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ETERNAL SUNSHINE OF THE SPOTLESS MIND Written by Charlie Kaufman
INT. PUBLISHING HOUSE RECEPTION AREA - DAY 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 Christmas 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. 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 archway 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 others travel over New 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. INT. WAITING ROOM - DAY SUBTITLED: 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 be 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. with you. He'll be right
Clementine sits. She looks tired, maybe hungover. She picks up a magazine at random and thumbs without interest. INT. INNER OFFICE AREA - CONTINUOUS Mary pads down the hallway. 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. She knocks on a closed door.
MIERZWIAK (CONT'D) (looking up) Mary... MARY (turning back) Yes? MIERZWIAK Order me a pastrami for after? MARY Cole slaw, ice 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. STAN Barely seen you all morning, kiddo. He leans in to kiss her. off. She cranes her neck to keep him
MARY (reprimanding whisper) Stan... c'mon... Sorry. STAN I just --
MARY (somewhat guiltilly) It's just...y'know... I mean... I know. STAN Anyway --
MARY Anyway, I've got to do my tap dance here. She indicates the door to the reception area. STAN See you later, alligator. MARY 'kay. Stan nods.
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. leads her down the hall, not looking back. MARY (professionally courteous) How are you today? 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. INT. OFFICE - CONTINUOUS 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 if 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. Mary
MIERZWIAK You guess he's your boyfriend? Or you guess you're having a bad time with hm? CLEMENTINE What? No. I don't like the term boyfriend. It's so gay. Mierzwiak nods. throughout. He's attentive, pleasant, and neutral
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 -EXT. COMMUTER TRAIN STATION 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
Later: Joel walks up near the beach houses closed for the season. then as she nears. JOEL Hi. Food poisoning. (thinks some more) I don't know what else to say. It was weird to fall into our old familiar sex life so easily. Once she passed.LATER Joel talks on a phone. Cindy. or at least pretends to. JOEL January 13th. Joel. It's Clementine. No. I think. Sorry it took me so long to call in. EXT. She stops and stares out at the ocean. empty beach. opens it and writes with a gloved hand. he goes back to his writing. Like no time has passed. I'm not feeling well this morning. 2006. BEACH .7. The wind howls around him. spots a female figure in the distance. (thinks) It's cold. MONTAUK TRAIN STATION . He glances up.DAY It's a local tourist place. Joel sits in a booth and eats a grilled cheese sandwich and a bowl of He He tries . I saw Naomi last night. He has no other thoughts. We had sex. After two years apart suddenly we're talking about getting together again. but I've been vomiting. (thinks some more) The sky is gray. INT. Nothing changes.) (CONT'D) If I'm constitutionally incapable of making eye-contact with a woman I don't know. with his briefcase. walking in his direction. Listen. Nothing happens. he watches her walk away. They nod at each other. He watches her for a bit. Joel writes. I guess I'd better get back to Naomi.DAY Joel wanders the windy. to shield the mouthpiece as he talks. but off-season empty. JOEL (V. DINER . EXT. Today I skipped work and took the train out to Montauk. I guess that's good. She stands out against the gray in a fluorescent orange hooded sweatshirt.O. station. He peeks cautiously in a dark window. Later: Joel looks out at the ocean. He passes an old man with a metal detector. Later: Joel digs into the sand with a stick. Later: Joel sits on a rock and pulls out a notebook.
tries to see the cover. TRAIN .LATE AFTERNOON Joel sits on the bench waiting for a train. pours something in. Clementine looks around the place. Joel studies her discreetly. please. Joel glances up. EXT. embarrassed. The waitress approaches her with a coffee pot. Her eyes meet Joel's before he is able to look away. CLEMENTINE (calling) And some cream. WAITRESS You know what you want yet? CLEMENTINE (laughing) Ain't that the question of the century. He can't read the title. the only other person there. She takes a seat on a bench far down the platform. He waves back. then down at his journal. The waitress is not amused. Clementine enters. MONTAUK TRAIN STATION PLATFORM . She picks an empty booth and sits. Joel stares at his hands. tomato soup. BEACH . CLEMENTINE You've saved my life! The waitress pours the coffee. She smiles vaguely. An elderly couple drink coffee at the counter.DAY Joel stares out at the ocean. EXT. She waves.8. yes. After a moment the door . Clementine fishes in her bag. then brings the cup back up. Clementine pulls a book from her purse and starts to read. looks around.A BIT LATER Joel sits at the far end of the empty car and watches the slowly passing desolate terrain. CLEMENTINE (CONT'D) You got grilled cheese and tomato soup? Yeah. playing as if they're old friends. WAITRESS Coffee? God. Clementine enters the platform. INT. Joel glances at her bright blue hair. Far down the beach Clementine stares at it. too. It's blue. He looks embarrassed. sees Joel. takes off her hood. WAITRESS We're having a run on it. Joel glances sideways at her then back at the ocean. sort of goofily enthusiastic. pulls out his journal and tries to write in order to conceal his awkwardness. brings the coffee cup under the table for a moment. The waitress heads to the grill.
looks back where she came from. CLEMENTINE Really? JOEL (embarrassed) Well. CLEMENTINE It's okay if I sit closer? So I don't have to scream. she busies herself deciding where to sit.. Joel looks up. JOEL I'm sorry. Finally: CLEMENTINE (calling over the rumble) Hi! Joel looks over. She looks around the empty car. live dangerously. She hesitates in the middle of the car. c'mon.. I didn't know if you were talking to me.. I can't really think of much to say probably. CLEMENTINE Aw. I didn't want to assume. believe me. so. She settles on a seat at the opposite end of the car. Joel looks out the window.9. CLEMENTINE Why? JOEL Why what? CLEMENTINE Why are you sorry? I just said hi. CLEMENTINE So. JOEL No. I don't know. Not that I don't need to scream sometimes. Clementine makes her way down the aisle towards Joel.. . Take the leap and assume someone is talking to you in an otherwise empty car. Oh. (pause) But I don't want to bug you if you're trying to write or something. JOEL No. The train is picking up speed. I mean. Clementine is not looking at him. He feels her watching him. Anyway. JOEL Sorry. Hi. between cars opens and Clementine enters.
You have a cell phone? I need to quit right this minute. of course. I CLEMENTINE Well. really.because I go there all the time. Really? JOEL Because -I gotta quit CLEMENTINE Jesus. JOEL -. don't think I ever saw you before. I thought that earlier in the diner. Bizarre small world.10. Get out! CLEMENTINE Me too! What are the odds? JOEL The weirder part is I think actually I recognize you. (sits across aisle from Joel) How far are you going? On the train. CLEMENTINE Just. I mean. JOEL I mean. JOEL I don't have one. JOEL Rockville Center. You work at Borders. That's why I was looking at you. it's okay if you want to sit down here. is it five years? right now. I'll call in dead. I don't want to bug you if you're trying to -JOEL It's okay. God. maybe. to chat a little. I'm there. CLEMENTINE I'll go on the dole. huh? Yeah. I guess it made an impression on me. I hide in the back as much as is humanly possible. before me. that's me: book slave there for. that's why I was pretty . right? CLEMENTINE Ucch. you know. five years now. I didn't mean to -CLEMENTINE No. really? You're kidding. Like my daddy JOEL I noticed your hair. like. I have a long trip ahead of me.
this company makes a whole line of colors with equally snappy names. coming up with those names. color. 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. CLEMENTINE Ah. Fuck the dole. You sure? JOEL That doesn't sound -- . (thought) The Tom Waits album is Rain Dogs. How do you get a job like that? That's what I'll do. sure I recognized you. CLEMENTINE My writing career! Your hair written by Clementine Kruczynski. CLEMENTINE Blue ruin is cheap gin in case you were wondering.11. Which song? The Exactly! JOEL I can't remember. (excited) Agent Orange! I came up with that one. right? It's called Blue Ruin. Yeah. Anyway. there are endless color possibilities and I'd be great at it. Yellow Fever. JOEL I don't really know how -CLEMENTINE Purple Haze. CLEMENTINE Anyway. the hair. JOEL I'm sure you would. Green Revolution. (pulls a strand in front of her eyes. That'd be a job. Pink Eraser. JOEL Tom Waits says it in -CLEMENTINE Tom Waits. Red Menace. Snappy name. huh? JOEL I like it. studies it) Blue.
CLEMENTINE I think. CLEMENTINE Huckleberry Hound? JOEL I don't know what that means. CLEMENTINE Huckleberry Hound! What. truth be told. you don't know me. you're trying to be nice. by the way. though. oh my darlin' Clementine? No? JOEL Sorry. .12. JOEL I was just trying to be nice.. I wouldn't think that about you. oh my darlin'. There's a silence. More than once. It's a pretty name. I apply my personality in a paste. right? It CLEMENTINE (impressed) Yeah. JOEL See. you wouldn't do that. are you nuts? JOEL I'm nut nuts. You? JOEL Oh. CLEMENTINE No jokes about my name? Oh. But it keeps me from having to develop an actual personality. I doubt that's the case. Anyway. means "merciful". CLEMENTINE (singing) Oh my darlin'. CLEMENTINE Well. I'm getting too old for this. CLEMENTINE Yeah. JOEL I don't know any jokes about your name. Although it hardly fits.. do you? Sorry. CLEMENTINE (CONT'D) My name's Clementine. I got it. JOEL I'm Joel. you don't know. I'm a vindictive little bitch. I've tried all their colors. so.
Cowardly. JOEL Well. I don't need myself to be it and I don't need anyone else to be it at me. anyway? I mean. Shit. (to conductor) I know it's here. I don't know... CLEMENTINE (CONT'D) And life is more interesting than that. CLEMENTINE Shit. it and hands it back. The conductor enters the car. I know it's here. CLEMENTINE I just don't think "nice" is a particularly interesting thing to be.. CLEMENTINE (CONT'D) It doesn't reveal anything. Nice is pandering. Joel hands the conductor his ticket.. CONDUCTOR Tickets. anyway. Sorry. CLEMENTINE (pissy) Why wouldn't you think that about me? JOEL Oh.... They sit in silence for a while. besides an adjective? I guess it can be an adverb. mumpish. I was just. The conductor and Joel watch as she gets more agitated. someday. sort of.13. I was. JOEL Okay. She dumps the contents of the bag onto the seat and sifts frantically through.. Jesus God. Hold on. Or should be. The conductor punches CLEMENTINE What is nice. The conductor turns to Clementine. so -CLEMENTINE Now I'm nice? Don't you know any other adjectives? There's careless and snotty and overbearing and argumentative. I hope it is. She fishes in her bag. You seemed nice.. I don't know. CLEMENTINE (CONT'D) I don't need nice.. Joel sees the book she was reading in .
Right now. I'll just. Her hands are a little shaky. The train pulls into the station.. The doors close. I have some stuff I need to -CLEMENTINE Oh. hands it back to her. JOEL That's okay. CLEMENTINE It's Joel. But right now I'm glad you said.. anyway. CLEMENTINE (CONT'D) Damn it.. Joel is watching all of this but pretending not to. "that's okay" to me. CONDUCTOR Next stop Southampton. I can't tell from one moment to the next what I'm going to like. throws bag over shoulder) Take care. (stands. and walks away. JOEL (pulling journal from briefcase) Probably see you at the book store. and downs it. okay. She pulls a airline-sized bottle of alcohol from her pocket. CLEMENTINE (heading toward other end of car) Unless I get that hair-color-naming job.14. smiles sweetly. sure. The train pulls out. She hands the conductor the tickets. I'm a little out of sorts today. JOEL It's no problem. Was it yelling? I can't really tell. DAMN IT! (there it is) Oh. the diner. right? JOEL He . Anyway. Nobody gets on. The conductor heads into the next car. Clementine shoves stuff back into her purse.. then. CLEMENTINE (stares out window) My embarrassing admission is I really like that you're nice. She looks out the window for a while. opens it. Here. punches it. That was nice of you. Whatever. It's The Play by Stephen Dixon. Joel? Yes? CLEMENTINE I'm sorry I. The doors open. Well. yelled at you.
right? JOEL Well. I've been told I'm highly stalkable. Clementine has inched a few seats closer to Joel. rolls down his window. CLEMENTINE (beat) . I probably wouldn't say if I were.LATER It's dark out. JOEL I could give you a ride if you need.MOMENTS LATER Joel drives. He passes Clementine walking. that's okay. TRAIN . I've been stalked. Clementine sits closer still to Joel. JOEL It's okay. INT. JOEL Where do you live? CLEMENTINE You're not a stalker or anything. He heads to the parking lot. Joel stares out the window. JOEL You're sure? It's cold. JOEL I'm not a stalker. There's a big dented scrape along the driver's side. slows. CAR . TRAIN STATION . He considers.15. He gets in.EVENING The doors open and Joel emerges along with others. Hi. TRAIN . INT. EXT. CLEMENTINE Yeah? He pulls over. but no. They drive. CLEMENTINE You can't be too careful. The train is pretty crowded. I don't need that. Clementine sits and stares out the window. eyes him. She looks cold. CLEMENTINE No. She climbs in. She watches him.LATER There are a few more people in the car now. though. His head is immersed in his journal. arrives at the car. CLEMENTINE I don't want to take you out of your way. INT. Thanks.
Joel turns. um.. They drive in silence.16." (starts to cry) Oh.. You know Wilmont? JOEL Yeah. Yeah? well. I didn't think you were. "Till you're full of rag water and bitters and blue ruin/And you spill out/Over the side to anyone who'll listen. There's a silence. CLEMENTINE It is Rain Dogs. (pointing to a house) Me. I'm very sorry I came off sort of nutso. CLEMENTINE So you like bookstores. 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. shit. I spent most of the train ride trying to remember.. huh? JOEL I like to read. Joel pulls over. Me too. CLEMENTINE (CONT'D) Look. JOEL I can't remember that album very I remember liking it. Sorry. your hat" makes me cry. But -- CLEMENTINE The song's 9th and Hennepin. CLEMENTINE Near the high school.. CLEMENTINE (CONT'D) "I sleep in . JOEL What? CLEMENTINE I'm just a bit of a wreck. I'm not really. JOEL It's okay. I'm so stupid. Wilmont. by the way." Remember? JOEL Sort of.
. He tries to calm himself by focusing on the surroundings. Joel.. And the landlord's sweet. that was stupid. told you that. you. And I could -JOEL Um -CLEMENTINE Never mind. I'm I already I have INT. We see her as she passes by the doorway several times.17. CLEMENTINE This. Joel is looking at a framed black and white photograph of crows flying. and listen to my crickets and. JOEL Take care. CLEMENTINE'S APARTMENT . somewhat nervously. It's really cheap. Clementine is in the living room now with two gin and tonics. recently. Clementine is in the kitchen. too. I like it. Been here about four years. too. See Ya. I like .A FEW MINUTES LATER Joel stands in the living room. geez. do you want to have a drink? lots of drinks. because I can read there. I wouldn't want to be -CLEMENTINE Oh. CLEMENTINE (turning back) Hey. embarrassed. Good night.. Thanks very much.. CLEMENTINE (CONT'D) Two blue ruins. My downstairs neighbor is old so she's quiet. Sorry. That was very nice of JOEL Well. which is bizarre. and I have a little porch in the back. someone gave that to me. I like it.. but great. which is great. preparing drinks and chatting. CLEMENTINE (CONT'D) You like that? JOEL Very much. (pause) Anyway. just like. CLEMENTINE Thanks. I'm full of shit. Clementine opens the car door.. which is great. He looks at the books on her shelves.
cheers! JOEL Cheers. Everyone wore hats. I'm not. Take . Yeah? CLEMENTINE Well. Maybe because it is grade school. a Robert Frost lover by any stretch. Thanks. CLEMENTINE God. that crow sound. that feels so fucking good. She plops down on the couch and pulls her boots off. But this made me cry for some reason.18. yours off. But I like grade school better. (takes it off the wall. like. JOEL I'm fine. His stuff seems strictly grade school to me. have a seat. anyway. I'd like to be from then. I think I used to be a crow. She caws and hands Joel a drink. Clementine giggles and takes a big gulp of her drink. When I went we called it elementary school. there's an inscription on the back. Oh. Sounds like something someone from the forties would call it. crows. Y'know? JOEL It's pretty. JOEL Frost? CLEMENTINE (impressed) Yeah. CLEMENTINE Do you believe in that stuff? Reincarnation? JOEL I don't know. They click glasses. CLEMENTINE I miss grade school. CLEMENTINE Me neither. Anyway. I don't know why I'm calling it grade school all of a sudden. Joel sips. 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 That was good.
19. CLEMENTINE (CONT'D) Way to go. You pick Joel sits down in his chair and drinks. brightly) Refill? JOEL No. He picks up Bang On a Can performing Brian Eno's Music for Airports to look at. Joel. Clementine falls back onto the couch. CLEMENTINE (CONT'D) Oh. stay. I'm okay for now. . Clementine reenters with her drink.S. takes it into the kitchen. I -CLEMENTINE I know a man who needs a refill. She grabs it and sticks it in the CD player.) I don't know! I can't see them from here.) You pick it. JOEL You just say. I'm not really -CLEMENTINE (O. Clementine finishes CLEMENTINE (CONT'D) Ready for another? JOEL No. CLEMENTINE No. Joel! Just pick something good. JOEL What do you want to hear? CLEMENTINE (O. Just for a little while. JOEL Well. She grabs Joel's drink from his hand. which seems fine to Clementine but makes Joel anxious. excellent choice. I should probably get going. The music is dreamy and haunting and slow. Joel studies the unfamiliar CD's. good. her drink. closes her eyes and sips her drink. There's a silence. Joel sits in a chair across the room. Put some music on. CLEMENTINE Well. Joel crosses to the CD's and studies them.S. (opens her eyes. Mmmmmmm. She heads toward the kitchen with her glass. I'm ready.
smiles drunkenly at him. maybe I don't want to think about that. Joel looks a little alarmed. CLEMENTINE Me neither. She giggles. Exactly! That's exactly my feeling about it. Do you believe in that stuff? JOEL I don't know. Joel looks around the room again. CLEMENTINE Drink up. JOEL Yeah? CLEMENTINE Well. you think something and then it happens. Right? Y'know. There are several potatoes dressed as women in beautiful handmade costumes: a nurse potato. I'm sort of psychic. Like. . It's hard to know. She sits back on the couch.S. But sometimes I have premonitions. Mary. JOEL Thanks. I go to a psychic and she's always telling me I'm psychic. It'll make the whole seduction part less repugnant. a housewife potato. I don't know. She opens her eyes. Maybe that's just coincidence. Right? JOEL Yeah.) (CONT'D) God bless alcohol. okay. looks at her breasts. CLEMENTINE (CONT'D) Y'know. so. Where would I be without it. a stripper potato. right? You forget about those times. C'mon. CLEMENTINE (CONT'D) I'm just kidding. CLEMENTINE (CONT'D) (O. young man. CLEMENTINE Exactly. but how many times do I think something and it doesn't happen? That's what you're saying. is what I say. Jesus. closes her eyes. I guess. and Joseph. Oh. Clementine returns with Joel's drink and a refill for herself. Joel watches her. It's hard to know. She should know.20. I don't know. a schoolteacher potato. or you think a word and then someone says it? Y'know? JOEL Yeah.
JOEL I think about that. CLEMENTINE (CONT'D) It's helpful to think there's some order to things. My goal. CLEMENTINE (dreamy beat) But I think I am. My life isn't that interesting. I can tell. There's a lot of stuff going on in your brain. anyway. y'know? Taking advantage of every possibility? Just making sure that I'm not wasting one second of the little time I have. I can tell. Clementine starts to cry again. And with you I get that you're a really good guy. JOEL I do have a tendency to use that word too much. (considers this) Does that make you sad? Or anxious? I'm always anxious thinking I'm not living my life to the fullest. can I tell you my goal? JOEL Yeah. aren't you? JOEL Sorry. You're kind of closed mouthed. That's the thing about my psychic thing.. But I get it. but can't. that I get a sense about people. I go to work. Joel tries to hold her gaze. JOEL Thanks. you sell yourself short. I'm an idiot. CLEMENTINE And. I'm sorry I yelled at you before about it. She looks at him really hard for a long moment. My problem is I never trust it. Joel? (laughs) .21.. He looks down at his drink. I go home. I think that's my greatest psychic power. CLEMENTINE You're really nice. CLEMENTINE Oh. CLEMENTINE (ala Paul Simon) What's the goal. CLEMENTINE I like you. I don't know what to say. I like to think I am. God.
I've been seeing this guy. You don't need to be nervous around me. My goal. Kind of a goofball.. Who knows what bigger cosmic reason might exist? JOEL Yeah. CLEMENTINE (CONT'D) (off his reaction) Well. CLEMENTINE I don't either. not at all. Forever. And my feeling is that's how you die.that's it. and what is true is constantly changing. You know? CLEMENTINE (CONT'D) With all the wrinkles and scars and the general falling apart that's coming 'round the bend. I have to stop saying that. but he's really stuck on me. huh? JOEL No. I like you. I used to. Y'know? You love someone -. if I don't love my body. You know? Yeah. CLEMENTINE I'm nervous.. (beat) So. is to just let it flow through me? Do you know what I mean? It's like. You choose to do something with your life -. But I'm through with that. It's hard to -- CLEMENTINE Like I wanted to talk to you. which is flattering. JOEL I think so. 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. for the last week. Who wouldn't like that? And . anyway! He's kind of a kid. because you stop listening to what is true. Joel looks slightly crestfallen. I didn't need any more reason to do it. though.that's it. Do you think I'm repulsively fat? JOEL No. that's what you do. CLEMENTINE You're very nice. Y'know. God. then I'm just lost. Joel. You're nervous around me.22. It's a sign of maturity to stick with that and see things through.
Y'know? And that's where psychic stuff comes in. Y'know? JOEL I think so. CLEMENTINE I don't believe in that soulmate crap anymore. JOEL Oh. yeah. so.and -JOEL (shy) Sounds good.23. he says so many great things. Joel. it just isn't right with him. great! She sits closer to him. But right now I should go. so I got Patrick and we drove all night to get there and he was sweet and said nice things to me... you should come up to the Charles with me sometime. And he's cute. JOEL Okay. CLEMENTINE (CONT'D) I'll pack a picnic -. like. JOEL I have to get up early in the morning tomorrow. CLEMENTINE That made me cry.a night picnic -night picnics are different -. a dope. CLEMENTINE (pause) You should stay. but I was really disappointment to be there with him. We like the same writers. But. JOEL That's scary sounding. he's. out of nowhere. Yeah? CLEMENTINE Oh. It gets frozen this time of year. that just break my heart. we went up to Boston. Like. This writer Stephen Dixon he turned me on to.. anyway. but he says these smart and moving things sometimes. CLEMENTINE Exactly! I used to do it in college and I had this urge to go do it again. . but. It's fucked up.. He's the one who gave me that crow photograph. because I had this urge to lie on my back on the Charles River.
and kisses him on the cheek. There is no snow on the ground. Would you do that? I would like that. somehow foggy and disoriented.. CLEMENTINE (CONT'D) I would like you to call me. JOEL Yes. JOEL'S CAR . Joel puts on his overcoat. CLEMENTINE (beat) Okay. CLEMENTINE When? JOEL Tomorrow? CLEMENTINE Tonight. right? JOEL Yeah. JOEL Okay.CONTINUOUS . pulls out a notepad. Just to test out the phone lines and all. surprised and pleased and nervous. swallows. EXT. INT. He stands there uncomfortably for a moment. She scribbles her phone number. JOEL (CONT'D) I don't think your personality comes out of a tube. Clementine heads to the phone table. JOEL (CONT'D) (shyly formal) So. I think the hair is just. I enjoyed meeting you. hands it to him. JOEL'S APARTMENT BUILDING .NIGHT Joel speeds through the suburban Rockville Center neighborhood. a pretty topping.. She tears up. We stay with Clementine as she watches Joel tromping through the snow and getting in his car. He puts it in his pocket. CLEMENTINE You'll call me. He seems different. SUBTITLE: THREE DAYS EARLIER He's He arrives at his apartment building and parks. then forces himself to speak.24.
One sucks on a cigarette and s dim orange light momentarily illuminates the interior. VOICE-OVER I'm like a joke to them. The figure in the driver seat rolls down his window and gives a cheery wave to Joel. VOICE-OVER Maybe I'm making a mistake. almost as if it is drying out. They don't have to worry about me remembering. Fuck her. But I don't care. JOEL I might be making a mistake. She did it to me. As he does. Who said that? Churchill? I'm not sure. JOEL'S APARTMENT . I'll get over it. VOICE-OVER There are two of them. Even Joel's persona and voice-over seem to alter. INT. There are two dark figures inside. Those who do not remember history are condemned to repeat it.NIGHT Joel enters. his face blanched. JOEL Fuck you. Joel does not seem aware of this. Clementine.25. mulling things over. He hurries inside the building. So casual. JOEL The driver waved. Two dark figures talk. his emotional intensity becoming diffused. VOICE-OVER Them. He paces. Secondly. spots a van parked across the street. the surroundings become slightly vague. dumps his overcoat on a chair. JOEL It was snowing. Joel pulls away from the window. Joel gets out of his car. The colors bleach. takes a small vial from his . I have to rid myself of this. VOICE-OVER I guess they figure they can act like they want. Joel squints to see inside the van. crosses to look furtively out the window. It's snowing in large flakes which seem to fall only in the beam of a streetlight. First of all. it happened. He stops pacing. Maybe I just need to learn to live with this. friendly. the scene starts to change. Couldn't make them out. turns off the lights. The orange glow of a cigarette.
peeks out the window again. I remember. BLACK. He hears the apartment building door open. VOICE-OVER The pill was pink.. VOICE-OVER It's too late. By now the scene is lifeless. INT. He looks at it. slips into a pair of pajamas fresh from the store packaging. He fingers the vial with the pink pill in it as he watches He closes his eyes. Joel hangs up and lies on his back on the bed. I have no choice..26. Four digits. the number you have dialed. takes off his clothes. (beat) Screw you. There's some illegible initials stamped on it. the number you have dialed is no longer in service. He swallows it. He hears footsteps. What were they? AL 1718? AL something. AL 1718? (beat) I have to follow through with this. for doing this . He sits on the edge of the bed. (beat) There was a number on it. His eyelids are getting heavy. visually and emotionally. He hears a key in his apartment door. . It's a jarring transition. RECORDED VOICE We're sorry.. Joel is in the midst of some traumatic state of mind.. pocket. If you think you have reached this recording in error JOEL (CONT'D) Bye. It's pink. dials the phone. JOEL (CONT'D) Fuck. I remember. dumps the lone pill onto his palm. JOEL (CONT'D) Pink.NIGHT Joel sits in the bookstore coffee shop. Clementine. It had some letters and numbers on it. JOEL (CONT'D) It's them. JOEL (CONT'D) We're sorry. I don't like taking pills when I don't know what they are. I have no choice. almost a husk. BOOKSTORE .
He glances over at Joel.. if I told you what happened. The bookstore start to lose its color and immediacy. Joel rises and heads toward Clementine. a skinny young man approaches Clementine. The young man seems out of breath.. watches. JOEL I love you and if you knew that. but I have to study.. stands and pokes Patrick playfully in the ribs. then taps Clementine on the shoulder. VOICE-OVER That's your look for me. Her hair is bright orange JOEL I should maybe talk to you.. Clementine giggles. Clementine stack books on shelves. JOEL Clementine. You'll know everything again and. VOICE-OVER Maybe if I just explain what happened. neighborhood. VOICE-OVER Clementine. CLEMENTINE You were not. sees who it is and her face lights up. PATRICK I just thought I'd say hi. now. I'll tell you everything about our time together. annoyed. She turns.27. I should just maybe talk to her. as if they are just reciting lines.. Joel stops. CLEMENTINE Come over after I'm done here? I can't. what we meant to each other. Clementine and Patrick continue their flirtation but it's turning lifeless. I'll explain everything... As he stands there. Joel is mesmerized by their familiarity.. Patrick. the scene starts to dry out. I wouldn't have to go through this and I could tell you everything and it would be like you knew and we could rebuild and we could be happy again and. I was in the . Right before Joel gets there. PATRICK I was not. PATRICK I want to.
We've seen this before. The intensity is back.NIGHT Joel drives fast. You're by far the most sensational person in the room. INT. He's JOEL Gotta get home.DAY Joel trudges along carrying two big trash bags full of stuff. PATRICK It's so cool. it's 9:30) Oh. God. CLEMENTINE In the room? PATRICK In the world. I can't believe she's with that guy now! I'm never going to see her again. PATRICK I really want to. weeping as he drives. JOEL What's happening here? (looks at watch. I love her so much. What a fuck! What a fucking monster she is! VOICE-OVER Oh. JOEL Them. Joel seems dazed. God! I have to go home. What a fucking monster she is! The scene is faded as he parks in front of his apartment building. JOEL How could she have done this to me? could anyone do this to anyone? How CLEMENTINE (to Patrick) You didn't say anything about my hair.28. . but tonight's important. JOEL'S CAR . recklessly. I miss her. in some sort of dream confusion. as he realizes the world around him is looking increasingly odd. Joel spots the parked van. How could she do this to me? How could she not care about what we meant to each other. Joel turns to leave. EXT. CLEMENTINE You rat. but it's dried out now. NEW YORK STREET . They'll be there soon. and gets out of the car. Test tomorrow.
Mierzwiak stands there with Stan in his lab Good. the room colors start to fade. Mierzwiak's tone of voice is also affected. MIERZWIAK We'll start with your most recent memories and go backwards -. HALLWAY . A woman across him cradles a box full of belongings in her lap. He looks behind him and finds himself looking out the window of his apartment at the dark van on the snowy street.29. technically. it becomes dry and monotonous.DAY Joel from eyes head sits in the small room with his bags. WAITING ROOM . Her are red from crying. Barish. the procedure itself . He's been crying. Mr. Like a dream upon waking. MARY Hello again. all memories we've targeted will have withered and disappeared. INT. you've MIERZWIAK Ah. Barish.By the time you wake up in the morning. coat. INT. pokes her through her window into the waiting room. Barish. JOEL How exactly is this going to work tonight? As Mierzwiak talks. He turns back to the New York Street and spots the address he was looking for: 610 11th Avenue. JOEL Is there any sort of risk of brain damage? MIERZWIAK Well. STAN Mr. He'll be in charge of your procedure tonight. the receptionist. Stan nods professionally. LABORATORY . Mary.There is an emotional core to each of our memories -As we eradicate this core. INT. Mr. MARY (not looking back) How are you today? (at lab) Here we are. got your stuff.DAY Joel walks with his bags behind Mary.DAY Joel enters. This is Stan. it starts its degradation process -.
I'm already in my Suddenly Mierzwiak looks at the fading room. Joel The room. Good. Joel is sitting in a chair.30. we have some work to do. Stan is not speaking. The machines record his reaction. studies it.If we want the procedure underway tonight. The equipment registers Joel's reaction. (back in his faded memory persona) So. I suppose you are. The machines register his response. let's get started -. Mierzwiak watches from the corner. is brain damage. Tonight while you sleep we'll be able to trace the map and erase. he gets it. STAN Very good. Stan. That way you won't be confused later by their unexplainable presence in your home. I'm home in my bed. It's already started. JOEL It's happening now! brain. Electrodes connect him to some electronic machinery monitored by Stan. STAN We use the articles you brought to create a map of Clementine in your brain. shows it to Joel. MIERZWIAK Yes. Stan pulls out a coffee mug with a photo of Clementine printed on it. STAN We're getting healthy read-outs. Joel looks quizzically at the eroding environment. do me a favor -Joel is watching Stan. yet his voice . MIERZWIAK We'll dispose of these mementos when we're done here. continues. but on a par with a night of heavy drinking. Nothing you'll miss. Joel looks at the cup. and Mierzwiak are now vague and wispy. Stan pulls a snow globe from one of Joel's bags. JOEL But you're tracing and erasing now. STAN'S VOICE Patrick. Stan pulls out a potato dressed as a Vegas showgirl.
and by Patrick. snapped into a new memory. MIERZWIAK Ah. STAN Then check the connections. Thanks. aiming for the lines. STAN'S VOICE I think we got this one. PATRICK Does that help? STAN Yeah. This will be invaluable. Stan's voice seems to be coming from above. JOEL'S APARTMENT . cries as he fills two large plastic garbage bags with mementos of his relationship with Clementine. LAB ROOM . wind-up toys. now in grubby street clothes and in need of a shave. Joel looks up at the ceiling. INT. I'm not wiping as clean as I would like here. Stan presses buttons and operates a joystick. Stan pulls out a pile of loose-leaf pages. Patrick fiddles with some jacks. Things with Naomi and I have been stagnant for so long. So alive and spontaneous and passionate and sensitive. I met someone tonight.31. JOEL'S APARTMENT . The scene is just a shell of itself as Stan rattles on. dressed similarly.and check the voltage levels. The machines are operated by Stan. . His eyes are closed and electrodes connect his head to several machines. The monitor on one of the machines traces a myriad of light blips running like streams through an image of Joel's brain. that looks better. STAN'S VOICE (CONT'D) -. some Let's push on.NIGHT Joel lies on his back in fresh pajamas. Joel looks up. INT.DAY The memory is becoming vague. Her name is Clementine and she's amazing.DAY Joel. Christ: I don't know what to do. 2004. INT. PATRICK The voltage looks fine. Oh. characters' affects flat. Mierzwiak smiles. your journal. STAN (reading) December 15th. Patrick (who we saw earlier with Clementine at the bookstore) studies a meter on one of the machines. There are funny little gifts.
Why don't you start now by telling me everything . 2004 Nothing much happened today. be right with you. some CD's.. JOEL Well. He pulls a big clump of pages out of his loose-leaf journal and dumps them in the bag. the tape recorder. home. The scene is fading as he continues to write.DAY Joel enters the Lacuna waiting room. INT. He gets some clean loose-leaf paper and writes: December 15. You never should have. potatoes dressed as women. OFFICE HALL . Mierzwiak will MIERZWIAK I'm sorry you saw one of our notification cards. Joel enters. appointment. some clothing Clementine has left there.DAY Joel and Mierzwiak are in the sitting area. Naomi worked on her dissertation. MARY (at Mierzwiak's office) Here we are..DAY Joel looks for an office number. MARY May I help you? JOEL My name is Joel Barish. INT. MARY (without turning) How are you today? JOEL Not great. Joel looks at I have an Mary sits in the The plaque on I stayed Dr.DAY Mary leads Joel down the hall. WAITING ROOM .32. INT. MIERZWIAK We can help you through this. reception area. INT. the door reads Lacuna Ltd. MIERZWIAK'S OFFICE . MARY Please have a seat. Joel glimpses Mary smiling coquettishly at Mierzwiak. He finds it. HALLWAY . I did.
He glances at the unconscious Joel. equipment. I don't know how it got this way. me or this guy? Stan glances sideways at Patrick. let's just get through this. Stuffy.DAY Mierzwiak sits with Joel in the sitting area. The scene is faded and disappearing fast. INT.DAY Joel gets off the elevator and approaches the receptionist. And there's a stale smell. trying to locate the voice. INT. Patrick returns to the bedside. 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.33.. focuses on the machines for a moment. Sort of stuffy. Uninspired.NIGHT Patrick is checking out the apartment.. VOICE-OVER I wasn't going to call her. MIERZWIAK'S OFFICE .. then. then:) It was a mess. PATRICK (CONT'D) So who do you think is better-looking. STAN (uninterested) It's an apartment. PATRICK Not a dump. We Stan monitors the . don't you think? Joel looks up. JOEL (thinks. STAN Patrick. JOEL'S OFFICE . have a long night ahead of us. PATRICK'S VOICE It's kind of a dump. but kind of plain. Not after It's gone.. JOEL'S APARTMENT . I don't know. you can remember about your relationship with Clementine. INT. PATRICK Yeah. JOEL So then she just stops calling.
NIGHT Joel checks his machine: zero messages. Carmen? Carmen the receptionist shakes her head. checks his phone machine: zero messages. Next day: Joel approaches the receptionist. INT. ROB AND CARRIE'S LIVING ROOM . INT. JOEL Any messages. Carmen. VOICE-OVER That's it. JOEL'S APARTMENT . Joel's eyes bug. who is in conversation with someone else. Joel is at his office desk on the phone. INT. 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 Why would she do that? . JOEL (CONT'D) Any messages for me.34. JOEL'S OFFICE . mid-40's. goes back to her conversation.NIGHT Joel enters. he dials the phone. VOICE-OVER It's bullshit. Carmen. Any messages? Carmen shakes her head "no".DAY Joel gets off the elevator. JOEL'S APARTMENT . INT. She's punishing me for being honest with her. JOEL Sorry. PHONE MACHINE VOICE You have no messages.NIGHT Joel sits across Rob and Carrie. approaches Carmen. the way she was. Joel. CARMEN Nothing. I'm just gonna-Without a moment's hesitation.
I can't believe she'd be so goddamn immature! ROB Joel.35. He notices the dog asleep on the floor.If you think you have reached this recording in error. CARRIE Sweetie.. NY Joel stares at the card. 610 11th Avenue. I JOEL She's punishing me for being honest. It's horrible. JOEL I don't know. VAGUE RECORDED VOICE -. puts it down. interrupting) Joel. Joel hears a hushed argument ensue in the hall. should just go to her house. Joel nods. confused. Later: Rob and Carrie are now back in the room. picks up another. A subscription card falls to the floor. It's a joke. incredulous. we called the company.. CARRIE (CONT'D) You weren't supposed to see that. It reads: Clementine Kruczynski has had Joel Barish erased from her memory. flips through it distractedly as he paces. CARRIE Maybe you need to look at this as a sign to move on. please check your number and dial again. the thing is -CARRIE (agitated. as Rob and Carrie leave the room and close the door behind them. honey... JOEL They can't erase memories. Thank you. . I'm so. Please never mention their relationship to her again. I don't want to seem desperate. NY. Joel. ROB I don't think you should go there. It's a nasty Clementine hoax. look. JOEL Yeah. We have to feed the dog. honey. Would you just wait here? Just a second. He grabs a magazine off the coffee table. Just make a clean break. 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. CARRIE I don't know. Lacuna Ltd.
comes to the door marked Lacuna and opens it. Inside he can see vague.DAY Joel looks for an address. The windows fog up until the outside is completely obscured. Like waking a sleepwalker. CAR . INT. They explained that. a missing portion. A blank. Joel just stands there.NIGHT Joel in his parked car next to a fence surrounding a drive-in movie closed for the season. especially in a manuscript. JOEL'S VOICE But what am I supposed to do? CARRIE'S VOICE Move on. It might have a devastating effect. vague and mostly erased. EXT. INT. JOEL'S APARTMENT . CARRIE'S VOICE You can't tell her. He keeps walking. CARRIE'S VOICE Think about it: to be told you lived an existence of which you have no recollection. Joel. he sees that the hallway is faded.NIGHT Joel is on the phone pacing. VOICE-OVER Lacuna: Noun. He weeps. MARY (dead monotone) Hi. May I help you? These degraded. sweetie. He searches for a room number. Close-up of a vague dictionary page. NEW YORK STREET .36.NIGHT Joel drives past vague local landmark. Mary's coming over tonight. 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. .DAY Joel gets off on the sixth floor. ELEVATOR . JOEL'S CAR . faded memories allow Joel to detach himself and hear what's going on in his bedroom. STAN'S VOICE So. INT. erased version of Mary the receptionist. As he turns the corner.
Yeah? STAN Just wanted to let you know. .. PATRICK I wonder if I should invite my girlfriend over. JOEL'S APARTMENT . JOEL I can't believe you wrecked my car. Joel looks up. drunk. I like when she comes to visit. I Patrick sits on the bed with Joel. JOEL'S APARTMENT . I done a bad thing. STAN Patrick.NIGHT Stan works the joystick.. sweetie. I just don't think she likes me. He looks up. Stan aims the joystick.37. Moving on. My girlfriend situation. PATRICK Did I tell you I have a new girlfriend? STAN (re: memory on monitor) This one's history. goes back to the book. too. PATRICK CLEMENTINE (CONT'D) Anyhoo. CLEMENTINE Yo ho ho! JOEL It's three.. Shit.. INT. STAN You can if you want.. INT. PATRICK I like Mary. we need to focus. checks the clock. I have a girlfriend now. STAN She likes you okay.NIGHT Joel distractedly reads a book. VOICE-OVER The last time I saw you.. PATRICK The thing is . The door opens. Clementine is staggering in. kinda sorta wrecked your car. my situation is a little weird.
and in your little wormy brain. You could've killed somebody. JOEL You're driving drunk. He follows her around.. I assume you fucked someone tonight. Are you from the fifties? A wino! (laughs) Face it. JOEL Well it is pathetic. JOEL'S CAR .. The scene is starting to degrade. CLEMENTINE . The acting becomes anemic.CONTINUOUS Joel follows. VOICE-OVER Right! She called me an old lady here.. see. just. which are strewn about the apartment.a little. JOEL (CONT'D) And what are you like? A wino? CLEMENTINE A wino? Jesus. You're freaked out because I was out late without you. I guess.38. Clementine is out the door. I .. You're like some old lady or something. pissed. Isn't that how you get people to like you? This shuts Clementine up. did she fuck someone tonight? JOEL No. looks at Clementine clomping off in the distance. And fucking irresponsible. Don't call me pathetic. JOEL (CONT'D) I'm sorry. I didn't mean that. I said. JOEL (CONT'D) I don't know.. I was just. INT. I was a little tipsy. It's just a fucking dent. Okay. STREET .. too! And I remember. Joel.. She is stung and she starts gathering up her belongings.. EXT. Joel is immediately sorry he said this. you're trying to figure out.NIGHT Joel looks at his dented car. It's pathetic. CLEMENTINE Oh Christ I didn't kill anybody. maybe you did kill somebody. Clem.
CONTINUOUS It's a street you might see in a dream. remember that girl? The one we did last week? The one with the potatoes? Joel looks up. Joel. window to talk to her. JOEL'S APARTMENT . PATRICK I gotta tell you something. He rolls down his JOEL Look at it out here. Joel wanders it. I can't believe you did this to me. . STREET . but as in an animated loop. JOEL Let me drive you home. STREET . In the distance Clementine walks off. INT. STAN She was unconscious. she doesn't get any farther away. CLEMENTINE (without turning) Fuck you. looks at Was. startled. is what. EXT. I kind of stole a pair of her panties. STAN'S VOICE Yeah. Patrick paces.NIGHT On the vague street Joel listens to Patrick and Stan. Patrick. By morning you'll be gone. It's lonely. Ha! He stops the car. And I'm happy. gets out. STAN Jesus. I kind of fell in love with her last night. It's falling apart. So sweet and funky and voluptuous. She keeps clomping. Patrick! EXT. more an impression of a quiet street than an actual one.NIGHT Stan watches the screen. I'm erasing you.39. Joel drives to catch up with Clementine. JOEL (CONT'D) You did it to me. that's this guy's girlfriend. the unconscious Joel. PATRICK'S VOICE See. Faggot. fidgets. PATRICK She was beautiful. with what little detail there is obscured in darkness.
It's hard to make out what they're watching.. PATRICK'S VOICE Okay. The skinny I There's a click and Joel finds himself in -INT. The scene starts to fade. heads out the door. PATRICK'S VOICE (CONT'D) After we did her. STAN'S VOICE Look. They sit on opposite ends of the couch. I mean.. They look bored. The room fades... don't want to know this shit.NIGHT Joel and Clementine sit and eat dinner in front of the TV. guy. She slips into a skirt. just don't tell me this stuff. JOEL'S APARTMENT . looks at the TV.. PATRICK'S VOICE Yeah. JOEL'S APARTMENT . STAN'S VOICE Patrick. The scene quickly degenerates. CLEMENTINE How can you watch this crap? JOEL Where are you going? CLEMENTINE I'm fucking crawling out of my skin. I went to where she worked and I asked her out. Joel listens.NIGHT Joel watches TV. but there's more.40. do you know how unethical. Clementine walks by in her underwear. they were clean and all. It's not like. okay. STAN'S VOICE We have work to do. Joel looks over at the faded Clementine across the couch. PATRICK'S VOICE I know.. Clementine puts on her shoes and . She stares straight ahead at the TV. JOEL That must be the guy I saw you with. There's a click and Joel finds himself in -INT. VOICE-OVER In the bookstore that night.
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. I'm sorry. I remember this. EXT. It's going. have a baby. glaring. . People are watching. JOEL Oh shit. CLEMENTINE No. JOEL Oh. JOEL Clementine. JOEL Let's talk about it later. CLEMENTINE Joel. CLEMENTINE You're not ready. I have to CLEMENTINE (CONT'D) You can't fucking say something like that and say you don't want to talk about it! JOEL Clem. ZOO . They barely look at the animals. We're fucking gonna talk about it! Joel looks around. (to Clementine) Want to go? CLEMENTINE (pissy) I want to have a baby. JOEL I don't think we're ready. Clementine watches parents with babies. I want to have a baby.41. thank God.DAY Joel and Clementine walk around unhappily. do you really think you could take care of a kid? She turns violently toward him. CLEMENTINE What?! JOEL (mumbly) I don't want to talk about this here. Clementine's rant continues but becomes attenuated and vague.
JOEL So. um -CLEMENTINE (swiveling head toward him) Would you get me another. JOEL Me. Leave you in the zoo. He fat. too. CLEMENTINE It's you! It's you who can't commit to anything! You have no idea how lucky you are I'm interested in you! I don't even know why I am! I should just end it right here.42. It's all being wiped away. The scene starts to fade. trying to get the bartender's attention. Joel is at the table. Mark rises. and heads to the crowded bar. conversation. . The scene is a husk. Joel is paying the bartender. Maybe you could find a nice sloth to hang out with! She's crying now. Thanky! CLEMENTINE (CONT'D) Thanky! Joel is at the bar. but it's almost animatronic. this is Mark. Clementine. blankly. BAR . man. no real emotion in it.NIGHT It's noisy and crowded. doesn't think I'm CLEMENTINE Joel. All the crap and hurt and disappointment. stands. Joely? Joel sighs. JOEL It's going. INT. Joel and Clementine sit at a small table. CLEMENTINE I'm glad. MARK I didn't know she was with someone. She looks up at him. She is fading before his eyes. Their eyes lock. He sees Clementine flirting with a man in Joel's seat. to tell me that. Joel. Clementine looks from her (CONT'D) He likes my boobs. He came over special Isn't that nice. He turns with the drink to head back to the table. She is drunk and staring off.
Hi. (stage whisper) I don't think he likes girls.NIGHT Patrick opens the door. Stan turns back to monitor the PATRICK Mary hates me. INT. It's fucking freezing and I need something. her coat. The bar gets quiet and vague. STAN You found us okay? MARY Yeah. slivers of light. CLEMENTINE S'okay. so -Clementine keeps talking but there are no more intelligible words. JOEL'S APARTMENT . She looks down at Joel as she takes off PATRICK How's it going? MARY It's freezing out. carrying a backpack. CLEMENTINE You're a whiz kid. hey. (re: Joel) Poor guy. you. (looking around) Have anything to drink? STAN We haven't checked.43. I've never been popular . Patrick. Joel looks up. Mary. Stan and Mary kiss. Joel doesn't like my boobs. MARY Well. allow me to do the honors. Mark. She heads into the kitchen. A doorbell buzzes. just a whisper -. STAN Hey. She walks past him. JOEL You're drunk. So perceptive. Mary stands there in a winter coat. MARY (coolly) Oh.like a breeze.
did you? PATRICK Nah. Stan -Stan looks over at Patrick.44. Beyond Good and Evil. Mary returns with a bottle of MARY Blessed are the forgetful. you didn't want any. with the ladies. There's more. Mary hands a glass to Stan. Isn't that trippy? PATRICK (trying to engage) Yeah. MARY (CONT'D) Nietzsche. Patrick. She pours the whiskey. She holds hers up in a toast. MARY (CONT'D) Oh. PATRICK What's your bartlett's? STAN It's a quote book. He actually has a quotation in Bartlett's about Bartlett's. So did Winston Churchill. Mary and Stan click glasses. MARY Yeah. MARY I love quotes. I don't know. MARY Hey. for they get the better even of their blunders. STAN Maybe if you stopped stealing their panties. I can't wait to tell Howard! seems really appropriate. STAN That's a good one. STAN (a little sulky) It's a good one all right. MARY It Found . Cool. it my Bartletts. scotch and two glasses. hey. PATRICK (guilty beat) Okay.
INT. JOEL'S BEDROOM . Every damn embarrassing thing.NIGHT It's dark. Joel looks around Mary pours herself another So . Clementine is talking in a monotonous. The scene is faded completely now and Joel just lies there for a moment. CLEMENTINE Joel. many beautiful. I'm an open book. important things.45. PATRICK Definitely. INT. JOEL I just don't have anything very interesting about my life. CLEMENTINE I want to know you. PATRICK Definitely! MARY I think he'll be in Bartlett's one day. drink. Joel. robotic manner. Stan focuses on the monitor. I tell you everything. Joel and Clementine are in bed. you're a liar. Trippy. "The quotations when engraved upon the memory give you good thoughts. JOEL No. CLEMENTINE You don't tell me things. registering Clementine's statement. it isn't that. MARY Don't you think Howard's like that? Smart? Important? STAN (beat) Yup. STAN Yup. MARY I like to read what smart people say. You don't trust me.NIGHT Joel and Clementine eat dinner in silence. The memory is already in the midst of being erased." PATRICK Very cool. CHINESE RESTAURANT .
There's a silence. Others seem bored with each other. CLEMENTINE (CONT'D) More? No. He turns back to his food. MARY Let him go. what's wrong? -Oh. CLEMENTINE How's the fish? The scene is fading. we're in the middle of -PATRICK She's right in the neighborhood. Mary is in the kitchen.46. . lights on the computer screen. JOEL Thanks. My She's She's got She pokes her head out. Clementine! -.NIGHT Patrick is on the phone next to Joel's bed. They continue to eat in silence as the scene dissolves. He watches her as she downs her wine and pours herself another glass.Well. I'm not sure.Why. some pie on a plate. Stan. I kind of have to study for my test -INT. can I leave for a little while? girlfriend is very -STAN Patrick. at other couples in the restaurant. Let me ask my friend. She holds the wine bottle up to Joel. PATRICK'S VOICE Hi. Stan watches the PATRICK Hold on. I can help. JOEL How's the chicken? VOICE-OVER Is that like us? Are we just bored with each other? CLEMENTINE Good. JOEL It's good. I'm sorry. -. (covering mouthpiece) Stan. JOEL'S APARTMENT . upset. Some seem happy and engaged.
STAN (sighing. to Patrick) Go. most of your hair has been loved off. except to people who don't understand. even though Joel is completely beside himself. Joel and Clementine are under a blanket on the living room rug listening to music. No! He looks down and Clementine's tear-streaked face is fading. But these things don't matter at all. JOEL (CONT'D) Please! Please! I've changed my mind! (looks down at fading Clementine. and your eyes drop out and you get loose in the joints and very shabby. or who have to be carefully kept. Wake me up! Stop the ." She's weeping. "It takes a long time. (crying) I can't believe I'm crying already. JOEL Yeah. CLEMENTINE'S APARTMENT . Joel is stroking her hair. CLEMENTINE Joely. Since I was a kid. because once you are Real you can't be ugly.. INT.47. (into phone) I'll be right over. CLEMENTINE It's my favorite book. JOEL (screaming) No! Jesus. Tangerine.. PATRICK (quietly) Mary hates me. It's about these toys. That's why it doesn't often happen to people who break easily or have sharp edges. She continues as if she's still being made love to. There's this part where the skin Horse tells the rabbit what it means to be real. Tangerine? CLEMENTINE Do you know The Velveteen Rabbit? JOEL No. then at ceiling) I don't want this. They kiss and begin to make love under the blanket. Generally by the time you are Real. He says.NIGHT Candles are lit. He jumps up naked and yells at the ceiling. It's sweet and gentle and then it starts to fade.
She swings open the door and hugs him. STAN You love him. I'm getting old and nothing makes any sense to me. I feel like I'm disappearing. (beat) Besides. Stan. baby. Mary and Stan watch the monitor and smoke a joint. Howard's married. He makes his way up her front stairs.NIGHT Patrick.. And adults. CLEMENTINE Nothing makes any sense. isn't it? Howard gave the world. procedure! Plea -- INT. After a silence: MARY It's amazing. what's going on? CLEMENTINE I don't know. Nothing makes She is silent for Such a gift . MARY To let people begin again. so free. PATRICK Oh. bundled up and carrying a full backpack. so clean. passes it to Mary... don't you? Mary seems surprised. caught. CLEMENTINE'S APARTMENT . Stan takes another drag on the joint. JOEL'S APARTMENT . they're like this messy tangle of anger and phobias and sadness. INT. I'm not going to tempt him to betray all he believes in.. I'm scared. She's crying.48. a long moment. hopelessness. He's a very serious and ethical man. STAN (a sigh) Yeah.CONTINUOUS Clementine watches out the window as Patrick nears. It's beautiful. PATRICK Oh. EXT. taken aback. And Howard just makes it go away. You look at a baby and it's so fresh. Tangerine. STREET .NIGHT Joel is unconscious on the bed. completely still. I'm lost. MARY No. trudges through the snow.
Stan. CLEMENTINE (CONT'D) Come up to Boston with me? Sure. PATRICK (whisper) Stan. I'll get my shit. He pulls out a silver bracelet. The phone rings. CLEMENTINE'S APARTMENT .49. Please leave a message after the beep. She pushes herself out of the embrace and looks at Patrick. INT. INT. The handwriting is a woman's. STAN'S VOICE Hey. rifles quickly through his backpack. keeping an eye on the bedroom door. He finds what he's looking for. He's pretty much on auto-pilot anyway. where are you? PATRICK I got into a situation with the old lady. JOEL'S APARTMENT . CLEMENTINE It'll be great! She runs into the bedroom. puts it in his pocket. Pick up. PATRICK We'll go next weekend and -I have to Tonight! CLEMENTINE Now. stoned herself. He's really stoned and watches Mary. then pulls out a journal. any sense.CONTINUOUS PATRICK Thanks. I owe you. see the frozen Charles! Now! Um. okay.CONTINUOUS Stan is on the phone. JOEL'S VOICE Hi. Patrick is at the phone and realizes he doesn't know Joel's number. he *69's. Now! I have to go now. Patrick hangs up. flips through it. dancing in a sexy trance to something soft and low on the stereo. Yay! PATRICK I'll call my study partner. it's Joel. After a moment's thought. Can you handle things tonight alone? I'm really sorry. Beep. it's Patrick. man. STAN I can handle it. He reads: CLEMENTINE'S VOICE .
. I'm Clementine looks over at him. Her eyes are filled with love and tears. Why don't you start now by telling me everything you can remember about -JOEL You have to stop this! What? MIERZWIAK What do you mean? JOEL I'm trapped in my head and everything I love is being erased! Stop it now! MIERZWIAK Yes.. It was so beautiful and charming. It was absolutely freezing on my ass! It was wonderful. CHARLES RIVER . too. MIERZWIAK We can help you through this. having sex on the beach. laughing and holding hands at a movie. them drinking at a bar.he's so sweet -that he came out after me. just exactly where I want to be. but he wanted to please me so much -. eating grilled cheese and tomato soup together in bed. fuck! Please! Crazily. Then they get vague. They look up at the stars.die right now. I'm just. Please! Oh. The scene is being erased. happy.NIGHT Joel and Clementine lie together holding hands on the frozen river.. CLEMENTINE'S VOICE .. We lay down right in the center and watched the stars. What can I do? I'm in your head. JOEL (CONT'D) Clem. I've never felt that before. no! This can't keep happening. Joel is panicked.NIGHT Patrick reads the journal.. CLEMENTINE'S APARTMENT . I'm just something you're imagining. He took my hand and said "I could. but. Joel runs off. ... Joel watching her sleep. EXT. and we made love right on the ice. Joel was nervous about stepping onto the ice. passing through a series of decayed scenes: He and Clementine arguing in a car. INT. JOEL . Clem.. I took Joel to walk on Charles River with me last night.. He arrives at a decayed version of his first meeting with Mierzwiak..50.
. Clem! CLEMENTINE Oh? JOEL I hired them to.51. well. thing. Aaargh! Nothing happens. But even while he's doing this the memory and Clementine are fading around him. . dressed for the cold. JOEL (looking at her) Yes indeed. Patrick pulls the bracelet from his pocket.. hands it to her. It's a little. CLEMENTINE It's gorgeous. stomping his feet. before I wake up and don't know you anymore. We're in my brain. So let's get going. FOREST . Um.. He concentrates. (kisses him) Thanks. (snapping out of memory) Fuck! They're erasing you. Long drive. and I wanted to give you this. PATRICK (CONT'D) I didn't have a chance to wrap it. banging against trees. notebook away. Clementine enters. CLEMENTINE Wow.DAY Joel and Clementine are hiking. (slipping it on) Just my taste.. Yay! Patrick puts the PATRICK I'm excited. Oh. too. Clementine in front. CLEMENTINE I'm so excited.NIGHT Stan and Mary have sex on the floor next to Joel's bed. INT. EXT. screaming. CLEMENTINE Such a beautiful view. can't you just force yourself awake? JOEL I don't know. But I want it to stop. JOEL (CONT'D) It's horrible! I'm trapped! He starts to have a fit. JOEL'S APARTMENT . I've never gone out with a guy who brought me a piece of jewelry I liked.
He holds a a red furry huckleberry hound doll. too. if they're looking for me in memories I'm in. An oversized woman in high heels. at the woman. She's not looking at me. at his doll.52. (back to himself. my Huckleberry Hound doll! I told you about this! . She giggles with glee. seen from a low angle. re: doll) Look. JOEL I loved you on this day. She's busy. Clementine looks over at him. VOICE-OVER She's so sexy.. (oddly) I want my mommy. Where? JOEL Where? Where? Her brow furrows in He drags her through the landscape of already decayed memories and turns off into: INT. The rain. slouched in a chair. Joel is reading. She's reading. CLEMENTINE What's this? Joel looks around at the kitchen. Joel grabs Clementine's hand.DAY It's raining out. hurries back and forth preparing dinner. KITCHEN . what if you take me to a memory I'm not in? (proud) And we can hide there till morning. I love this memory. The scene and Clementine are beginning to dissolve.DAY The kitchen is dated and vague. Joel ponders this. Jesus. Joel wears footsie pajamas with some vague little animals on them.. thought. Us just hanging. He pulls her out of the scene as it degrades. JOEL I must be about two. He looks over at Clementine. Clementine is still in her panties and bra. stretched out on her belly in her underwear. Joel and Clementine are in an oversized playpen. they're adults but small. CLEMENTINE What if you hide me? JOEL What do you mean? CLEMENTINE (formulating) Well. JOEL'S APARTMENT . INT. smiles.
She hugs JOEL (CONT'D) (crying still) I want my mommy. to Clementine) I don't want to lose you... (beat) I want my mommy! He starts to cry. STAN (CONT'D) It's not erasing. His mother scurries back and forth clanging pots. STAN (CONT'D) I don't know what to do! I don't know what to do! Crap. JOEL'S BEDROOM . MARY Well. it's not fading. Clem. He's off the screen. CLEMENTINE I'm right here. him. to the computer screen. naked. it's not erasing. Clementine tries to comfort him. I don't want to lose. look. The room is not decaying.NIGHT Stan and Mary lie on the floor. I don't want to lose you. Stan tries to break through his marijuana haze. I want my mommy. Joel smiles. (adult. Joely.. JOEL I'm scared. The memory. Stan suddenly perks up. what should we do? STAN I don't know! I just said that! He fiddles . CLEMENTINE Joel. INT.. He's not on the map. He looks at the monitor. I think we're hidden..53. nervously with the equipment. their stoned minds wandering after sex. Crap. STAN It's stopped. MARY What? STAN Listen. He makes his way. MARY Where? STAN I don't know. Joel sucks in some snot..
Stan? MIERZWIAK What's going on? STAN'S VOICE The guy we're doing? He's disappeared from the map. Mary. STAN (without making eye contact) Okay.54. up half done. There's no Finally: MARY This guy's only half cooked. STAN Shit! He can't wake He jerks the joystick spastically. I can't find him anywhere. where was Patrick? STAN'S VOICE He went home sick. Stan tries to think. He paces. MIERZWIAK Well.CONTINUOUS The room is dark. MARY Sor-ry (beat) We have to do something. I had to go pee. Howard? INT. . STAN (CONT'D) Hello. His wife lies beside him. what happened right before he disappeared? STAN'S VOICE I was away from the monitor for a second. A groggy Mierzwiak is in bed on the phone. Stan turns and looks at her. understand her motivation. Stan. MARY (definitely) We should call Howard. I had it on automatic. eyes open. listening. He's stoned and trying to STAN I can handle this. MIERZWIAK Okay. MIERZWIAK'S BEDROOM . time to fuck around. No way. waits. gets up and looks over his shoulder at the screen. He dials the phone. Mary watches him. also naked.
And you'll come to me and tell me about us and we'll start over. MARY (CONT'D) Shit. weird how strong that desire is. INT. hands. She starts getting dressed.S. JOEL I really want her to pick me up. Mary! She hurries into the bathroom with her bag. He looks over at her. how impossibly lucky am I to have you on my bed in your panties. They're not finding us. I don't want him to see me stoned. MARY He's coming? STAN You better go. Mierzwiak writes it down on a bedside not pad.NIGHT Stan hangs up the phone. You'll remember me in the morning. I look like shit! God! Mary slams the bathroom door. Jesus. It's Stan puts his head in his He hangs up. On my bed in your panties.DAY Joel and Clementine are in the playpen. Stop being stoned. what's the address. Clementine holds his hand. KITCHEN . STAN'S VOICE 1062 Sherman Drive. MARY Hell no. . I'm so stoned. INT.55. looks at Mary. MOTHER How's my baby boy? She's gone.) (CONT'D) God. MIERZWIAK All right. JOEL'S APARTMENT . CLEMENTINE You know. MARY (CONT'D) (O. Rockville Center. Joel's oversized mother reaches down as she hurries by and pats Joel on the head. I remember I thought. Apartment 1E. we're okay. JOEL I loved you so much this day.
CLEMENTINE'S CAR . like. I'm. I heard him talking in my apartment. She's crying and holding Patrick's hand. JOEL'S BEDROOM . And he fell for you when they were erasing you. Clementine drives through the snow.another rainy day. His hair is . They begin to make love. INT. so freaked out now. JOEL There's this guy! CLEMENTINE What? JOEL There's this guy. looks at Clementine. like you just woke up. Joel stops. You're the most wonderful person I've ever met. INT. slightly sweaty.NIGHT Stan works on trying to get the signal back.56. She glances gratefully over at him then starts to cry even harder. She kisses him. so he introduced himself the next day as if he were a stranger and now you're dating him. Joel's mother hurries around the kitchen. He's one of the eraser guys. do? Whatever shall we He laughs.NIGHT It's a rust bucket. And I climbed on the bed with you and you said something like -CLEMENTINE -. CLEMENTINE What's wrong with me? PATRICK Nothing is wrong with you. CLEMENTINE You remember what happened next? JOEL I came over to the bed and you smelled so good. She unbuttons his pajamas. Really? CLEMENTINE 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.
MARY (CONT'D) (to Joel) Your Visine didn't do shit. combed and he's dressed neatly. Do STAN She came to help. Howard. fella. we? Shall He sits down in front of the computer and does some fiddling. looking professional but still stoned. Oh my God. MIERZWIAK Let's get to the bottom of this. Are you? She looks in the mirror. Her hair is pulled up into some sort of style. then calms herself before opening it. Mierzwiak crosses to the equipment.57. pulls out another laptop computer and plugs it in to the system.to help comfort the clientele.. Mary. looks surprised. nods. MIERZWIAK Did you try going through C-Gate? Yeah. Suddenly she freezes at the window. You know. MARY I wanted to learn as much about the procedure as possible. looking out into the night. MIERZWIAK What are you doing here? Crap. holding an equipment bag. Howard. MARY There he is. Mary lunges for the door. and enters. Oh my God. I think it's important for my job. Mary is pacing nervously to and from the window. The doorbell buzzes. Mary looks on. I look okay? She doesn't say anything. He fiddles some more. Mierzwiak ponders. fascinated. MARY (CONT'D) I'm still stoned. Mierzwiak looks from Mary to Stan. STAN I tried that already. She's dressed also.. STAN Of course. Mierzwiak. Mary closes the door. He unzips his equipment bag. and she's wearing more make-up now. MIERZWIAK (CONT'D) Odd. MIERZWIAK .
Like a surgeon or a concert pianist. thank you. Eventually Mierzwiak sees a small distant light in the brain. I don't know why it's off the map like that. here it is. INT.DAY Joel is being bathed in the oversized sink by his oversized mother. The mother doesn't seem to see her. outside a drive-in movie theater. Clementine. CLEMENTINE (giggling) I've never seen you happier. MIERZWIAK Yeah. MIERZWIAK Okay. The movie on the giant screen is partially obscured by a fence. MIERZWIAK (CONT'D) Okay.NIGHT He sits with Clementine in the parked car. see if anything comes up. STAN (sighing) You get some sleep. Awl It's I'll take it . we're back in. Mierzwiak presses some more buttons. Howard. MIERZWIAK Well.NIGHT Mierzwiak looks up from the computer screen. He zeroes in on it. CAR . Joel is thrown into: INT. Clementine sits in the water with him. The program starts up. JOEL'S BEDROOM . MOTHER Little baby getting awwwl cleean. probably a good idea. Mary. Howard. MARY That was beautiful to watch. KITCHEN . the details of the kitchen. The elements of the scene flash explosively away: Joel's mother. his Huckleberry Hound doll. A much more complex and detailed human brain appears on this screen. Joel and Clementine drink wine. such a feeling of security. from here. JOEL (to Clementine) I love getting bathed in the sink. It rotates. laughing. but -INT.58. I'm going to do a Spectrum search throughout his memory. clean.
59. but I can't love a man named Wally. distractedly. Mary. SCHOOLYARD . CLEMENTINE Look at you. remembers their previous plan. he'd go home and I could get my bike. I thought if I hung around the art room long enough. Joel JOEL They found us before.NIGHT Stan is back at the controls. CLEMENTINE Yes. I love you. Clementine is with him.NIGHT Clementine and Joel laugh as they try to give voice to what the characters on the screen are saying. MIERZWIAK Oh dear. CAR . VOICE-OVER I'm terrified. The plan didn't work. Howard. INT. She starts to fade. They run off just as the scene decays into a husk behind them. JOEL'S BEDROOM . I don't know what to do now. CLEMENTINE (mouthing to woman on screen) Hide me somewhere deeper? Somewhere buried? Joel grabs her. they've disappeared again. back to the equipment. Antoine. Joe Early. is peering around the corner of the school building toward the bike rack. now the size of a junior high school kid and dressed accordingly. INT.. She smiles to herself as he heads EXT. JOEL Don't call me Antoine. you must be tired. dressed as she was in the parked car. CLEMENTINE But can't you see.AFTERNOON Joel. is going to beat the shit out of me. MARY I'm so sorry. . Mierzwiak's at the door with STAN Howard. He nods. My name is Wally. cutey! What are we doing? JOEL This kid.. The scene starts to fade.
DAY It's cold. JOEL He calls me Jill. after this. When I tell people this story I leave that part out. We're running late. Get up.. CLEMENTINE Our house! Our house! She runs ahead. BEACH . covering himself. Jill. JOE EARLY C'mon. I'm going home. all bundled up. joel falls and stays down. fight. I think I'm just going to have to get through this manually. fight. He peeks humiliated at Clementine. INT. Everyone calls me Jill JOE EARLY I don't think so. JOEL Just shut up." Joe Early throws a wild punch that hits Joel in the side. Stan. points at a house up the beach. JOEL I don't want to fight you. The other kids laughs. The scene flashes violently to white and is gone. Joe. Jill. EXT. We're fighting. The kids start chanting. faggot. She kneels down beside him. JOEL'S APARTMENT . Joel's is the only bike CLEMENTINE (CONT'D) Poor Joel. Joel doesn't say anything. including giant. C'mon. They're at the bike rack and a bunch of kids. laughing.NIGHT Mierzwiak is at the machine. MIERZWIAK We got him back.. puts her arm around him. She's got a tear in her eye. Joel and Clementine walk.60. Joel She . fat Joe Early come around the corner. JOEL I'm too scared to even throw a punch. "fight. The scene is decaying. remaining. They head toward the bike rack. JOE EARLY Hi. She's watching him.
. CLEMENTINE (unwrapping the gift) Thanks. The mother backs out. closes the door. She realizes what's going on. RESTAURANT . He notices she's starting to fade. A present! She pulls out the bracelet. Flash! It's all gone. BOY'S BEDROOM . Joely.NIGHT It's dark. Oh boy! It's the same bracelet Patrick CLEMENTINE (CONT'D) Oh. It's beautiful! (slip it on) I mean. Joel. JOEL Happy Birthday. CLEMENTINE (mock offended) Joel! JOEL (continuing to masturbate) I don't like it either. still laughing from before. I was just -(sees what's going on) Oh. we've got to hide you. Joel cringes. Clementine is in there. chases after her. is in bed masturbating. gave her. c'mon. honey. in her winter coat. too. JOEL I scoured the city for it. Have a good night.61. JOEL Clem. junior high school size. INT.NIGHT Joel and Clementine are laughing as she blows out the candle on a slice of cheesecake in front of her.. Clementine laughs. but I'm just trying to find horrible secret place to -Joel's mother pops her head in the door. Um. Joel hands her a small wrapped box. Remember? He grabs her arm and yanks and they are in: INT. I'll ask you in the morning. still in the mode of the memory she was swiped from. . you're the first guy who ever bought me a piece of jewelry I could honestly say that about. Joel. MOTHER Joel.
Clementine is gone. MIERZWIAK I'm getting the hang of it. VOICE-OVER I didn't want to do this. The bracelet is gone. . I still understand it. pulls Joel away from the other boys. His childhood house is gone. Getting to see you as a boy. Joel. She kisses him and they walk holding hands. The two of them walk down Joel's suburban street. CLEMENTINE I love it! She leans across the table to kiss him. The kids hoot. I can't. CLEMENTINE It's okay. INT. Lived. Red jelly guts cover the hammer and the wagon bottom. still dressed for her birthday dinner (wearing her new bracelet). It's fading. He has located a small area of light in the brain imaging and eradicates them. BOYS C'mon. Joel looks down at her hand. Clementine. I'll do it JOEL I have to go home. But I'm finding him quickly enough. I'm so A live bird watches from a tree. (beat) This is a great birthday present.NIGHT Mierzwiak works the equipment. He grabs her and runs through the decaying scene and into the vague night. EXT. But I had to or they would've called me a girl. He holds a hammer and is poised to hit a dead bird in a red wagon. Joel doesn't want to. SUBURBAN STREET . later. you have to.62. JOEL'S BEDROOM . You were a little kid. JOEL (pointing) That's where I live. VOICE-OVER I can't believe I did that. Do it already. ashamed. I'm hopeful there won't be too much peripheral eradication. The other boys are goading him. Clementine watches.DAY Joel is one of a group of five year olds. Joel miserably smashes the bird repeatedly with the hammer.
um." MIERZWIAK Is that Nietzsche? MARY Yeah. minds. STAN I'll go out for a smoke. I'd love to hear some. I find reading them inspirational to me. Stan sighs. flattered. um. I'm glad we She's flustered. He smiles at her. Oh. MARY Do you like quotes. like famous quotes. Mary sits on the bed. Stan huffs and is out the door. MARY (a little giggly) I like watching you work. If no one Mary is thrilled.63. Howard? MIERZWIAK How do you mean? MARY Oh. by Pope Alexander. for they get the better even of their blunders. MIERZWIAK Alexander Pope? It's . Howard. both know it. beside herself. MIERZWIAK It's a good quote. grabs his coat. there's one that goes "Blessed are the forgetful. MARY (sputtering) There's another one I like. And here I was thinking I could tell you something you didn't know. Mary gets up her courage to speak. too. yeah it is. Stan. MARY Okay. And in my reading I've come across some I thought you might like. MIERZWIAK (not looking up) That's fine. MIERZWIAK Well. I read. Mary. Mary doesn't say anything. She tries to calm down. Mierzwiak continues to find and erase points of light.
MARY Really? I thought it was appropriate maybe. MARY Okay. MIERZWIAK I've got a wife. Like I psyched myself out. 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. I'm happy to hear it. MARY You are such a sweetheart. Then Mary plunges ahead to bury it. an awful lot.. There's an embarrassed moment as that line hangs in the air. and each wish resign'd". I'm You know . that terrible? Is Mierzwiak seems momentarily taken aback. MARY (CONT'D) Anyway.. (blurting) I like you. then quickly) I really admire the work that you do. Mary. sorry! (puts hand over mouth) Sorry. by the world forgot: Eternal sunshine of the spotless mind! Each prayer accepted. She leans over and kisses him. (beat. sorry! I shouldn't have said that. MARY Yes. MARY I've loved you for a very long time. Oops. Howard. that. She smiles. the quote goes "How happy is the blameless Vestal's lot! The world forgetting. 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. then pulls away quickly. MIERZWIAK You're a wonderful girl. Thanks. MIERZWIAK It's no big deal. then returns to his unflappable self. Good. proud and embarrassed. shit. MIERZWIAK That's lovely.64. Great. MARY Kids. That's all. Mary. Mary.
If that means anything. A car pulls up outside. partial undressing. As Mierzwiak fumbles to unzip his pants. (suddenly weepy) I wish I was your wife. who turns and walks off in a huff. decent man. EXT. This time it leads to groping. Howard. . JOEL'S APARTMENT BUILDING . It appears to be a very serious discussion. hand-in-hand. He has an unobstructed view into Joel's bedroom window. EXT. Stan watches from the van. your kids. He MARY No you're right. MARY What? She follows his eyes and sees the woman in the window. watches Mierzwiak and Mary inside. JOEL'S APARTMENT BUILDING . INT. checks the address on Joel's building. You're a She smiles courageously at him. The woman in the window is transfixed. pulls away.CONTINUOUS Mary looks confusedly at Howard. A middle-aged woman gets out. Stan turns to see. MIERZWIAK I want you to know it's not because I'm not interested. EXT. He practically shrieks and jumps up. Once again. Mierzwiak's resolve has apparently weakened and he and Mary kiss again. I wish I had It turns into kiss. MARY (CONT'D) Oh my God! Mierzwiak is already in his coat.DAY Joel and Clementine walking. and falling onto the bed alongside the unconscious Joel. approaches the only lit window. They look at each other a long while. look up simultaneously. COUNTRY ROAD . MIERZWIAK We can't do this. he catches sight of the woman in the window. then Howard goes back to locating and eradicating blips of lights. Mierzwiak comforts her with a hug. He smiles sadly at her.NIGHT Stan sits in the van and smokes a cigarette. They're talking as Howard works. He's out the door.CONTINUOUS The woman is at her car.65. He watches Mierzwiak and Mary. JOEL'S BEDROOM . Mierzwiak is hurrying to the woman.
. MARY (heroically) Mrs.. Hollis starts her car. She drives off. unable to digest this. Hollis turns. Mierzwiak's fault. foreboding. listening. Poor kid. Hollis! MIERZWIAK Hollis! HOLLIS (THE MIDDLE-AGED WOMAN) I knew it. struggling in vain to remember. You did. She walks off. Mary shivers in the cold. MIERZWIAK It didn't start out to be this. Mary watches Howard with increased MARY What. There's a long silence. girl. dazed. STAN Let me take you home. You wanted the procedure. Tell the Stan is out of the van now." EXT. I swear. Then: MARY Tell me what? Hollis and Mierzwiak have locked eyes. I came here to work. I basically forced him into it. Howard? MIERZWIAK We. And it's not Mr. Stan watches. I'm sorry.66. looks at Mary and then at Mierzwiak. Howard. I'm a stupid little girl with a stupid little crush. to get past. it's true. You wanted it done. We'll talk later.. .NIGHT Clementine and Patrick lie on their backs on the frozen river and look up at the night sky. Mary stands there. I have to finish in there. Hollis is in her car. Howard. He shuffles inside. Mary shakes her head "no. Mary looks back and forth between them. HOLLIS You can have him. HOLLIS Don't be a monster. Mary is right behind Mierzwiak now. hugs herself. Mierzwiak. I don't even know why I bothered to copy the damn address. CHARLES RIVER .. have a history. It's almost morning. It's a one-time mistake.
sits fishing with his oversized father.. FATHER Don't be like me. He targets it. Don't waste your life. PATRICK I could die right now. She tries to look out the window but can only see her own reflection. ROWBOAT . Mierzwiak locates a light hidden very deep in the map of Joel's brain. faces away from Joel.. in shock. I'm just exactly where I want to be. CHINESE RESTAURANT . JOEL'S BEDROOM .67. INT. She hurries toward the shore. CLEMENTINE (CONT'D) Joel. He's wrong. looks out at the lake. gets up. sits in the empty fluorescent car. too. the size of a ten year old.NIGHT He Their eyes meet.and there'll be nowhere to go except where you're headed. I'm just happy. confused Joel. She sobs. too. like a train on a track. Clementine looks over at him. She's reading The Play by Stephen Dixon. now running.DAY Joel. COMMUTER TRAIN .. EXT. Clem. INT. CLEMENTINE I love this book. written in my future. . unalterable.NIGHT It's deathly silent as Mierzwiak and Stan work on completing the job.. you're not sewn in. Thank you so much for telling me about it. CLEMENTINE I want to go home. Clementine is naked and in the boat. and continues. The scene poops out of existence with a flash of light. Joel. slips on the ice. INT. And he saw failure in me. There was no hope for me if his life was such a failure. You'll come to a point someday where it'll be too late. You'll be sewn into your fate. Clementine watches the frightened. FATHER . Joel is his father.NIGHT Mary. Inevitable. The father is drunk and sullen. JOEL It was horrifying. I've never felt that before. son. seeing my father like that.
A vague Joel watches a vague Clementine model a black dress.NIGHT Clementine wears a generic black dress now. CLEMENTINE No. INT. I should know. DRESS SHOP . Your hair was red. She is wearing the black dress. JOEL Something black though. JOEL We did talk about Naomi. JOEL Yeah. Black's always good. He is ragged and jarred. INT. y'know. I guess. CLEMENTINE Egad. JOEL I'm done.68. were you horrified? JOEL No! I think you were wearing that black dress.SHOP The scene has already been erased. JOEL I want to enjoy my little time left with you. JOEL Do you remember what we talked about? CLEMENTINE Naomi. CLEMENTINE Yeah. . At that place on East 6th. Hiding is clearly not working. Right. Clem. I remember it matched the wallpaper. It was later. RESTAURANT . you were with me when I bought that. Joel finds himself eating Chinese food and sitting across from Clementine. I'm just going to ride it out. CLEMENTINE This is our first "date" date. CLEMENTINE What was I wearing? JOEL God. CLEMENTINE I'll buy that. It's just a decayed husk. with the buttons.
JOEL I was so nervous. LACUNA RECEPTION AREA . Her jaw drops. You said -- CLEMENTINE (Mae West) Come up and see me. INT. CLEMENTINE Yes. JOEL It's very late. With a shaky hand. INT. I could tell. And we'll take it from there. CLEMENTINE Infatuation is good. now. I said.69.NIGHT Mary enters the dark room.." MIERZWIAK VOICE Okay. There were long silences. You seem unsure. so just tell me what you remember.. frazzled.NIGHT Joel and Clementine are in the midst of awkward shy sex. CLEMENTINE'S APARTMENT . finds one with her name on it. too. MARY'S VOICE . JOEL I dropped you off after. You said: So what. Joel watches Clementine disappear. CLEMENTINE But you weren't. I thought I'd mistaken infatuation for love. Exactly my point. There is a long silence. JOEL (CONT'D) I thought I was foolish.NIGHT Joel and Clementine pull up to Clementine's house. The scene starts to fade. CLEMENTINE I said: Are you sure? JOEL I'm sure. JOEL This was our first time. She flips on the fluorescent lights and searches the file folders. exactly. INT. JOEL And I didn't have an argument. she puts the tape into the player on her desk and presses "play. CAR . I remember I couldn't think of anything to say.
We move into her eyes. was so excited. I liked you immediately.. I thought I could take The scene is fading..Remember you bought me that little wind-up frog? A vague shot of a wind-up frog.. I knew something was going to happen. Oh. I wanted you to think I was smart. You were so nice. MARY'S VOICE (CONT'D) "This is for your desk.. Howie.. INT. Mary. . And I loved that you were helping all these people. I know.. I can't do this? How can I do this? MIERZWIAK VOICE It's what's best. NO DETAIL. MARY'S VOICE (CONT'D) And you said. I MARY'S VOICE Yeah. (starts to cry) . Mary slumps to the floor. VOICE-OVER On the couch.. Just a little token" Back to Mary sitting on the floor. I had these fantasies of us being married and having kids and just.. (shaky) Um. A SERIES OF MURKY IMAGES. I wondered if I had made a terrible mistake. well. You seemed so. like.NIGHT Joel sits in the quiet living room... listening to the tape.and so. something wonderful. I loved the way you smelled.. Okay.. I was tongue-tied around you at first. when I thought you looked at me back.. You know that. MARY'S VOICE (CONT'D) . Quiet.. A vague shot of Mierzwiak mouthing to Mary's voice. I couldn't wait to come to work. then... JOEL Naomi.70. A flirtatious look from Mierzwiak..... I almost reached for the phone about a thousand times. important and mature... Oh. JOEL'S APARTMENT . God.. when... MARY'S VOICE (CONT'D) I knew then. You didn't come on to me at all. that one day. Dark. I liked that. At the job interview..
I really value our relationship. explain I had momentarily lost my mind. it back. that no one is really having fun. I imagined looking back with a tremendous hole of regret in my heart. Joel.. INT. I thought about Clementine and the spark when I was with her. VOICE-OVER I didn't pick up the phone to call you. That was the truth. JOEL'S APARTMENT . doesn't know what to say. as I always do at this point in my argument. Joel paces. It was unfair to you and to me to stay in a relationship for that reason. I didn't pick up the phone. She is packing things in boxes. JOEL (CONT'D) Naomi. JOEL'S BEDROOM .71. steals glances at her. That what we were was safe. The scene starts to fade.DAY Joel watches out the window as Naomi stuffs a final box in Really.DAY An elderly man sits. erase it. maybe not. ROOM .DAY Namoi is red-eyed from crying. The scene dissolves. Then I told myself we weren't happy. I hope it's possible for us to stay in touch. NAOMI Yours? JOEL You take it. She tosses it in a box. NAOMI Don't do this to me now. But I wanted fun. INT. INT. JOEL'S APARTMENT . She holds up a book. then I thought maybe not. . about dying. I don't know.NIGHT Joel sits. And then I thought. I'm being suckered by advertising and movie bullshit. Naomi. but then I thought what you and I had was real and adult and therefore significant even if it wasn't much fun. INT. I saw other people having fun and I wanted it. VOICE-OVER I projected myself to the end of my life in some vague rendition of my old man self. Then I thought fun is a lie..
NAOMI Who is it? You met someone.. INT..NIGHT Joel talks to Clementine. we've been. Bullshit. JOEL I told her today I need to end it. No. JOEL I just need some space. VOICE-OVER I hate myself. whatever it is you think you have with this chick.DAY Joel walks with Naomi. CLEMENTINE Is that what you want? I did it. The scene fades. JOEL It's not somebody else. NAOMI The thing is. BORDER'S BOOKSTORE . unhappy with each other and -NAOMI Don't say "we" when you mean "you. JOEL I guess that means something. There's another woman down there with her. Joel. They get into the car and drive off. by definition. Clementine shrugs. NAOMI What? JOEL Y'know. EXT. maybe. Joel? JOEL I don't know. both have to be. we're both so used to operating at this level that -. NAOMI So what's going on. once the thrill wears off." JOEL I think maybe. sort of. The scene is fogging over.72.How can one person be unhappy? If one person is unhappy. the trunk of a car. you're just going to be Joel with the same fucking problems. I've just been thinking. maybe we're not happy with each other. . I don't know. PARK .
I'm high maintenance. JOEL Okay.. CLEMENTINE (seemingly uninterested) Yeah? JOEL I'd like to. after all. is Clem on tonight? MALE EMPLOYEE #2 On my dick. But I needed to see you. (turns. There's no sign of Clementine. So I'm not going to tiptoe around your marriage or whatever it is you got going there. Joel approaches a male employee. you're with me. CLEMENTINE So make your domestic decisions and maybe we'll talk again. hey. I think she's upstairs in Philosophy. I'm not a stalker. JOEL Hi. Not yet. looks around. you're married. I figured you were humiliated. take you out or something. . JOEL Is there a Clementine who works here? MALE EMPLOYEE #1 (calling to another male employee) Mark. Joel watches her. CLEMENTINE Look.73. CLEMENTINE Well.NIGHT Joel enters. CLEMENTINE I didn't think you'd show your face around me again. I'm telling you right off the bat. You did run away.. bro. spots Clementine. Joel climbs stairs. INT. embarrassed) Oh. JOEL Not married. JOEL Sorry to track you down like this. If you want to be with me. sese Joel. The scene fades. She turns. Naomi walks off. BORDER'S BOOKSTORE . Yeah. man. searches the aisle.
CLEMENTINE Remember me. Even after that. ROB AND CARRIE'S CAR . Joel stands there helplessly. Clementine's speech is CLEMENTINE Joel. She goes back to stacking.74. Don't assign me yours. quality that seems really important to me. Maybe we . JOEL I just think that you have some kind of. JOEL I still thought you were going to save me. JOEL It would be different. JOEL I remember that speech really well. The car stops in front of Joel's apartment building. but I'm just a fucked-up girl who is looking for my own peace of mind. I want you to just keep that in your head. if we could just give it another go around. Too many guys think I'm a concept or I complete them or I'm going to make them alive. JOEL Thanks. JOEL Yeah.NIGHT Joel sits forlornly in the back seat. can... INT. didn't I? JOEL You had the whole human race pegged. Rob drives and Carrie sits in the front passenger seat. guys. CLEMENTINE I know. sweetie. The scene is gone. CLEMENTINE (smiling) I had you pegged. CLEMENTINE Probably. Try your best. CARRIE I hope you feel better. I'm not a concept. The scene is disintegrating. delivered without passion.
hello. Yeah. VOICE-OVER I met someone tonight at a party on the beach. Rob and Carrie. I've been feeling so alienated and numb lately. The room is starting to decompose. writing in his journal. JOEL Go back to sleep. Naomi sleeps in the bed.NIGHT The lights are off. INT. a life filled with . VOICE-OVER (more and more emotionless) I don't know what to do about this. JOEL In a minute. BUILDING STAIRWAY . JOEL'S BEDROOM . sees Joel. The thought of not acknowledging my feelings again seems self-destructive. NAOMI (full of sleep) Hi. Rob Carrie say I need to think. JOEL Hi. The car door closes. VOICE-OVER I hope she's not up. Joel goes back to his writing. NAOMI Come to bed. The streetlight illuminates the paper. Naomi turns over. Her name is Clementine. There is something alive about her. Joel sits on a chair near the window. I'm cold. How can I continue on this path toward a living death. Naomi turns over in bed. INT.NIGHT Joel climbs the stairs. Forever. NAOMI How was it? JOEL You didn't miss much. NAOMI Hi. CARRIE Say hi to Naomi.75.
VOICE-OVER The trip to the party where I met Clementine. writing. okay? You seem quiet. her hair a halo of frizz. Joel sits in the back. INT. The night we met. JOEL You . Carrie fiddles with the radio dial in the front passenger seat. VOICE-OVER This is it. NAOMI (sighing) Yeah. maybe. hopeless? I need to speak with Clementine.AFTERNOON Joel is at his closet. INT. too. putting on a sweater. JOEL I wish you could come. JOEL Just a little overworked. He approaches Naomi. Have some fun! She JOEL I hope you get your work done. NAOMI (CONT'D) Say hi to Rob and Carrie. Carrie turns around and says something to Joel.76. it's over. The scene has turned to a husk. My God. ROB AND CARRIE'S CAR . JOEL'S APARTMENT . Naomi is at the dining room table.NIGHT Rob drives. obligation and guilt and responsibility but joyless. The scene is fading. Joel turns and watches her for a moment. Joel looks out the window. Okay. NAOMI (CONT'D) Me. My first memory of her is now my last memory of her. She is backlit. kisses her on the top of the head. papers spread out before her. JOEL So you don't mind? NAOMI I've got to finish this chapter anyway. continues to write. CARRIE I'm sorry Naomi couldn't make it.
you told me that later. CARRIE This is the night you met Clementine. Joel looks out he window.NIGHT Rob. CARRIE Who was the girl you walked off with? JOEL No one. and Carrie step out of the brush and see a bonfire down the beach. BEACH . I remember you turned around. People warm themselves at the fire. EXT.LATER Joel sits on a log. things were fine. ROB AND CARRIE'S KITCHEN . and Joel emerge from the car.you asked me if things were okay between Naomi and me. BEACH . CARRIE You said. People and music can be heard. He sees the husk of a memory on the darkened roadside. Rob sharing a joint with a guy. make you out in the dark.MOMENTS LATER Joel. EXT.NIGHT Joel watches his shoes in the sand as he trudges along. JOEL I remember. I remember watching you walk down the beach with her and I thought. in her .77. CARRIE I told you that later. JOEL You were down by the surf. BEACH . It's Joel and Carrie in: INT.DAY Faded. parked amidst a small cluster of cars in an otherwise empty parking lot. Joel looks down to the water.I could see a halo of frizz -. Joel watches couples talking. Carrie. I could just There's Clementine. Rob. CARRIE Is this the right way? EXT. a paper plate of chicken and corn on his lap. EXT. BEACH PARKING LOT . kissing. JOEL Yeah. oh shit. Joel. Your face was dark and your hair was backlit -. I did. Carrie and Joel sit at the table with coffee.
someone normal. Yeah. I'm such a loser. At the time I thought. I thought.. I love this woman because she's alone down there looking out at the black ocean.. looking out to sea. JOEL I don't ever know what to say.. orange hooded sweatshirt. CLEMENTINE CLEMENTINE I can't tell you how happy I am to hear that. CLEMENTINE I saw you sitting over here. JOEL You said. I don't know. but. VOICE-OVER I remember being drawn to you even then. 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. The next thing I remember.. Green revolution. JOEL (CONT'D) Your back to me. Hi there. I don't mean I'm happy you're uncomfortable.78. VOICE-OVER I was so nervous. JOEL (CONT'D) But I went back to my food. I felt someone sitting next to me and I saw the orange sleeve out of the corner of my eye. I thought how could you be talking to me if you couldn't talk to people? VOICE-OVER But I thought. JOEL Hi. I wondered. By yourself. A shot of the orange sleeve. yknow. Your hair was lime green. how cool. an orange sweatshirt. JOEL Even then I didn't believe you entirely. who doesn't know how interact at these things either. Joel looks up. What were you doing there. thank God. I mean. I thought it . A shot of her green hair. I thought. In that orange sweatshirt I would come to know so well and even hate eventually.
79. was cool that you were sensitive enough to know what I was feeling and that you were attracted to it. CLEMENTINE But. JOEL I'm Joel. CLEMENTINE (CONT'D) So no jokes about my name? JOEL You mean. CLEMENTINE Yeah.. Shot of a smudge of chicken grease on Clementine's chin. Joel. You did? CLEMENTINE (CONT'D) You liked me? JOEL You know what I did. oh. it was lovely. VOICE-OVER No. what kind of people do well at this stuff? VOICE-OVER And I just liked you so much. Hi. like. JOEL You said -She picks a drumstick off of Joel's plate. CLEMENTINE I'm Clementine. (singing) Oh. y'know? I mean. Clementine. my darlin'.. how horrid. ? Huckleberry Hound? That sort of thing? CLEMENTINE . my darlin'.. CLEMENTINE Oh God. I'm fishing.. JOEL (CONT'D) I remember -VOICE-OVER The grease on your chin in the bonfire light. Can I borrow a piece of your chicken? JOEL And you picked it out of my plate before I could answer and it felt so intimate like we were already lovers. maybe we're the normal ones. I know. my darlin'. I don't know. oh.
knowing that it's there. CLEMENTINE You should try Xanax. JOEL I know. JOEL I don't think I've slept in a year. stopped. Joel and Clementine are walking near the surf. Joel.. it's a chemical and all. I didn't want to feel like I was being artificially modulated. It's gonna be gone soon. I stopped. She smiles. like that. CLEMENTINE But my sleeping is really fucked up. That's why I JOEL Say good-bye. and it works just having it around. My favorite thing when I was a kid was my Huckleberry Hound doll. No jokes.. but it works. JOEL Nope. See what you . JOEL I know what you mean. She nods. think. JOEL yeah? CLEMENTINE I'll give you a couple. CLEMENTINE (eyes welling) This is it. JOEL Okay. Yeah. I think your name is magic. CLEMENTINE No. Like insurance. CLEMENTINE What do we do? Enjoy it. I mean. JOEL (CONT'D) So you're still on the Zoloft? VOICE-OVER Next thing I remember we were walking down near the surf.80.
JOEL Yeah. It breaks my heart.. I'm so excited you know it. too! I don't meet people who even know who she is and I work in a book store. Me too. CLEMENTINE (CONT'D) I wish we did.. (pointing to houses) Look. maybe. JOEL Joel . before. Joel chuckles appreciatively. CLEMENTINE (CONT'D) Do you know her poem that starts "Seaside gusts of wind. CLEMENTINE Let's move into this neighborhood. You married? JOEL Um. Joel and Clementine wander near some beach houses closed for the winter. CLEMENTINE There's this poem -- JOEL Did this conversation come before or after we saw the house? CLEMENTINE I think. no. JOEL Seems too coincidental that way. houses in which we don't live. is nervous. It goes "Perhaps there is someone in this world to whom I could send all these lines"? CLEMENTINE Yes! I love that poem. Clementine tries one of the doors on a darkened house./And a house in which we don't live. CLEMENTINE Really? Me. yeah. JOEL I think she's great. CLEMENTINE Yeah. CLEMENTINE Have you ever read any Anna Akhmatova? JOEL I love her.81.
I do sort of live with somebody though. CLEMENTINE Oh. She walks to the next house, tries the door. CLEMENTINE (CONT'D) Male or female? JOEL Female. CLEMENTINE At least I haven't been barking up the wrong tree. She finds a window that's unlatched. Cool. JOEL What are you doing? CLEMENTINE It's freezing out here. She scrambles in the window. JOEL (whisper) Clementine. VOICE-OVER I couldn't believe you did that. paralyzed with fear. I was Joel looks around, panicked. She lifts it.
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 I hesitated for what seemed like forever. CLEMENTINE I could see you wanted 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? INT. HOUSE - CONTINUOUS Joel enters the darkened and Clementine closes the door behind him. JOEL I knew.
CLEMENTINE I knew by your nervousness that Naomi wasn't the kind of girl who forced you to criminally trespass. JOEL It's dark. Yeah. Naomi. She's searching through drawers for something. 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. into a husk. The room is drying out, turning She pulls out CLEMENTINE What's your girlfriend's name? JOEL
JOEL (calling after her) I really should go. I really need to catch my ride. VOICE-OVER I didn't want to go. I was too nervous. I thought, maybe you were a nut. But you were exciting. You called from upstairs. CLEMENTINE (CONT'D) (flat) So go. JOEL I did. I walked out the door. 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. memory. There's no more
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. Carrie continues to talk, but her voice goes under as Joel studies the faded husks of memories, piled 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. INT. JOEL'S BEDROOM - EARLY MORNING 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 electrodes off of Joel's scalp, coils cable, packs bags. Howard dials the bedside phone. He waits as it rings. HOLLIS'S VOICE Hi, you've reached the Mierzwiaks. can't come to -We
She watches him closely. waiting for him to continue. STAN Hey. You giggled. INT.85. JOEL'S APARTMENT BUILDING ." Long silence. Silence. MARY And you never even suspected? Never saw us behaving in any unusual way together? STAN Once.EARLY MORNING Stan pulls the van into space marked "Lacuna. Mary doesn't say anything. PARKING STRUCTURE . PATRICK You want to stop for coffee or something? Mary shakes her head "no. I was coming back from a job and spotted you together. Mary is sitting on the hood. MARY (beat) Do you swear you didn't know? STAN I swear. Patrick tries to break the silence." He gets out. He and Howard look at each other. I've got to drop the van off. I waved. You seemed caught. At his car. EXT. Stan. maybe. STAN (CONT'D) It was here.EARLY MORNING Patrick and Mary are heading home from Boston. MARY . STAN So. EXT. PATRICK (CONT'D) Well do it again soon. Mary is silent and depressed. it was sure beautiful on that river. MIERZWIAK Thanks. crosses to his car. PATRICK (CONT'D) Well. Howard hangs up.EARLY MORNING Stan and Howard load the last of the equipment into the back of the van. PATRICK'S CAR . Thanks for sharing it with me. Thanks.
Kind of goofy and wide-eyed. INT. Mary starts to cry. The apartment is neat. heads to the elevator. Mary says nothing. She waves. like when he went to sleep. The platform across the tracks is empty. That red sweater with the little flowers. Happy. You looked in love. STAN (thinking) You were in red.86. COMMUTER TRAIN STATION . I think. It's packed. I'd never seen him look like that before. (thinking) He looked a little like a kid. MARY And after that? STAN I never saw you together like that again. You looked beautiful. I know. Now INT. He nods. Joel's train arrives. He gets out of bed and heads into the bathroom. Mary. MARY (heading toward the levator) Thanks. How did I look? STAN (beat) Happy.DAY . You know that. EXT.MORNING Joel awakens. MARY (CONT'D) You're nice. OFFICE . STAN (CONT'D) I really like you. She stops but doesn't turn to face him. (beat) But I love him. Stan. He squeezes on with all the other commuters. JOEL'S BEDROOM .MORNING Joel waits on the crowded platform. I knew I loved him. So I figured I was imagining things. Happy with a secret. MARY Do you remember anything else? What I was wearing? Was I standing close to him? Was I leaning against his car like I owned it? How did he look at me when I giggled? Tell me everything. You were leaning against his car.
I listened to my tape.DAY Mary does paperwork at her desk.87. hands He hangs up. Naomi? Yeah. distracted. He signs it. MARY You made me have an abortion. unable to make eye contact... I mean.CONTINUOUS Mierzwiak dials his phone and waits. Joel works in his cubicle over the light table. it back. Mary. Okay. MIERZWIAK'S OFICE . enters with the papers. do we talk about this. He seems JOEL Hi. Howard.. good! INT. (beat) So. (off her stare) . I can't even say "naked" to you! MIERZWIAK I have a family.. It's been a long time. He takes it. MIERZWIAK It was a mutual decision. I can't believe I've been sitting right in front of it for a year. hi! How are you? I know. MARY You made me have you erased! I loved you. or what? MIERZWIAK I don't know what I'm supposed say. that's great! Congratulations! Maybe I could buy you dinner to celebrate? Tonight? I'm free. I hear myself talking about having sex with you and I can't even imagine you naked. You thought it best.. I love you! How could you -MIERZWIAK I didn't make you. LACUNA RECEPTION AREA . MARY I need this signed. INT. MARY Do you love me? Did you love me? Something. Not too much. He's nervous. She looks through her reception window at the sad people waiting in the lobby with their bags of stuff. Mary. It's like listening to someone else's story. He dials his phone. I want to do the right thing here. Mary MARY (CONT'D) Thanks. I know. You? Oh..
out of frustration. NAOMI (oddly cautious) So. (awkward pause) I have been seeing someone for a little while. sweetie.NIGHT Joel sits across from Naomi. INT. INT. RESTAURANT . you haven't been involved with anyone in all this time? JOEL It's been a pretty lonely couple of years. habits.. good guy. JOEL I'm sorry. That's great! NAOMI A religion instructor at Columbia. He's a good guy. JOEL Well. It really does cut both ways.. She looks at him for a long while. But. they have fallen back into almost immediately. it was my fault -. too. JOEL'S BEDROOM . I really shouldn't have -NAOMI I'm glad you called. she screams. We were taking each other for granted and -JOEL I miss you. NAOMI Miss you. NAOMI Oh.the break-up.NIGHT Joel and Naomi are in bed having sex. They finish and lie there. JOEL (trying for enthusiasm) Oh! Great. I'm sorry. She sticks her tongue in his ear in a way that's trying to be sexual but just feels embarrassing to him. A Then. NAOMI I'm sorry. look. I take full responsibility. There are certain sexual routines. JOEL So you think the dissertation will get published? .88.
89. She copies it onto an envelope. drops his overcoat on a chair. NAOMI I don. She pulls another file out. JOEL'S APARTMENT .NIGHT Joel enters. INT. copies the name and address onto an envelope stuffs the file and tape cassette in. INT.NIGHT Clementine lies in bed with Patrick. Yeah. INT. An almost empty train pulls into that platform.NIGHT Joel says goodbye to Clementine. COMMUTER TRAIN STATION . MARY'S APARTMENT . tromping through the snow. dials the phone. CLEMENTINE'S APARTMENT . lines. Naomi. Sitting there are piles of the files from work. CLEMENTINE So you'll call me. The platform across the tracks from them is empty.MORNING The platform is crowded with business commuters. Joel gets on the train and watches the business commuters through the dirty window as his train pulls out of the station. right? JOEL Yeah. We stay on Clementine as she watches Joel head to his car. This one has Joel's name on it. I'm not sure there's a big public demand for books on Calvinism and Misogyny. He climbs the stairs.t know. Suddenly. CLEMENTINE When? JOEL Tomorrow? Tonight. She puts on some coffee then crosses into the living room area. Joel turns and makes his way through the crowd. She's a wreck. CLEMENTINE Just to test out the phone JOEL . crosses the overpass and makes his way to the empty platform.MORNING Mary gets out of bed. Joel is among them. She has been crying all night. EXT. She pulls the top one out. JOEL Hi. Joel exits. CLEMENTINE'S APARTMENT . it's Joel. INT.
JOEL We'll speak soon. JOEL I had a good time last night. I called you at work today.. They told me you were sick! So. JOEL How's it going? NAOMI'S VOICE Good. Joel flips on messages with volume down. I tried you at home. JOEL There you are. I'm home. you're okay. hi. NAOMI 'Night. NAOMI'S VOICE Hi.. it's just. I'm glad She hangs up and Joel stands there for a minute feeling .. JOEL Yeah. said you were home sick.. NAOMI'S VOICE Long day thinking.. Where are you?! I had a really nice time last night. I suppose you're right. I really NAOMI So I'm going to get some sleep. I suppose so.. Call me! NAOMI'S VOICE That's me. I'm afraid if we fall back into this fast without considering the problems we had. I know. Joel. NAOMI Okay. NAOMI ON MACHINE (cheerful) Hi. They JOEL I had to take the day to think. (pause) Naomi. Call me. Just wanted to say hi. my message? JOEL I just got in. Did you get NAOMI'S VOICE Yeah... so. did.90.
is paralyzed. Joel follows nervously. She takes his hand and he is suddenly imbued with confidence. Joel is by himself now. CLEMENTINE Don't worry. He lies on Joel .. Hmmm. JOEL I guess so. I guess that means we're married. then he dials the number on a piece of paper. What if it breaks? CLEMENTINE What if? Clementine lies on her back and stares up at the stars. JOEL (CONT'D) This is so beautiful. JOEL I don't know. It's really solid this time of year. She squeezes his hand. CLEMENTINE'S VOICE Tomorrow night. I do. She reaches for his hand and gently pulls him down.91. JOEL I don't know.. creepy. He hesitates then gingerly makes his way over to her. CLEMENTINE'S VOICE Ha Ha! You said. CLEMENTINE Joel. Please. CHARLES RIVER . I do. CLEMENTINE Isn't it? She runs and slides on the ice. honeymoon on ice. CLEMENTINE'S VOICE What took you so long? JOEL I just walked in. CLEMENTINE'S VOICE Do you miss me? JOEL Oddly enough. come here. JOEL I think I should go back. He looks back at the shore. EXT.NIGHT Clementine steps out onto it.
JOEL Because I just am not drunk enough or stoned enough to make that happen right now. Oh. She smiles. EXT. CLEMENTINE That's okay. doesn't. their bodies touching. um. CLEMENTINE Show me which constellations you know. She smiles up at the sky. finding manila envelopes. This seems like the perfect romantic exotic place to do it and -CLEMENTINE Hey. too.DAY . He wants to turn to her. but out of shyness. They look up at the stars. JOEL Y'know -CLEMENTINE CLEMENTINE Well. CLEMENTINE I'm nervous. you obviously don't know me.and I'm just too nervous around you right now. Joel -JOEL -. I just wanted to say that. doesn't say anything and snuggles closer to him. We see stunned. confused. disbelieving reactions as people listen to their tapes.. One by one they open the envelopes and pull out tapes. his back beside her. did you want to make love? CLEMENTINE Make love? Have sex. She holds his hand. JOEL I'm nervous because I have and enormous crush on you. JOEL Listen. CLEMENTINE'S APARTMENT . MONTAGE We see people going to their mailboxes.92.. I -JOEL I'm sorry. Yeah? JOEL I wouldn't have thought that.
JOEL I mean. then speaks: CLEMENTINE Call someone who'd know. reads the enclosed file. INT. I have to think. I haven't even told anyone I've met you. I know. We hear over and over: "Is this true?". She pauses nervously. JOEL It's true. They say it's like waking a sleepwalker. JOEL'S APARTMENT . ROB AND CARRIE'S KITCHEN . I have to go. It's a joke. He dials the phone. INT.A FEW MINUTES LATER Joel enters with his mail. JOEL Look. Joel drops Clementine off. Joel is immersed in the several page document. Who would even know to do this? CLEMENTINE'S VOICE (matter of fact) Maybe it's true then. We weren't supposed to say anything. "Is it true?" INT.DAY Carrie is on the phone.93. sticks the cassette tape in his stereo. "Did this really happen?". JOEL'S APARTMENT . JOEL That's what you have to say? How could it be true? I never even heard of any procedure like this. He opens a manila envelope. "Do I know you?". MONTAGE We see the people we saw opening envelopes. CLEMENTINE'S VOICE Yeah? JOEL Did you send this? Is it a joke? CLEMENTINE'S VOICE I probably got the same thing as you. She kisses him. now on the phone. listens. .CONTINUOUS Joel hangs up. Joel dials the phone. Maybe. CARRIE Yes. Joel. It is true. It's my voice on the tape. CLEMENTINE'S VOICE I spoke to my friend Magda.
CLEMENTINE Well.. CLEMENTINE Says you were constantly calling me a slob. JOEL Says you would sometimes disappear all night. Please. sweetheart. you picked on me for being passive and timid. CLEMENTINE Doesn't sound like me. (reading) Says you were jealous and suspicious.. Like a million times. JOEL Says you were a slob. Sorry. You drank too much. JOEL Says you were a bully.LATER Joel and Clementine review their separate Lacuna packages together. griping and overly-familiar and He just . CLEMENTINE'S APARTMENT . CLEMENTINE'S VOICE (CONT'D) Come over here. then brag to me about your sexual conquests. CLEMENTINE Says you were closed off. CLEMENTINE (laughing) A bully? Moi? JOEL That's what it says. JOEL I don't know. Isn't that lovely? Joel doesn't know what to say as this registers. leaving trails of panties and dirty socks in your wake. CLEMENTINE'S VOICE Joel. (laughs) It's sexy that we were like a married couple. INT. We've made love. non communicative. never told me what you were feeling. stands there dumbly. And we were so sweet and shy and inept with each other last night. man. we've fucked.94. sounds like me. CLEMENTINE Did I use the term "sexual conquests" or is that your way of putting it.
Mierzwiak. Please just tell Howard I'm here to clean out my desk. WAITING ROOM . She unbuttons her blouse. CLEMENTINE We should have sex. She approaches him.. every freckle.MORNING Stan enters the waiting room. MIERZWIAK'S OFFICE . . INT. never seen this body before. As He has clearly MIERZWIAK She should not have done this.MOMENTS LATER Stan enters. Don't you think? JOEL (considering) I sort of do. RECEPTIONIST May I help you? STAN I work here.95. LACUNA LTD. She smiles at nervous Joel. Stan is here to -. It's old hat for us. now crowded with people holding their files. He stares at her. She takes off her shirt. INT. JOEL You're so beautiful. bored. Cleaned up enough to be erotic. CLEMENTINE (CONT'D) Every curve. mad as she was. as justifiably -- STAN I don't know what you're talking about..Yes sir. his arms wrap around her waist for the first time. I used to work here. Stan. a stunned-looking lot. kisses him. Stan. CLEMENTINE (CONT'D) You know my body like the back of your hand. Mierzwiak is pale and pacing. But I only see it as a fantasy version of reality. RECEPTIONIST (into phone) Mr. The file cases behind her are bare. There is a new woman in the reception window. Howard. (to Stan) He says he needs to see you.
. CLEMENTINE'S VOICE God. but it's in the form of a story. Now I know my entire history with him. OFFICE . STAN Jesus. I'm losing my mind. lover. .DAY Joel works over his light box. Panties and -His phone rings. JOEL You must have been crazy. He is in the process of interviewing a sad young woman. passing the time best I can till I can see you. y'know. Before I thought I was depressed for no reason. Now it's like I've been assigned a reason. It's like waking a -YOUNG WOMAN I don't know what to do. We'll take care of it. Stan. PATRICK This never should've happened. Mierzwiak turns up the volume on a small video monitor looking in on the lab. MIERZWIAK I know you don't like me much.96. CLEMENTINE'S VOICE Guess what I'm wearing. Whatcha doing? JOEL I'm just. MIERZWIAK This is why people must never be told. where Patrick has clearly taken over Stan's position. but please talk to Mary.. CLEMENTINE'S VOICE Hey. MIERZWIAK Mary has stolen our files and is sending them back to people. INT. JOEL Hi. YOUNG WOMAN . so I called everybody I know and asked them to tell me everything. it's Joel. JOEL I don't know. ma'am. I can't believe I ever hated you. She of all people should know this is a dangerous thing she's doing.
STAN Hi.DAY Mary opens the door. Is that somewhere we -Come by my JOEL What old mill? CLEMENTINE I just wanted to say that. looks around. INT. Howard is a . STAN I know what it is. He does.. Oh.." JOEL I can't stop thinking about you.there are a lot of really confused people showing up at the office. Stan? STAN Can I. MARY They have a right to know. CLEMENTINE You're still excited by my irreverence.97. STAN (CONT'D) What's this? MARY Nothing. You haven't yet started to think of it as my "gratuitous need to shock. I just -. MARY Then why did you ask me? STAN I don't know. CLEMENTINE Meet me after work by the old mill. CLEMENTINE'S VOICE Your dried cum. MARY What do you want. JOEL Jesus. out coffee. sees the tapes and the stuffed envelopes on the floor. Yay. I brought some -- Stan stands there with two cups of take MARY She steps aside for Stan to enter. house. MARY'S APARTMENT .
98. MARY I won't allow it. There was this smiling man walking a little bushy dog -Vague shots of a man smiling. I was on a swing. MARY (hysterically) Remember the Alamo! STAN Mary.. SAD WOMAN'S VOICE (CONT'D) Remember the Alamo! This is hurting people. his voice overlapping with the woman's. quietly) Someone has to remember. a scruffy dog on a leash. What if no one remembers? What does that do to the world? (beat. It existed and I can't even remember. He steals the truth. . Do you understand that? Stan doesn't know what to say.AFTERNOON Vague elliptical images of a young girl on a swig. He stands there dumbly. PARK . (breaking down) But these things happened! All these little sadnesses. Mary STAN Mary. then: MARY (small) I don't want to hurt people. Stan.. Those who cannot remember the past are condemned to repeat it. Long pause. What do you think of that? That's from my quote book. (suddenly weeping) I can't remember my baby! I can't remember my baby. SAD WOMAN'S VOICE I was by myself in the park because my friend Davia was sick that day. "He's friendly --" Vague shot of the man. slumps into a ball on a chair. They look at each other. please. people come to him voluntarily. SAD WOMAN'S VOICE (CONT'D) The man said something like. the big ones. STAN The office is filled with people who want their memories re-erased. thief. EXT.
Why don't you -DISTRAUGHT WOMAN'S VOICE Excuse me? Hello? INT. INT. MARY May I help you? DISTRAUGHT WOMAN I'm here for Dr.99. A soldier on a battlefield looking at his slaughtered friends. Helene Kernfeld. be with you momentarily. please have a seat. as she travels over the New York skyline.. The woman sits. She has been crying.. want. LACUNA RECEPTION AREA . Vague shot of the girl being raped. She switches off the tape. The distraught woman is standing there.DAY The old woman is staring off blankly.he won't bite. My name is The doctor will Mary presses an intercom button. MAN Do you want to give him a biscuit? The girl nods. MARY (CONT'D) Howard... COMMUTER TUBE ." MAN He won't bite. MARY Yes. We move into her eyes. your 10:30. "-. startled. Mierzwiak. There's a pile of tapes next to her. She switches the tape back on.DAY Mary. looks up. . with a headset on. You can pet him if you Shot of the girl petting the dog. SAD WOMAN'S VOICE He took me to his car and . INT. MAN (CONT'D) They're in my car. VAGUE SPACE Vague reenactments of memories intermingle in this undefined space: The young girl being raped by the man in the car. her giant manuscript in her lap.
Old Mary looks up. The old woman enters.DAY The old woman and her chair lift out of the line of commuters. Old Howard mutters something and disappears into the back.. INT. Old Mary enters with the ..DAY It's modern and well-appointed. conceals it. sits behind the reception desk.. drops her manuscript into the drawer. Mary having an abortion. places it in a machine on her desk. OLD WOMAN (MARY) I think the doctor is free this morning. Old Mary pulls out a file from behind. slips on earphones and listens. It's unbecoming on you.. OLD MAN How are you today. Mary? OLD WOMAN (MARY) Let's see. I. Howard. OLD MAN'S OFFICE . from the woman's point of view. turns off the tape. seems a bit startled. I OLD WOMAN (MARY) Well. Another old woman enters the office.. but don't hear the recording. somewhat wearily but attentively. COMMUTER TUBE . INT. He can probably take you right away for an initial consultation. find you physically repulsive! I can't even look at you! They look at each other in silence. OLD MAN (HOWARD) You don't have to jump down my throat.I. A couple fighting. WAITING ROOM . A little boy being called "faggot" by an endless succession of boys. Still dying. She takes some pills with water. MAN I. was trying to be nice. INT.. OLD WOMAN (MARY) (CONT'D) May I help you? SECOND OLD WOMAN I'd like to make an appointment. don't try. We watch the color drain from her face.100. The second old woman smiles gratefully. An old man enters.. The aftermath of a car accident from the driver's POV. removes a small disc.A FEW MINUTES LATER Old Howard works at his desk..
INT. Mierzwiak. . Kruczynski. just a dead stare. but there is no response. As if I had never existed. VAGUE SPACE An old man and the second old woman eat breakfast.101.. TUBE . Joel..CONTINUOUS The second old woman's (Clementine) voice drones tinnily on in the distance. He indicates a sitting area... He joins her. three years ago at a senior dance. On it we see a whole file on Clementine Kruczynski: a list of fifteen dates of previous erasures stretching back fifty years. SECOND OLD WOMAN (CLEMENTINE) (V.. her eyes glassy and unseeing.. OLD MAN (HOWARD) (CONT'D) So. second old woman. A tape recorder starts up and his computer screen lights up so only he can see it.. She sits. the tube is mostly empty.O. INT.) I remember Joel and I were having breakfast -INT. TUBE .. The old man looks up from his cereal and stares blankly. SECOND OLD WOMAN (CLEMENTINE) (V. Nice to meet you. It's late. SECOND OLD WOMAN (CLEMENTINE) Well.NIGHT The old woman (Mary) travels in the commuter tube over Manhattan. all of them involving Joel Barish.) -. She has earphones on. The old woman with the earphones is dead. OLD MAN (HOWARD) Hello. He punches a couple of buttons on his computer console.I said something like we should go upstate and see the leaves change. Old Howard and the old Mary eye each other. SECOND OLD WOMAN (CLEMENTINE) (V.O. OLD WOMAN (MARY) Dr. I met this man.O.. She'd like to talk to you. We'd both been alone for so long and. OLD MAN (HOWARD) (CONT'D) Would you mind if I tape our discussion? She shakes her hear.. Ms. The woman smiles.) (CONT'D) He just stared at me as if I didn't exist. Please have a seat. why don't you begin by telling me why you've come here. this is Clementine Kruczynski.
What's going on.102. The machine clicks off. INT. SECOND OLD WOMAN'S APARTMENT .O. After a moment: OLD MAN'S VOICE Hi. Two young technicians monitor the equipment. But it was gone.his eyes used to be so filled with love. hooked up to modern versions of the erasing machines.) -. BLACK. We need to speak. it's Joel. What had I done with my life? I was alone so long. SECOND OLD WOMAN (CLEMENTINE) (V. One of the technicians reaches over and presses the "erase" button on the machine. END . Clem? Why won't you call me back? Please call me. The woman's bedside phone rings.NIGHT The old Clementine is unconscious on her bed. Her machine picks up. How can I go back to being alone after seeing love? I was alone for so long.
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