From Flower Vase to Film Emperor in Hollywood

One comes, one goes.

This concise dialogue contains a wealth of information, much like Charlie Kaufman's previous works. Even with full attention, one might not fully grasp the film.

Right now!

Every line between Joel and Clementine is earth-shattering—

A hypothetical: If Joel had actively pursued Clementine from the start, and Clementine had clearly set boundaries, then Joel's accusation that Clementine used alcohol to "seduce" him and then used alcohol to philander would be too hurtful and outrageous, completely reversing the power dynamics of the relationship.

Originally, the audience's inner balance was tilted towards Joel, not necessarily agreeing with him or endorsing him, but the Joel presented by the film's lens was sensitive and fragile, introverted and restrained, completely drawn to Clementine, who burned like a flame, placing him in a passive position in the relationship.

So, when cracks appeared in the relationship, even though those differences, those arguments, those conflicts were not unfamiliar and weren't anyone's fault, there was still a subconscious inclination towards Joel, because Clementine had held the initiative from beginning to end.

But now?

Everything is completely overturned, just like with Dr. Howard and Mary.

Humans, at their core, are visual creatures, always easily believing the appearances they see with their own eyes.

At the same time, humans are selfish and lazy creatures, often viewing things from their own perspective, lacking the initiative and proactiveness to explore the truth beneath the surface.

In an emotional relationship, things are never so simple; and right and wrong should never be borne by one person alone. It's a pas de deux, and a partner must be present to dance together.

Joel's eyes are fixed on Clementine. "Okay."

He agrees.

However, Clementine isn't ecstatic, nor does she rush towards Joel like a moth to a flame. She remains calm, composed, and smiling.

"Men always like to objectify me. I can make them whole, I can help them find their vitality, but I'm just a messed-up girl trying to find inner peace."

"Don't make me yours."

Joel, who has been following Clementine, lowers his voice, a slight smile on his lips. "I'll remember that speech."

Clementine, about to pass Joel, stops, looks up at him, examining him closely, her smile gradually widening. "I see right through you, don't I?"

A hint of a smile appears in Joel's eyes. "I see through all of humanity."

Clementine: "Hmph, maybe."

Joel: "I still think you can save me. Even after what happened."

Clementine raises her right hand, gently caressing Joel's cheek, a look of tenderness on her face. "I know."

Joel gazes quietly at Clementine, his eyes fixed on her, a hint of sadness in his expression, his lips almost touching her forehead, whispering.

"If we could start over, things would be different."

So this is still Joel's brain.

So this is still Joel and Clementine's escape. Dr. Howard's memory erasure has reached the time of their first meeting.

So all of this is just a reenactment of Joel and Clementine's second encounter.

This conversation may not be what they actually said back then—or maybe it is, but Joel clearly knows what happened afterward, and he knows he hurt Clementine, which makes this conversation full of sadness and bitterness.

Those sighs and helplessness gently permeate the air.

Clementine—or rather, the Clementine imagined by Joel's brain, the Clementine in Joel's memory, looks up and gazes at herself in Joel's pupils.

"Remember me."

"Try your best. Maybe we can start over."

She says.

But the next second, she disappears. Dr. Howard's memory erasure is accelerating.

Humans are always like this, habitually assuming: once bitten, twice shy. After learning from our mistakes, we won't make the same ones again.

But is that really the case?

Why is it that reality is often a case of 'once the pain is gone, the lesson is forgotten,' repeatedly making the same mistakes, paying for our own stupidity, and constantly falling into the traps we dig for ourselves?

So, if we could start over, would things really be different? After completely erasing the mistakes and starting over, could we really write a completely new story?

Joel stands there, stunned, the bewilderment and hesitation inadvertently revealed in his eyes flickering gently in the gradually dimming lights of the bookstore.

A single glance drags the audience at the Angelica Film Center into a vortex of thoughts, with right and wrong, joy and sorrow constantly pulling at them.

Even the beating of their hearts becomes lighter and slower.

Rummaging, rummaging.

A flurry of overturning boxes and cabinets scatters files all over the floor, as if the Barnes \u0026 Noble bookstore is being ransacked; but a change of scene reveals it's Mary.

Mary didn't go home, but went to Lacuna, Inc., to search for files.

She found it. She found her own file, played the recording of her conversation with Dr. Howard, listening to her own frustrated and sad voice.

"...I fell in love with you at first sight. You have absolutely no feelings for me. I like it."

"I stammered when I first talked to you; but I wanted you to think I was smart. I can't wait to come to work. I even fantasize about marrying you and having children."

"Oh, Howard, I can't help it."

On the desk, a ray of light from the desk lamp falls lightly and fragilely on her cheek. Mary squats weakly on the ground, curling up into a ball, holding her knees tightly, with all her strength, yet still unable to control the slight trembling.

The darkness surging from all directions is gradually swallowing her bit by bit.

However, she is powerless to resist.

A change of scene, and Kelly and Rob appear. Montauk Beach appears—

That party!

The party that Naomi didn't go to, but Joel still decided to attend with his friends, the party where Joel and Clementine first met!

Sure enough, Joel's narration comes from the side, weathered and bitter.

"That's the day we met."

"You were on the beach. I saw you from afar. I remember being attracted to you then."

"I thought, this is so strange, right? I fell in love with your back?"

"You were wearing that orange hoodie. You wore it so often that I eventually started to hate it."

Clementine appears.

Gasp!

A few scattered exclamations ring out in the Angelica Film Center, including from Blair.

Blair saw it at a glance: that blue hair.

Not green, not orange, not red, but blue.

Everything is as Blair thought. Hair color is the way to distinguish timelines, and Joel's attire, all the details, are playing roles and serving functions. The seemingly chaotic timeline is actually neatly arranged, just waiting for the audience to restore order.

Like a Rubik's Cube.