered.
Your hair was lime green.
Green revolution.
A shot of her green hair.
© 2003 Focus Features
JOEL CLEMENTINE
You said... I saw you sitting over
here. . By yourself. I
thought, thank God, someone
normal, who doesn't know
how interact at these
things either.
JOEL
Yeah. I don't ever know what to say.
CLEMENTINE
I can't tell you how happy I am to hear that. I mean, I don't
mean I'm happy you're uncomfortable, but, y’know... I'm such
a loser. Every time I come to a party I tell myself I'm going
to be different and it's always exactly the same and then I
hate myself after for being such a clod.
JOEL VOICE-OVER
Even then I didn't But I thought, I don't know,
believe you entirely. I I thought it was cool that
thought how could you be you were sensitive enough to
talking to me if you know what I was feeling and
couldn't talk to people? that you were attracted to
it.
CLEMENTINE (CONT'D) VOICE-OVER
But, I don't know, And I just liked you so
maybe we're the normal much.
ones, y'know? I mean,
what kind of people do
well at this stuff?
CLEMENTINE (CONT'D)
You did? You liked me?
JOEL
You know I did.
CLEMENTINE
Yeah, I know. I'm fishing.
JOEL
You said —
She picks a drumstick off of Joel's plate.
CLEMENTINE
I'm Clementine. Can I borrow a piece of your chicken?
© 2003 Focus Features
JOEL
And you picked it out of my plate before I could answer
and it felt so intimate like we were already lovers.
JOEL (CONT'D) VOICE-OVER
I remember -- The grease on your chin
in the bonfire light.
Shot of a smudge of chicken grease on Clementine's chin.
CLEMENTINE
Oh God, how horrid.
JOEL VOICE-OVER
I'm Joel. No, it was lovely.
CLEMENTINE (CONT'D)
Hi, Joel. So no jokes about my name?
JOEL
You mean, like. . .
(singing)
Oh, my darlin', oh, my darlin' , oh, my darlin' , Clementine.
. . ? Huckleberry Hound? That sort of thing?
CLEMENTINE
Yeah, like that.
JOEL
Nope. No jokes. My favorite thing when I was a kid was my
Huckleberry Hound doll. I think your name is magic.
She smiles.
CLEMENTINE
(eyes welling)
This is it, Joel. It's gonna be gone soon.
JOEL
I know.
CLEMENTINE
What do we do?
JOEL
Enjoy it. Say good-bye.
She nods.
© 2003 Focus Features
Joel and Clementine are walking near the surf.
JOEL (CONT'D) VOICE-OVER
So you're still on the Next thing I remember we
Zoloft? were walking down near
the surf.
CLEMENTINE
No, I stopped. I didn't want to feel like I was being
artificially modulated.
JOEL
I know what you mean. That's why I stopped.
CLEMENTINE
But my sleeping is really fucked up.
JOEL
I don't think I've slept in a year.
CLEMENTINE
You should try Xanax. I mean, it's a Chemical and all, but it
works... and it works just having it around, knowing that
it's there. Like insurance.
JOEL
Yeah?
CLEMENTINE
I'll give you a couple. See what you think.
JOEL
Okay.
CLEMENTINE
Have you ever read any Anna Akhmatova?
JOEL
I love her.
CLEMENTINE
Really? Me, too! I don't meet people who even know who she is
and I work in a book store.
JOEL
I think she's great.
CLEMENTINE
Me too. There's this poem —
© 2003 Focus Features
JOEL CLEMENTINE
Did this conversation I think, before.
come before or after we
saw the house?
JOEL
Seems too coincidental that way.
CLEMENTINE
Yeah, maybe.
Joel and Clementine wander near some beach houses closed for the
winter.
CLEMENTINE (CONT'D)
Do you know her poem that starts “seaside gusts of wind, and
a house in which we don't live...
JOEL
Yeah, yeah. It goes “Perhaps there is someone in this world
to whom I could send all these lines”?
CLEMENTINE
Yes! I love that poem. It breaks my heart. I'm so
excited you know it.
(pointing to houses)
Look, houses in which we don't live.
Joel chuckles appreciatively.
CLEMENTINE (CONT'D)
I wish we did. You married?
JOEL
Um, no.
CLEMENTINE
Let's move into this neighborhood.
Clementine tries one of the doors on a darkened house. Joel is
nervous.
JOEL
I do sort of live with somebody though.
CLEMENTINE
Oh.
She walks to the next house, tries the door.
© 2003 Focus Features
CLEMENTINE (CONT'D)
Male or female?
CLEMENTINE (CONT'D)
Female.
CLEMENTINE (CONT'D)
At least I haven't been barking up the wrong tree.
She finds a window that's unlatched. She lifts it.
CLEMENTINE (CONT'D)
Cool.
JOEL
What are you doing?
CLEMENTINE
It freezing out here.
She scrambles in the window. Joel looks around, panicked.
JOEL VOICE-OVER
(whisper) I couldn't believe you
Clementine did that. I was
paralyzed with fear.
The front door opens and Clementine stands there beckoning.
CLEMENTINE (CONT'D)
C'mon, man. The water's fine. Nobody's coming here
tonight, believe me. This place is closed up.
Electricity's off.
JOEL CLEMENTINE
I hesitated for what I could see you wanted
seemed like forever. to come in, Joel.
He walks cautiously toward the door.
CLEMENTINE (CONT'D)
As soon as you-walked in. I knew I had you. You knew I
knew that, right?
Ratings
Scene 48 - Fleeting Farewells
Joel enters the darkened and Clementine closes the door behind him.
© 2003 Focus Features
JOEL CLEMENTINE
I knew. I knew by your
nervousness that Naomi
wasn't the kind of girl
who forced you to
criminally trespass.
JOEL
It's dark.
CLEMENTINE
Yeah. What's your girlfriend's name?
JOEL
Naomi.
She's searching through drawers for something. She pulls out a
flashlight, shines it in Joel's face.
CLEMENTINE
Ah-ha! Now I can look for candles, matches, and the liquor
cabinet.
JOEL
I think we should go.
CLEMENTINE
No, it's our house! Just tonight —
(looking at envelope on counter)
— we're David and Ruth Laskin. Which one do you want to be?
I prefer to be Ruth but I'm flexible.
(opens cabinet)
Alcohol! You make drinks. I'm going find the bedroom and slip
into something more Ruth. I'm ruthless at the moment
She runs upstairs, giggling. The room is dying out, turning into a
husk.
JOEL VOICE-OVER
(calling after her) I didn't want to go. I
I really should go. I was too nervous. I
really need to catch my thought, maybe you were
ride. a nut. But you were
exciting. You called
from upstairs.
© 2003 Focus Features
CLEMENTINE (CONT'D) JOEL
(flat) I did. I walked out the door.
So go. I felt like I was a scared
little kid. I thought you knew
that about me. I ran back to
the bonfire, trying to outrun
my humiliation. You said, 'so
go' with such disdain.
CLEMENTINE (CONT'D)
(poking her head downstairs)
What if you stay this time?
JOEL
I walked out the door. There's no more memory.
CLEMENTINE
Come back and make up a good-bye at least. Let's pretend we
had one.
Clementine comes downstairs, vague and robotic, making her way
through the decaying environment.
CLEMENTINE (CONT'D)
Bye, Joel.
JOEL
I love you.
She smiles. They kiss. It fades.
CLEMENTINE
I —
EXT. BEACH - NIGHT
Joel finds himself hurrying back to the bonfire. This scene, too, is
disintegrating. It dries up and Joel is just standing there on a
faded beach at night, the bonfire frozen in the distance like a
photograph.
INT. CAR - NIGHT
Joel sits in the back seat, Rob and Carrie are in the front.
CARRIE
Did you have fun?
Joel nods glumly.
© 2003 Focus Features
Carrie continues to talk, but her voice goes under as Joel studies
the faded husks of memories, piled up like refuse outside the moving
car window. He sees dried-out version of previous interactions with
Clementine playing out in loops. He looks back and sees the memory of
his ride home from the beach with Rob and Carrie. It, too, is
decaying. Soon all has crumbled into dust. Everything goes black.
Ratings
Scene 49 - Fading Memories and New Beginnings
Howard watches the monitor. The last specks of light are fading. It
grows dark. He is tired, his eyes are hollow, He turns to Stan, who
is staring out the window at the dawn.
HOWARD
Okay.
Stan turns and wordlessly begins the clean-up. He pulls the elec-
trodes off of Joel's scalp, coils cable, packs bags. Howard dials the
bedside phone. He waits as it rings.
HOLLIS'S VOICE
Hi, you've reached the Mierzwiaks. We
can't come to —
Howard hangs up.
EXT. JOEL'S APARTMENT BUILDING - EARLY MORNING
Stan and Howard load the last of the equipment into the back of the
van. He and Howard look at each other.
STAN
So, I've got to drop the van off.
MIERZWIAK
Thanks, Stan. Thanks.
INT. PATRICK'S CAR - EARLY MORNING
Patrick and Mary are heading home from Boston. Mary is silent and
depressed. Patrick tries to break the silence.
PATRICK
You want to stop for coffee or something?
Mary shakes her head 'no.' Long silence.
PATRICK (CONT'D)
Well, it was sure beautiful on that river. Thanks for sharing
it with me.
Mary doesn't say anything. Silence.
© 2003 Focus Features
PATRICK (CONT'D)
We'll do it again soon.
EXT. PARKING STRUCTURE - EARLY MORNING
Stan pulls the van into space marked "Lacuna." He gets out, crosses
to his car. Mary is sitting on the hood.
STAN
Hey.
MARY
(beat)
Do you swear you didn't know?
STAN
I swear.
MARY
And you never even suspected? Never saw us behaving in any
unusual way together?
STAN
Once, maybe.
She watches him closely, waiting for him to continue.
STAN (CONT'D)
It was here. At his car. I was coming back from a job and
spotted you together. You seemed caught. I waved. You
giggled.
MARY
How did I look?
STAN
(beat)
Happy. Happy with a secret.
Mary starts to cry.
MARY
And after that?
STAN
I never saw you together like that again. So I figured I was
imagining things.
Mary says nothing.
STAN (CONT'D)
I really like you, Mary. You know that.
© 2003 Focus Features
mary
Do you remember anything else? What I was wearing? Was I
standing close to him? Was I leaning against his car like
I owned it? How did ha look at me when I giggled? Tell me
everything.
STAN
(thinking)
You were in red. That red sweater with the little flowers,
I think. You were leaning against his car.
(thinking)
He looked a little like a kid. Kind of goofy and wide-
eyed. I'd never seen him look like that before. Happy. You
looked beautiful. You looked in love.
MARY
(heading toward the elevator)
Thanks, Stan.
She stops, but doesn't turn to face him.
MARY (CONT'D)
You're nice.
(beat)
But I love him. I knew I loved him. Now I know.
He nods. She waves, heads to the elevator.
INT. JOEL'S BEDROOM - MORNING
Joel awakens. The apartment is neat, like when he went to sleep. He
gets out of bed and heads into the bathroom.
EXT. COMMUTER TRAIN STATION - MORNTNG
Joel waits on the crowded platform. The platform across the tracks is
empty. Joel's train arrives. It's packed. He squeezes on with all the
other commuters.
INT. OFFICE - DAY
Joel works in his cubicle over the light table. He seems distracted.
He dials his phone. He's nervous.
JOEL
Hi... Naomi? Yeah, hi! How are you? I know, I know. It's
been a long time. Not too much. You? Oh, that's great!
Congratulations!
© 2003 Focus Features
JOEL (CONT'D)
Maybe I could buy you dinner to celebrate? Tonight? I'm
free. Okay, good!
Ratings
Scene 50 - Confrontation of the Past
Mary does paperwork at her desk. She looks through her reception
window at the sad people waiting in the lobby with their bags of
stuff.
INT. MIERZWIAK'S OFFICE - CONTINUOUS
Mierzwiak dials his phone and waits. He hangs up. Mary enters with
the paper.
MARY
I need this signed, Howard.
He takes it, unable to make eye contact. He signs it, hands it back.
MARY (CONT'D)
Thanks.
(beat)
So... do we talk about this... or what?
MIERZWIAK
I don't know what I'm supposed say, Mary. I want to do the
right thing here.
MARY
Do you love me? Did you love me? Something. I listened to my
tape. I can't believe I've been sitting right in front of it
for a year. It's like listening to someone else's story. I
mean, I hear myself talking about having sex with you and I
can't even imagine you naked. I can't even say "naked" to
you!
MIERZWIAK
I have a family, Mary.
MARY
You made me have an abortion.
MIERZWIAK
It was a mutual decision.
MARY
You made me have you erased! I loved you. I love you! How
could you —
© 2003 Focus Features
MIERZWIAK
I didn't make you. you thought it best.
(off her stare)
But, look, I take full responsibility.
She looks at him for a long while. Then, out of frustration, she
screams.
Ratings
Scene 51 - Echoes of the Past
Joel sits across from Naomi.
NAOMI
(oddly cautious)
So. . . you haven't been involved with anyone in all this
time?
JOEL
It's been a pretty lonely couple of years.
NAOMI
I'm sorry.
JOEL
Well, it was my fault — the break-up. I'm sorry.
NAOMI
Oh, sweetie. It really does cut both ways. We were taking
each other for granted and —
JOEL
I miss you.
NAOMI
Miss you, too.
(awkward pause)
I have been seeing someone for a little while.
JOEL
(Crying for enthusiasm)
Oh! Great. That's great!
NAOMI
A religion instructor at Columbia. A good guy. He's a good
guy,
JOEL
I'm sorry. I really shouldn't have —
© 2003 Focus Features
NAOMI
I'm glad you called.
INT. JOEL'S BEDROOM - NIGHT
Joel and Naomi are in bed having sex. There are certain sexual
routines, habits, they have fallen back into almost immediately. She
sticks her tongue in his ear in a way that's trying to be sexual but
just feels embarrassing to him. They finish and lie there.
JOEL
So you think the dissertation will get published?
NAOMI
I don't know. I'm not sure there's a big public demand for
books on Calvinism and Misogyny.
INT. CLEMENTINE' S APARTMENT - NIGHT
Clementine lies in bed with Patrick.
EXT. COMMUTER TRAIN STATION - MORNING
The platform is crowded with business commuters. Joel is among them.
The platform across the tracks from them is empty. Suddenly, Joel
turns and makes his way through the crowd. He climbs the stairs,
crosses the overpass and makes his way to the empty platform. An
almost empty train pulls into that platform. Joel gets on the train
and watches the business commuters through the dirty window as his
train pulls out of the station.
Ratings
Scene 52 - Echoes of Emotion
Mary gets out of bed. She has been crying all night. She's a wreck.
She puts on some coffee then crosses into the living room area.
Sitting there are piles of the files from work. She pulls the top one
out, copies the name and address onto an envelope stuffs the file and
tape cassette in. She pulls another file out. This one has Joel's
name on it. She copies it onto an envelope.
INT. CLEMENTINE'S APARTMENT - NIGHT
Joel says goodbye to Clementine:
CLEMENTINE
So you'll call me, right?
© 2003 Focus Features
JOEL
Yeah.
CLEMENTINE
When?
JOEL
Tomorrow?
CLEMENTINE
Tonight. Just to test out the phone lines.
JOEL
Yeah.
Joel exits. We stay on Clementine as she watches Joel head to his
car, tramping through the snow.
INT. JOEL'S APARTMENT - NIGHT
Joel enters, drops his overcoat on a chair. dials the phone.
JOEL
Hi, Naomi, it's Joel.
NAOMI'S VOICE
Hi.
JOEL
How's it going?
NAOMI'S VOICE
Good. I called you at work today. They said you were home
sick.
JOEL
I know. I had to take the day to think.
NAOMI'S VOICE
Yeah, I tried you at home. Did you get my message?
JOEL
I just got in.
NAOMI'S VOICE
Long day thinking.
Joel flips on messages with volume down.
JOEL
Yeah, I suppose so.
© 2003 Focus Features
NAOMI ON MACHINE
(cheerful)
Hi. They told me you were sick! So... Where are you?! I
bad a really nice time last night. Just wanted to say
hi. so... hi. Call me. I'm home. Call me!
NAOMI'S VOICE
That's me.
JOEL
There you are.
(pause)
Naomi, it's just... I'm afraid if we fall back into this
fast without considering the problems we had...
NAOMI
Okay, Joel. I suppose you're right.
JOEL
I had a good time last night. I really did.
NAOMI
So I'm going to get some sleep. I'm glad you're okay.
JOEL
We'll speak soon.
NAOMI
'Night.
She hangs up and Joel stands there for a minute feeling creepy, then
he dials the number on a piece of paper.
CLEMENTINE'S VOICE
What took you so long?
JOEL
I just walked in.
CLEMENTINE'S VOICE
Hmmm, Do you miss me?
JOEL
Oddly enough, I do.
CLEMENTINE'S VOICE
Ha Ha! You said, I do. I guess that means we're married.
© 2003 Focus Features
JOEL
I guess so.
CLEMENTINE'S VOICE
Tomorrow night... honeymoon on ice.
Ratings
Scene 53 - Under the Stars
Clementine steps out onto it. Joel follows nervously.
CLEMENTINE
Don't worry. It's really solid this time of year.
JOEL
I don't know.
She takes his hand and he is suddenly imbued with confidence.
JOEL (CONT'D)
This is so beautiful.
She squeezes his hand.
CLEMENTINE
Isn't it?
She runs and slides on the ice. Joel is by himself now.
JOEL
I don't know. What if it breaks?
CLEMENTINE
What if?
Clementine lies on her back and stares up at the stars. Joel is
paralyzed. He looks back at the shore.
JOEL
I think I should go back.
CLEMENTINE
Joel, come here. Please.
He hesitates then gingerly makes his way over to her. She reaches for
his hand and gently pulls him down. He lies on his back beside her,
their bodies touching. He wants to turn to her, but out of shyness,
doesn't. She holds his hand. They look up at the stars. She smiles,
doesn't say anything and snuggles closer to him.
JOEL
Listen, did you want to make love?
© 2003 Focus Features
CLEMENTINE
Make love?
JOEL
Have sex. Y'know —
CLEMENTINE
Oh, um...
JOEL
Because I just am not drunk enough or stoned enough to make
that happen right now.
CLEMENTINE
That's okay. I —
JOEL
I'm sorry. I just wanted to say that. This seems like the
perfect romantic exotic place to do it and --
CLEMENTINE
Hey, Joel —
JOEL
-- and I'm just too nervous around you right now.
CLEMENTINE
I'm nervous, too.
JOEL
Yeah? I wouldn't have thought that.
CLEMENTINE
Well, you obviously don't know me.
JOEL
I'm nervous because I have an enormous crush on you.
She smiles up at the sky.
CLEMENTINE
Show me which constellations you know.
MONTAGE
We see people going to their mailboxes, finding manila envelopes. One
by one they open the envelopes and pull out tapes. We see stunned,
confused, disbelieving reactions as people listen to their tapes.
© 2003 Focus Features
Ratings
Scene 54 - Revelations and Reconnection
Joel drops Clementine off. She kisses him.
INT. JOEL'S APARTMENT - A FEW MINUTES LATER
Joel enters with his mail. He opens a manila envelope, reads the
enclosed file, sticks the cassette tape in his stereo, listens. Joel
dials the phone.
CLEMENTINE'S VOICE
Yeah?
JOEL
Did you send this? Is it a joke?
CLEMENTINE'S VOICE
I probably got the same thing as you.
JOEL
I mean, I haven't even told anyone I've met you. Who would
even know to do this?
CLEMENTINE'S VOICE
(matter of fact)
Maybe it's true then. It's my voice on the tape.
JOEL
That's what you have to say? How could it be true? I never
even heard of any procedure like this. It's a joke.
CLEMENTINE
Maybe. Call someone who'd know.
MONTAGE
We see the people we saw opening envelopes, now on the phone. We hear
over and over: "Is this true?", "Did this really happen?", "Do I know
you?" , "Is it true?"
INT. ROB AND CARRIE'S KITCHEN - DAY
Carrie is on the phone. She pauses nervously, than speaks:
CARRIE
Yes, Joel. It is true. We weren't supposed to say anything.
They say it's like waking a sleepwalker.
© 2003 Focus Features
INT. JOEL'S APARTMENT – CONTINUOUS
Joel hangs up. He dials the phone.
JOEL
It's true.
CLEMENTINE'S VOICE
I know. I spoke to my friend Magda.
Joel is immersed in the several page document.
JOEL
Look, I have to go. I have to think.
CLEMENTINE'S VOICE
Joel, we've fucked. We've made love. Like a million times.
And we were so sweet and shy and inept with each other last
night. Isn't that lovely?
Joel doesn't know what to say as this registers. He just stands there
dumbly.
CLEMENTINE'S VOICE (CONT'D)
Come over here, sweetheart. Please.
INT. CLEMENTINE'S APARTMENT - LATER
Joel and Clementine review their separate Lacuna packagestogether.
CLEMENTINE
Says you were closed off, non-communicative, never told me
what you were feeling.
JOEL
Says you were a bully...
CLEMENTINE
(laughing)
A bully? Moi?
JOEL
That's what it says. You drank too much, you picked on me for
being passive and timid.
CLEMENTINE
Well, sounds like me. Sorry, man.
(reading)
Says you were jealous and suspicious.
© 2003 Focus Features
JOEL
Says you would sometimes disappear all night, then brag to
me about your sexual conquests.
CLEMENTINE
Did I use the term “sexual conquests” or is that your way
of putting it.
JOEL
I don't know.
CLEMENTINE
Doesn't sound like me.
JOEL
Says you were a slob, leaving trails of panties and dirty
socks in your wake.
CLEMENTINE
Says you were constantly calling me a slob.
( laughs )
It's sexy that we were like a married couple, griping and
overly-familiar and bored. Don't you think?
JOEL
(considering)
I sort of do. But I only see it as a fantasy version of
reality. Cleaned up enough to be erotic.
CLEMENTINE
We should have sex. It's old hat for us..
She smiles at nervous Joel.
CLEMENTINE (CONT'D)
You know my body like the back of your hand.
She unbuttons her blouse.
CLEMENTINE (CONT'D)
Every curve, every freckle.
She takes off her shirt. He stares at her. He has clearly never seen
this body before,
JOEL
You're so beautiful.
© 2003 Focus Features
She approaches him, kisses him, his arms wrap around her waist for
the first time.
INT LACUNA LTD. WAITING ROOM - MORNING
Stan enters the waiting room, now crowded with people holding their
files, a stunned-looking lot. There is a new woman in the reception
window. The file cases behind her are bare.
RECEPTIONIST
May I help you?
STAN
I work here. I used to work here. Stan. Please just tell
Howard I'm here to clean out my desk.
RECEPTIONIST
(into phone)
Mr. Mierzwiak, Stan is here to -- Yes sir.
(to Stan)
He says he needs to see you.
Ratings
Scene 55 - The Consequences of Memory Theft
Stan enters. Mierzwiak is pale and pacing.
MIERZWIAK
She should not have done this, Stan. As mad as she was... as
justifiably --
STAN
I don't know what you're talking about, Howard.
MIERZWIAK
Mary has stolen our files and is sending them back to people.
STAN
Jesus.
Mierzwiak turns up the volume on a small video monitor looking in on
the lab, where Patrick has clearly taken over Stan's position. He is
in the process of interviewing a sad, young woman.
YOUNG WOMAN
... so I called everybody I know and asked them to tell me
everything.
(MORE)
© 2003 Focus Features
YOUNG WOMAN (CONT'D)
Now I know my entire history with him, but it's in the form
of a study. I'm losing my mind.
MIERZWIAK
This is why people must never be told. It's like waking a —
YOUNG WOMAN
I don't know what to do. Before I thought I was depressed for
no reason. Now it's like I've been assigned a reason.
PATRICK
This never should've happened, ma'am. We'll take care of it.
MIERZWIAK
I know you don't like me much, Stan, but please talk to Mary.
She of all people should know this is a dangerous thing she's
doing,
Ratings
Scene 56 - Flirtatious Connection
Joel works over his light box. His phone rings.
JOEL
Hi, it's Joel.
CLEMENTINE'S VOICE
Hey, lover. Whatcha doing?
JOEL
I'm just, y'know, passing the tune best I can till I can see
you.
CLEMENTINE'S VOICE
God, I can't believe I ever hated you.
JOEL
You must have been crazy.
CLEMENTINE'S VOICE
Guess what I'm wearing.
JOEL
I don't know. Panties and —
CLEMENTINE'S VOICE
Your dried cum.
© 2003 Focus Features
JOEL
Jesus.
CLEMENTINE
You're still excited my irreverence. You haven't yet started
to think of it as my gratuitous need to shock.
JOEL
I can't stop thinking about you.
CLEMENTINE
Yay. Meet me after work by the old mill.
JOEL
What old mill? Is that somewhere we --
CLEMENTINE
I just wanted to say that. Come by my house.
Ratings
Scene 57 - The Weight of Memories
Mary opens the door. Stan stands there with two cups of take-out
coffee.
MARY
Oh.
STAN
Hi.
MARY
What do you want, Stan?
STAN
Can I... I brought some —
She steps aside for Stan to enter. He does, looks around, sees the
tapes and the stuffed envelopes on the floor.
STAN (CONT'D)
What's this?
MARY
Nothing.
STAN
I know what it is.
MARY
Then why did you ask me?
© 2003 Focus Features
STAN
I don't know. I just — there are a lot of really confused
people showing up at the office.
MARY
They have a right to know. Howard is a thief. He steals the
truth.
(suddenly weeping)
I can't remember my baby! I can't remember my baby. It
existed and I can't even remember. Do you understand that?
Scan doesn't know what to say. He stands there dumbly. Mary
slumps into a ball on a chair.
STAN
Mary, people come to him voluntarily.
MARY
I won't allow it. Those who cannot remember the past are
condemned to repeat it. What do you think of that? That's
from my quote book.
STAN
The office is filled with people who want their memories re-
erased.
MARY
(hysterically)
Remember the Alamo! Remember the Alamo!
STAN
Mary... please. This is hurting people.
Long pause, then:
MARY
(small)
I don't want to hurt people.
(breaking down)
But these things happened! All these little sadnesses, the
big ones. What if no one remembers? What does that do the
world?
(beat, quietly)
Someone has to remember, Stan.
They look at each other.
© 2003 Focus Features
Ratings
Scene 58 - Echoes of Trauma
Vague elliptical images of a young girl on a swing.
SAD WOMAN'S VOICE
I was by myself in the park because my friend Davia was sick
that day. I was on a swing. There was this smiling man
walking a little bushy dog —
Vague shots of a man smiling, a scruffy dog on a leash.
SAD WOMAN'S VOICE (CONT'D)
The man said something like, “He's friendly”
Vague shot of the man, his voice overlapping with the woman ' s .
SAD WOMAN'S VOICE (CONT'D) MAN
"-- he won't bite." He won't bite. You can
pet him if you want...
Shot of the girl petting the dog.
MAN
Do you want to give him a biscuit? The girl nods.
MAN (CONT'D)
They're in tiny car. Why don't you —
DISTRAUGHT WOMAN'S VOICE
Excuse me? Hello?
INT. LACUNA RECEPTION AREA - DAY
Mary, with a headset on, looks up, startled. She switches off the
tape. She has been crying. There's a pile of tapes next to her. The
distraught woman is standing there.
MARY
May I help you?
DISTRAUGHT WOMAN
I'm here for Dr. Mierzwiak. My name is Helens Kernfeld.
MARY
Yes, please have a seat. The doctor will be with you
momentarily.
© 2003 Focus Features
The woman sits. Mary presses an intercom button.
MARY (CONT'D)
Howard, your 10:30.
She switches the tape back on.
SAD WOMAN'S VOICE
He took me to his car and ...
Vague shot of the girl being raped.
Ratings
Scene 59 - Fragments of Memory
The old woman is staring off blankly, her giant manuscript in her
lap, as she travels over the New York skyline. We move into her eyes.
INT. VAGUE SPACE
Vague reenactments of memories intermingle in this undefined space:
The young girl being raped by the man in the car.
A soldier on a battlefield looking at his slaughtered friends.
A couple fighting, from the woman's point of view.
MAN
I...I... I... find you physically repulsive! I can't even
look at you!
They look at each other in silence.
A little boy being called 'faggot' by an endless succession of boys.
The aftermath of a car accident from the driver's POV.
Mary having an abortion.
INT. COMMUTING TUBE - DAY
The old woman and her chair lift out of the line of commuters.
© 2003 Focus Features
INT. WAITING ROOM - DAY
It's modern and well-appointed. The old woman enters, sits behind the
reception desk, drops her manuscript into the drawer. She takes some
pills with water. An old man enters.
OLD MAN
How are you today, Mary?
OLD WOMAN (MARY)
Let's see... Still dying, Howard.
OLD MAN (HOWARD)
You don't have to jump down my throat- I was trying to be
nice.
OLD WOMAN (MARY)
Well, don't try. It's unbecoming on you.
Old Howard mutters something and disappears into the back. Old Mary
pulls out a file from behind, removes a small disc, places it in a
machine on her desk, slips on earphones and listens, somewhat wearily
but attentively. We watch the color drain from her face, but don't
hear the recording. Another old woman enters the office. Old Mary
looks up, seems a bit startled, conceals it, turns off the tape.
OLD WOMAN (MARY) (CONT'D)
May I help you?
SECOND OLD WOMAN
I'd like to make an appointment.
OLD WOMAN (MARY)
I think the doctor is free this morning. He can probably take
you right away for an initial consultation.
The second old woman smiles gratefully.
INT. OLD MAN'S OFFICE - A FEW MINUTES LATER
Old Howard works at his desk. Old Mary enters with the second old
woman.
OLD WOMAN (MARY)
Dr. Mierzwiak, this is Clementine Kruczynski. She'd like to
talk to you.
Old Howard and the old Mary eye each other.
© 2003 Focus Features
OLD MAN (HOWARD)
Hello, Ms. Kruczynski. Nice to meet you. Please have a seat.
He indicates a sitting area. She sits. He joins her.
OLD MAN (HOWARD) (CONT'D)
Would you mind if I tape our discussion?
She shakes her head. He punches a couple of buttons on his computer
console. A tape recorder starts up and his computer screen lights up
so only he can see it. On it we see a whole file on Clementine
Kruczynski: a list of fifteen dates of previous erasures stretching
back fifty years, all of them involving Joel Barish.
OLD MAN (HOWARD) (CONT'D)
So, why don't you begin by telling me why you've come here.
SECOND OLD WOMAN (CLEMENTINE)
Well, I met this man, Joel, three years ago at a senior
dance... we'd both been alone for so long and...
Ratings
Scene 60 - Echoes of Lost Love
The old woman (Mary) travels in. the commuter tube over Manhattan.
It's late, the tube is mostly empty. She has earphones on.
SECOND OLD WOMAN (CLEMENTINE) (V.O.)
I remember Joel and I were having breakfast --
INT. VAGUE SPACE
An old man and the second old woman eat breakfast. .
SECOND OLD WOMAN (CLEMENTINE) (V.O.)
I said something like we should go upstate and see the leaves
change..
The old man looks up from his cereal and stares blankly. The woman
smiles, but there is no response... just a dead stare.
SECOND OLD WOMAN (CLEMENTINE) (V.O.) (CONT'D)
He just stared at me as if I didn't exist. As if I had never
existed. ..
INT. TUBE - CONTINUOUS
The second old woman's (Clementine) voice drones tinnily on
in the distance. The old woman with the earphones is dead,
her eyes glassy and unseeing.
SECOND OLD WOMAN (CLEMENTINE) (V.O.)
— his eyes used to be so filled with love. But it was gone.
© 2003 Focus Features
How can I go back to being alone after seeing love? I was
alone for so long. What had I done with my life? I was alone
so long.
INT. SECOND OLD WOMAN'S APARTMENT - NIGHT
The old Clementine is unconscious on her bed, hooked up to modern
versions of the erasing machines. Two young technicians monitor the
equipment. The woman's bedside phone rings. Her machine picks up.
After a moment:
OLD MAN'S VOICE
Hi, it's Joel. What's going on Clem? Why won't you call me
back? Please call me. We need to speak.
The machine clicks off. One of the technicians reaches over and
presses the "erase" button on the machine.
BLACK.
END
Scans courtesy of Michael Spadaro
Brought to you by DiscoverKate.com
© 2003 Focus Features
Ratings
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| clementine | Clementine's character arc follows her journey from a vibrant yet emotionally volatile woman who struggles with her identity and relationships to a more self-aware individual who learns to embrace her vulnerabilities. Initially, she uses humor and spontaneity to deflect her deeper emotions and insecurities. As the story progresses, she confronts the consequences of memory erasure and the impact it has on her connection with Joel. Through moments of introspection and emotional confrontation, Clementine evolves to recognize the importance of authenticity and genuine connection. By the end of the feature, she emerges as a more grounded character, capable of expressing her true feelings and desires, ultimately seeking a deeper understanding of herself and her relationships. | Clementine's character arc is rich and multifaceted, showcasing her emotional depth and complexity. However, it may benefit from clearer milestones that highlight her growth throughout the screenplay. While her vibrant personality is engaging, there are moments where her emotional volatility can overshadow her development, making it challenging for the audience to fully grasp her transformation. Additionally, her interactions with Joel could be more varied to illustrate different facets of her personality and how they evolve in response to their relationship dynamics. | To improve Clementine's character arc, consider incorporating specific turning points that clearly delineate her growth. For instance, introduce pivotal moments where she must confront her fears or insecurities directly, leading to significant changes in her behavior or outlook. Additionally, explore her relationships with other characters to provide a broader context for her emotional journey. This could include friendships or family dynamics that further illuminate her struggles and growth. Finally, ensure that her moments of vulnerability are balanced with her playful nature, allowing the audience to see the full spectrum of her character while maintaining engagement throughout the feature. |
| mary | Mary's character arc begins with her as a composed and professional receptionist, masking her emotional vulnerabilities. As she becomes more involved in the memory erasure process, her curiosity and desire for connection lead her to confront her feelings for Mierzwiak and the ethical dilemmas surrounding memory manipulation. Throughout the screenplay, she transitions from a passive observer to an active participant in her emotional journey, ultimately facing her unrequited love and the consequences of her actions. By the end, Mary emerges as a more self-aware individual, grappling with her past but finding strength in her emotional complexity and moral convictions, leading to a resolution that embraces both her vulnerabilities and her desire for authenticity. | Mary's character arc is rich and multifaceted, but it risks becoming overly complex without clear direction. While her emotional struggles and moral dilemmas are compelling, the screenplay may benefit from a more defined trajectory that highlights her growth. The transitions between her various emotional states can feel abrupt, potentially confusing the audience about her motivations and desires. Additionally, her relationship with Mierzwiak could be more clearly defined to enhance the stakes of her emotional journey. | To improve Mary's character arc, consider establishing clearer milestones that mark her emotional growth throughout the screenplay. This could involve specific events that challenge her beliefs or force her to confront her feelings for Mierzwiak more directly. Additionally, integrating more dialogue that reflects her evolving understanding of love and memory could provide a stronger emotional throughline. It may also be beneficial to simplify some of her internal conflicts to ensure that the audience can easily follow her journey. Finally, enhancing her interactions with other characters, particularly Mierzwiak, could create more impactful moments that resonate with her emotional struggles and lead to a more satisfying resolution. |
| mierzwiak | Throughout the screenplay, Mierzwiak's character arc evolves from a detached professional focused solely on his work to a more introspective individual who confronts the emotional consequences of his actions. Initially, he is portrayed as a clinical figure, seemingly oblivious to the feelings of those around him. As the narrative progresses, he becomes increasingly aware of the impact of his decisions, particularly regarding Mary and the memory erasure process. This awareness leads him to grapple with guilt and regret, ultimately pushing him to seek redemption and a deeper understanding of human connections. By the end of the feature, Mierzwiak transforms from a figure of authority into one who acknowledges his vulnerabilities and the importance of emotional relationships, culminating in a more compassionate and empathetic outlook. | While Mierzwiak's character arc presents a compelling journey from detachment to introspection, it may benefit from further development in certain areas. His initial portrayal as a clinical and detached figure could be more nuanced, allowing for glimpses of his internal conflict earlier in the narrative. Additionally, the emotional stakes surrounding his relationship with Mary could be heightened to create a stronger sense of urgency and impact. The transition from his professional demeanor to a more vulnerable state may feel abrupt without sufficient buildup, potentially leaving the audience wanting more depth in his emotional evolution. | To improve Mierzwiak's character arc, consider incorporating moments of internal conflict earlier in the screenplay, such as subtle hints of his awareness of Mary's feelings or his own emotional struggles. This could be achieved through flashbacks or dream sequences that reveal his past interactions with Mary and the emotional weight they carry. Additionally, enhancing the stakes of his decisions regarding the memory erasure process could create a more compelling narrative drive, making his eventual transformation feel more earned. Finally, allowing for more interactions with other characters that challenge his clinical perspective could further enrich his journey towards empathy and understanding. |
| joel | Joel's character arc follows his journey from emotional numbness and regret to a place of acceptance and self-discovery. Initially, he is portrayed as a conflicted individual, haunted by past traumas and the loss of his relationship with Clementine. As the story progresses, Joel confronts his memories and the emotional turmoil they bring, leading to moments of vulnerability and introspection. He grapples with the desire to reconnect with Clementine while also facing the consequences of memory manipulation. Ultimately, Joel learns to embrace his emotions, allowing himself to be vulnerable and open to new possibilities. By the end of the screenplay, he achieves a sense of closure and understanding, recognizing the importance of both his past and the potential for a new beginning. | While Joel's character arc is rich in emotional depth and introspection, it may benefit from clearer external conflicts that drive his internal struggles. The screenplay could explore more dynamic interactions with other characters, particularly Clementine, to highlight his growth and the impact of his choices. Additionally, moments of tension or confrontation could be introduced to challenge Joel's introspective nature, forcing him to confront his fears more directly. This would create a more engaging narrative and allow for a more pronounced transformation throughout the story. | To improve Joel's character arc, consider incorporating specific external challenges that force him to confront his emotional barriers. For example, introduce a pivotal moment where he must choose between erasing painful memories or embracing them to foster personal growth. Additionally, enhance his interactions with supporting characters to provide contrasting perspectives on love and memory, which could catalyze his transformation. Finally, include moments of action or decision-making that push Joel out of his comfort zone, allowing for a more dynamic and compelling character journey. |
| stan | Stan's character arc begins with him as a detached technician, focused solely on the procedural aspects of memory erasure. As he witnesses the emotional fallout of the process, particularly concerning Mary, he becomes increasingly aware of the ethical implications of his work. His initial professionalism is challenged by his growing empathy, leading him to question the morality of the memory erasure. By the climax of the screenplay, Stan is torn between his loyalty to his employer and his compassion for Mary, ultimately leading him to make a pivotal decision that reflects his internal conflict. In the resolution, Stan emerges as a more self-aware individual, having chosen to prioritize his moral compass over blind loyalty, thus transforming from a mere technician into a character with depth and ethical conviction. | While Stan's character arc presents a compelling journey from detachment to moral awareness, it could benefit from deeper exploration of his backstory and motivations. The screenplay could enhance his character by providing more context about why he initially chose to work in memory erasure and what personal experiences shape his ethical views. Additionally, his interactions with other characters could be expanded to showcase his internal conflict more vividly, allowing the audience to connect with his struggles on a deeper level. The balance between his professional demeanor and personal dilemmas could be further emphasized to create a more nuanced portrayal. | To improve Stan's character arc, consider incorporating flashbacks or dialogue that reveal his past experiences with memory erasure or personal loss, which could explain his initial detachment. Additionally, creating more dynamic interactions with Joel and Patrick could highlight his internal conflict and moral dilemmas. Introducing a pivotal moment where Stan must choose between following orders or standing up for what he believes in could serve as a powerful turning point in his arc. Finally, allowing for moments of vulnerability where Stan expresses his fears or doubts could make him more relatable and deepen the audience's investment in his journey. |
| joel barish | Joel's character arc begins with him in a state of deep emotional pain and confusion, driven by the desire to erase painful memories of his relationship with Clementine. As he undergoes the memory erasure procedure, he confronts his feelings of vulnerability and regret, leading to moments of introspection that force him to reevaluate his past choices. Throughout the feature, Joel evolves from a passive participant in his own life to someone who actively seeks understanding and acceptance of his experiences. By the end, he emerges with a renewed sense of self, having learned the importance of embracing both the joy and pain of love, ultimately choosing to reconnect with Clementine despite the risks involved. | While Joel's character arc is compelling and showcases significant emotional depth, it could benefit from more external conflict to complement his internal struggles. The focus on his introspection, while powerful, may lead to moments that feel stagnant or overly contemplative. Additionally, the resolution of his arc could be more pronounced, as the transition from pain to acceptance may feel abrupt without sufficient buildup. | To improve Joel's character arc, consider introducing more external challenges that force him to confront his emotions in real-time, such as interactions with friends or family that highlight his internal conflict. This could create a more dynamic narrative and provide opportunities for character growth through dialogue and action. Additionally, ensure that the climax of his arc is clearly defined, perhaps by having a pivotal moment where he must choose between erasing memories or embracing them, leading to a more impactful resolution that resonates with the audience. |
| naomi | Naomi's character arc begins with her in a state of emotional distress as she prepares to leave her relationship with Joel behind. Initially, she is detached and focused on her work, embodying stability in contrast to Joel's chaos. As the story unfolds, she confronts her own feelings of nostalgia and unresolved emotions regarding her past with Joel. Through her interactions with him, she evolves from a character who appears emotionally closed off to one who acknowledges her own complexities and struggles. By the end of the feature, Naomi reaches a point of understanding and acceptance, allowing her to support Joel while also affirming her own independence and emotional growth. This arc highlights her journey from detachment to a more nuanced emotional awareness, ultimately leading to a sense of closure for both her and Joel. | While Naomi's character arc is compelling, it could benefit from deeper exploration of her internal conflicts and emotional struggles. The current portrayal leans heavily on her stability and practicality, which, while important, may overshadow her emotional depth. Additionally, her interactions with Joel could be more varied to showcase her growth more dynamically. The contrast between her stability and Joel's turmoil is effective, but it risks making her seem one-dimensional if not balanced with moments of vulnerability and complexity. | To improve Naomi's character arc, consider incorporating more scenes that delve into her internal struggles and emotional complexities. This could include flashbacks or moments of introspection that reveal her thoughts and feelings about her past with Joel. Additionally, allow her to have moments of vulnerability where she expresses her fears or regrets, making her more relatable and multi-dimensional. Furthermore, enhancing her interactions with Joel to include more conflict or emotional exchanges could provide a richer narrative and showcase her growth more effectively. Finally, consider giving her a subplot that highlights her personal ambitions or challenges outside of her relationship with Joel, reinforcing her independence and character development. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Inverse Relationship Between Reflective Tones and Story Tension | Scenes with reflective or introspective tones (e.g., scenes 3, 4, 8) consistently show lower scores in conflict and high stakes (averaging around 5-6 for high stakes compared to 8-9 in tense scenes), suggesting that the screenplay emphasizes internal character exploration during quieter moments, potentially at the expense of maintaining consistent external tension, which could lead to pacing variations that the author might refine for better balance. |
| Strong Correlation Between Emotional Tones and Character Development | A pattern emerges where scenes featuring emotional or intense tones (e.g., scenes 14, 19, 23) have high character changes scores (often 8-9), indicating that the author's strength in evoking deep emotions drives significant character arcs, but this reliance might make the story feel more introspective than dynamic, possibly leading to underutilization of plot-driven elements in emotional-heavy sequences. |
| Surreal Tones Amplifying Emotional Impact Without Heightening Conflict | Scenes with surreal tones (e.g., scenes 11, 12, 25) achieve high emotional impact scores (frequently 9) despite moderate conflict scores (around 7), revealing that surreal elements effectively deepen emotional resonance through unconventional storytelling, which the author may not realize is a signature strength that could be explored further to add uniqueness without relying on traditional conflict. |
| Fluctuations in High Stakes and Story Progression in Intimate Scenes | In intimate or reflective scenes (e.g., scenes 8, 40, 41), low high stakes scores (as low as 3-4) still correlate with decent move story forward scores (6-7), highlighting that the narrative advances through character-driven moments rather than high-stakes events, which might indicate an unconscious preference for subtle progression that could be intentionally varied to heighten engagement in key plot points. |
| Dialogue's Enhanced Role in High-Conflict Emotional Peaks | Scenes with high conflict and emotional intensity (e.g., scenes 14, 19, 55) often pair high dialogue scores (8-9) with strong character changes, suggesting that dialogue is a critical tool for conveying tension and growth, but in lower-conflict scenes (e.g., scene 56), dialogue remains strong yet underutilized for conflict resolution, pointing to an opportunity for the author to integrate more dialogic tension in reflective sections to avoid monotony. |
| Regretful Tones as Catalysts for Character Shifts | Scenes incorporating regretful tones (e.g., scenes 9, 10, 13) show higher-than-average character changes scores (8-9) even when move story forward is moderate, indicating that regret serves as a subtle driver of internal development, which might be an underappreciated motif in the author's writing that could be leveraged to create more nuanced transitions between emotional and plot-driven scenes. |
| Early Mystery Tones Transitioning to Later Emotional Focus | The screenplay begins with mysterious tones (e.g., scene 1) and shifts toward predominantly emotional and reflective tones by mid-to-late scenes (e.g., scenes 50-60), correlating with a gradual increase in emotional impact and character changes scores, suggesting an unconscious narrative arc that builds emotional depth over time, which the author could consciously structure to enhance thematic cohesion and avoid abrupt tone shifts. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong command of emotional depth, character dynamics, and thematic exploration. The writer effectively captures the complexities of human relationships through nuanced dialogue and introspective moments. However, there are opportunities to enhance the overall impact by refining dialogue, exploring non-linear structures, and deepening character development.
Key Improvement Areas
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Book | Read 'Eternal Sunshine of the Spotless Mind' screenplay by Charlie Kaufman. | This screenplay exemplifies the blending of emotional depth with complex character dynamics and non-linear storytelling, providing valuable insights for enhancing your craft. |
| Exercise | Practice writing dialogue-heavy scenes that focus on subtext and emotional nuances.Practice In SceneProv | This exercise will help refine your ability to convey deeper character emotions and motivations through dialogue, enhancing the authenticity of interactions. |
| Video | Watch analysis videos on pacing and tension-building in screenwriting. | These resources can provide insights into effective scene construction and maintaining audience engagement, which can improve the pacing of your screenplay. |
| Exercise | Write character monologues from different perspectives to explore their internal conflicts and desires.Practice In SceneProv | This exercise will deepen your understanding of character motivations and enhance the emotional resonance of your scenes. |
| Course | Enroll in a screenwriting course focused on character development and emotional storytelling. | A structured course can provide targeted feedback and techniques to improve your writing skills, particularly in crafting compelling character arcs. |
| Exercise | Experiment with non-linear narrative structures in your writing.Practice In SceneProv | This practice can help you explore different storytelling techniques and enhance the thematic depth of your narratives. |
Stories Similar to this one
| Story | Explanation |
|---|---|
| Eternal Sunshine of the Spotless Mind | The screenplay summary is a direct reference to this film, which explores themes of memory, love, and the desire to erase painful experiences. Both narratives involve characters grappling with their past relationships and the implications of erasing memories. |
| Being John Malkovich | This film features surreal elements and explores identity and consciousness, similar to the memory erasure theme in the screenplay. Both stories delve into the complexities of human relationships and the desire to escape painful memories. |
| Her | In 'Her', a man develops a deep emotional connection with an AI, exploring themes of love, loneliness, and the nature of relationships. The emotional depth and introspection in both stories resonate with the screenplay's focus on human connection and memory. |
| The Science of Sleep | This film blends reality and dreams, much like the memory erasure process depicted in the screenplay. Both narratives explore the inner workings of the mind and the impact of dreams and memories on relationships. |
| Synecdoche, New York | This film presents a complex narrative about life, art, and the passage of time, paralleling the screenplay's exploration of memory and the human experience. Both stories feature characters who confront their pasts and the nature of their existence. |
| Anomalisa | This stop-motion film explores themes of isolation and the search for connection, similar to the emotional struggles faced by the characters in the screenplay. Both narratives highlight the challenges of human relationships and the desire for meaningful connections. |
| The Notebook | This romantic drama centers on the enduring power of love and memory, paralleling the screenplay's themes of love and the desire to hold onto memories despite the pain they may bring. |
| Lost in Translation | This film explores themes of loneliness and connection in a foreign environment, similar to the emotional isolation depicted in the screenplay. Both narratives focus on the complexities of relationships and the impact of shared experiences. |
| The Fountain | This film intertwines themes of love, loss, and the quest for immortality, resonating with the screenplay's exploration of memory and the desire to preserve meaningful moments in life. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Memory Erasure | The central premise involves characters erasing memories of their past relationships, specifically through a procedure offered by Lacuna Ltd. | Memory erasure is a common trope in science fiction and romance, often used to explore themes of love and loss. An example is the film 'Eternal Sunshine of the Spotless Mind,' where characters choose to forget painful memories of their relationships. |
| Unrequited Love | Mary's feelings for Dr. Mierzwiak are not reciprocated, creating tension in her character arc. | Unrequited love is a classic trope where one character loves another who does not return their feelings. An example is in '500 Days of Summer,' where Tom is infatuated with Summer, who does not feel the same way. |
| The Manic Pixie Dream Girl | Clementine embodies the characteristics of a Manic Pixie Dream Girl, bringing excitement and spontaneity to Joel's life. | This trope describes a quirky female character who helps a male protagonist discover himself. An example is Sam in 'Garden State,' who helps Andrew find joy in life. |
| The Love Triangle | Joel, Clementine, and Patrick create a love triangle where Patrick dates Clementine after Joel. | Love triangles create tension and conflict in romantic narratives. An example is 'Twilight,' where Bella is torn between Edward and Jacob. |
| The Therapist | Dr. Mierzwiak serves as a therapist figure, guiding characters through their emotional struggles. | Therapists in narratives often help characters confront their issues. An example is Dr. Sean Maguire in 'Good Will Hunting,' who helps Will face his past. |
| The Journey of Self-Discovery | Joel's journey involves discovering his true feelings for Clementine and the importance of memories. | Self-discovery is a common theme in narratives where characters learn about themselves through experiences. An example is 'Eat Pray Love,' where the protagonist travels to find herself. |
| The Misunderstood Genius | Dr. Mierzwiak is portrayed as a brilliant but flawed scientist, struggling with the ethics of his work. | This trope features a character who is highly intelligent but often misunderstood. An example is Tony Stark in 'Iron Man,' who grapples with the consequences of his inventions. |
| The Emotional Climax | The climax occurs when Joel realizes he wants to remember Clementine despite the pain. | Emotional climaxes are pivotal moments where characters confront their feelings. An example is in 'The Notebook,' where Noah fights for his love for Allie. |
| The Flashback | The screenplay uses flashbacks to reveal the history between Joel and Clementine. | Flashbacks are a narrative device that provides background information. An example is 'Lost,' which frequently uses flashbacks to develop character backstories. |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Memory and Erasure | The central premise of the screenplay revolves around Lacuna Ltd., a company that erases specific memories. Joel undergoes multiple erasure procedures to forget Clementine. Clementine also has a history of memory erasures related to Joel. The entire narrative is structured around the act of remembering and forgetting. | This theme explores the human desire to escape painful past experiences and the consequences of attempting to do so. It questions whether true happiness can be achieved by eradicating memories or if these memories, even the painful ones, are integral to who we are. | ||||||||||||
Strengthening Memory and Erasure:
| ||||||||||||||
| Love and Connection | The screenplay depicts the tumultuous and passionate relationship between Joel and Clementine, marked by intense connection, subsequent breakups, and repeated attempts to reconnect. Their initial encounters, shared moments, and recurring feelings for each other are central to the narrative. | This theme examines the complexities of romantic relationships, the longing for genuine connection, and the challenges of maintaining love in the face of personal flaws and external pressures. It highlights the enduring nature of attraction and emotional bonds. | ||||||||||||
| Identity and Selfhood | The characters grapple with who they are, often defined by their relationships and past experiences. Joel's journey is particularly marked by his struggle to understand himself and his place in the world, especially in relation to Clementine. | This theme delves into how our memories and experiences shape our identity. It questions whether erasing memories alters our fundamental selves or simply removes parts of our personal narrative, and what it means to be a cohesive individual. | ||||||||||||
| Emotional Pain and Mental Health | Characters experience significant emotional distress, leading them to seek solace through memory erasure. The film explores themes of depression, loneliness, and the struggle to cope with emotional baggage. | This theme addresses the human tendency to seek relief from overwhelming emotional suffering. It examines the effectiveness and ethics of artificial means to alleviate mental pain, questioning whether it truly heals or merely masks underlying issues. | ||||||||||||
| The Cyclical Nature of Relationships and Life | The narrative repeatedly shows Joel and Clementine crossing paths, breaking up, and then finding each other again, suggesting a pattern that is difficult to escape. The ending implies that they may repeat their cycle. | This theme highlights the idea that certain patterns and lessons in life, or in relationships, tend to repeat themselves. It suggests that rather than escaping these cycles, individuals may be destined to re-experience them until they learn from them. | ||||||||||||
| Truth and Illusion | The very act of memory erasure creates an illusion of a fresh start, but it is built on a foundation of falsehood. The characters often operate under false pretenses or intentionally mislead others. | This theme explores the contrast between reality and manufactured perceptions. It questions the validity of happiness or peace that is based on deception or the denial of truth, especially concerning one's own past and experiences. | ||||||||||||
| The Search for Meaning and Happiness | Both Joel and Clementine are searching for fulfillment and happiness, often finding it momentarily in their relationship, only to have it disrupted by their own issues or the memory erasure process. | This theme addresses the universal human pursuit of contentment and purpose. It explores the different paths individuals take in their search for happiness, and the potential pitfalls they encounter along the way, especially when externalizing the search. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is characterized by a delicate balance of melancholy, introspection, and a subtle, often understated, emotional resonance. This is manifested through understated yet emotionally charged dialogue, a narrative style that prioritizes internal experience and atmosphere over overt action, and directorial cues that emphasize quiet observation and the weight of unspoken emotions. There's a consistent undercurrent of surrealism and a profound engagement with themes of memory, loss, identity, and the search for connection in a world that often feels indifferent. |
| Voice Contribution | The writer's voice contributes significantly to the overall mood by establishing a pervasive sense of wistful contemplation and quiet desperation. It deepens the themes by exploring the complexities of human relationships, the ephemeral nature of memory, and the profound impact of loss and emotional vulnerability. This distinctive voice imbues the characters with authentic inner lives, making their struggles and desires feel intimate and relatable, thereby adding significant depth to the screenplay. |
| Best Representation Scene | 4 - Solitary Reflections |
| Best Scene Explanation | Scene 4 best showcases the author's unique voice due to its masterful blend of introspective voice-overs, minimalistic dialogue, and atmospheric descriptions. The scene perfectly captures the writer's signature melancholic and contemplative mood, focusing on Joel's internal journey of isolation and dissatisfaction. The desolate beach setting amplifies the theme of loneliness, while Joel's quiet reflections and the symbolic act of digging in the sand powerfully illustrate the search for connection amidst a backdrop of personal dissatisfaction, all hallmarks of the writer's distinct style. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay presents a highly original narrative that intertwines themes of memory, love, and loss through a unique premise of memory erasure. The use of surreal elements, such as the blending of past and present memories, and the exploration of complex emotional dynamics between characters, adds depth and originality. The screenplay's ability to evoke genuine human emotions while incorporating futuristic concepts and introspective dialogue enhances its originality.
- Most unique situations: The most unique situations in the screenplay are the memory erasure process itself, which allows characters to confront their past relationships in a surreal manner, and the juxtaposition of mundane settings with profound emotional revelations, such as the interactions in the commuter tube and the intimate moments shared in various dream-like sequences.
- Overall unpredictability score: 7
- Overall unpredictability explanation: The screenplay maintains a level of unpredictability through its non-linear storytelling and the characters' evolving relationships. While certain themes, such as heartbreak and the complexities of love, are familiar, the unique approach to memory manipulation and the characters' introspective journeys create unexpected twists. The emotional depth and the characters' decisions often lead to surprising outcomes, keeping the audience engaged and guessing.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist, Joel, undergoes a significant evolution in his internal goals as he grapples with his feelings of love, loss, and regret throughout the screenplay. Initially, he seeks to understand and connect with Clementine, striving for deeper emotional intimacy and clarity in their relationship. As the story progresses, his goal shifts towards self-preservation and navigating the pain of losing his memories of Clementine. Ultimately, he aims to find closure regarding his past relationships and emotional turmoil, leading to personal growth and acceptance of his experiences. |
| External Goals | Throughout the screenplay, Joel's external goals evolve from seeking to connect with Clementine and navigate their budding relationship to confronting the painful realities of memory erasure. His journey entails wanting to understand his feelings and make meaningful connections while grappling with external pressures from friends and past relationships. |
| Philosophical Conflict | The overarching philosophical conflict revolves around the tension between memory and identity. Joel's journey exemplifies the struggle between embracing one's past, with all its flaws and pain, versus the desire to control and selectively erase painful memories. This intertwines with his growth as he navigates relationships and the impact of forgetting versus remembering. |
Character Development Contribution: The evolving internal and external goals illustrate Joel's character development from a passive individual overwhelmed by feelings of inadequacy to an active participant in his emotional healing process. His choices reflect a growing self-awareness and understanding of the importance of embracing his past.
Narrative Structure Contribution: The interwoven goals and philosophical conflicts drive the narrative structure by creating rising tension and complexity in Joel's relationships, particularly with Clementine and Naomi. These conflicts serve to propel the plot forward, shaping pivotal moments that impact the characterization and resolution.
Thematic Depth Contribution: The goals and conflicts contribute to the thematic depth of the screenplay by exploring profound themes of love, loss, identity, and the human condition. They raise questions about the nature of memory, the importance of experiences in shaping who we are, and the struggle for connection in the face of pain.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay depicts a contemporary urban world primarily set in New York City and its suburbs, featuring a mix of everyday locations such as commuter train stations, offices, apartments, beaches, diners, and bookstores. These settings often incorporate weather elements like snow, wind, and cold, which emphasize isolation and introspection. Surreal, dream-like elements emerge in memory erasure sequences, where environments decay and blend reality with abstraction, creating a fluid, unstable physical landscape that mirrors the characters' emotional turmoil.
- Culture: The culture is modern and introspective, with a strong emphasis on literature, intellectual discussions, and mental health. References to books, poems, and philosophers (e.g., Nietzsche, Robert Frost) highlight a society that values self-reflection and emotional expression. There is a casual acceptance of therapy and personal vulnerabilities, alongside themes of nostalgia, psychic beliefs, and fleeting relationships, reflecting a culture that grapples with identity, loss, and the search for meaning in a disconnected world.
- Society: Society is structured around urban professional life, with hierarchical dynamics in workplaces (e.g., receptionists, doctors, technicians) and personal relationships marked by isolation and emotional distance. The existence of memory erasure services like Lacuna Ltd. suggests a society that commodifies emotional pain, allowing individuals to escape regrets but at the cost of authenticity. Social interactions reveal themes of loneliness, routine commuting, and strained relationships, portraying a world where people seek connection yet often resort to avoidance or erasure to cope with interpersonal conflicts.
- Technology: Technology blends contemporary and futuristic elements, including memory erasure devices, tape recorders, holographic ornaments, and commuter tubes. These advancements enable the manipulation of personal memories, adding a sci-fi layer to the narrative, while everyday tech like phones and cars facilitates communication and movement. The technology is integral to the plot, symbolizing both progress and peril, as it allows characters to alter their realities but often leads to unintended consequences and ethical dilemmas.
- Characters influence: The world's elements profoundly shape characters' experiences and actions by amplifying their emotional states and driving key decisions. The isolating physical environments, such as windy beaches and crowded trains, prompt introspection and impulsive actions, like Joel's solo trip to Montauk. Cultural values of literature and therapy encourage characters to seek self-understanding, influencing choices like undergoing memory erasure. Societal norms of emotional detachment and the availability of memory-altering technology lead characters to avoid confronting pain, resulting in cycles of regret and reconnection. Overall, these factors create a sense of vulnerability and urgency, pushing characters toward actions that explore love, loss, and redemption.
- Narrative contribution: The world elements enhance the narrative by providing a framework for non-linear storytelling and thematic exploration. The physical settings and surreal memory sequences allow for dynamic shifts between reality and abstraction, building tension and revealing character backstories. Cultural and societal aspects drive plot conflicts, such as the decision to erase memories and the fallout from its reversal, while technology serves as the catalyst for the central mechanism, enabling twists and emotional depth. Together, they create a cohesive narrative that blends romance, science fiction, and psychological drama, emphasizing the unpredictability of human relationships.
- Thematic depth contribution: These world elements deepen the screenplay's themes of memory, identity, and the human condition by illustrating the consequences of forgetting and the importance of embracing flaws. The decaying physical environments symbolize the fragility of relationships and the passage of time, reinforcing themes of loss and nostalgia. Culturally, the focus on intellectual and emotional pursuits highlights the tension between escapism and authenticity. Societally, the acceptance of memory erasure critiques modern alienation and the commodification of emotions, while technologically, it raises ethical questions about altering the mind. Collectively, they enrich the exploration of love's imperfections, the inevitability of pain, and the redemptive power of remembrance, making the narrative a poignant commentary on the complexities of human experience.
central conflict
The central conflict revolves around the struggle between the desire to erase painful memories of a failed relationship and the realization that those memories are integral to personal identity and growth.
primary motivations
- Joel's motivation to escape the pain of his relationship with Clementine.
- Clementine's motivation to find love and connection despite her tumultuous past.
- Mary's motivation to confront her own emotional trauma and the consequences of memory erasure.
catalysts
- The introduction of the memory erasure procedure at Lacuna Ltd.
- Joel's decision to undergo the memory erasure after discovering Clementine has erased him from her memory.
- Clementine's emotional turmoil and her decision to erase her memories of Joel.
barriers
- The emotional and psychological barriers that prevent Joel and Clementine from fully understanding their feelings for each other.
- The ethical implications and consequences of the memory erasure process.
- The characters' own insecurities and fears that hinder their ability to connect.
themes
- The nature of love and memory.
- The impact of trauma and emotional pain on relationships.
- The quest for identity and self-understanding.
stakes
The stakes involve the potential loss of meaningful connections and experiences that shape the characters' identities, as well as the risk of repeating past mistakes without the lessons learned from those memories.
uniqueness factor
The story's unique approach to exploring memory and relationships through a science fiction lens, using a memory erasure procedure as a metaphor for emotional healing and the complexities of love.
audience hook
The emotional depth and relatability of the characters' struggles with love, loss, and the desire for connection, combined with the intriguing concept of memory manipulation.
paradoxical engine or bisociation
The paradoxical engine lies in the juxtaposition of the desire to forget painful memories against the need to remember and learn from them, creating a tension that drives the narrative.
paradoxical engine or bisociation 2
Another aspect of bisociation is the interplay between the fantastical elements of memory erasure and the grounded emotional realities of the characters, highlighting the absurdity of trying to escape one's past.
Pass / Consider / Recommend Analysis
GPT5
Executive Summary
- Outstanding conceptual hook and opening: the manuscript titled 'Eternal Sunshine of the Spotless Mind' and the old woman frame instantly establish theme and tonal curiosity. The visual setup (commuter tubes, holographic ornaments) establishes a slightly askew version of NYC and primes the audience for reality-bending storytelling. high ( Scene 1 (INT. PUBLISHING HOUSE RECEPTION AREA – DAY (opening/title)) )
- Rich, lived-in character work and an excellent meet-cute: dialogue, small gestures and sensory details (hair color names, the crow photograph, the Velveteen Rabbit) make Joel and Clementine distinct and instantly sympathetic. Their chemistry is credible and layered, and the script lets them reveal themselves in micro-behaviors rather than exposition. high ( Scene 4 (EXT. COMMUTER TRAIN STATION / MONTAUK sequences (first meeting)) Scene 6 (INT. TRAIN - initial Joel/Clementine conversation) Scene 8 (INT. CLEMENTINE'S APARTMENT - first drink) )
- The memory-erasure structure is a major creative strength: the progressive visual decay of scenes, the attempt to 'hide' Clementine in other memories, and the puppetry of memory-space all provide kinetic storytelling and unique cinematic opportunities. The script converts interior emotion into cinematic action consistently. high ( Scene 11 (INT. JOEL'S APARTMENT / LAB sequences (start of erasure)) Scene 12 (INT. JOEL'S APARTMENT - technicians at work) Scene 26 (INT. KITCHEN / Playpen hide sequence) )
- Strong, specific emotional beats for Joel: his panic, shame, and later resourcefulness (attempting to hide Clementine) create an effective, evolving protagonist arc. The voice-over blends with visual decay to show his interior life without monologuing. high ( Scene 21 (INT. JOEL'S APARTMENT - bed fight and erosion scenes) Scene 26 (INT. KITCHEN (playpen) — emotional hiding) )
- The sub-plot involving Lacuna employees (Mary, Howard, Stan, Patrick) provides ethical complexity and human consequences; Mary’s eventual decision to give tapes back raises moral stakes and makes the piece about more than one couple. The use of tapes and archival devices as narrative tools is elegant and effective. medium ( Scene 50 (INT. MIERZWIAK'S OFFICE – Mary confronts Howard / Bartlett quote) Scene 54 (Mary releases files montage) )
- Mary's arc — stealing files and distributing them — is powerful but its psychological motivation and consequences could be deeper. The script shows her pain (abortion, lost memory) but needs one or two extra scenes to fully justify the leap from wounded employee to whistleblower and to show her personal cost afterward. high ( Scene 50 (INT. MIERZWIAK'S OFFICE – Mary confronts Howard) Scene 54 (Mary sends files back / fallout montage) )
- Naomi is necessary as an emotional contrast and plot catalyst, but her interior life and final resolution feel underwritten. The script would benefit from one additional scene that humanizes Naomi beyond the 'stability' foil — to avoid making her a two-dimensional obstacle to Joel's romantic fate. medium ( Scene 43 (Joel/Naomi breakup and aftermath) Scene 51 (Joel/Naomi dinner (post-Lacuna)) )
- The mechanics of Lacuna are intentionally oblique, which is effective up to a point; however, some viewers/readers may see logistical holes (how the company is regulated, frequency of repeat erasures, legal consequences). Adding a compact clarifying beat would keep the mystery while avoiding plot-logic complaints. medium ( Scene 11 (INT. LAB sequences explaining procedure) )
- Mierzwiak's role as both innovator and ethically compromised actor is compelling, but his inner conflict could be deepened. The Hollis/Mary hookup and the subsequent fall-out are dramatic; one more quiet scene of Howard's self‑examination would strengthen the theme that remembering is morally fraught. medium ( Scene 36 (MIERZWIAK's moral vulnerability / Hollis scene) )
- The film ends with an abrupt, powerful image (elderly reprise and final erasure of Clementine) but broader consequences of the mass revelations are not fully explored — financial, legal, public. Decide whether the script intends to leave fallout ambiguous (which is defensible) or to offer a clearer denouement for secondary characters. medium ( Scene 54 (Aftermath montage of people receiving tapes) )
- A clear, concrete epilogue showing how society responds (e.g., press, legal inquiry into Lacuna) is missing. The script suggests a ripple effect but doesn't show if Lacuna faces real consequences or whether memory-erasure becomes regulated, leaving a noticeable gap. high ( Scene 54 (Mary sends tapes; montage of recipients) )
- A stronger functional resolution for Naomi (beyond the two dinner scenes) is missing; we don't fully see how she processes Joel's re-entry into his life post-revelation, which leaves an emotional loose end in the love-triangle dynamic. medium ( Scene 43 (Naomi scenes) )
- Clear professional consequences for Mierzwiak and Lacuna leadership (investigation, licensure impact) are not present, which weakens the sense of institutional accountability in a story that thematically demands it. medium ( Scene 36 (Howard/Marital fallout (Hollis arrival)) )
- The sub-plot of technicians' sexual behavior while erasing clients (Patrick stealing panties, sex in Joel's apartment, Mary/Howard) functions dramatically but leaves questions about professional protocols and the possibility of criminal behavior unaddressed. medium ( Scene 21 (Patrick/Stan sexual ethics and consequences) )
- A single clarifying scene that consolidates the film's thematic thesis about memory — perhaps a conversation between Joel and an older character (or an on-the-record media moment) — would make the film's emotional argument slightly less elliptical without undermining its poetry. low
- The script externalizes internal states: memories are mapped, monitored, and visually degraded. This is a rare screenplay choice that gives the director a clear blueprint for translating subjective experience into cinematic imagery. high ( Scene 11 (INT. JOEL'S APARTMENT / Lab (first mapping)) )
- Framing device (the old woman and the manuscript) bookends the story elegantly and ties the title to an actual artifact, creating a metafictional flourish. medium ( Scene 1 (Opening manuscript / commuter tubes) )
- Inventive, emotionally resonant hiding strategy: the choice to 'shrink' into a childhood memory to protect a person is powerful and gives the leads a creative active strategy rather than pure victimhood. high ( Scene 26 (Playpen/childlike 'hidden' memory) )
- Repeated use of quotations (Pope/Alexander, Nietzsche, 'eternal sunshine') operates as a thematic throughline, giving the script recurring linguistic hooks that enrich its intellectual texture. medium ( Scene 50 (Mary's tape listening / Bartlett quote) )
- The montage of manila envelopes/tapes is a powerful structural beat that turns a private trauma into a community event — it raises the stakes dramatically and elegantly. high ( Scene 53 (Charles River honeymoom-on-ice sequence / montage of tapes delivered) )
- Institutional mechanics and consequences The writer leans into the emotional and surreal rather than the social logistics: how Lacuna operates, legal/medical oversight, and public reaction to mass disclosure are underexplored. Examples: the clinic's repeated erasures of the same couple (Sequence 59 reveals multiple erasures) and the later distribution of tapes (Sequence 54) suggest major real-world consequences that the script intentionally leaves ambiguous. medium
- Secondary-character resolution Several supporting arcs (Naomi, Patrick, Stan’s career consequences) are used for dramatic texture but receive limited resolution. Naomi's emotional trajectory (Sequences 43, 51) functions mainly as foil; Patrick/Stan's ethical breaches (Sequences 21, 30) are menacing but not fully consequential. medium
- Gender/point-of-view centering The narrative is largely Joel-centric; some female perspectives (Clementine's interior life, Mary's trauma) are present but occasionally feel filtered through Joel's experience. Example: much of Clementine's rich complexity is shown in fleeting, stylized flashes rather than consistent interior beats. low
- Occasional information-dump and reliance on voice-over The script uses voice-over heavily (early sequences) to communicate interior states and backstory; while effective as a stylistic choice, some expository lines risk reading as 'telling' rather than dramatizing. Example: several VO beats in Sequence 9/11 recount history that could be dramatized instead. low
- Ambiguous stakes for secondary unethical acts Sex on the job, theft of panties, and technicians' cavalier behavior (Sequences 21, 25, 30) read as shocking and darkly comic but lack clear narrative consequences; without such consequences these incidents may be read as gratuitous rather than character‑defining. medium
Grok
Executive Summary
- The non-linear, memory-based structure innovatively weaves past and present, creating a puzzle-like narrative that immerses the audience in Joel's psyche and heightens emotional stakes. high ( Scene 9-48 )
- Character arcs for Joel and Clementine evolve from awkward strangers to deeply connected lovers, with Joel's growth from passive regret to active pursuit providing satisfying maturation. high ( Scene 4-8, 47-48 )
- Themes of memory, love, and regret are consistently portrayed through recurring motifs like erasure and rediscovery, reinforcing the narrative's philosophical core without preachiness. high ( Scene Whole screenplay )
- Dialogue is natural, quirky, and revealing, blending humor with vulnerability to make interactions feel authentic and advance character motivations seamlessly. medium ( Scene 6, 8 )
- The beach meeting scene delivers a poignant emotional climax, resolving conflicts with hope while tying back to the opening, ensuring narrative cohesion. high ( Scene 47-48 )
- Some early exposition scenes feel slightly didactic in explaining the procedure and motivations, which could be integrated more subtly to avoid info-dumps. low ( Scene 3, 12 )
- Secondary characters like Mary and Stan receive strong development but could benefit from clearer resolutions to their arcs, such as more explicit fallout from their revelations. medium ( Scene 21-24, 30 )
- Voice-over usage is effective but occasionally over-relies on internal monologue, which might dilute visual storytelling in adaptation. low ( Scene Whole screenplay )
- Deeper exploration of the ethical implications of the memory erasure technology on society beyond personal relationships, such as broader cultural impacts. medium ( Scene Whole screenplay )
- The fallout from Mary's tape distribution could include more direct consequences for Lacuna Inc., like legal or societal repercussions, to heighten stakes. low ( Scene 50-55 )
- The framing device with the old woman (Mary) hints at a cyclical future but leaves the long-term outcome for Joel and Clementine somewhat ambiguous, potentially needing a subtle epilogue. low ( Scene 1, 60 )
- The bookending with the elderly Mary as receptionist creates a poignant cyclical structure, implying endless loops of love and erasure. high ( Scene 1, 60 )
- The Velveteen Rabbit reference beautifully ties into themes of authenticity and enduring love amidst imperfection. medium ( Scene 23, 25 )
- The initial beach encounter masterfully sets up the romance with subtle foreshadowing of future conflicts. medium ( Scene 47 )
- Quirky props like dressed potatoes add whimsy and memorability to the world-building. low ( Scene Whole screenplay )
- The mailing of tapes introduces a meta-layer, empowering characters and critiquing the procedure's ethics. high ( Scene 54-59 )
- Overemphasis on internal conflict The writer focuses heavily on Joel's introspective voice-overs and memories, which richly develops his arc but occasionally sidelines external action or visual spectacle, as seen in sequences 9-11 where procedural elements feel secondary to emotional monologues. medium
- Underdeveloped ensemble dynamics Secondary characters like Patrick and Stan provide comic relief and plot function but lack nuanced interpersonal conflicts beyond their jobs, evident in sequences 21-22 where their banter feels surface-level compared to Joel and Clementine's depth. low
- None evident This professional-level script exhibits polished formatting, economical descriptions, and seamless integration of sci-fi elements without exposition overload, avoiding common pitfalls like inconsistent tense or overly detailed action lines. low
Gemini
Executive Summary
- The central concept of memory erasure as a narrative device to explore the dissolution and potential rediscovery of love is exceptionally original and executed with remarkable consistency. high
- The character development of both Joel and Clementine is deeply compelling. Their flaws, vulnerabilities, and moments of genuine connection are well-portrayed, making their journey through fragmented memories incredibly poignant and believable. high ( Scene 2 (INT. WAITING ROOM - DAY) Scene 3 (INT. OFFICE - CONTINUOUS) Scene 6 (INT. TRAIN - A BIT LATER) Scene 8 (INT. CLEMENTINE'S APARTMENT - A FEW MINUTES LATER) Scene 11 (INT. JOEL'S APARTMENT - NIGHT) Scene 23 (INT. CLEMENTINE'S APARTMENT - NIGHT) Scene 49 (INT. CLEMENTINE'S APARTMENT - NIGHT) Scene 53 (EXT. CHARLES RIVER - NIGHT) )
- The screenplay’s non-linear structure, mimicking the fragmented nature of memory and the erasure process, is a masterful narrative choice that enhances the emotional impact and thematic exploration of the story. high ( Scene 1 (Sequence number 1) Scene 9 (INT. JOEL'S CAR - NIGHT) Scene 10 (INT. BOOKSTORE - NIGHT) Scene 11 (INT. JOEL'S APARTMENT - NIGHT) Scene 25 (EXT. CHARLES RIVER - NIGHT) Scene 33 (EXT. SCHOOLYARD - AFTERNOON) Scene 34 (EXT. BEACH - DAY) Scene 35 (INT. RESTAURANT - NIGHT) Scene 44 (INT. BORDER'S BOOKSTORE - NIGHT) Scene 47 (EXT. BEACH - NIGHT) Scene 53 (EXT. CHARLES RIVER - NIGHT) )
- The themes of love, loss, regret, and the enduring power of human connection are explored with profound emotional depth and nuance, resonating long after the screenplay concludes. high ( Scene 11 (INT. JOEL'S CAR - NIGHT) Scene 15 (INT. JOEL'S APARTMENT - NIGHT) Scene 25 (EXT. CHARLES RIVER - NIGHT) Scene 26 (EXT. FOREST – DAY) Scene 33 (EXT. SCHOOLYARD - AFTERNOON) Scene 34 (EXT. BEACH - DAY) Scene 35 (INT. RESTAURANT - NIGHT) Scene 38 (EXT. ROWBOAT - DAY) Scene 40 (INT. RESTAURANT - NIGHT) Scene 47 (EXT. BEACH - NIGHT) Scene 53 (EXT. CHARLES RIVER - NIGHT) )
- The dialogue is consistently sharp, witty, and emotionally intelligent, effectively revealing character and advancing the narrative with naturalistic yet impactful exchanges. medium ( Scene 3 (INT. OFFICE - CONTINUOUS) Scene 6 (INT. TRAIN - A BIT LATER) Scene 8 (INT. CLEMENTINE'S APARTMENT - A FEW MINUTES LATER) Scene 44 (INT. BORDER'S BOOKSTORE - NIGHT) Scene 47 (EXT. BEACH - NIGHT) Scene 53 (EXT. CHARLES RIVER - NIGHT) )
- While the non-linear structure is a strength, some of the transitions between memories and reality can be jarring, occasionally leading to confusion about the current timeline. Further subtle cues could enhance clarity. low ( Scene 9 (INT. JOEL'S CAR - NIGHT) Scene 10 (INT. BOOKSTORE - NIGHT) Scene 15 (INT. JOEL'S APARTMENT - NIGHT) Scene 25 (EXT. CHARLES RIVER - NIGHT) Scene 26 (EXT. FOREST – DAY) Scene 33 (EXT. SCHOOLYARD - AFTERNOON) Scene 34 (EXT. BEACH - DAY) Scene 35 (INT. RESTAURANT - NIGHT) Scene 40 (INT. RESTAURANT - NIGHT) Scene 47 (EXT. BEACH - NIGHT) Scene 53 (EXT. CHARLES RIVER - NIGHT) )
- Joel's initial motivation for erasure, while understandable, could be slightly more explicitly defined early on to fully anchor his drastic decision. low ( Scene 11 (INT. JOEL'S CAR - NIGHT) Scene 15 (INT. JOEL'S APARTMENT - NIGHT) )
- The subplot involving Mary's actions after the procedure could be slightly more integrated into the main narrative for maximum impact, though its thematic resonance is still present. low ( Scene 55 (INT. MIERZWIAK'S OFFICE - MOMENTS LATER) )
- The framing device of the old woman submitting her manuscript could be slightly more interwoven with the main narrative to offer more immediate thematic payoff, though its eventual reveal is effective. low ( Scene 1 (Sequence number 1) )
- The ending, while poignant, could benefit from a slightly more definitive articulation of what 'starting over' truly entails for Joel and Clementine, beyond the implication of repeating the cycle. medium ( Scene 47 (EXT. BEACH - NIGHT) Scene 53 (EXT. CHARLES RIVER - NIGHT) )
- While the core relationship is deeply explored, a clearer understanding of the specific events that *initially* drove Joel and Clementine apart could have added another layer to their decision to erase each other, beyond just general relationship dissatisfaction. medium
- The logistical and ethical implications of Lacuna Ltd. and the memory erasure process are intentionally ambiguous, which serves the narrative, but a slightly more concrete glimpse into the societal impact or regulation of such technology could add depth. low
- While Stan and Patrick are functional characters, their motivations beyond their immediate tasks could be explored a touch more to make them feel fully integrated. low ( Scene 28 (INT. JOEL'S APARTMENT - NIGHT) )
- The ultimate resolution, while hopeful, leaves the audience questioning the sustainability of their renewed relationship given the underlying issues. A slightly more concrete hint at how they might navigate these challenges differently could be beneficial. medium
- The ultimate fate of the old woman with the manuscript, while thematically linked, is left entirely to implication. A more direct resolution or connection to the main narrative could be considered. low ( Scene 1 (Sequence number 1) )
- The visual storytelling, particularly in the memory erasure sequences, is incredibly inventive and effectively conveys the disintegration of memories and emotions through fading, distortion, and surreal imagery. high ( Scene 1 (Sequence number 1) Scene 2 (Sequence number 2) Scene 4 (EXT. COMMUTER TRAIN STATION) Scene 9 (INT. JOEL'S CAR - NIGHT) Scene 15 (INT. JOEL'S APARTMENT - NIGHT) Scene 23 (INT. CLEMENTINE'S APARTMENT - NIGHT) Scene 25 (EXT. CHARLES RIVER - NIGHT) Scene 33 (EXT. SCHOOLYARD - AFTERNOON) Scene 47 (EXT. BEACH - NIGHT) Scene 53 (EXT. CHARLES RIVER - NIGHT) )
- The supporting characters, like Mary and Stan, offer crucial thematic and plot development, grounding the fantastical elements and providing alternate perspectives on the central conflict. medium ( Scene 2 (Sequence number 2) Scene 3 (INT. OFFICE - CONTINUOUS) Scene 41 (INT. LACUNA RECEPTION AREA - NIGHT) Scene 50 (INT. LACUNA RECEPTION AREA - DAY) Scene 55 (INT. MIERZWIAK'S OFFICE - MOMENTS LATER) )
- The dialogue is a remarkable blend of naturalism, wit, and emotional vulnerability, capturing the awkwardness, intensity, and eventual comfort of nascent love, as well as the pain of heartbreak. high ( Scene 3 (INT. OFFICE - CONTINUOUS) Scene 6 (INT. TRAIN - A BIT LATER) Scene 8 (INT. CLEMENTINE'S APARTMENT - A FEW MINUTES LATER) Scene 44 (INT. BORDER'S BOOKSTORE - NIGHT) Scene 47 (EXT. BEACH - NIGHT) Scene 53 (EXT. CHARLES RIVER - NIGHT) )
- The recurring motif of the commuter tubes as a visual representation of people isolated in their own journeys, yet crossing paths, is a subtle but powerful stylistic choice that underscores the film's themes. medium ( Scene 1 (Sequence number 1) Scene 59 (INT. COMMUTING TUBE - DAY) )
- The screenplay cleverly uses recurring imagery and locations (the beach, the train, the diner) to anchor the fragmented narrative and highlight the cyclical nature of Joel and Clementine's relationship. medium ( Scene 5 (INT. DINER - DAY) Scene 6 (INT. TRAIN - A BIT LATER) Scene 8 (INT. CLEMENTINE'S APARTMENT - A FEW MINUTES LATER) Scene 47 (EXT. BEACH - NIGHT) Scene 53 (EXT. CHARLES RIVER - NIGHT) )
- Narrative structure clarity While the non-linear structure is a deliberate and effective artistic choice, there are moments, particularly in the highly abstract memory erasure sequences (e.g., Scenes 11, 15, 25, 33, 34, 35), where the shifts between reality, memory, and fragmented memory can become slightly disorienting for the reader without the visual cues of film. The screenplay could benefit from slightly clearer transition markers in these more complex sequences. medium
- Motivation of antagonist characters The characters of Stan and Patrick, while serving their purpose in the memory erasure process, are somewhat one-dimensional antagonists. Their motivations beyond their assigned roles are minimal, and their brief subplots (like Patrick's infatuation with Clementine) feel slightly underdeveloped in the broader context. low
- Thematic subtlety While the themes are powerful, the philosophical discussions around memory and its significance (e.g., in Scene 25 with Joel's father, or Mary's dialogue in Scene 57) can sometimes verge on being too explicit, stating the theme rather than allowing it to emerge purely through character and action. low
DeepSeek
Executive Summary
- The innovative non-linear structure that moves backward through Joel's memories while he fights to preserve them creates a unique emotional and intellectual experience that mirrors the theme of memory itself. high ( Scene 11-20 (Memory erasure sequences) Scene 26-35 (Childhood memory hiding) )
- Deeply authentic character development where Joel and Clementine feel like real, flawed people with complex emotional landscapes rather than romantic archetypes. high ( Scene 6-8 (Train meeting and apartment scene) Scene 23 (Velveteen Rabbit conversation) )
- Rich thematic exploration of memory, love, and the human condition that extends beyond the central romance to comment on how we process pain and preserve meaning. high ( Scene 36 (Mary's discovery of her own erasure) Scene 59-60 (Future epilogue) )
- Masterful integration of science fiction elements that serve character and theme rather than dominating the narrative, making the memory-erasure technology feel emotionally plausible. medium ( Scene 11 (Lab procedure explanation) Scene 25 (Charles River memory) )
- Emotionally satisfying circular structure that begins and ends with the relationship's beginning, creating a poignant commentary on the cyclical nature of love and memory. medium ( Scene 47 (Beach party meeting) Scene 54 (Tape revelations) )
- Some supporting character actions, particularly Patrick's behavior, occasionally veer toward caricature rather than serving the psychological realism of the main narrative. medium ( Scene 21-22 (Patrick's panty stealing) )
- The Mary-Howard subplot resolution feels somewhat rushed compared to the meticulous development of the main relationship arc. medium ( Scene 36-37 (Mary/Howard confrontation) )
- The Naomi character and Joel's previous relationship could benefit from slightly more development to better contrast with the Clementine relationship. low ( Scene 42-43 (Naomi breakup sequences) )
- More explicit exploration of the ethical implications and societal impact of memory-erasure technology beyond individual relationships. low ( Scene General (Throughout) )
- Clearer transition markers between the main narrative and the futuristic epilogue to avoid initial confusion about time period shifts. low ( Scene 59-60 (Future epilogue) )
- The visual representation of memory degradation and erasure through fading environments and robotic character behavior is highly innovative and emotionally effective. high ( Scene 11-20 (Memory degradation visuals) )
- The use of childhood memories as hiding places creates profound psychological depth and connects adult relationship patterns to formative experiences. high ( Scene 26-35 (Childhood memory sequences) )
- The integration of literary quotes (Nietzsche, Alexander Pope) as thematic anchors demonstrates sophisticated intertextual storytelling. medium ( Scene 36 (Mary's quote revelation) )
- The narrative consequence of Mary sending out the tapes creates an effective moral dilemma about the ethics of memory and truth. medium ( Scene 54-55 (Tape distribution consequences) )
- Supporting Character Development The writer occasionally prioritizes the central relationship at the expense of fully developing supporting characters like Patrick and Naomi, who sometimes serve more as plot devices than fully realized individuals. medium
- Technology Implications While the memory-erasure technology is brilliantly used as a metaphor, the screenplay doesn't fully explore the broader societal implications or ethical considerations beyond the central romance. low
- None observed The screenplay demonstrates professional-level craftsmanship in structure, dialogue, character development, and thematic integration throughout. low
Claude
Executive Summary
- The opening sequences establish a strong sense of mystery and intrigue, drawing the audience into the story and setting the stage for the complex narrative that follows. high ( Scene 1 (INT. PUBLISHING HOUSE RECEPTION AREA – DAY) Scene 2 (INT. WAITING ROOM - DAY) )
- The screenplay effectively utilizes flashbacks and non-linear storytelling to gradually reveal the characters' histories and the events that led to the present-day situation, keeping the audience engaged and invested in the narrative. high ( Scene 9 (INT. JOEL'S CAR - NIGHT) Scene 11 (INT. MIERZWIAK'S OFFICE - DAY) )
- The character development is strong, with the screenplay delving into the complexities of the protagonists' personalities and the nuances of their relationships, making them feel authentic and relatable. high ( Scene 18 (INT. JOEL'S APARTMENT - NIGHT) Scene 19 (EXT. ZOO - DAY) )
- The screenplay explores thought-provoking themes, such as the nature of memory, the impact of loss, and the search for personal identity, which elevate the narrative and make it a compelling and intellectually stimulating experience for the audience. high ( Scene 41 (INT. LACUNA RECEPTION AREA - NIGHT) Scene 59 (INT. VAGUE SPACE) )
- The screenplay's unique visual style and creative use of cinematography, such as the fading and decaying of memories, contribute to the overall immersive and atmospheric experience for the audience. medium ( Scene 46 (INT. ROB AND CARRIE'S CAR - NIGHT) Scene 53 (EXT. CHARLES RIVER - NIGHT) )
- While the character development is generally strong, there are a few instances where the dialogue and interactions feel a bit unnatural or forced, which could be improved to enhance the overall authenticity of the characters. medium ( Scene 7 (INT. JOEL'S CAR - CONTINUOUS) Scene 8 (INT. CLEMENTINE'S APARTMENT - NIGHT) )
- The pacing of the screenplay can feel a bit uneven at times, with some scenes dragging or feeling rushed, which could be addressed to maintain a more consistent and engaging rhythm throughout the narrative. medium ( Scene 22 (INT. CHINESE RESTAURANT - NIGHT) Scene 23 (INT. CLEMENTINE'S APARTMENT - NIGHT) )
- While the overall narrative is compelling, there are a few instances where the transitions between scenes or timelines could be smoother, to ensure a more seamless and cohesive storytelling experience. medium ( Scene 45 (INT. ROB AND CARRIE'S CAR - NIGHT) Scene 46 (INT. JOEL'S APARTMENT - AFTERNOON) )
- The screenplay could benefit from a more consistent exploration of the secondary characters, such as Patrick and Mary, to provide a more well-rounded understanding of their motivations and the impact they have on the main characters' journeys. medium ( Scene 24 (EXT. SUBURBAN STREET - DAY) Scene 25 (EXT. CHARLES RIVER - NIGHT) )
- While the screenplay explores the complexities of memory and personal identity, it could delve deeper into the philosophical and ethical implications of the Lacuna procedure, providing a more nuanced exploration of the moral dilemmas faced by the characters. medium ( Scene 38 (INT. JOEL'S BEDROOM - NIGHT) Scene 39 (INT. CHINESE RESTAURANT - NIGHT) )
- The screenplay's innovative use of visual storytelling techniques, such as the fading and decaying of memories, is a standout element that contributes to the overall immersive and atmospheric experience for the audience. high ( Scene 16 (INT. JOEL'S APARTMENT - NIGHT) Scene 17 (EXT. STREET - CONTINUOUS) )
- The screenplay's exploration of the complexities of memory and personal identity, and the characters' attempts to navigate these challenges, is a central and compelling aspect of the narrative. high ( Scene 26 (INT. JOEL'S APARTMENT - DAY) Scene 27 (INT. KITCHEN - DAY) )
- The screenplay's inclusion of the old woman's (Mary) perspective and her role in the larger narrative adds depth and complexity to the story, providing a unique and thought-provoking exploration of the impact of memory and the importance of remembering. high ( Scene 41 (INT. LACUNA RECEPTION AREA - NIGHT) Scene 59 (INT. VAGUE SPACE) )
- Lack of diversity The screenplay primarily focuses on the experiences of white, middle-class characters, with limited representation of diverse backgrounds and perspectives. While the central characters are well-developed, the lack of diversity in the supporting cast and the broader narrative could be seen as a blind spot. medium
- Uneven pacing As mentioned in the Areas of Improvement section, the pacing of the screenplay can feel uneven at times, with some scenes dragging or feeling rushed. This could be perceived as an amateur giveaway, as it can disrupt the overall flow and engagement of the narrative. medium
- Underdeveloped secondary characters The screenplay could benefit from a more consistent exploration of the secondary characters, such as Patrick and Mary. Their motivations and the impact they have on the main characters' journeys are not always fully developed, which could be seen as an amateur giveaway. medium
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 44 | CLEMENTINE: Too many guys think I'm a concept or I complete them or I'm going to make them alive, but I'm just a fucked-up girl who is looking for my own peace of mind. Don't assign me yours. |
| 26 | JOEL: I loved you on this day. |
| 1 | OLD WOMAN: This book — It's essential that people read it because – — It's the truth. And only I know it. |
| 27 | JOEL: I don't want to lose you, Clem. |
| 51 | JOEL: I miss you. |