46
Leonard enters. Burt is behind the counter reading a magazine. LEONARD
I'm sorry, I think I'm checked in here, but I've misplaced my key. BURT
(looks up) Hi, Leonard. 47
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
Leonard (in boxers, bandaged arm shaving foam on thigh, strides the row,
talking on the phone and gesticulating with a disposable razor. LEONARD
So Sammy can't learn any new skills. But
47 *
I find something in my research: Conditioning. Sammy should still be
able to learn through repetition. It's how you learn stuff like riding a
bike, things you don't think about, you just get better through
practice. Call it muscle memory, whatever, but it's a completely
different part of the brain from the short-term memory. So I have the
doctors test Sammy's response to conditioning... 48
INT. EXAMINATION ROOM - DAY ##BLACK AND WHITE SEQUENCE##48
Sammy sits at a table. A DOCTOR sits opposite pointing out various METAL
OBJECTS sitting on the table. DOCTOR Just pick up any three objects.
SAMMY (amused) That's a test? Where were you guys when I did my CPA?
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 48
32.
CONTINUED:
Sammy PICKS UP an object and gestures to the Doctor for applause. Sammy
goes for a second object, but gets a SHOCK which makes him recoil in
pain. (LEONARD TO SUBSTITUTE)
48
*
SAMMY (cont'd) Ah! What the fuck?! Sammy looks ACCUSINGLY at the Doctor.
DOCTOR It's a test, Sammy. LEONARD (V.O.) Some of the objects were
electrified, They'd give him a small shock. BACK TO LEONARD IN MOTEL
ROOM 49
INT. MOTEL ROOM 21 - DAY #BLACK AND WHITE SEQUENCE# LEONARD They kept repeating the test, always
49
with the same objects electrified. The point was to see if he could
learn to avoid the electrified objects. Not by memory, but by instinct.
50 INT. NATALIE'S BEDROOM: MESSY, CHEAPLY BUT ABUNDANTLY FURNISHED -
MORNING <>
50
Leonard opens his eyes, naked in bed. He looks around, confused. With a
START, he realizes that someone else is in the bed: a BRUNETTE with her
back to him. Leonard leans right over her to get a look at her face. It
is NATALIE. The BRUISE on her eye and the MARK on her lip are worse than
before. She OPENS her eyes and is startled by the sight of Leonard's
hovering face. LEONARD Sorry. It's only me. Leonard FLOPS down. Natalie
wakes up fully and relaxes. Sleep okay?
NATALIE LEONARD
Yeah. You? Natalie shrugs. She looks at her bedside clock.
(CONTINUED)
MEMENTO Blue Revisions - 8/27/99 33. 50
CONTINUED:
50 NATALIE I gotta be someplace.
She gets out of bed, wearing pajamas. Leonard swings his legs out of the
bed and realizes that he is wearing trousers and socks. He looks at his
tattoos, as if he has never seen them before. Pretty weird.
NATALIE (cont'd)
She is smiling at him in the mirror. Leonard smiles, shrugs. LEONARD
Useful. You never write a phone number on your hand? NATALIE *
(through mirror)
*
I should be able to talk to my friend about the license plate today.
*
*
*
LEONARD * Yeah, the license plate... NATALIE *
*
(smiles)
John G's license plate number. You have
*
it tattooed on your thigh. *
Natalie leaves the room. Leonard pulls down his trousers to reveal two tattoos:
*
*
"FACT 5: DRUG DEALER" * "FACT 6: LICENSE PLATE NUMBER SG13 1NU" *
Leonard runs his finger over fact 6, then pulls his trousers up and
looks around the room. He spots his suit jacket hanging over the back of
a chair. He checks the pockets, pulls out his Polaroids, flips through
them: a Jaguar, the Discount Inn, Natalie. He flips Natalie's picture
over and looks at the back. There are two messages, but the first one
has been completely scribbled over. The other one reads:
* *
"HAS ALSO LOST SOMEONE, SHE WILL HELP YOU OUT OF PITY" Leonard stuffs
the photos back into his pocket, grabs a white shirt of f the chair and
pulls it on. Natalie comes back in and starts to apply her makeup.
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 33A. 50 50
CONTINUED: (2) NATALIE If it's registered in this state it'll just take
seconds to pull up his license and registration. I'll call when I've
*
spoken to him. LEONARD * Why don't we just arrange a meeting now?
*
I'm not too good on the phone. Natalie takes her eye pencil and writes a
NOTE on a SMALL BAG FROM A PHARMACY. Leonard puts his jacket on.
Natalie offers * him the note. It says:
*
"CITY GRILL, MAIN ST. THURSDAY, 1.OOPM MEET NATALIE FOR INFO"
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 34. 50 50
CONTINUED: (3) LEONARD (cont'd) (leading) It's great that you would...
that you're helping me like this... NATALIE (smiles) I'm helping you
because you helped me.
Leonard nods. NATALIE (cont'd) So will you remember me next time you seo
me? Leonard shakes his head and reaches for the note. Natalie grabs his
lapel and pulls him down to her, kissing him gently on the mouth.
NATALIE (cont'd) I think you will. LEONARD (smiles) I'm sorry. Leonard
heads for the door. NATALIE (amused) Lenny, before you go, can I have my
shirt back please?
She tosses him his blue shirt. Leonard looks down at the white shirt which he has put on. It is way too small. 51
EXT. MAIN STREET - DAY <>
51
The Jaguar pulls up to a red light. Suddenly Teddy is banging on the
window. TEDDY Lenny! I thought you'd gone for good. What brings you
back? 52
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
Leonard (in boxers, bandaged arm) STRIDES the room, shaving foam on leg, razor in one hand, phone in the other.
52 * *
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 35. 52
CONTINUED:
52 LEONARD They kept testing Sammy for months, always with the same objects carrying the electrical charge...
53
INT. EXAMINATION ROOM - DAY ##BLACK AND WHITE SEQUENCE##53
Sammy sits across the testing table from the Doctor. Sammy goes for a
METAL OBJECT and RECOILS in pain from a SHOCK. SAMMY Ah! What the fuck?!
DOCTOR It's a test, Sammy. JUMP CUT TO: 54
INT. EXAMINATION ROOM - DAY #BLACK AND WHITE SEQUENCE#
AS BEFORE, but Sammy is DRESSED DIFFERENTLY. He goes for an object and
is SHOCKED. SAMMY Ah! What the fuck?! DOCTOR It's a test, Sammy.
54
SAMMY EXTENDS A TREMBLING MIDDLE FINGER. SAMMY Yeah? Test this you
fucking quack. Sequence of JUMP CUTS of Sammy extending his MIDDLE
FINGER and RECOILING in shock from the objects. LEONARD (V.O.) Even with
total short-term memory loss, Sammy should've learned to instinctively
stop picking up the wrong objects. All previous cases of short-term
memory loss had responded to conditioning in some way. Sammy didn't
respond at all. BACK TO LEONARD IN MOTEL ROOM 55
INT. MOTEL ROOM 21 - DAY #BLACK AND WHITE SEQUENCE#
55
LEONARD It was enough to suggest his condition was psychological not physical. (MORE) (CONTINUED) 36. 55
CONTINUED:
55 LEONARD (cont'd) We turned down his claim on the grounds that he
wasn't covered for mental illness. Sammy's wife got stuck with the bills
and I got a promotion for rejecting a big claim.
Leonard looks into the mirror. LEONARD (cont'd) Conditioning didn't work
for Sammy, so he became helpless. But it works for me. I live the way
Sammy couldn't. Habit and Conditioning. Acting on instinct. 56
EXT./INT. NATALIE'S FRONT DOOR - DUSK <>
56 *
Leonard pulls up in his Jaguar, gets out, rings the front doorbell. It
is opened by Natalie. LEONARD Natalie, right? Natalie nods, wary of
Leonard's barely concealed anger. Leonard thrusts a Polaroid photo in
her face.
LEONARD (cont'd) Who the fuck is Dodd? The photo is of a MAN who is
BOUND, GAGGED, and BLOODY. On the back of the photo: "GET RID OF HIM,
ASK NATALIE" Natalie takes the picture and examines it. NATALIE Guess I
don't have to worry about him anymore. LEONARD (snaps) Who is he? What
have you got me into? Natalie looks up and down the street. Come inside.
57 <>
NATALIE
INT. NATALIE'S LIVING ROOM: COMFORTABLE AND MESSY - NIGHT
Natalie shows Leonard in.
57
(CONTINUED)
MEMENTO Blue Revisions - 8/27/99 37. 57
CONTINUED:
57 NATALIE Calm down. You're not into anything. It was my problem, you
offered no help. It's got nothing to do with your investigation. LEONARD
That's the problem! How can I find John G. when I don't know what's
going on?! How did you get me into this?! NATALIE Leonard, you offered
to help when you saw what this guy did to me.
She gestures at the BRUISING on her face. LEONARD How do I know he did
that to you? NATALIE I came to you straight after he did it. I showed
you what he'd done and asked for
your help. LEONARD So I just take your word? NATALIE Yes. LEONARD
(sighs) Something feels wrong. I think someone's fucking with me. Trying
to get me to kill the wrong guy. Did you?
NATALIE LEONARD
What? Kill him.
NATALIE LEONARD
Course not. Natalie waves the Polaroid at him.
(CONTINUED) 38. 57 57
CONTINUED: (2) NATALIE This has nothing to do with you. You helped me out, and I'm grateful.
She tries to rip the picture. Leonard watches her try. The plastic is
too strong. LEONARD You have to burn them. Natalie scrunches it up and
throws it down. Leonard and Natalie sit down on the couch. NATALIE You
decided to help me. Trust yourself. Trust your own judgment. You can
question everything, you can never know anything for sure.
LEONARD There are things you know for sure. NATALIE Such as? LEONARD I
know the feel of the world. (reaches forward) I know how this wood will
sound when I knock. (raps knuckles on coffee table) I know how this
glass will feel when I pick it up. (handles glass) Certainties. You
think it's knowledge, but it's a kind of memory, a kind you take for
granted. I can remember so much. (runs hands over objects) I know the
feel of the world, (beat) and I know her. NATALIE Your wife? LEONARD
She's gone and the present is trivia, which I can scribble down as
notes. Natalie stares at Leonard, thinking.
(CONTINUED) 39. 57 57
CONTINUED: (3) NATALIE Relax a little, okay? Take off your jacket.
Leonard takes his jacket off and places it on the back of the couch,
patting the pockets as he does so. LEONARD It's not easy to be calm when
Just relax.
NATALIE
She reaches for his arm and unbuttons his cuff, revealing the end of Leonard's tattoos.
NATALIE (cont'd) You don't seem the type. She pushes back the sleeve, trying to read the tattoo. Leonard watches her. * Come on.
NATALIE (cont'd)
She starts to unbutton his shirt. He watches. Natalie gasps as she opens
Leonard's shirt and pulls it back over his shoulders. She tilts her
head, trying to read the different messages. It's backwards.
NATALIE (cont'd)
* She pulls him up and turns him around in front of the mirror to read the backwards tattoo across his chest. *
*
"JOHN G. RAPED AND MURDERED MY WIFE". Natalie touches the blank area of skin above Leonard's heart.
*
* Here?
*
NATALIE (cont'd)
Leonard looks down at the blank patch, then at Natalie, vulnerable,
confused. * LEONARD * It's... it must be for when I've found him. * She
looks at Leonard. Leonard shrugs. Natalie studies Leonard's chest,
avoiding his eyes. *
*
* *
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 39A. 57 57
CONTINUED: (4)
NATALIE (cont'd) I've lost somebody.
I'm sorry.
LEONARD
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 40. 57 57
CONTINUED: (5)
Natalie picks up a photograph from off a messy desk in the corner. She
shows it to Leonard. The picture shows Natalie smiling and hugging a
smirking YOUNG MAN (JIMMY). Natalie looks up at Leonard to see his
reaction.
*
NATALIE His name was Jimmy. LEONARD What happened? NATALIE He went to
meet somebody and didn't come back. LEONARD Who did he go to meet?
Natalie studies Leonard. NATALIE A guy called Teddy. Leonard does not
react to the name. LEONARD What do the police think? NATALIE They don't
look too hard for guys like Jimmy. Natalie puts the photo down. She
reaches out to Leonard, spreading her fingers over the blank part of his
chest. NATALIE (cont'd) When you find this guy, this John G., what are
you going to do? Kill him.
LEONARD NATALIE
* *
*
Maybe I can help you find him. I know a lot of people.
58
INT. NATALIE'S BEDROOM - NIGHT <>
58
Natalie, eyes closed, has her head on Leonard's chest. He is shirtless, lying on top of the covers.
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 41. 58
* *
CONTINUED:
58 LEONARD I don't even know how long she's been gone. It's like I've
woken up in bed and she's not here because she's gone to the bathroom or
something. But somehow I just
*
know that she'll never come back to bed. I lie here, not knowing how long I've been alone. If I could just reach out and
* *
touch her side of the bed I could know that it was cold, but I can't. I have no
*
idea when she left. * Natalie's eyes are open.
*
LEONARD (cont'd) I know I can't have her back, but I want to be able to
let her go. I don't want to wake up every morning thinking she's still
here then realizing that she's not. I want time to pass, but it won't.
How can I heal if I can't feel time?
Leonard bends his head around to see if Natalie is awake. She closes her
eyes. Leonard gingerly slides from underneath her and moves silently
out of the bedroom. 59
INT. NATALIE'S LIVING ROOM - NIGHT <>
59
Leonard enters the dark room. He goes to the couch and picks up his
shirt and his jacket. He notices the photograph which Natalie showed him
on top of some papers on a desk in the corner. He holds it in a shaft
of light from the streetlamp outside, studying the photo of Natalie and
Jimmy.
*
60
INT. NATALIE'S BEDROOM - NIGHT <>
60
Natalie, eyes open, slides her hand over to where Leonard was lying, feeling his residual warmth. ii 61
61
INT. NATALIE'S LIVING ROOM - NIGHT <>
Leonard has his Polaroid photograph of Natalie out. He takes a pen out
of his jacket, rests the photo against the wall in a patch of light and
writes on the back, underneath the message which has been scribbled out:
"SHE HAS ALSO LOST SOMEONE. SHE WILL HELP YOU OUT OF PITY"
MEMENTO Pink Revisions - 9/7/99 42. 62
INT. NATALIE'S BEDROOM - CONTINUOUS - NIGHT <>
Leonard enters, deposits his jacket and shirt, then slides into bed next to Natalie. 63
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
Leonard lies on the bed (in boxers, bandaged arm) talking on the phone.
He wipes the excess shaving foam from his thigh, and feels the
SMOOTHNESS of the clean-shaven skin.
63 *
LEONARD Sammy's wife was crippled by the cost of supporting him and
fighting the company's decision - but it wasn't the money that got to
her. 64 INT. JANKIS HOUSE LIVING ROOM - DAY ##BLACK AND WHITE SEQUENCE##
Mrs. Jankis comes into the room. Sammy is seated, watching T.V. He
looks up at her with a smile. She smiles back, tense. LEONARD (V.0.) I
never said that Sammy was faking. Just that his problem was mental, not
physical. But she... she couldn't understand. She looks into his eyes
and sees the same person. And if it's not a physical problem...
64
Sammy's Wife starts shouting at Sammy. Sammy squirms. LEONARD (V.0.)
(CONT'D) ... he should just... snap out of it. Sammy's Wife THROWS her
drink in Sammy's face, puts her head in her hands, SOBBING. Sammy wipes
his face on his sleeve. BACK TO LEONARD IN MOTEL ROOM: 65
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
65
Leonard, talking on the phone, empties the white paper bag onto the bed
beside him: Two cheap BALL-POINT PENS, SCOTCH TAPE, a pack of NEEDLES,
and a FILE CARD.
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 43. 65
CONTINUED:
65 LEONARD (cont'd) So good old Leonard Shelby from the insurance
company gives her the seed of doubt, just like he gave it to the
doctors. But I never said that Sammy was faking. I never said that.
Leonard takes a NEEDLE out of the packet. 66
INT. LEONARD'S APARTMENT WITH HIGH CEILINGS AND WOODEN FLOOR 66 - NIGHT <>
We move along a hallway towards a closed door. An ominous rumbling builds. A66
INSERT QUICK CUTS: A66
TREMBLING, SHALLOW-FOCUS EXTREME CLOSE UPS: A glass bottle SHATTERS
against black and white ceramic tiles. A SUDDEN MOVEMENT glimpsed
through a water-beaded clear plastic shower curtain. The shower curtain
pulls TAUT across a GASPING FEMALE FACE. Leonard's REFLECTION in a
MIRROR which SHATTERS.
*
67
INT. DODD'S MOTEL ROOM - DAY <>
67
Leonard opens his eyes, frightened. He is lying on the bed in his beige suit and blue shirt. Awake.
LEONARD (V.0.)
He rolls his eyes to one side. LEONARD (V.O.)(cont'd) Where am I? He lifts his head and surveys the room. Motel room.
LEONARD (V.O.)(cont'd)
He rises from the bed, looking at the room as if for the first time. He
starts looking in the dresser drawers, finding nothing. LEONARD
(V.O.)(cont'd) Some anonymous motel room. Nothing in the drawers, but
you look anyway. (CONTINUED) MEMENTO Pink Revisions - 9/7/99 44. 67
CONTINUED:
67
He grasps the handle of the bedside drawer. LEONARD (V.O.) (cont'd)
Never anything but the Gideon... Leonard pulls the drawer open, and
pauses at what he sees. LEONARD (V.O.) (cont'd) ... Bible. In the drawer
is a Gideon Bible. Resting on top of it is a HANDGUN. Leonard turns,
looks over the rest of the room. He moves to the bureau and opens
drawers. Empty. He goes to the closet and OPENS it. Inside is a BOUND
and GAGGED MAN on the floor, knees against chest. His mouth is taped up
with silver electrical tape, stained with DRIED BLOOD from his swollen
nose. He looks up at Leonard, blinking in the sudden bright light,
TERRIFIED. Leonard SHUTS the closet door, CONFUSED. The Man in the
closet starts GRUNTING and BUMPING the closet door. There is a KNOCK at the door. Leonard looks through the peephole. 68
INT./EXT. DODD'S MOTEL - DAY <>
68
INSERT LEONARD'S P.O.V.: A FISH-EYE TEDDY, grinning and waving. 69
INT. DODD'S MOTEL - DAY <>
69
Leonard looks around, trying to think. Teddy KNOCKS harder. The Man in
the closet BUMPS and GROANS. Leonard reaches into his pocket and pulls
out some Polaroids. LEONARD (cont'd) Just a minute! He finds the one of
Teddy, then sticks them back into his pocket. He OPENS the door to Teddy
and grins. LEONARD (cont'd) Teddy! Teddy brushes past him into the
room. TEDDY Finished playing with yourself, Lenny?
45. 69
(CONTINUED)
CONTINUED:
69
Teddy SLUMPS into a chair. Leonard tries to smile. There is a faint
GRUNTING and BUMPING from inside the closet. Teddy notices the noise and
grins. TEDDY (cont'd) I get it - amorous neighbors. LEONARD Why are you
here? TEDDY (surprised) You called me. You wanted my help. You know,
Lenny, I've had more rewarding friendships than this one. Although I do
get to keep using the same jokes. Leonard thinks, then moves to the
CLOSET and OPENS the door. Teddy looks in DISBELIEF at the Man in the
closet.
TEDDY (cont'd) Who the fuck is that? LEONARD You don't know him? No! Should I?
TEDDY
Leonard shrugs. TEDDY (cont'd) Is this John G.? LEONARD I don't think
so. TEDDY Think so? You don't know? Didn't you write it down? LEONARD I
might have fallen asleep before I did. Teddy shakes his head, chuckling.
Ask him.
TEDDY
Leonard crouches down and RIPS the tape from the Man's mouth. LEONARD What's your name? (CONTINUED) 46. 69 69
CONTINUED: (2)
The Man looks at Leonard, wary, says nothing. Leonard tweaks his broken nose. The Man groans. Your name.
LEONARD (cont'd) MAN
Dodd. LEONARD Who did this to you? DODD (confused) What?
LEONARD Who did this to you? DODD You did. Leonard replaces the gag and
SHUTS the closet. TEDDY I'm not gonna help you kill this guy, if that's
what LEONARD No. No, just let me think for a minute. Leonard moves to
the dresser and starts methodically emptying his pockets. He pulls a
Polaroid out of his inside jacket pocket. LEONARD (cont'd) Here we go.
The Polaroid shows Dodd sitting on the bed, BOUND, GAGGED and BLEEDING.
The name Dodd is written below the picture. Leonard flips it over. On
the back it says: "GET RID OF HIM, THEN ASK NATALIE" Teddy looks at the
photo over Leonard's shoulder. TEDDY Natalie? Natalie who? LEONARD Why?
(CONTINUED) 47. 69 69
CONTINUED: (3) TEDDY I think I know her.
Leonard sticks his pictures in his pocket. LEONARD We've got to get him
out of here. TEDDY He's got to have a car, right? We just take him back
to his car and tell him to get the fuck out of town before we kill
him. LEONARD We can't just walk him out tied up and bleeding. TEDDY How'd ya get him in here in the first place? I don't know.
LEONARD
Leonard looks around the room for inspiration. LEONARD (cont'd) Yes I
do... this isn't my room. Teddy looks around at the anonymous room.
LEONARD (cont'd) It's his. He was already here. Let's just *
go.
*
Leonard starts for the door, Teddy lays a hand on his chest.
*
TEDDY * Wait, we can't just leave him. The maid *
finds him, calls the cops. He's seen us now
Leonard thinks.
* *
LEONARD * Okay. We clean him up, untie him and *
march him out with a gun in his back.
*
TEDDY Why would I have a gun? Leonard fishes the HANDGUN out of the
bedside table drawer. (CONTINUED) MEMENTO Pink Revisions - 9/7/99 69 69
47A.
CONTINUED: (4) LEONARD It must be his. I don't think they'd let someone like me carry a gun.
TEDDY Fucking hope not. Leonard covers Dodd with the gun while Teddy
pulls him out of the closet. Dodd has trouble standing up straight.
MEMENTO Pink Revisions 70
9/7/99
48.
EXT. DODD'S MOTEL - DAY <>
70
Teddy exits the room, glances around, motions for Leonard and Dodd to
follow. Dodd is cleaned up and unbound, Leonard is pressed up right
behind him. The three of them descend to the parking lot. Which one?
LEONARD
Dodd leads them to a new LANDCRUISER. Teddy whispers in Leonard's ear.
TEDDY We probably ought to take his car, you know, teach him a lesson.
Shut it, Teddy.
LEONARD
TEDDY Easy for you to say, you've got the Jag. LEONARD I'll ride with
him. You follow. TEDDY Give me your keys. Leonard looks at him,
suspicious. LEONARD Take your own car. Teddy shrugs. Leonard motions
Dodd into the driver's seat, then slides into the passenger side. They
pull out of the parking lot, Teddy following in his GREY SEDAN. 71
EXT. SHOULDER OF HIGHWAY HEADING OUT OF TOWN - DAY <>
The Landcruiser PULLS OVER and stops. The grey sedan pulls up behind.
Leonard gets out of the Landcruiser and it PULLS AWAY at speed. Leonard
walks back to Teddy's car. 72
INT. GREY SEDAN - DAY 72
TEDDY So was he scared? LEONARD Yeah. I think it was your sinister mustache that got him.
(CONTINUED) 49. 72
CONTINUED:
72
Teddy leans over slightly so that he can see his reflection in the rear
view mirror. Leonard smiles. Teddy sees him. TEDDY Fuck you. We shoulda
taken his car. LEONARD What's wrong with this one? TEDDY You like it?
Let's trade. 73
EXT. ALLEY BEHIND THE MOTEL - DAY <>
73
The grey sedan pulls up beside Leonard's Jaguar. Leonard gets out. TEDDY
So what are you gonna do now? LEONARD I'm gonna ask Natalie what the
fuck that was all about. Natalie who?
TEDDY
Leonard ignores him and gets into his Jaguar. 74 <>
EXT. A MODEST SINGLE-STOREY HOUSE - NATALIE'S - DUSK
The Jaguar pulls up. Leonard checks the address against the address
written on his Polaroid of Natalie, then goes to the door and RINGS the
bell. It is opened by Natalie. Natalie, right?
LEONARD
Natalie nods, wary of Leonard's tone. Leonard THRUSTS a Polaroid in her face.
74
LEONARD (cont'd) Who the fuck is Dodd? The photo shows Dodd, BOUND, GAGGED and BLEEDING. CUT TO: 75
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
75
Leonard (boxers, bandaged arm) talks on the phone as he takes a NEEDLE
and tapes it to the BALL-POINT PEN. (CONTINUED) MEMENTO Pink Revisions
75
9/7/99
50.
CONTINUED:
75 LEONARD What Mrs. Jankis didn't understand was that you can't bully
someone into remembering... the more pressure you're under, the harder
it gets. (listens) Then call me back.
Leonard hangs up. 76
INT. DODD'S MOTEL ROOM BATHROOM - DAY <>
76
Leonard sits on the toilet, grasping an empty VODKA BOTTLE by the neck.
He notices the bottle in his hands as if for the first time. LEONARD
(V.O.) Don't feel drunk. Leonard looks up from the VODKA BOTTLE, sighs,
rubs his face, then stands up. He SNIFFS at his armpit. He puts the
empty bottle on the counter by the sink, then wearily UNDRESSES.
Leonard, NAKED, looks in the mirror, then RUNS THE SHOWER then steps
under it, shutting the PEBBLED PLASTIC STALL DOOR. Leonard SHOWERS. He
turns the water off, then hears the DOOR BEING UNLOCKED. Leonard
freezes, standing in the SHOWER STALL, NAKED and DRIPPING. Through the
distortion of the PEBBLED PLASTIC DOOR, Leonard sees a FIGURE enter the
bathroom and start pissing into the toilet. The distorted Figure turns
and approaches the shower stall, becoming clearer as it gets closer,
then YANKS the door open. It is Dodd (WITHOUT INJURIES). He is SHOCKED
to see the naked Leonard. Leonard BURSTS out of the shower stall,
SMASHING Dodd against the wall.
Dodd STRUGGLES around, grabbing at the SLIPPERY, naked Leonard. Dodd
PUSHES against Leonard, SLASMMING him into the sink. Leonard has his
arms around Dodd's neck. Leonard SMASHES Dodd's head sideways into the
wall, HARD. Dodd SLUMPS to the floor. Leonard exhales. Dodd puts a FIST
in Leonard's crotch, then GRABS his neck as he doubles over. Dodd uses
Leonard to pull himself off the floor then PUNCHES the side of his head
and pushes him HARD, Leonard FLAILING wildly, GRABBING THE EMPTY VODKA
BOTTLE from by the sink as he falls back into the bedroom. Dodd reaches
into his INSIDE POCKET.
51. 77
INT. DODD'S MOTEL ROOM - DAY <>
77
Leonard STUMBLES in, naked, from the bathroom, swings around, HITTING
Dodd square in the face with the empty vodka bottle, which does not
break. Dodd lies still on the floor, bleeding, his hand still in his
inside jacket pocket. Leonard stands above him, naked, dripping wet,
catching his breath. There is a KNOCK at the door. Housekeeping.
FEMALE VOICE (O.S.)
The sound of a KEY entering the lock. Leonard LEAPS for the door and flips the privacy latch. Not just now!
LEONARD
Leonard listens to the maid withdraw her key. Leonard SEARCHES Dodd,
finding his GUN in his inside pocket. Leonard examines the weapon, then
starts to search the room. Leonard finds an overnight bag at the bottom
of the closet. Inside it there are some clothes, spare ammunition, a
large hunting knife, and a roll of SILVER ELECTRICAL TAPE. Leonard WRAPS
the electrical tape around Dodd's wrists, then across his mouth.
Leonard finishes taping up Dodd, then sits him on the edge of the bed.
Leonard takes a POLAROID PHOTOGRAPH of the bloody, taped-up Dodd.
Leonard shoves Dodd into the closet, takes out a NOTE and consults it,
then writes "DODD" on the white strip on the front of the photograph. He
flips the picture over and writes on the strip on the back, in smaller
writing:
"GET RID OF HIM, ASK NATALIE" Leonard dresses, puts the Polaroid into
the inside pocket of his jacket. He looks again at the note. It says:
"DODD, MOUNTCREST INN ON 5TH STREET, ROOM 6"
*
"PUT HIM ONTO TEDDY OR JUST GET RID OF HIM FOR NATALIE" Leonard picks
the stack of Polaroids out of his outside jacket pocket. He flips
through them until he finds the one of Teddy, then picks up the phone
and dials Teddy's number. The phone is answered:
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 77
52.
CONTINUED:
77 TEDDY (O.S.) You know what to do.
Then a BEEP. Leonard does not look like he knows what to do. LEONARD Ah,
it's a message for Teddy... * Leonard looks at the note. LEONARD
(cont'd) I'm at the MOUNTCREST INN on 5th Street, Room 6, and I need you
to come over as soon as you get this, it's important. This is Leonard.
Thanks. Bye. Leonard hangs up. He looks around the room. He slips the
HANDGUN into the bedside drawer, resting it on the GIDEON BIBLE, then
swings his feet up onto the bed and lies down. CUT TO: 78
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
Leonard (boxers, bandaged arm) crooks his neck to hold the phone. In his
hands is the PEN with the NEEDLE taped to it. Leonard wiggles the
needle, then applies more tape. CUT TO:
78 *
79
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUEWCE##
79
Leonard (boxers, bandaged arm) takes the NEEDLE/PEN in one hand and
picks up a CIGARETTE LIGHTER in the other. Leonard IGNITES the lighter,
then holds the needle over the flame. He examines the NEEDLE, then holds
it in the flame again. Leonard puts down the lighter and picks up a
second BALLPOINT PEN. 80
EXT. DODD'S MOTEL - DAY <>
80
Leonard's Jaguar pulls up, FAST. Several bits of SHATTERED SAFETY GLASS
are still visible in the frame. He parks around the back, out of sight
and consults a note. LEONARD (V.0.) I'll get the jump on you, fucker.
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 80
53.
CONTINUED:
80
Leonard RACES up the stairs to the rooms on the second floor. He stops
at Room 9, listening. The T.V. is on. Leonard gets a CREDIT CARD out and
slips it into the lock gently, with a practiced hand. He leaves the
CARD WEDGED in the lock, then steps back from the door and KNOCKS.
Leonard watches the POINT OF LIGHT in the PEEPHOLE to Room 9. The point
of light GOES OUT. Leonard KICKS the door in, SMASHING THE ROOM'S
OCCUPANT BACK INTO THE ROOM. Leonard stands over him, looking down. The
man is unconscious, blood on his face. Something is not right. LEONARD
(V.O.) Is this the guy? Leonard looks down at his NOTE. The room number
given is 6. Leonard looks at the "9" on the door, then down at the
unconscious man. LEONARD (cont'd) Fuck! Sorry. Leonard reaches down,
GRABS his credit card from where it landed on the floor, and backs out
of the doorway, shutting the door on the Unconscious Man.
He MOVES QUICKLY to Room 6, slips his credit card in the lock and knocks. No answer, so Leonard slips inside. 81
INT. DODD'S MOTEL ROOM - DAY <>
81
Leonard flicks the light on and glances around. There is nothing in the
room except an empty VODKA BOTTLE on the bedside table. Need a weapon.
LEONARD (V.O.)
He grabs the empty vodka bottle, switches the light off and slips into the bathroom. 82
INT. DODD'S MOTEL ROOM BATHROOM - DAY <>
82
Leonard sits down on the toilet, holding the empty bottle by its neck.
He reaches out and adjusts the angle of the door. His eyes are alert, he
is nervous. Waiting. And waiting. 83
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
83
(CONTINUED) 54. 83
CONTINUED:
83
Leonard (boxers, bandaged bicep), takes the second ball-point pen and SNAPS it in two. 84
EXT. SMALL ALLEY BEHIND A ROW OF TRAILER HOMES - DAY <>
Leonard is RUNNING FURIOUSLY, arms pumping. LEONARD (V.O.) What the fuck
am I doing? Leonard glances to his right, and through a GAP between two
trailers he catches a glimpse of Dodd on the other side of the trailer
homes, RACING along parallel to Leonard. Chasing him!
LEONARD (V.O.) (CONT'D)
Leonard CUTS down the next gap between trailers, heading FULL SPEED for
Dodd's side. Dodd (without bruises) appears again at the other end of
the gap, SEES Leonard, and STARTS RUNNING TOWARDS HIM. There is a GUN in
his hand. LEONARD (V.O.) (CONT'D)
FUCK! He's chasing me. Leonard SKIDS to a halt and turns around. A
BULLET hits the dirt by his feet. He clears the end of the trailer and
THROWS himself over a chain link fence, dropping down on the other side
and SCRAMBLING through some bushes. He RACES full tilt into a parking
lot, looking around, desperate. He can hear a CAR ALARM sounding. He
pulls his KEYS OUT and hits the ALARM switch. Hearing the DOUBLE BEEP as
the alarm stops, he spots the Jaguar. The Jaguar PEELS OUT just as Dodd
emerges from the trailer park. 85
INT. JAGUAR - DAY <>
85
Leonard is breathing hard, looking around nervously. He starts knocking
BITS OF BROKEN WINDOW GLASS out of the driver's side window with his
elbow then pulling photos and pieces of paper out of his pockets as he
drives. Leonard finds a NOTE that gives a description of Dodd, along
with the motel and room number where Dodd is staying. CUT TO:
55. 86
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
Leonard (boxers, bandaged arm) has the NEEDLE/PEN in one hand and the
BROKEN PEN in the other. Leonard DIPS the needle into the clear plastic
INK RESERVOIR off the broken pen. 87
EXT. TRAILER PARK PARKING LOT - DAY <>
87
Leonard is in the Jaguar. Dodd (without any bruises) is standing by the
window, aiming his gun at Leonard. DODD I haven't made a strong enough
impression. LEONARD (amused) Don't be too hard on yourself. Dodd motions
for Leonard to open the passenger side door. Dodd gets into the
passenger seat, gun on Leonard. Leonard nods to him. LEONARD
86 *
Seat belt. Leonard starts to reach over his left shoulder with his right
hand as if for the seat belt. Dodd watches Leonard's right hand. With
his left hand, Leonard opens the door. He rolls out, SLAMMING the door
in Dodd's face, and hitting the central locking on his car keys. Leonard
TAKES OFF across the asphalt. Dodd tries the doors, then SHOOTS at
Leonard, SHATTERING the driver's side window, triggering the CAR ALARM.
Dodd climbs through the window and takes off after him. Leonard slips
into a trailer park, TRIPPING as he DIVES into a gap between two
trailers, STUMBLING over the PLASTIC LAWN FURNITURE and OLD BIKES which
litter the narrow gap. He picks himself up and SPRINTS into the alley
behind the trailers. He races along behind the trailers. Leonard is
RUNNING FURIOUSLY, arms pumping. LEONARD (V.O.)(cont'd) What the fuck am
I doing?
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 87
56.
CONTINUED:
87
Leonard glances to his right, and through a GAP between the two trailers
he catches a glimpse of Dodd on the other side of the trailer homes,
racing along parallel to Leonard. LEONARD (V.O.) (cont'd) Chasing him!
Leonard cuts down the next gap between trailers, heading FULL SPEED for
Dodd's side. CUT TO: 88
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
Leonard looks at the INK-COVERED NEEDLE. Leonard consults the FILE CARD.
It has a HANDWRITTEN MESSAGE: "TATTOO: ACCESS TO DRUGS" CUT TO:
88
89 *
EXT. DISCOUNT INN - NIGHT <>
89
Leonard exits room 304 of the Discount Inn carrying a SHOPPING BAG, looking GRIM-FACED. 90
*
INT. JAGUAR - NIGHT <>
90
Leonard gets in, gently places the bag on the passenger seat. 91
EXT. STREET - NIGHT <>
91
The Jaguar speeds along. 92
EXT. PARKING LOT OVERLOOKING RESERVOIR - NIGHT <>
Leonard gets out of the Jaguar, carrying the shopping bag. He climbs the chain-link fence. 93
EXT. RESERVOIR - NIGHT - SAME <>
93
Leonard has built a small FIRE. He reaches into the bag and removes a
small STUFFED TOY. He douses it with lighter fluid and places it on the
fire. He watches the fur blacken and the plastic eyes melt. Leonard
reaches into the bag and pulls out a well-worn PAPERBACK BOOK, whose
cover has long-since been ripped off. Leonard flicks through the pages.
MEMENTO Blue Revisions - 8/27/99 57. 94
INT. BEDROOM, LEONARD'S APARTMENT - NIGHT <>94
Leonard is undressing. Leonard's Wife is in bed, reading the well-worn
paperback. LEONARD How can you read that again? LEONARD'S WIFE (without
looking up) It's good. LEONARD You've read it a hundred times. LEONARD'S
WIFE I enjoy it. LEONARD
Yeah, but the pleasure of a book is in wanting to know what happens next
LEONARD'S WIFE (looks up, annoyed) Don't be a prick. I'm not reading it
to annoy you, I enjoy it. Just let me read, please. 95
EXT. RESERVOIR - NIGHT <>
95
He places the BOOK on the fire. He reaches into the bag, produces a BRA
and a HAIRBRUSH. He puts the bra on the fire, then pulls some BLACK HAIR
out of the hairbrush. He holds a few strands out above the fire until
they shrivel up in the heat. He does this with a larger clump and it
produces a SMALL FLAME so he DROPS it into the fire. LEONARD (V.O.)
Probably tried this before. Probably burned truckloads of your stuff.
Can't remember to forget you. He DROPS the brush onto the fire, pulls a
GREEN ALARM CLOCK out of the bag and adds it to the fire. Once the bag
is EMPTY, Leonard places it on the fire. He sits looking at the flames.
DISSOLVE TO: 96
EXT. RESERVOIR - DAWN <>
96
The sky has brightened. Leonard KICKS the dying embers apart.
58. 97
INT./EXT. DAWN - THE JAGUAR SPEEDS ALONG <> 97
Leonard looks into his rearview mirror to see a LANDCRUISER following
him. Leonard SPEEDS UP, turns right. The Landcruiser sticks behind.
LEONARD (V.O.) Do I know this guy? Leonard fishes photographs out of his
pocket, examining them. The Landcruiser ACCELERATES until it is
uncomfortably close. Leonard slows, turning into a PARKING LOT. The
Landcruiser follows. LEONARD (V.O.) He seems to know me.
The Landcruiser PULLS ALONGSIDE the Jaguar. Leonard looks over. Dodd (no
bruises) is at the wheel. Leonard rolls down his window. LEONARD (V.O.)
What the fuck! Dodd pulls out a HASNDGUN and points it at Leonard.
Leonard SLAMS on the brakes, JERKING to a halt as the Landcruiser pulls
over in front of the Jaguar. 98
EXT. TRAILER PARK PARKING LOT - DAY <>
98
Dodd, gun in hand, gets out of the Landcruiser and approaches. DODD I like your car. Thanks.
LEONARD
DODD Where'd you get it? LEONARD Interested in buying one? DODD I just
want you to tell me how you came by that car. LEONARD I forget. Dodd
points his gun at Leonard through the window.
(CONTINUED) 59. 98
CONTINUED:
98 DODD I haven't made a strong enough impression on you. LEONARD (amused) I wouldn't be too hard on yourself.
99
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
Leonard (boxers, bandaged arm) drops the FILE CARD and
99
presses the INK-COVERED NEEDLE against his thigh. Leonard pushes the
ink-covered needle against his thigh, ABOUT TO BREAK THE SKIN.
*
The PHONE RINGS, surprising Leonard. He watches it ring, then reaches
out with his BANDAGED arm to lift the receiver. LEONARD Who is this? CUT
TO: 100
INT. MOTEL ROOM 304 - NIGHT <>
100
Leonard is WOKEN by the sound of a door SHUTTING FIRMLY. He turns his
head to see a glow from under the bathroom door. In the dim light he can
see a well-worn, COVERLESS PAPERBACK BOOK on the far bedside table.
Next to it is a HAIRBRUSH and a drinking glass half-full of water. There
is a small STUFFED TOY sitting by the pillow next to Leonard's head.
Leonard's eyes are half-closed as he slides his hand onto the other half
of the bed, feeling the residual warmth, smiling. He props himself up
on one arm, rubs his eyes and reaches over to the SMALL, GREEN ALARM
CLOCK, straining to read its numbers in the dim light. He breathes
heavily, sleepily and shuts his eyes for a second, UTTERLY CONTENT.
LEONARD (about to tell her something) Honey? The sound of the SHOWER
being run. Leonard opens his eyes and looks over to the bathroom door.
LEONARD (cont'd) (relaxed) Honey? It's late. Leonard swings his legs
over and sits on the edge of the bed. Move in on Leonard's face.
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 100
60.
CONTINUED:
100 LEONARD (cont'd) Everything okay?
Leonard looks around with growing unease. 101
INT. LEONARD'S APARTMENT BATHROOM - NIGHT <>101
TREMBLING, SHALLOW-FOCUS EXTREME CLOSE UPS:
A glass bottle SHATTERS against a tiled floor, bath salts and glass spreading out over the black and white tiles. 102
INT. MOTEL ROOM 304 - NIGHT <>
102
Leonard RISES from the bed, STARING at the bathroom door. 103
INT. LEONARD'S APARTMENT BATHROOM - NIGHT <>103
SUDDEN MOVEMENT glimpsed through a WATER-BEADED CLEAR PLASTIC SHOWER CURTAIN. Mirror SHATTERING. 104
INT. MOTEL ROOM 304 - NIGHT <>
104
Leonard is at the bathroom door. He TAPS gently. 105
INT. LEONARD'S APARTMENT BATHROOM - NIGHT <>105
The wet plastic shower curtain pulls TAUT across a GASPING, THRASHING FEMALE FACE. 106
INT. MOTEL ROOM 304 - NIGHT <>
106
Leonard KNOCKS again. No answer. He KNOCKS louder, concerned. LEONARD
(cont'd) Are you okay in there?! Leonard GRABS the handle, THROWS OPEN
THE DOOR. 107
INT. STEAM-FILLED BATHROOM ROOM 304 - NIGHT <>
A BLONDE WOMAN in a silk dressing gown, seated on the toilet, looks up
from SNORTING a line of cocaine off a small hand mirror. She GIGGLES as
she speaks to Leonard. BLONDE Was it good for you? Leonard stands in the
doorway, SHAKEN. The Blonde realizes that Leonard is not happy.
(CONTINUED) 61. 107
CONTINUED:
107 BLONDE (cont'd) Shit. Was I supposed to lock the door? LEONARD No. That would have been worse.
Leonard moves to turn off the shower. LEONARD (cont'd) I'd like you to leave now. 108
INT. DISCOUNT INN, ROOM 304 - NIGHT - LATER <>
Leonard, fully clothed, grabs a SHOPPING BAG from the closet, and does a
quick circuit of the room, grabbing various items (the paperback book,
hairbrush, alarm clock, stuffed toy) and STUFFING them into the bag. 109
EXT. DISCOUNT INN - NIGHT <>
109
Leonard comes out of Room 304, grim-faced, carrying the shopping bag. He goes to his Jaguar and gets in. CUT TO: 110
INT. MOTEL ROOM 21 - NIGHT ##BLACK AND WHITE SEQUENCE##
110
Leonard (boxers, bandaged arm) dips the NEEDLE into the ink * reservoir
and PUNCTURES the skin of his thigh, talking on the phone. LEONARD Well,
sir, that would certainly be in keeping with some of my own
discoveries. Yeah, I was hoping to get more on the drugs angle. Hang on a
second. Leonard drops the needle/pen, pulls a LARGE FILE out of his
sports bag and opens it on the bed. LEONARD (cont'd) The police report
mentioned the drugs found in the car outside my house. The car was
stolen, but his prints were all over it, along with some of his stuff.
And I think there's something... (flips through pages) Something about a
syringe... (flips pages, confused) I've got a copy of the police
report. (MORE) (CONTINUED) MEMENTO Pink Revisions - 9/7/99 110
61A.
CONTINUED:
110 LEONARD (cont'd) It has lots of information, but with my condition, it's tough. I can't really keep it all in mind at once.
(CONTINUED) MEMENTO Blue Revisions - 8/27/99 62. 110 110
CONTINUED: (2)
Leonard looks at the back of the file, where he has written a list of
'CONCLUSIONS'. LEONARD (cont'd) * I have to keep summarizing the
different
* *
sections...
Leonard flips back to the front page. on it there is a handwritten note:
"MISSING PAGES: 14-17, 19, 23... LEONARD (cont'd) Yeah, and there's
pages missing... I guess I've been trying to log them all. (listens,
smiles) The police gave me the report themselves. I dealt with them a
lot in my insurance job, and I had friends in the department. They must
have figured that if I saw the facts of the case, then I would stop
believing that we needed to find John G. Leonard flips to the back page
to look at his HANDWRITTEN CONCLUSIONS. LEONARD (cont'd) They weren't
even looking for John G. The stuff they found in the car just fit in
with what they believed had happened, so they didn't chase any of it up.
111
EXT. DISCOUNT INN - DAY <>
111
Leonard pulls up in the Jaguar, checks the name against a NOTE written
on a BEER MAT, and heads into the office. Leonard comes out of the
office, gets a sports bag from the Jaguar, then takes a Polaroid of the
entrance and heads for Room 304. 112
INT. DISCOUNT INN - ROOM 304 - DAY <>
112
Leonard enters the unoccupied room, flapping the Polaroid photo. He
sifts through his sports bag, pulls out a pen and writes the motel's
address on the picture.
* *
With well-practiced, efficient movements, Leonard removes his wall chart
from the sports bag, unrolls it, sticks it to the wall. He takes a
stack of Polaroids out of the sports bag and works through them,
considering each new picture and finding its proper place on the chart
like someone playing solitaire. LATER: (CONTINUED) MEMENTO Pink
Revisions - 9/7/99 112
62A.
CONTINUED:
112
Leonard flips through the yellow pages, looking under "Escort Services".
LATER: Leonard is on the phone. (CONTINUED) MEMENTO Pink Revisions -
9/7/99 112
63.
CONTINUED:
112 LEONARD None? Okay, blonde. Yeah, blonde is fine. Discount Inn, 304. Leonard.
* LATER: Leonard opens the door to the Blonde. LATER: The Blonde is
looking curiously at the chart, drink in hand. Leonard is in the chair.
BLONDE Well, what then? LEONARD It's simple, you just go to the
bathroom. The Blonde turns, surprised. Leonard smiles, embarrassed.
LEONARD (cont'd) No, you just go into the bathroom. We go to bed, you
wait till I fall asleep, then you go into the bathroom and slam the
door. BLONDE
Slam it? LEONARD Just loud enough to wake me up. BLONDE That's it? That's it.
LEONARD
Leonard gets up, pulls a paper shopping bag out of the closet and hands
it to the Blonde. LEONARD (cont'd) But, first I need you to put these
things around. The Blonde looks confused. LEONARD (cont'd) Just pretend
these things are yours, and this is your bedroom. The Blonde pulls a bra
out of the bag. (CONTINUED) MEMENTO Blue Revisions - 8/27/99 112 112
64.
CONTINUED: (3) BLONDE Should I wear it? LEONARD No. Just leave the stuff
lying around as if it were yours. Like you just took it off or
something. BLONDE Whatever gets you off.
The Blonde pulls the hairbrush out of the bag. She moves to brush her
hair with it, but Leonard stops her. LEONARD No! No, don't use it, you, I
mean it's... you just have to put it where you would if it were yours.
The Blonde sees the BLACK HAIR stuck in the brush. 113
INT. DISCOUNT INN ROOM 304 - NIGHT <>
113
The lights are off. The Blonde and Leonard are lying side by
side in bed. The Blonde checks to see that Leonard is asleep, then slips
out of bed. She grabs her purse then opens the bathroom door. She looks
back at Leonard, asleep. She moves into the bathroom and shuts the door
firmly, making a LOUD BANG. Leonard's EYES OPEN. 114
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQCTENCE##
Leonard (boxers, bandaged arm) TATTOOS HIMSELF as he talks on the phone. So far he has tattooed:
114 *
"FACT 5." LEONARD The drugs stashed in the car doesn't ring true for me.
Leonard consults his FILE CARD, which says: "TATTOO: ACCESS TO DRUGS"
LEONARD (cont'd) The police figure the guy was an addict needing money
to score, but I'm not convinced. He's not gonna be breaking in when he's
still got a stash that big. (MORE) (CONTINUED) MEMENTO Pink Revisions -
9/7/99 114
65.
CONTINUED:
114 LEONARD (cont'd) (listens) I think John G. left it or planted it.
(listens) Well, it was a lot for one guy's personal use. (listens) How
do you know that? (listens, checks report) Right, that's true. It fits.
(listens) Too much for personal use, so he deals.
Leonard takes his pen and alters his FILE CARD to read: "TATTOO: FACT 5.
DRUG DEALER" Leonard picks up the NEEDLE/PEN and continues his tattoo.
115
EXT. NATALIE'S HOUSE - DAY <>
115
The CAR ALARM of the Jaguar is SOUNDING. Leonard exits, walks to the car
and gets in, switching off the alarm. TEDDY (O.S.) You should lock a
car as nice as this. Teddy is in the passenger seat. Leonard, startled,
GRABS him by the throat. LEONARD Who the fuck are you? TEDDY (gasping)
Teddy. Your buddy. LEONARD Prove it. TEDDY (gasping) Sammy. Remember
Sammy. You told me about Sammy. Leonard lets him go. LEONARD What are
you doing in my car? Teddy is now wearing his big grin, rubbing his
neck. (CONTINUED) 66. 115
CONTINUED:
115 TEDDY Sense of humour went with the memory, huh? You know why you're
still here, don't you? LEONARD Unfinished business. TEDDY Lenny, as a
buddy, let me inform you. Your business here is very much finished.
You're still here because of Natalie. LEONARD Who's she?
Teddy chuckles.
TEDDY Whose house do you think you just walked out of? Leonard looks at
the house. Teddy motions towards Leonard's pockets. TEDDY (cont'd) Take a
look at your pictures, I bet you got one of her. Leonard pulls out his
Polaroids and flips through them. He pauses at the one of Natalie. Teddy
SWIPES it out of his hands to get a better look at the blurred image of
Natalie turning in a doorway. TEDDY (cont'd) Great shot, Lenny. Teddy
flips the photo over. There is nothing on the back. Teddy hands it back
to Leonard. TEDDY (cont'd) You wanna make a note that you can't trust
her. LEONARD Why's that? TEDDY Because she'll have taken one look at
your clothes and your car and started thinking of ways to turn the
situation to her advantage. She's already got you staying with her, for
fuck's sake. (MORE) (CONTINUED) 67. 115 115
CONTINUED: (2) TEDDY (cont'd) You can't stay with her. Let me give you the name of a motel.
Teddy starts looking for a piece of paper. TEDDY (cont'd) Good thing I
found you. She's bad news. LEONARD What do you mean "bad news"? TEDDY
She's involved with these drug dealers.
Teddy opens the GLOVE COMPARTMENT, finding a STACK OF BEER MATS from a
local bar called FERDY'S. TEDDY (cont'd) See these? That's the bar where
she works. Her boyfriend's a drug dealer. She'd take orders for him,
arrange meets. He'd write messages on these, then leave it on the bar.
She'd drop replies when she served him drinks. LEONARD Why should I
care? Teddy starts writing on the BEER MAT. TEDDY She's gonna use you.
To protect herself. From who?
LEONARD
TEDDY Guys who'll come after her. Guys who'll want to know what happened
to her boyfriend. They'll want to make somebody pay. Maybe she'll try
and make it you. LEONARD Yeah, well maybe she'll make it you. Is that
it? You worried she'll use me against you? She couldn't.
TEDDY LEONARD
Why not?
(CONTINUED)
MEMENTO Blue Revisions - 8/27/99 68. 115 115
CONTINUED: (3) TEDDY (grins) She has no idea who I am. LEONARD Why are
you following me? TEDDY I'm trying to help you. I knew she'd get her
claws into you. She doesn't know
*
anything about your investigation, so when she offers to help you, it'll
be for her own reasons. Why would I lie? Do not go back to her. Take
out a pen, write yourself a note, do not trust her. Leonard takes out
his pen, places the picture of Natalie face down on the dash and writes
on the white strip on the back: "DON'T TRUST HER" LEONARD Happy now?
TEDDY I won't be happy until you leave town. LEONARD Why? TEDDY How long
do you think you can hang around here before people start asking
questions? LEONARD What sort of questions? TEDDY The sort of questions
you should be asking yourself. Like what?
LEONARD
TEDDY Like how'd you get this car? That suit? I have money.
LEONARD
(CONTINUED) 69. 115 115
CONTINUED: (4) TEDDY From what? LEONARD My wife's death. I used to work in Insurance, we were well covered.
TEDDY So in your grief you wandered into a Jaguar dealership? Leonard
says nothing. Teddy laughs. TEDDY (cont'd) You haven't got a clue, have
you? You don't even know who you are? LEONARD Yes, I do. I don't have
amnesia. I remember everything about myself up until the incident. I'm
Leonard Shelby, I'm from San Fran TEDDY That's who you were, Lenny. You
don't know who you are, who you've become since the incident. You're
wandering around, playing detective... and you don't even know how long
ago it was. Teddy reaches out to Leonard's lapel, and gently opens his
jacket to reveal the label. TEDDY (cont'd) Put it this way. Were you
wearing designer suits when you sold insurance? * Leonard looks down at
his suit, then back to Teddy. I didn't sell -
LEONARD
TEDDY I know, you investigated. Maybe you need to apply some of your
investigative skills to yourself. LEONARD Yeah, well, thanks for the
advice. TEDDY Don't go back in there. There's a motel out of town.
(CONTINUED) MEMENTO Blue Revisions - 8/27/99 115 115
70.
CONTINUED: (5)
Teddy hands Leonard the BEER MAT and gets out of the car.
TEDDY (cont'd) It's been fun, Lenny. Teddy walks off. Leonard pulls his
Polaroids out of his pocket and finds the one of Teddy. He places it on
the dash, face up, next to the one of Natalie which is still face down
on the dash. Leonard reads the message he has written on the back of
Natalie's picture: "DON'T TRUST HER" He flips Teddy's picture over, like
a croupier turning a card at blackjack. On the back it says: "DON'T
BELIEVE HIS LIES" Leonard purses his lips in surprised frustration. He
grabs his pen and scribbles on the back of Natalie's picture,
obliterating the words: "DON'T TRUST HER" He flips Natalie's picture
over and considers her blurred image. He looks up at her house, then
picks up the BEER MAT, reading the address Teddy has given him. LEONARD
Fuck it. I need my own place. Leonard starts the engine. 116
EXT. DISCOUNT INN - DAY <>
116
Leonard pulls up in his Jaguar, checks the name of the motel against the
note written on the BEER MAT, then heads into the office to check in.
Leonard comes out of the office, takes a Polaroid of the front of the
motel, and heads for Room 304. 117
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
Leonard (boxers, bandaged arm) talks on the phone. He presses the NEEDLE/PEN against his thigh, working on a "D".
117 *
LEONARD I can't blame the cops for not taking me seriously. This is a
difficult condition for people to understand. I mean look at Sammy
Jankis. His own wife couldn't deal with it. (MORE) (CONTINUED) MEMENTO
Pink Revisions - 9/7/99 71.
117
CONTINUED:
117 LEONARD (cont'd) (listens) I told you about how she tried to get him
to snap out of it? (listens) It got much worse than that. Eventually
Sammy's wife came to see me at the office, and I found out all kinds of
shit. (listens) She knew that I was the one who had built he case for
Sammy faking it.
118
INT. LEONARD'S OFFICE - DAY ##BLACK AND WHITE SEQUENCE##118
Leonard, in a CHEAP SUIT AND TIE, gets up from behind his desk to shake
hands with Mrs. Jankis. They talk, Leonard nodding as he listens. Mrs.
Jankis is crying. LEONARD (V.O.) She told me about life with Sammy, how
she'd treated him. It had got to the point where she'd get Sammy to hide
food all around the house, then stop feeding him to see if his hunger
would make him remember where he'd hidden the stuff. She wasn't a cruel
person, she just wanted her old Sammy back. The tearful Mrs. Jankis
gives Leonard a determined look. MRS. JANKIS Mr. Shelby, you know all
about Sammy and you decided that he was faking LEONARD Mrs. Jankis, the
company's position isn't that Sammy is "faking" anything, just that his
condition can't be shown MRS. JANKIS I'm not interested in the company
position, Mr. Shelby. I want to know your honest opinion about Sammy.
LEONARD We shouldn't even be talking this way while the case is still
open to appeal. MRS. JANKIS I'm not appealing the decision. LEONARD Then
why are you here?
(CONTINUED) 72. 118
CONTINUED:
118 MRS. JANKIS Mr. Shelby, try and understand. When I look into Sammy's
eyes, I don't see some vegetable, I see the same old Sammy. What do you
think it's like for me to suspect that he's imagining this whole
problem? That if I could just say the right thing he'd snap out of it
and be back to normal? If I knew that my old Sammy was truly gone, then I
could say goodbye and start loving this new Sammy.
*
*
As long as I have doubt, I can't say goodbye and move on. LEONARD Mrs.
Jankis, what do you want from me? MRS. JANKIS I want you to forget the
company you work for for thirty seconds, and tell me if you really think
that Sammy is faking his condition.
Leonard plays with his letter opener, thinking. MRS. JANKIS (cont'd) I
need to know what you honestly believe. LEONARD (looks at Mrs. Jankis) I
believe that Sammy should be physically capable of making new memories.
MRS. JANKIS Thank you. 119
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## LEONARD She seemed to leave happy. I thought I'd helped her.
Leonard puts the NEEDLE/PEN down, and wipes blood from his new, homemade
TATTOO, which says: "FACT 5. DRUG DEALER" LEONARD (cont'd) I thought
she just needed some kind of
119
answer.
(MORE) (CONTINUED)
MEMENTO Pink Revisions - 9/7/99 119
73.
CONTINUED:
119 LEONARD (cont'd) I didn't think it was important to her what the answer was, just that she had one to believe.
Leonard notices the BANDAGE on his LEFT ARM. He starts fiddling with the TAPE, peeling back the corners.
*
CUT TO: 120
INT. NATALIE'S LIVING ROOM - DAY <>
120
Leonard sifts through the papers on the desk, agitated. He hears a car
door SLAM. He looks out of the window to see Natalie getting out of her
car.
* *
She turns and comes towards the front door. Her face is SWOLLEN and
BLEEDING. Leonard OPENS the door for her. She RUSHES past him. What
happened?
LEONARD
Natalie, intensely AGITATED, FUMBLES with things in her purse. NATALIE
What does it look like?! She turns to Leonard so that he can see the
full extent of her injuries. Her eye is SWELLING UP, and her lip is
SPLIT. NATALIE (cont'd) He beat the shit out of me. Who?
LEONARD
NATALIE Who?! Fuck, Leonard! Dodd! Dodd beat the shit out of me. Natalie
FLINGS her purse to the ground in frustration. She does not know what
to do with her hands. Why?
LEONARD
*
Natalie turns to him, ENRAGED. NATALIE Because of you, you fucking
idiot! Because I did what you told me! (MORE) MEMENTO Pink Revisions -
9/7/99
(CONTINUED) 74.
120
CONTINUED:
120 NATALIE (cont'd) Go to him, reason with him, tell him about Teddy! Great fucking ideal
Leonard APPROACHES her, palms out. Calm down.
LEONARD
Natalie starts to HIT Leonard. He takes her arms. LEONARD (cont'd)
(softly) Take it easy. You're safe now. You're safe. He sits her down on
the couch. LEONARD (cont'd) Let's get some ice on your face. LATER:
Natalie, crying softly, holds a paper towel filled with ice cubes to her
swollen cheek while Leonard gently uses a damp paper towel to wipe the
blood from her upper lip. NATALIE I did exactly what you told me. I went
to
* *
Dodd and I said that I didn't have Jimmy's money, or any drugs, that
this Teddy must have taken everything. LEONARD And what did he say?
NATALIE He didn't believe me. He said that if I don't get him the money
tomorrow he's gonna kill me. Then he started hitting me. LEONARD
Where is he? NATALIE What are you gonna do? LEONARD I'll go see him. And?
NATALIE (CONTINUED)
MEMENTO Pink Revisions - 9/7/99 120 120
75.
CONTINUED: (2) LEONARD Give him some bruises of his own and tell him to
look for a guy called Teddy. NATALIE He'll kill you, Lenny. LEONARD
(smiling) My wife used to call me Lenny. NATALIE Yeah? LEONARD Yeah, I
hated it. NATALIE This guy's dangerous, let's think of something else.
Leonard takes out a piece of paper but he cannot find his pen. LEONARD
I'll take care of it. Just tell me what he looks like, and where I can
find him. Do you have a pen? Natalie gets a pen out of her purse and
hands it to him. NATALIE He'll probably find you. LEONARD Me? Why would
he be interested in me? NATALIE
I told him about your car. LEONARD Why would you do that? NATALIE He was
beating the crap out of me! I had to tell him something! Leonard hands
Natalie the piece of paper and pen. LEONARD Just write it all down. What
he looks like, where I find him. *
* (CONTINUED)
MEMENTO Pink Revisions - 9/7/99 75A. 120 120
CONTINUED: (3)
Natalie hands him a note. It says: (CONTINUED) MEMENTO Pink Revisions - 9/7/99 120 120
76.
CONTINUED: (4)
"DODD MOUNTCREST INN ON 5TH ST., ROOM 6" * "PUT HIM ON TO TEDDY OR JUST
GET RID OF HIM FOR NATALIE" Outside, a CAR ALARM starts to sound.
Leonard gets up and heads to the door, flipping through his Polaroids.
121
EXT. NATALIE'S HOUSE - DAY <>
121
The Jaguar's CAR ALARM is sounding. Leonard exits Natalie's house, walks
to his Jaguar and gets in, silencing the alarm. TEDDY (O.S.) You should
lock a car as nice as this. Leonard, startled, GRABS Teddy by the
throat. CUT TO: 122
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
122
Leonard, in boxers, bandage on arm, sits on the edge of the bed talking on the phone.
*
LEONARD No, she shouldn't have given me that responsibility. Shit, I'm
not a doctor, I'm a claims investigator. Leonard crooks his neck to hold
the receiver between ear and shoulder and FIDDLES with the BANDAGE ON
HIS LEFT ARM, starting to peel back the tape, t.zying to look under the
cotton pad.
*
LEONARD (cont'd) I suppose, but I've got all sorts of other
considerations. Leonard starts to REMOVE THE BANDAGE. LEONARD (cont'd)
Legal responsibility, and large financial... LEONARD REMOVES THE BANDAGE
FROM HIS LEFT ARM, REVEALING A CRUDE TATTOO WHICH SAYS:
*
"NEVER ANSWER THE PHONE" Leonard looks up. (CONTINUED) MEMENTO Pink Revisions - 9/7/99 77. 122
CONTINUED:
122 Who is this?
LEONARD (cont'd)
He takes the receiver away from his ear as if the caller has just hung up. CUT TO: 123
INT. NATALIE'S LIVING ROOM - DAY <>
123
Leonard is sitting on the coffee table, relaxed, looking at his
Polaroids. Natalie (WITHOUT BRUISES) BURSTS in through the front door,
scared. What's wrong?
LEONARD
NATALIE Somebody's come. Already.
LEONARD Who? NATALIE Calls himself Dodd. LEONARD What does he want?
NATALIE Wants to know what happened to Jimmy. And his money. He thinks I
have it. He thinks I took it. LEONARD Did you? No!
NATALIE
LEONARD What's this all about? Natalie looks at him bitterly. NATALIE
You don't know, do you? You're blissfully ignorant, aren't you? LEONARD I
have this condition -
(CONTINUED) 78. 123
CONTINUED:
123 NATALIE I know about your fucking condition, Leonard! I probably
know more about it than you do! You don't have a fucking clue about
anything else! LEONARD What happened? NATALIE What happened is that
Jimmy went to meet a guy called Teddy. He took a lot of money with him
and he didn't come back. Jimmy's partners think I set him up. I don't
know whether you know this Teddy or how well -
Leonard is getting frustrated. LEONARD Neither do I. NATALIE Don't protect him. LEONARD I'm not. Help me.
NATALIE LEONARD
How? NATALIE Get rid of Dodd for me. LEONARD What? NATALIE Kill him.
I'll pay you. LEONARD What do you think I am?! I'm not gonna kill
someone for money. NATALIE What then? Love? What would you kill for? For
your wife, right? LEONARD That's different. (CONTINUED) 79. 123 123
CONTINUED: (2) NATALIE Not to me! I wasn't fucking married to her!
LEONARD Don't talk about my wife. NATALIE I can talk about whoever the
fuck I want! You won't even remember what I say! I can tell you that
your wife was a fucking whore and we can still be friends!
Leonard stands up. LEONARD Calm down. NATALIE That's easy for you to
say! You can't get scared, you don't remember how, you fucking idiot!
LEONARD Just take it easy, this isn't my fault. NATALIE Maybe it is! How
the fuck would you know?! You don't know a fucking thing! You can't get
scared, can you get angry?! Leonard steps towards her. LEONARD Yes.
NATALIE You pathetic piece of shit. I can say whatever the fuck I want
and you won't have a clue, you fucking retard. LEONARD Shut the fuck up!
Natalie gets right in his face, grinning. NATALIE I'm gonna use you,
you stupid fuck. I'm telling you now because I'll enjoy it more if I
know that you could stop me if you weren't a freak.
(CONTINUED) 80. 123 123
CONTINUED:
(3)
Leonard grabs his Polaroids and finds one of Natalie. He reaches into
his pocket for a pen, but cannot find one. NATALIE (cont'd) Lost your
pen? That's too bad, freak. Otherwise you could've written yourself a
little note about how much Natalie hates your retarded guts.
Leonard moves around the room searching for a pen. Natalie follows him,
speaking into his ear. NATALIE (cont'd) No pens here, I'm afraid. You're
never going to know that I called you a retard, and your wife a whore.
Leonard turns to face her, barely controlling his anger. LEONARD Don't
say another fucking word! NATALIE About your whore of a wife? Leonard
slaps Natalie. She smiles, then speaks softly. NATALIE (cont'd) I read
about your problem. You know what one of the causes of short term memory
loss is? Leonard fumes. NATALIE (cont'd) Venereal disease. Maybe your
cunt of a wife sucked one too many diseased cocks and turned you into a
retard. Leonard turns away, body tensed, ready to snap. Natalie reaches
out to gently brush the hair above his ear with her fingers. NATALIE
(cont'd) You sad freak, you won't remember any of what I've said, and
we'll be best friends, or even lovers. Leonard spins around, BACKHANDING
Natalie on the cheek. He PUNCHES her in the mouth then pushes her to
the floor. He stands over her, furious with himself as much as her.
(CONTINUED) 81. 123 123
CONTINUED: (4)
Natalie gets to her feet, and goes to the door. She turns to Leonard. Her face is bloody but she smiles. NATALIE (cont'd)
See you soon. Natalie exits. Leonard watches her walk out to her car and
get in. She just sits there. Leonard turns from the window and looks
around the room. He grabs at drawers, searching for a pen. He looks back
out the window. Natalie is still sitting in her car. Leonard is sifting
through the papers on the desk when he hears a car door SLAM. He looks
out of the window to see Natalie getting out of her car. She turns to
walk toward the house. Her face is swollen and bloody.
* *
*
*
Leonard opens the door for her. LEONARD What happened? Natalie,
intensely AGITATED, FUMBLES with things in her purse. NATALIE What does
it look like? 124
INT. MOTEL ROOM 21 - DAY <>
124
Leonard lies on the bed, in jeans, topless. He reaches for the ringing
phone with his left arm. As his hand reaches the receiver Leonard reads
the tattoo on his arm which says: "NEVER ANSWER THE PHONE" Leonard
strokes the tattoo as he lets the phone ring. It stops. Leonard goes to
the door, opens it and checks the number of the room: 21. He goes back
to the phone, makes a call. LEONARD Front desk? Burt, right. Well, this
is Mr. Shelby in Room 21. I don't want any *
calls, none at all, got it? Thanks.
* CUT TO:
MEMENTO Pink Revisions - 9/7/99 82. 125
EXT. NATALIE'S HOUSE - DAY <>
125
*
Leonard's Jaguar pulls up. Leonard and Natalie (WITHOUT BRUISES) get out. Leonard is carrying his sports bag. 126
INT. NATALIE'S LIVING ROOM - DAY <>
*
126
Natalie leads Leonard in, self-conscious about her messy living room.
NATALIE You can just crash out on the couch. You'll be comfortable.
Leonard nods and stands awkwardly. NATALIE (cont'd) Uh, take a seat.
Leonard smiles and sits down in a chair. Natalie clears things off the
coffee table. Leonard unzips his bag and looks through his things,
pulling out his file. * NATALIE (cont'd) So how long you think it's
gonna take you? Leonard raises his eyebrows. NATALIE (cont'd) You told
me you were looking for the guy who killed your wife.
*
LEONARD (consulting file) Depends on if he's here in town. Or if he's moved on. See, I've got all this -
* NATALIE Can I ask you something? Leonard nods. NATALIE (cont'd) If
you've got all this information, how come the police haven't found him
for you? LEONARD They're not looking for him. NATALIE Why not?
*
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 126
83.
CONTINUED:
126
Leonard runs his finger down the list of conclusions on the back of his file.
*
LEONARD They don't think he exists. Natalie looks confused. LEONARD
(cont'd) I told them what I remembered. I was asleep, something woke me
up... CUT TO FLASHBACK <> 127
INT. LEONARD'S APARTMENT BEDROOM - NIGHT <> 127
Leonard opens his eyes. He slides his hand over to the empty space on
the bed beside him, feeling the sheet. LEONARD (V.0.) Her side of the
bed was cold. She'd been *
out of bed for a while.
Leonard sits up in bed, listening. 128 INT. LEONARD'S HALLWAY WITH
WOODEN FLOORS AND HIGH CEILINGS NIGHT <> We move down the hail
towards a closed door. Shadows and light play across the floorboards
from the gap under the door. An ominous rumbling builds. * A128 INSERT
QUICK CUTS: A128 Extreme close ups: A glass bottle smashes against
ceramic tiles. A mirror smashes. Flesh hits tiled floor. 129
INT. LEONARD'S APARTMENT BEDROOM - NIGHT <> 129
Leonard takes a gun down from the top of the bedroom closet, then
quietly makes his way into the corridor. A129 INT. LEONARD'S APARTMENT
BATHROOM - NIGHT <> He KICKS the door open, revealing two figures
struggling on
128 * *
the floor of a BATHROOM. Close up of a WOMAN'S FACE, wrapped in the wet
clear plastic shower curtain, STRUGGLING to breathe. (CONTINUED) MEMENTO
Pink Revisions - 9/7/99 83A. A129 CONTINUED:
A129
Close up of a BASEBALL CAP-COVERED HEAD turning to reveal a face covered
by a DIRTY WHITE COTTON MASK. (CONTINUED) MEMENTO Pink Revisions -
9/7/99
84.
A129 CONTINUED: (2) A129 Close up of a GLOVED HAND drawing a PISTOL from
the back of a waistband. A SHOT rings out and the white cotton mask is
BLOWN into RED, the Masked Man falling of f the struggling woman.
Leonard stands in the doorway, smoking gun in hand. He is HIT HARD from
behind by an UNSEEN ASSAILANT who GRABS Leonard by the HAIR and THROWS
his HEAD into the MIRROR, SHATTERING IT. Leonard DROPS to the floor. An
extreme close up of a woman's staring eyes, seen through water-beaded,
blood-spattered clear plastic. The EYES BLINK and we WHITE OUT. FADE
DOWN FROM WHITE TO: 130
INT. NATALIE'S LIVING ROOM - DAY <>
130
LEONARD (cont'd) There had to be a second man. I was struck from behind,
I remember. It's about the last thing I do remember. But *
the police didn't believe me. NATALIE How did they explain what you remembered? The gun and stuff? LEONARD
*
(points at conclusions on back of file) * John G. was clever. He took
the dead man's gun and replaced it with the sap that he'd hit me with.
He left my gun and left the getaway car. He gave the police a complete
package. They found a sap with my blood on it in the dead man's hand,
and they only found my gun. They didn't need to look for anyone else. I
was the only guy who disagreed with the facts, and I had brain damage. *
Natalie watches him. * NATALIE You can stay here for a couple of days if
it'll help. LEONARD Thank you. (CONTINUED) MEMENTO Pink Revisions -
9/7/99 130
85.
CONTINUED:
130 NATALIE I've got to get back for the evening shift, so make yourself
at home, watch T.V., whatever. Just grab a blanket and pillow off the
bed. I never need them all anyway.
Leonard nods. Natalie heads for the door. Oh, one thing.
LEONARD
Natalie TURNS. Leonard snaps her picture with his Polaroid camera. He
lowers the camera and smiles. LEONARD (cont'd) Something to remember you
by. Natalie smiles unconvincingly, perturbed, and exits. Leonard sits
down on the couch and writes "Natalie" on the white strip under her
photo as it develops into the blurred image of Natalie which we have
seen before. He takes out his other Polaroids, flipping through them.
LATER: Leonard watches commercials on TV. He notices the tattoo on his
hand ("REMEMBER SAMMY JANKIS"), then switches the TV off. He starts to
examine his Polaroids. Natalie BURSTS through the door, worried. What's
wrong?
LEONARD (cont'd)
NATALIE Somebody's come. Already. CUT TO: 131
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
131 *
There is a KNOCK at the door. Leonard PULLS ON HIS LONGSLEEVED PLAID
WORK SHIRT, goes to the door and opens it. Burt is standing there. BURT
Leonard, it's Burt from the front desk. LEONARD Yeah? (CONTINUED)
MEMENTO Blue Revisions - 8/27/99 86. 131
CONTINUED:
131 BURT I know you said you didn't want any calls... LEONARD That's
right I did, didn't I? BURT Yeah, but there's a call for you from this
guy. He's a cop. LEONARD A cop? BURT And he says you're gonna wanna hear
what he's got to say. * LEONARD
(shakes head) * I'm not too good on the phone. I need to
*
look people in the eye when I talk to them.
*
* Burt shrugs, then walks off. * CUT TO: 132
INT. FERDY'S BAR - DAY <>
132
Leonard sits at a booth looking through his Polaroids. A DRUNK with
shaky hands sits at the bar. Natalie (without bruises) is working behind
the bar. She tops up a silver tankard with beer, brings it over and
sets it in front of Leonard, smiling. NATALIE On the house. Thanks.
LEONARD
Natalie watches in fascination as Leonard drinks from the mug. The Drunk
is giggling. NATALIE (fascinated) You really do have a problem. Just
like that cop said. Leonard looks at Natalie, confused. (CONTINUED)
MEMENTO Pink Revisions - 9/7/99 132
86A.
CONTINUED:
132 NATALIE (cont'd) Your condition, I mean. (CONTINUED)
MEMENTO Pink Revisions - 9/7/99 87. 132 132
CONTINUED: (2)
LEONARD (shrugs) Nobody's perfect. Natalie leans in close, studying
Leonard, looking him over. NATALIE What's the last thing you remember?
Leonard looks at her. CUT TO FLASHBACK: 133
INT. LEONARD'S BATHROOM - NIGHT <>
133
An extreme close up, from floor level, of a woman's staring eyes seen
through water-beaded, blood-spattered clear plastic. The EYES BLINK. 134
INT. FERDY'S BAR - DAY <>
134
BACK TO LEONARD IN BAR: Leonard looks at Natalie. My wife.
LEONARD NATALIE
Sweet. Dying.
LEONARD NATALIE
What? LEONARD I remember my wife dying. Natalie picks up the silver
tankard from the table. NATALIE Let me get you a fresh glass. I think
this one was dusty. 135
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
Leonard, in boxers and long-sleeved plaid work shirt, lies on the bed,
trying to ignore the RINGING PHONE. he rubs his tattoo: "NEVER ANSWER
THE PHONE". The phone goes quiet.
135 * *
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 87A.
*
135
CONTINUED:
135
Leonard hears a noise, and turns to see an ENVELOPE sliding * underneath
the door. He gets off the bed and picks it up. It * is addressed:
"LEONARD". He opens it and removes a POLAROID. * The photo of himself,
bare-chested, tattooed and grinning * maniacally, pointing to the bare
area of skin above his * heart. Leonard stares at it, disturbed.
Underneath the photo * is written: * "TAKE MY CALL"
*
The phone RINGS. * CUT TO: (CONTINUED) MEMENTO Pink Revisions - 9/7/99 88. 136 137
OMIT
136*
INT. JAGUAR PARKED IN FERDY'S BAR PARKING LOT - DAY <>
Leonard sits, studying his Polaroids. A metallic howl makes * him glance
up and he sees the lid of a dumpster BANG SHUT. He * puts his Polaroids
in his pocket and examines the beer mat * with the message: "COME BY
AFTERWARDS, NATALIE" 138
OMIT
138*
MEMENTO Pink Revisions - 9/7/99 89. 139
INT. FERDY'S BAR ON MAIN STREET - DAY <>
139
Leonard enters and sits at the bar a couple of places down from a
filthy, toothless Drunk. Natalie (without bruises) appears in front of
him. Leonard looks up at Natalie without recognition. She eyes him
coldly, staring at his clothes. LEONARD Beer, please. NATALIE
(apprehensive) What do you want? A BEER, please.
LEONARD
*
NATALIE Don't just waltz in here dressed like that and order a beer.
*
*
Leonard looks over to the filthy Drunk, then back at Natalie. LEONARD
There's a dress code? NATALIE What are you here for? LEONARD I'm meeting
someone called Natalie. Well, that's me.
NATALIE
LEONARD Oh. But haven't we met before? Natalie slowly shakes her head.
Leonard is confused. LEONARD (cont'd) So why am I here? NATALIE You tell
me. LEONARD I don't remember. See, I have no short*
term memory. It's not amnesia *
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 90. 139 CONTINUED: NATALIE
You're the memory guy? LEONARD How do you know about me? NATALIE My
boyfriend told me about you.
LEONARD Who's your boyfriend? NATALIE (beat) Jimmy Grantz. Know him?
Leonard shrugs. NATALIE (cont'd) Well, it seems like Jimmy knows you. He
told me about you. Said you were staying over at the Discount. Then,
just this evening, this cop comes in here looking *
for you. Looking for a guy who couldn't remember stuff, who'd forget how
he got here or where he was going. I told him we get a lot of guys like
that in here.
Leonard does not find this funny. LEONARD Chronic alcoholism ~ one cause of short term memory loss. Are you Teddy?
NATALIE
LEONARD My name's Leonard. * NATALIE Did Teddy send you? I don't know.
LEONARD
Natalie stares at Leonard. Her look softens, becoming almost pleading.
NATALIE What's happened to Jimmy? (CONTINUED) MEMENTO Pink Revisions -
9/7/99 139 139
CONTINUED: (2) LEONARD I don't know. I'm sorry.
91.
*
NATALIE You have no idea where you've just come from? What you've just
done? Leonard shakes his head. LEONARD I can't make new memories.
Everything fades, nothing sticks. By the time we finish this
conversation I won't remember how it started, and the next time I see
you I won't know that I've ever met you before. NATALIE So why did you
come here? Leonard pulls the beer mat out of his pocket and hands it to
Natalie. LEONARD Found it in my pocket. Natalie takes it, staring at it,
emotional. NATALIE (quiet) Your pocket. She retreats down the bar to
attend to a CUSTOMER, eyeing Leonard suspiciously as he pulls out his
Polaroids. LATER: Leonard hears a hocking sound and looks over to see
the filthy Drunk spitting a blob of sticky phlegm into a silver tankard
which Natalie holds across the bar. Natalie smiles. NATALIE (cont'd) Bar
bet. Leonard shakes his head and looks down. He hears a snort and
glances over again. The Drunk is pushing his finger against one nostril,
whilst blowing snot out the other into the tankard. Natalie smiles
again. NATALIE (cont'd) For a lot of money. (CONTINUED) MEMENTO Pink
Revisions - 9/7/99 139 139
CONTINUED: (3)
92.
*
She approaches with the tankard. NATALIE (cont'd) Care to contribute?
Leonard shakes his head, disgusted. Natalie waves the tankard in his
face. NATALIE (cont'd) Come on, proceeds are going to charity. Leonard
drops a tidy blob of spit into head, revolted. Natalie places the mug
the stool next to Leonard's. She takes and stirs it vigorously. Leonard
grabs moves over to a booth.
the beer, shakes his on the bar in front of a long-handled spoon his Polaroids and
Natalie brings over the tankard arid places it in front of him, smiling. NATALIE (cont'd) On the house. Thank-you.
LEONARD
Leonard raises the tankard to his lips. CUT TO: 140
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
140
Leonard, holding the Polaroid of himself, stares at the ringing * phone. He picks up the receiver. * LEONARD * *
(anxious)
What do you want? * (listens)
*
I know you're a cop, but what do you
*
want? Did I do something wrong? *
(frightened) *
No, but I can't remember things I do. I * * *
don't know what I just did. Maybe I did something wrong, did I do something
wrong?
* Leonard paces.
* LEONARD * I dunno - something bad. Maybe I did
*
something bad. *
MEMENTO Pink Revisions - 9/7/99
93.
A140 EXT. ALLEYWAY BEHIND TATTOO PARLOUR - DAY <> * Leonard DROPS
from a WINDOW, gains his balance and HURRIES to his Jaguar which is
parked on the street by the mouth of the alley. He slips into the car,
CLOSES the door gently, starts the engine and SPEEDS away. *
* * *
B140 INT./EXT. JAGUAR PARKED OUTSIDE FERDY'S - DAY <> * Leonard
reaches into his jacket pocket and pulls out a round piece of cardboard.
It is a BEER MAT with the name of a local bar: "FERDY'S". There is a
message written on it:
* * *
"COME BY AFTERWARDS, NATALIE". * Leonard looks up at the doorway of the
bar, then pulls the * car around into the parking lot. Natalie is
standing by a * dumpster, heaving a trash bag into it. She watches the
car * pull up, unable to see the driver. Natalie casually knocks on *
the passenger side window. Leonard lowers the window and * Natalie leans
down. NATALIE
* (casual)
* *
Hey, Jimmy -
Natalie stares at Leonard confused. * *
NATALIE (cont'd)
*
I'm sorry, I... I thought you were
*
someone else.
*
Natalie backs away from the car, perturbed. Just before she disappears
around the corner, she tips the lid of the dumpster, letting it fall
with a metallic howl and a BANG.
* * *
C140 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
C140
Leonard talks on the phone, worried. * LEONARD * No, Officer, but with my condition, you
*
don't know anything... you feel angry, guilty, you don't know why. You could do *
*
something terrible and not have the
* * *
faintest idea ten minutes later. Like Sammy. What if I've done something like
*
Sammy?! (listens)
*
I didn't tell you? Didn't I tell you
*
what happened to Sammy and his wife?! (listens)
*
(MORE)
*
(CONTINUED)
MEMENTO Pink Revisions - 9/7/99 93A. C140 CONTINUED:
C140 LEONARD (contd) Mrs. Jankis came to my off ice and asked
*
my honest opinion about Sammy's *
condition. *
141
INT. LEONARD'S OFFICE - DAY ##BLACK AND WHITE SEQUENCE##141
Mrs. Jankis is seated across the desk from Leonard. She gets up to
leave. Leonard just sits there. LEONARD (V.0.) I never said he was
faking. Just that
his condition was mental, not physical. She seemed satisfied, she just
said "thanks" and got up to leave. I found out later that she went home
and gave Sammy his final exam. 142 INT. THE JANKIS HOUSE LIVING ROOM -
DAY ##BLACK AND WHITE SEQUENCE##
142
Sammy watches T.V. commercials. Mrs. Jankis watches him. MRS. JANKIS
Sammy, it's time for my shot. Sammy looks up, smiling, glad to help. He
goes into the kitchen and comes back with a bottle of insulin, a syringe
and a cotton swab. Sammy carefully prepares the injection and Mrs.
Jankis offers him her arm. (LEONARD AND LEONARD'S WIFE TO SUBSTITUTE)
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 94. 142
CONTINUED:
142 LEONARD (V.O.) She knew beyond doubt that he loved her, so she found a way to test him.
Sammy injects the insulin, then withdraws the needle, smiles
reassuringly at his wife and goes back into the kitchen. Mrs. Jankis
watches Sammy flipping through the channels, looking for commercials.
She sets her watch back by fifteen minutes. MRS. JANKIS Sammy, it's time
for my shot. Sammy looks up, smiling, glad to be able to help. He goes
into the kitchen and comes back with the bottle of insulin, the syringe
and a new cotton swab. He carefully prepares the injection and Mrs.
Jankis offers him her other arm. Sammy injects the insulin, then looks
up at her and smiles. Sammy watches T.V. Mrs. Jankis sets her watch back
by fifteen minutes. MRS. JANKIS (cont'd) Sammy, it's time for my shot.
Sammy looks over from the T.V., smiling, glad to be able to help. Mrs.
Jankis offers Sammy her leg, and he gives her another shot of insulin,
smiling. LEONARD (V.O.) She really thought she would call his bluff...
Mrs. Jankis sets her watch back by fifteen minutes. LEONARD (V.O.)
(cont'd) ... or didn't want to live with the things she'd put him
through. Sammy injects her in the stomach. DISSOLVE TO: Mrs. Jankis,
unconscious in her chair. Sammy glances over from watching T.V.
commercials, wondering. He goes to her and takes her hand, nudging her
gently. (CONTINUED) 95. 142 142
CONTINUED: (2) LEONARD (V.0.) (CONT'D) She went into a coma and never recovered.
Sammy grabs for the phone, dialing frantically.
LEONARD (V.O.)(cont'd) Sammy couldn't understand or explain what had
happened. Sammy strokes Mrs. Jankis' cheek, crying. 143 INT. CROWDED DAY
ROOM OF A NURSING HOME - DAY ##BLACK AND WHITE SEQUENCE##
143
Sammy sits watching other patients and nursing staff pass by. (LEONARD
TO SUBSTITUTE) He looks at each one with a fresh look of expectant
recognition. LEONARD (V.0.) He's been in a home ever since. He doesn't
even know his wife is dead. 144
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
144*
Leonard strokes the tattoo on his hand.
*
LEONARD (cont'd) * Sammy's brain didn't respond to conditioning, but he was no con man.
*
When his wife looked into his eyes she thought he could be the same as he ever * * *
was. When I looked into Sammy's eyes, I thought I saw recognition. We were both wrong.
Leonard looks into the mirror.
(CONTINUED) MEMENTO Pink Revisions - 9/7/99
*
96. 144
CONTINUED:
144 LEONARD (cont'd) Now I know. You take it. If you think you're
supposed to recognize someone, you pretend to. You bluff it to get a pat
on the head from the doctors. You bluff it to seem less of a freak.
* 145
EXT. STRIP MALL - DAY <>
145
The TYRES of the Jaguar SCREAM as the car SCREECHES to a halt. Leonard
backs the car up and stops in front of a TATTOO PARLOR. He grabs a FILE
CARD of f the dash which says: "TATTOO: FACT 6. CAR LICENSE: SG13 7IU"
146
INT. TATTOO PARLOR - DAY <>
146
Leonard (beige suit) enters. A TATTOOIST is sitting with a magazine,
smoking. LEONARD Didn't know this town had a parlor. TATTOOIST Every
town's got a parlor. LEONARD I'd like this on my thigh please. Leonard
hands her a FILE CARD. She reads the card, then looks at him. He shrugs.
147 <>
INT. CURTAINED CUBICLE - TATTOO PARLOR - DAY - CONTINUOUS
Leonard unbuckles his trousers and starts to pull them down. He STOPS
when he sees his thigh, looking up at the tattooist. LEONARD Promise you
won't call me an idiot. He pulls down his trousers, revealing his
SCABBY, homemade tattoo. ("FACT 5: DRUG DEALER"). The tattooist looks at
it. TATTOOIST (shaking her head) Idiot.
147
MEMENTO Pink Revisions - 9/7/99 97. 148 <>
INT. CURTAINED CUBICLE - TATTOO PARLOR - DAY - CONTINUOUS
148
Extreme close-up of the tattooing needle finishing an "F". Wider shows
us Leonard sitting with his suit trousers around his ankles in a
curtained cubicle. Next to him on the floor is his sports bag of notes
and papers. The tattooist is tattooing his thigh, Leonard is reading a
file, fascinated.
*
The curtain is thrust open and Teddy pokes his head in. Hi, Lenny.
TEDDY
The tattooist turns and looks up at Teddy.
*
TATTOOIST * It's private back here. TEDDY It's alright, we know each
other, right, Lenny? The tattooist looks to Leaonard. Leonard shrugs.
*
LEONARD How'd you know I was in here? TEDDY The Jaguar's out front. You
didn't even Bother to put it around back. Teddy cranes his neck to see
what the tattoo says, but only "6. LI" is visible. TEDDY (cont'd) You
should have just left town, Lenny. There's Tattoo parlors up North.
LEONARD Guess I wanted to get something down before it slipped my mind.
The tattoo needle buzzes as the tattooist makes a start on the next
letter: a "C". Teddy sticks his hand through the curtain. TEDDY Gimme
the keys, I'll move the car.
*
Leonard watches Teddy.
(CONTINUED) MEMENTO Blue Revisions - 8/27/99 98. 148
CONTINUED:
148 LEONARD It'll be alright for a minute.
Teddy shrugs. The tattooist looks up at him. TATTOOIST Wait out there.
Teddy goes back through the curtain. Teddy pops his head back through
the curtain. TEDDY Lenny, I'll be back in a minute. I've got to get you
some stuff. 149 <>
INT.CURTAINED CUBICLE - TATTOO PARLOR - DAY - MOMENTS LATER
The buzzing of the tattoo needle stops. Leonard looks down at his thigh. It says: "FACT 6. CAR LICENSE: SG13 7IU" 150
INT. TATTOO PARLOR - DAY - MOMENTS LATER <> 150
Leonard exits the curtained cubicle, buckling his belt. Teddy is waiting
for him with a PLASTIC BAG. Leonard pays the tattooist. Teddy looks at
her. TEDDY Give us a minute, will ya? She shrugs and heads into the
back. Teddy watches her go, then turns to Leonard, conspiratorial. TEDDY
(cont'd) We've got to get you out of here. * Why?
LEONARD
TEDDY Why? Come on, Leonard, we talked about
149
this. It's not safe f or you to be walking around like this. LEONARD Why not?
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 99. 150
CONTINUED:
150 TEDDY Because that cop's looking for you. We need to get you a
change of identity. Some new clothes and a different car should do for
now. Put these on.
*
Teddy offers the bag of clothes. Leonard refuses it.
*
*
LEONARD * What cop? TEDDY This bad cop. He checked you into the Discount Inn. Then he's been calling you *
*
for days, sticking envelopes under your *
door, telling you shit. * Envelopes?
LEONARD
* TEDDY He knows you're no good on the phone, so *
he calls you up to bullshit you. * *
*
Sometimes you stop taking his calls, so he slips something under your
door to frighten you into answering your phone again. He's been
pretending to help you. Feeding you a line of crap about John G.
*
being some local drug dealer. *
* *
LEONARD How do you know this? TEDDY 'Cos he fucking told me. He thinks
it's funny. He's laughing at you. LEONARD How do you know him? TEDDY
(glances around) I'm a snitch. He's a cop from out of town looking for
information. The local boys put us in touch. (CONTINUED) MEMENTO Pink
Revisions - 9/7/99 150 150
100.
CONTINUED: (2)
Leonard takes the plastic bag.
*
LEONARD * What did he want to know from you?
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 150 150
101.
CONTINUED: (3) TEDDY * He wanted to know all, about Jimmy Grantz. Who?
LEONARD
TEDDY Jimmy's a drug dealer. This cop wanted to know all about how he
sets up deals, shit like that. He's got some score in mind and you're
involved. Come on, there's no * *
time to argue - if he knew I was helping
*
you he'd find a way to kill me. Just get
*
these clothes on. You're gonna take my car and get the fuck out of here.
*
* Leonard heads back into the curtained cubicle with the plastic bag of clothes. MEMENTO Pink Revisions - 9/7/99 151 <>
102.
INT. CURTAINED CUBICLE - TATTOO PARLOR - DAY - CONTINUOUS
Leonard drops the plastic bag and takes his jacket off. He feels
something in the pocket, sticks his hand in and pulls out a charred
Polaroid photograph. *
151
*
Leonard examines it, PUZZLED. All that is visible is AN ARM, lying on a
floor. Leonard reaches into the other pocket and * pulls out his
POLAROIDS, flicking through them until he finds the one of Teddy. He
flips it over and checks the back:
*
"DON'T BELIEVE HIS LIES" Leonard reacts with amused RELIEF. LEONARD
(under his breath) Sneaky fuck. "Bad Cop". Had me going. Leonard puts
his jacket back on, checks the other pockets. He finds a BEER MAT for a
local bar named FERDY'S. There is a message written on it: "COME BY
AFTERWARDS, NATALIE" Leonard sticks it back in his pocket. He PEEKS
through the curtains. Teddy is sitting by the door, waiting. Leonard
looks around, NOTICES a window set high in the wall above the padded
bench in the cubicle. Leonard CLIMBS on the bench, OPENS the window and
SQUEEZES himself through. 152
EXT. TATTOO PARLOUR ALLEYWAY - DAY - CONTINUOUS <>
Leonard DROPS from the window, regains his balance and hurries to his
Jaguar which is parked on the street by the mouth of the alley. CUT TO:
153
INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE##
Leonard, in boxers and plaid work shirt, sits hunched over
153 *
the bedside table, flipping through the file as he talks on the phone.
* * *
*
LEONARD So this Jimmy Grantz deals drugs out of the bar where his girlfriend works. But he'll come to the meet alone.
Leonard looks down at the FRESH TATTOO on his thigh.
* (CONTINUED)
MEMENTO Pink Revisions - 9/7/99 153
102A.
CONTINUED:
153
"FACT 5: DRUG DEALER" * He consults a file which he has drawn from his bag.
*
LEONARD (cont'd) * I always figured the drugs angle would be the best way to get him. No, officer, *
*
I'm ready. Ready as I'll ever be. (listens) You're downstairs now? What
do you look like? (listens) I'll be right down. (CONTINUED)
MEMENTO Pink Revisions - 9/7/99 153 153
103.
CONTINUED: (2)
Leonard hangs up the phone and pulls on a pair of scruffy jeans. He grabs his Polaroid camera and puts it over his shoulder. 154
EXT. DISCOUNT INN - DAY ##BLACK AND WHITE SEQUENCE##
* 154
Leonard exits and heads to the Motel office. 155
INT. DISCOUNT INN OFFICE - DAY ##BLACK AND WHITE SEQUENCE##
The BELL CHIMES as Leonard enters. Burt is behind the
155
counter. A MAN stands by the free coffee. The Man TURNS AROUND. It is Teddy, with a big grin.
*
TEDDY Lenny! Leonard smiles cautiously, and offers his hand. LEONARD Officer Gammell. 156
EXT. DISCOUNT INN - DAY ##BLACK AND WHITE SEQUENCE##
156
Leonard exits the office, followed by Teddy, and looks through his
Polaroids. He finds one of a PICKUP TRUCK, spots it in the lot, and
walks over to it. He turns around and points his camera at Teddy. Teddy
grins wider. Leonard snaps the picture. LEONARD Something to remember
you by. Leonard lowers the camera and takes out a pen, resting the
picture against the truck, about to write on the white strip beneath the
developing picture. LEONARD (cont'd) I'm sorry - is it Officer, or
Lieutenant Gammell? Teddy coughs and looks at the picture. TEDDY Just
Teddy. Don't write Gammell please. Leonard raises his eyebrows. TEDDY
(cont'd) I'm undercover. Here's directions. He'll be heading there now.
(CONTINUED) MEMENTO Pink Revisions - 9/7/99 156
104.
CONTINUED:
156
Teddy pulls a note out of his pocket and hands it to Leonard. LEONARD You're not coming? TEDDY Wouldn't be appropriate. *
Leonard climbs into the truck. Teddy taps on the window. TEDDY (cont'd)
Leonard? Leonard cranks it down. Teddy looks at Leonard with something
like fatherly affection. TEDDY (cont'd) Make him beg. 157 INT./EXT.
PICKUP TRUCK ON STREET - DAY ##BLACK AND WHITE157 SEQUENCE## The pickup
truck speeds along, past strip malls and gas stations, heading into more
desolate industrialization. 158
EXT. THE DERELICT BUILDING - DAY ##BLACK AND WHITE SEQUENCE##158
The pickup truck bumps across the railroad tracks, then pulls up in
front of the LARGE DERELICT BUILDING. Leonard gets out of the pickup,
looking around. 159
INT. DERELICT BUILDING - DAY - ##BLACK AND WHITE SEQUENCE##
159
He heads into the house, down the DIMLY-LIT, DECAYING FORMER HALLWAY,
treading carefully on the LOOSE, ROTTEN FLOORBOARDS. He notices a door
at the end of the hallway. He opens the door to see that it leads down
to the basement. Leonard hears a CAR APPROACHING. He slips into the
kitchen and looks out the dirty, broken front windows. 160
EXT. DERELICT BUILDING - DAY ##BLACK AND WHITE SEQUENCE##
160
THE JAGUAR is approaching fast. It parks next to the PICKUP TRUCK, and
the driver emerges; a young man in his 30's, smartly dressed in BEIGE
SUIT and BLUE SHIRT. This is JIMMY, the young man from Natalie's
photograph. He looks at the truck then at the house. 161
INT. DERELICT BUILDING - DAY ##BLACK AND WHITE SEQUENCE##
161
Leonard steps back into the shadows of the crumbling kitchen. Jimmy
approaches the doorway, peering into the dark hallway. (CONTINUED)
MEMENTO Pink Revisions - 9/7/99 161
105.
CONTINUED:
161 JIMMY Teddy?!
Jimmy steps cautiously inside. Leonard emerges from the
kitchen. Jimmy?
LEONARD
JIMMY What the fuck are you doing here? LEONARD Do you remember me?
JIMMY (laughs) Yeah, I remember you. LEONARD You Jimmy Grantz? * JIMMY
Expecting any other Jimmy's out here, Memory Man? Where the fuck's
Teddy? Leonard comes out of the gloom, stopping in front of Jimmy,
studying his face. Leonard has a JACK HANDLE in his hand. Well?
JIMMY (cont'd) FLASHBACK TO:
162 INT. LEONARD'S APARTMENT BATHROOM - NIGHT ##BLACK AND WHITE 162
SEQUENCE## Leonard's wife, head wrapped in a water-beaded clear plastic
shower curtain, THRASHING around, GASPING for breath. 163
INT. DERELICT BUILDING - DAY - ##BLACK AND WHITE SEQUENCE## 163
Leonard HITS Jimmy around the head with the jack handle. Jimmy goes
down, but STRUGGLES as Leonard drags him deeper into the dark hallway.
Leonard bends over the groaning Jimmy, frisking him, finding nothing.
JIMMY (cont'd) You fucking retard, you can't get away with this Leonard
holds the jack handle above him. MEMENTO Blue Revisions - 8/27/99
(CONTINUED) 106.
163
CONTINUED:
163 LEONARD
Strip! Jimmy starts taking off his suit. JIMMY You're making a big
fucking mistake. My associates are not people you want LEONARD Don't say
anything else. JIMMY I knew I couldn't trust that fuck Quiet!
LEONARD
Jimmy drops his shirt. LEONARD (cont'd) Pants, too. Why?
JIMMY
LEONARD I don't want blood on them. JIMMY (sudden fear) Wait! Did he
tell you what I was bringing? LEONARD Strip! JIMMY Look, there's two
hundred grand stashed in the car. Just take it! Leonard shoves Jimmy to
the ground. LEONARD You think you can bargain with me?! JIMMY Take the
money and walk away! LEONARD I don't want your fucking money!
(CONTINUED) 107.
163 163
CONTINUED: (2) JIMMY What?! What do you want from me?!
Leonard looks up. 164
INT. LEONARD'S APARTMENT - DAY - ##BLACK AND WHITE SEQUENCE##164
Leonard's wife, smiling. 165
INT. DERELICT BUILDING - DAY - ##BLACK AND WHITE SEQUENCE##
165
Leonard is losing it. LEONARD I want my fucking life back! Jimmy SWINGS
at Leonard with a BROKEN FLOORBOARD, STRIKING his shoulder. The jack
handle goes flying. Jimmy SWINGS again, misses. Leonard GRABS him,
taking him down. The two of them STRUGGLE on the floor. Leonard gets ON
TOP of Jimmy, CHOKING him. Jimmy tries to speak, but can only make
GURGLING noises. As Leonard watches Jimmy fight for air we: 166 INT.
LEONARD'S APARTMENT BATHROOM - NIGHT - ##BLACK AND WHITE SEQUENCE##
166
Leonard's wife THRASHES her head from side to side, STRUGGLING to
breathe though the clear plastic shower curtain. BACK TO SCENE: 167 167
INT. DERELICT BUILDING - DAY - ##BLACK AND WHITE SEQUENCE##
Jimmy's arms THRASH, his hands catching Leonard's face, SCRATCHING his
cheek. Leonard tips his head back and increases his efforts. Jimmy STOPS
struggling. Leonard keeps his hands around Jimmy's throat until he is
confident that he is DEAD. Leonard BREATHES as he stands up. He nods to
himself with satisfaction. He looks around for his POLAROID CAMERA. He
snaps a FLASH picture of Jimmy's body, and stares intently at the
POLAROID as it begins to DEVELOP. We see the IMAGE OF THE STRANGLED
JIMMY appear <>(POST) 168
INT. DAY - DERELICT BUILDING - CONTINUOUS <>168
Leonard stands above Jimmy's body, examining the picture he has just taken, nodding to himself, catching his breath.
(CONTINUED) 108. 168
CONTINUED:
168
Leonard grabs Jimmy' s body by the legs, DRAGGING him back towards the
basement. He opens the door and BACKS down into the DARKNESS, pulling
Jimmy behind him. 169 <>
INT. BASEMENT OF DERELICT BUILDING - DAY - CONTINUOUS
*
169
Leonard BACKS DOWN the stairs, dragging Jimmy's BODY, head BUMPING down
each step. In the middle of the room, Leonard DROPS the legs. Moving
fast, Leonard pulls the BEIGE SUIT * TROUSERS from the body, REMOVES HIS
OWN SCRUFFY JEANS AND * PLAID WORK SHIRT. Leonard dresses in Jimmy's
BLUE SHIRT and * BEIGE SUIT. He grabs the Polaroids from his PLAID WORK
SHIRT * and sticks them in his suit jacket pocket. He dumps his old *
clothes onto Jimmy's body. A faint RASPING comes from Jimmy's * throat.
Leonard, frightened, bends down to listen. JIMMY (barely and audible
rasp) Sammy... remember Sammy... Leonard is SHOCKED. Jimmy is silent.
The sound of a CAR outside. Leonard JUMPS to his feet. 170
INT. KITCHEN, DERELICT BUILDING - DAY - CONTINUOUS <>
Leonard looks out to see Teddy getting out of his GREY SEDAN. Leonard
leafs through his Polaroids finding the one of Teddy. There is nothing
on the back. He sticks his Polaroids back in his pocket, pausing at the
one of the STRANGLED JIMMY. LEONARD (V.0.) * What have I done? * 171
EXT. DERELICT BUILDING - DAY <>
171
Leonard emerges to find Teddy trying the Jaguar's doors. LEONARD
(distraught) Hey! Mister! I need help! Teddy looks up. What's wrong?
TEDDY
LEONARD There's a guy in here, hurt bad! We gotta
get him to a doctor! Teddy moves towards the house. Leonard leads him in. MEMENTO Pink Revisions - 9/7/99 109. 172
INT. DERELICT BUILDING - DAY - CONTINUOUS <172
Teddy follows Leonard down the darkened hall. LEONARD (panicked) He
might have fallen down the stairs, I don't know, I don't know what's
going on, I'm confused. I have this memory thing do I know you? TEDDY
No. Don't worry, I'm a cop. Everything'll be okay. Is he still
breathing? LEONARD Maybe. Maybe just. They go down into the basement.
173 <>
INT. BASEMENT OF DERELICT BUILDING - DAY - CONTINUOUS
173
Teddy follows Leonard down the stairs. Jimmy's body, dressed only in
boxers, lies in the middle of the floor. TEDDY So what were you doing
here? Teddy moves to the body and crouches down to examine it. LEONARD I
don't know. See, I have this condition. TEDDY Well, I hope it's not as
serious as his, 'cos this guy's dead. Leonard CRACKS Teddy over the head
with the FLOORBOARD.
*
TEDDY (cont'd) * FUCK, Lenny! That fucking kills! LEONARD Remember me
again, huh? Leonard FRISKS him, pulling out a GUN and a POLICE BADGE.
*
LEONARD (cont'd) * You're a cop. A fucking cop.
*
(CONTINUED) MEMENTO
Yellow Revisions - 9/29/99 109A.
173
CONTINUED:
173 TEDDY * Yeah, and I helped you find the guy you
*
were looking for * LEONARD * Get up.
*
Teddy CRAWLS to his feet, RUBBING his head. MEMENTO
*
Yellow Revision - 9/29/99 110.
174
INT. DERELICT BUILDING - DAY - CONTINUOUS <>174
Leonard pushes Teddy out of the basement. TEDDY I think you've got the
wrong idea Leonard GRABS Teddy. LEONARD Who was that? He's not the guy.
He knew
*
me.
* *
TEDDY
Sure he did. He raped your wife and
* *
fucked up your brain. LEONARD * Bullshit.
*
TEDDY His name's James F. Grantz, John G. Check
*
your tattoos.
*
LEONARD So what was he bringing the two hundred
* *
grand for? TEDDY *
What * LEONARD * What was it for? * TEDDY A load of amphetamine I told him I had. LEONARD This is a drug deal?!
*
TEDDY That, and your thing. (CONTINUED)
MEMENTO - Green Revisions 10/4/99 111. 174
CONTINUED:
174 TEDDY (cont'd) * Jimmy's your guy, Leonard. I just figured
* *
we'd make some money on the side. LEONARD * But how did he know me? *
*
TEDDY * The Discount Inn, he deals out of there. The guy at the front desk lets him know
*
if anybody comes snooping around. He called Jimmy as soon as you took a picture of that dump. LEONARD You're using me!
Teddy looks at him, offended. TEDDY
No! (beat) You get half. *
Leonard THROWS him against the wall.
*
LEONARD He knew about Sammy. Why would I tell him about Sammy? TEDDY
(chuckles) You tell everyone about Sammy. Everyone who'll listen.
"Remember Sammy Jankis, remember Sammy Jankis". Great story. Gets better
every time you tell it. So you lie to yourself to be happy. Nothing
wrong with that - we all do. Who cares if there's a few little things
you'd rather not remember? LEONARD What the fuck are you talking about?
(CONTINUED)
MEMENTO - Green Revisions 10-4-99 112. 174 174
CONTINUED: (2) TEDDY (theatrical shrug) I dunno... your wife surviving
the assault... her not believing about your condition... the doubt
tearing her up inside.., the insulin LEONARD That's Sammy, not me! I
told you about Sammy TEDDY
Like you've told yourself. Over and over. Conditioning yourself to
believe. "learning through repetition" LEONARD Sammy let his wife kill
herself! Sammy ended up in an institution - !
*
TEDDY Sammy was a con man. A faker. LEONARD I never said he was faking! I
never said that! TEDDY You exposed him for what he was: a fraud.
(CONTINUED) MEMENTO - Green Revisions 10-4-99 113. 174 174
CONTINUED: (3) LEONARD I was wrong! That's the whole point! Sammy's wife came to me and TEDDY Sammy didn't have a wife.
Leonard freezes, staring at Teddy. TEDDY (cont'd) It was your wife who had diabetes. Leonard thinks. 175
INT. LEONARD'S APARTMENT - DAY <>
175
Leonard's Wife sitting on the edge of the bed. She feels a sharp pain,
and turns to Leonard (just as we have seen before). LEONARD'S WIFE
Gentle. Leonard has a syringe in his hand. 176
INT. DERELICT BUILDING - DAY <>
176
Leonard shakes his head, clearing his head of the image. LEONARD
My wife wasn't diabetic. Are you sure? 177
TEDDY
INT. LEONARD'S APARTMENT - DAY <>
177
Leonard's Wife on the edge of the bed. She feels a sharp pain, and turns to Leonard. Gentle.
LEONARD'S WIFE (CONTINUED)
MEMENTO - Green Revisions 10-4-99 177
114.
CONTINUED:
177
Leonard is playfully pinching her thigh. 178
INT. DERELICT BUILDING - DAY <>
178
Leonard shakes his head, smiling. LEONARD She wasn't diabetic. You think I don't know my own wife? What the fuck is wrong *
*
with you? * TEDDY (shrugs) I guess I can only make you believe the things you want to be true, huh? Like ol'
*
Jimmy down there. LEONARD But he's not the right guy!
*
TEDDY * He was to you. Come on, Lenny, you got your revenge - just enjoy it while you still remember. *
* * (CONTINUED)
MEMENTO - Green Revisions 10-4-99 115. 178
CONTINUED:
178 TEDDY
(chuckles) What difference does it make whether he *
was your guy or not? * LEONARD It makes all the difference. * TEDDY Why? You're never going to know. * Yes, I will.
LEONARD TEDDY
No, you won't. LEONARD Somehow, I'll know! TEDDY You won't remember!
LEONARD When it's done, I'll know! It'll be different! TEDDY I thought
so too! I was sure you'd *
remember. But you didn't. *
Beat. Leonard looks at Teddy, questioning. TEDDY (off look) You know, when we found your guy and
*
*
*
*
killed him. (off look) That's right, the real John G. Over a year ago. I
helped you find him. He's already dead. LEONARD Why do you keep lying
to me? TEDDY I'm not. I was the cop assigned to your
* *
wife's death. I believed you, I thought
*
you deserved the chance for revenge. I helped you find the other guy who
was in your bathroom that night. The guy who cracked your skull and
fucked your wife. *
We found him and you killed him. *
(MORE)
MEMENTO - Green Revisions 10-4-99
(CONTINUED) 115A.
178 178
CONTINUED: (2) TEDDY (cont'd) You didn't remember, so I helped you
*
start looking again, looking for the guy
*
you already killed. LEONARD So who are you saying he was? * TEDDY Just
some guy. Does it even matter who? I stopped asking myself why a long
time ago. No reason, no conspiracy; just bad fucking luck. A couple of
junkies, too strung out to realize that your wife didn't live alone.
When you killed him,
*
I've never seen you so happy - I was convinced you'd remember. But it
didn't stick, like nothing ever sticks. Like this won't stick. Leonard
looks at the Polaroid of himself. TEDDY (cont'd) That's the picture,
right? I took that, right when you did it. Look how happy you *
are. Before you forgot. I wanted to see *
that face again. LEONARD * * *
(sarcastic)
Thank you.
*
TEDDY Fuck you; I gave you a reason to live and
*
you were more than happy to help. You lie
*
to yourself! You don't want the truth, the truth is a fucking coward. So you make up your own truth. *
*
*
(CONTINUED) MEMENTO - Green Revisions 10-4-99 178 178
116.
CONTINUED: (3) TEDDY (cont'd) * Look at your police file. It was complete
*
when I gave it to you. Who took the 12 pages out? * You probably.
LEONARD
* TEDDY No. You took them out. * LEONARD Why would I do that? * TEDDY To
set yourself a puzzle you won't ever solve. You know how many towns,
how many
*
guys called James G? Or John G? Shit, Leonard, I'm a John G. LEONARD
Your name's Teddy. TEDDY (chuckles) My mother calls me Teddy. I'm John
Edward Gammell. Cheer up, there's a lot of John *
G's for us to find. All you do is moan. *
*
I'm the one that has to live with what you've done. I'm the one that has to put *
*
it all together. You just wander around *
playing detective. You're living a dream,
*
kid. A dead wife to pine for and a sense
*
of purpose to your life. A romantic quest
*
which you wouldn't end even if I wasn't *
in the picture. *
Leonard sticks the gun in Teddy's face. * LEONARD I should kill you. * TEDDY Quit it!
*
(brushes the gun away)
*
You're not a killer, Lenny. That's why you're so good at it.
*
* Leonard SEARCHES Teddy's pockets, still holding the gun on Teddy.
Leonard finds Teddy's CAR KEYS. He gets off Teddy and moves towards the
light. *
*
*
(CONTINUED) MEMENTO - Green Revisions 10-4-99 178 178
116A.
CONTINUED: (4) TEDDY (cont'd) Hey, where are you going? You know what *
time it is? *
Leonard stares at Teddy, mystified. Teddy grins. TEDDY (cont'd) It's beer o'clock. And I'm buying. Our work here is done.
*
Leonard turns away, and walks out into the light. 179
EXT. DERELICT BUILDING - DAY - CONTINUOUS <>179
Leonard, in BEIGE SUIT and BLUE SHIRT, comes out into the daylight,
THROWS Teddy's CAR KEYS into some bushes then heads to his PICKUP TRUCK
and climbs in. Teddy goes to look for his keys in the bushes.
(CONTINUED) MEMENTO - Green Revisions 10-4-99 117. 180
INT. PICKUP TRUCK - DAY - CONTINUOUS <>
180
Leonard opens the revolver and empties the bullets onto the passenger
seat. He flips through the photos until he finds the one of the
STRANGLED JIMMY. LEONARD (V.0.) I'm not a killer... Leonard reaches into
his sports bag, grabs a LIGHTER and sparks a flame. Leonard holds the
PHOTO in the flame until it CATCHES LIGHT, MELTING and BLACKENING. The
flames go out, having destroyed the entire image but for an arm resting
on a floor. Leonard sticks the remnants into his jacket pocket. He looks
in the rear-view mirror at Teddy, who scrabbles around in the bushes.
LEONARD (V.0.) (CON'T'D) ... but right now I need to be. Teddy's GREY
SEDAN is parked in front of Leonard. Leonard looks at the sedan, then
reaches into his sports bag for a PEN and a FILE CARD. He writes on the
file card: "TATTOO: I'VE DONE IT" Leonard looks from the card to Teddy's
sedan. LEONARD (V.O.)(cont'd) Maybe I'm not finished yet. Maybe I need
to be sure that you won't ever use me again. Leonard rips up the file
card and takes out another. LEONARD (V.0.) (cont'd) You're a John G.?
Fine, then you can be my John G. Leonard writes on the file card:
"TATTOO: FACT 6. CAR LICENSE NUMBER" LEONARD (V.O.)(cont'd) Do I lie to
myself to be happy? Leonard looks up at Teddy's sedan and copies down
the license number. The LICENSE NUMBER of Teddy's car is: SG13 7IU.
LEONARD (V.O.)(cont'd) In your case, Teddy... yes, I will. (CONTINUED)
MEMENTO - Green Revisions 10-4-99 180
117A.
CONTINUED:
180
Leonard grabs the sports bag and GETS OUT of the PICKUP TRUCK. He goes
to THE JAGUAR and OPENS the passenger door, DUMPING his sports bag onto
the seat. Teddy SEES this and RUNS over. Leonard walks to the back of
the Jaguar and holds up his camera. TEDDY Hey! Hey, that's not your car!
Leonard SNAPS a Polaroid of the Jaguar. It is now.
LEONARD
TEDDY You can't just take it! Leonard UNLOCKS the trunk, TURNING to Teddy as he does so. Why not?
LEONARD
(CONTINUED) MEMENTO 180
Yellow Revisions - 9/29/99
CONTINUED:
118. 180
TEDDY You just killed the guy who owned it! Somebody'll recognize it!
Leonard pulls Teddy's EMPTY gun out of his pocket. LEONARD I'd rather be
mistaken for a dead guy
than a murderer. I'm gonna hang on to this. Leonard TOSSES the GUN into
the trunk. It lands on PILES OF BANKNOTES STUFFED IN THE TRUNK. Teddy
REACTS to the sight of the money. Leonard glances at Teddy, then the
money, shakes his head, then SLAMS the trunk. Teddy jogs back to where
he was looking for his keys. 181
INT. JAGUAR - DAY <>
181
Leonard starts the engine. Through the rear-view mirror, Leonard stares
at Teddy's retreating form. Thinking. Leonard PULLS OUT onto the road.
182
INT./EXT. THE ROAD BACK INTO TOWN - DAY <>
182
As the Jaguar cruises along, Leonard places the FILE CARD on the dash.
It says: "TATTOO: FACT 6. CAR LICENSE: SG13 7IU" * Leonard drives,
HEADING BACK INTO TOWN. He looks at his hand on the steering wheel,
reading "REMEMBER SAMMY JANKIS". LEONARD (V.O.) I have to believe in the
world outside my own mind. I have to believe that my actions still have
meaning, even if I can't remember them. I have to believe that when my
eyes are closed, the world's still there. Leonard CLOSES HIS EYES,
driving blind. Stay on Leonard, not seeing the road ahead, hearing cars
whip past. LEONARD (V.O.) (cont'd) (rising tension) But do I? Do I
believe the world's still there? Move in on Leonard as cars fly past,
horns BLARING. (CONTINUED) MEMENTO Blue Revisions - 8/27/99 119. 182
CONTINUED:
182 LEONARD (V.O.) (cont'd) Is it still out there?! (beat) Yes.
Leonard OPENS his eyes, straightening up the car, BREATHING. His EYES
DART from the STRIP MALLS to the GAS STATIONS, as if HE IS TRYING TO
ABSORB THE WHOLE TOWN IN A SINGLE VIEWING. LEONARD (V.O.) (cont'd) We
all need mirrors to remind ourselves who we are. I'm no different. 183 *
EXT. STRIP MALL - DAY <>
183
From the bewildering BLUR of urban signage, Leonard SUDDENLY GLIMPSES A
TATTOO PARLOR in a strip mall. He SLAMS ON THE BRAKES. The tyres SCREAM
as the car SCREECHES TO A HALT and we: CUT TO BLACK. LEONARD (V.O.)
(cont'd) Now... where was I? ROLL CREDITS END.
---------------------------------------------------------------------The
following is Jonathan Nolan's short story "Memento Mori", the
inspiration for his brother, Christopher Nolan's, screenplay for the
film, MEMENTO: MEMENTO MORI by Jonathan Nolan What like a bullet can
undeceive!" -Herman Melville Your wife always used to say you'd be late
for your own funeral. Remember that? Her little joke because you were
such a slob-always late, always forgetting stuff, even before the
incident. Right about now you're probably wondering if you were late for
hers. You were there, you can be sure of that. That's what the
picture's for-the one tacked to the wall by the door. It's not customary
to take pictures at a funeral, but somebody, your doctors, I guess,
knew you wouldn't remember. They had it blown up nice and big and stuck
it right there, next to the door, so you couldn't help but see it every
time you got up to find out where she was. The guy in the picture, the
one with the flowers? That's you. And what are you doing? You're reading
the headstone, trying to figure out who's funeral you're at, same as
you're reading it now, trying to figure why someone stuck that picture
next to your door. But why
bother reading something that you won't remember? She's gone, gone for
good, and you must be hurting right now, hearing the news. Believe me, I
know how you feel. You're probably a wreck. But give it five minutes,
maybe ten. Maybe you can even go a whole half hour before you forget.
But you will forget-I guarantee it. A few more minutes and you'll be
heading for the door, looking for her all over again, breaking down when
you find the picture. How many times do you have to hear the news
before some other part of your body, other than that busted brain of
yours, starts to remember? Never-ending grief, never-ending anger.
Useless without direction. Maybe you can't understand what's happened.
Can't say I really understand, either. Backwards amnesia. That's what
the sign says. CRS disease. Your guess is as good as mine. Maybe you
can't understand what happened to you. But you do remember what happened
to HER, don't you? The doctors don't want to talk about it. They won't
answer my questions. They don't think it's right for a man in your
condition to hear about those things. But you remember enough, don't
you? You remember his face. This is why I'm writing to you. Futile,
maybe. I don't know how many times you'll have to read this before you
listen to me. I don't even know how long you've been locked up in this
room already. Neither do you. But your advantage in forgetting is that
you'll forget to write yourself off as a lost cause. Sooner or later
you'll want to do something about it. And when you do, you'll just have
to trust me, because I'm the only one who can help you. *** EARL OPENS
ONE EYE after another to a stretch of white ceiling tiles interrupted by
a hand-printed sign taped right above his head, large enough for him to
read from the bed. An alarm clock is ringing somewhere. He reads the
sign, blinks,reads it again, then takes a look at the room. It's a white
room, overwhelmingly white, from the walls and the curtains to the
institutional furniture and the bedspread. The alarm clock is ringing
from the white desk under the window with the white curtains. At this
point Earl probably notices that he is lying on top of his white
comforter. He is already wearing a dressing gown and slippers. He lies
back and reads the sign taped to the ceiling again. It says, in crude
block capitals, THIS IS YOUR ROOM. THIS IS A ROOM IN A HOSPITAL. THIS IS
WHERE YOU LIVE NOW. Earl rises and takes a look around. The room is
large for a hospital-empty linoleum stretches out from the bed in three
directions. Two doors and a window. The view isn't very helpful,
either-a close of trees in the center of a carefully manicured piece
of turf that terminates in a sliver of two-lane blacktop. The trees,
except for the evergreens, are bare-early spring or late fall, one or
the other. Every inch of the desk is covered with Post-it notes, legal
pads, neatly printed lists, psychological textbooks, framed pictures. On
top of the mess is a half-completed crossword puzzle. The alarm clock
is riding a pile of folded newspapers. Earl slaps the snooze button and
takes a cigarette from the pack taped to the sleeve of his dressing
gown. He pats the empty pockets of his pajamas for a light. He rifles
the papers on the desk, looks quickly through the drawers. Eventually he
finds a box of kitchen matches taped to the wall next to the window.
Another sign is taped just above the box. It says in loud yellow
letters, CIGARETTE? CHECK FOR LIT ONES FIRST, STUPID. Earl laughs at the
sign, lights his cigarette, and takes a long draw. Taped to the window
in front of him is another piece of looseleaf paper headed YOUR
SCHEDULE. It charts off the hours, every hour, in blocks: 10:00 p.m. to
8:00 a.m. is labeled go BACK TO SLEEP. Earl consults the alarm clock:
8:15. Given the light outside, it must be morning. He checks his watch:
10:30. He presses the watch to his ear and listens. He gives the watch a
wind or two and sets it to match the alarm clock. According to the
schedule, the entire block from 8:00 to 8:30 has been labeled BRUSH YOUR
TEETH. Earl laughs again and walks over to the bathroom. The bathroom
window is open. As he flaps his arms to keep warm, he notices the
ashtray on the windowsill. A cigarette is perched on the ashtray,
burning steadily through a long finger of ash. He frowns, extinguishes
the old butt, and replaces it with the new one. The toothbrush has
already been treated to a smudge of white paste. The tap is of the
push-button variety-a dose of water with each nudge. Earl pushes the
brush into his cheek and fiddles it back and forth while he opens the
medicine cabinet. The shelves are stocked with single-serving packages
of vitamins, aspirin, antidiuretics. The mouthwash is also
single-serving, about a shot-glass-worth of blue liquid in a sealed
plastic bottle. Only the toothpaste is regular-sized. Earl spits the
paste out of his mouth and replaces it with the mouthwash. As he lays
the toothbrush next to the toothpaste, he notices a tiny wedge of paper
pinched between the glass shelf and the steel backing of the medicine
cabinet. He spits the frothy blue fluid into the sink and nudges for
some more water to rinse it down. He closes the medicine cabinet and
smiles at his reflection in the mirror. "Who needs half an hour to brush
their teeth?" The paper has been folded down to a minuscule size with
all the precision of a sixth-grader's love note. Earl unfolds it and
smooths it against the mirror. It readsIF YOU CAN STILL READ THIS, THEN
YOU'RE A FUCKING COWARD.
Earl stares blankly at the paper, then reads it again. He turns it over.
On the back it readsP.S.: AFTER YOU'VE READ THIS, HIDE IT AGAIN. Earl
reads both sides again, then folds the note back down to its original
size and tucks it underneath the toothpaste. Maybe then he notices the
scar. It begins just beneath the ear, jagged and thick, and disappears
abruptly into his hairline. Earl turns his head and stares out of the
corner of his eye to follow the scar's progress. He traces it with a
fingertip, then looks back down at the cigarette burning in the ashtray.
A thought seizes him and he spins out of the bathroom. He is caught at
the door to his room, one hand on the knob. Two pictures are taped to
the wall by the door. Earl's attention is caught first by the MRI, a
shiny black frame for four windows into someone's skull. In marker, the
picture is labeled YOUR BRAIN. Earl stares at it. Concentric circles in
different colors. He can make out the big orbs of his eyes and, behind
these, the twin lobes of his brain. Smooth wrinkles, circles,
semicircles. But right there in the middle of his head, circled in
marker, tunneled in from the back of his neck like a maggot into an
apricot, is something different. Deformed, broken, but unmistakable. A
dark smudge, the shape of a flower, right there in the middle of his
brain. He bends to look at the other picture. It is a photograph of a
man holding flowers, standing over a fresh grave. The man is bent over,
reading the headstone. For a moment this looks like a hall of mirrors or
the beginnings of a sketch of infinity: the one man bent over, looking
at the smaller man, bent over, reading the headstone. Earl looks at the
picture for a long time. Maybe he begins to cry. Maybe he just stares
silently at the picture. Eventually, he makes his way back to the bed,
flops down, seals his eyes shut, tries to sleep. The cigarette burns
steadily away in the bathroom. A circuit in the alarm clock counts down
from ten, and it starts ringing again. Earl opens one eye after another
to a stretch of white ceiling tiles, interrupted by a hand-printed sign
taped right above his head, large enough for him to read from the bed.
*** You can't have a normal life anymore. You must know that. How can
you have a girlfriend if you can't remember her name? Can't have kids,
not unless you want them to grow up with a dad who doesn't recognize
them. Sure as hell can't hold down a job. Not too many professions out
there that value forgetfulness. Prostitution, maybe. Politics, of
course. No. Your life is over. You're a dead man.The only thing the
doctors are hoping to do is teach you to be less of a burden to the
orderlies. And they'll probably never let you go home, wherever that
would be. So the question is not "to be or not to be," because you
aren't. The question is whether you want to do something about it.
Whether revenge
matters to you. It does to most people. For a few weeks, they plot, they
scheme, they take measures to get even. But the passage of time is all
it takes to erode that initial impulse. Time is theft, isn't that what
they say? And time eventually convinces most of us that forgiveness is a
virtue. Conveniently, cowardice and forgiveness look identical at a
certain distance. Time steals your nerve. If time and fear aren't enough
to dissuade people from their revenge, then there's always authority,
softly shaking its head and saying, We understand, but you're the better
man for letting it go. For rising above it. For not sinking to their
level. And besides, says authority, if you try anything stupid, we'll
lock you up in a little room. But they already put you in a little room,
didn't they? Only they don't really lock it or even guard it too
carefully because you're a cripple. A corpse. A vegetable who probably
wouldn't remember to eat or take a shit if someone wasn't there to
remind you. And as for the passage of time, well, that doesn't really
apply to you anymore, does it? Just the same ten minutes, over and over
again. So how can you forgive if you can't remember to forget? You
probably were the type to let it go, weren't you? Before. But you're not
the man you used to be. Not even half. You're a fraction; you're the
ten-minute man. Of course, weakness is strong. It's the primary impulse.
You'd probably prefer to sit in your little room and cry. Live in your
finite collection of memories, carefully polishing each one. Half a life
set behind glass and pinned to cardboard like a collection of exotic
insects. You'd like to live behind that glass, wouldn't you? Preserved
in aspic. You'd like to but you can't, can you? You can't because of the
last addition to your collection. The last thing you remember. His
face. His face and your wife, looking to you for help. And maybe this is
where you can retire to when it's over. Your little collection. They
can lock you back up in another little room and you can live the rest of
your life in the past. But only if you've got a little piece of paper
in your hand that says you got him. You know I'm right. You know there's
a lot of work to do. It impossible, but I'm sure if we all do our part,
we'll figure out. But you don't have much time. You've only got about
ten in fact. Then it starts all over again. So do something with you've
got.
may seem something minutes, the time
*** EARL OPENS HIS EYES and blinks into the darkness. The alarm clock is
ringing. It says 3:20, and the moonlight streaming through the window
means it must be he early morning. Earl fumbles for the lamp, almost
knocking it over in the process. Incandescent light fills the room,
painting the metal furniture yellow, the walls yellow, the bedspread,
too. He lies back and looks up at the stretch of yellow ceiling tiles
above him, interrupted by a handwritten sign taped to the ceiling. He
reads the sign two, maybe three times, then blinks at the room around
him. It is a bare room. Institutional, maybe. There is a desk over by
the window. The desk is bare except for the blaring alarm clock. Earl
probably notices, at this point, that he is fully clothed. He even has
his shoes on under the sheets. He extracts himself from the bed and
crosses to the desk. Nothing in the room would suggest that anyone lived
there, or ever had, except for the odd scrap of tape stuck here and
there to the wall. No pictures, no books, nothing. Through the window,
he can see a full moon shining on carefully manicured grass. Earl slaps
the snooze button on the alarm clock and stares a moment at the two keys
taped to the back of his hand. He picks at the tape while he searches
through the empty drawers. In the left pocket of his jacket, he finds a
roll of hundred-dollar bills and a letter sealed in an envelope. He
checks the rest of the main room and the bathroom. Bits of tape,
cigarette butts. Nothing else. Earl absentmindedly plays with the lump
of scar tissue on his neck and moves back toward the bed. He lies back
down and stares up at the ceiling and the sign taped to it. The sign
reads, GET UP, GET OUT RIGHT NOW. THESE PEOPLE ARE TRYING TO KILL YOU.
Earl closes his eyes. *** They tried to teach you to make lists in grade
school, remember? Back when your day planner was the back of your hand.
And if your assignments came off in the shower, well, then they didn't
get done. No direction, they said. No discipline. So they tried to get
you to write it all down somewhere more permanent. Of course, your
grade-school teachers would be laughing their pants wet if they could
see you now. Because you've become the exact product of their
organizational lessons. Because you can't even take a piss without
consulting one of your lists. They were right. Lists are the only way
out of this mess. Here's the truth: People, even regular people, are
never just any one person with one set of attributes. It's not that
simple. We're all at the mercy of the limbic system, clouds of
electricity drifting through the brain. Every man is broken into
twenty-four-hour fractions, and then again within those twenty-four
hours. It's a daily pantomime, one man yielding control to the next: a
backstage crowded with old hacks clamoring for their turn in the
spotlight. Every week, every day. The angry man hands the baton over to
the sulking man, and in turn to the sex addict, the introvert, the
conversationalist. Every man is a mob, a chain gang of idiots. This is
the tragedy of life. Because for a few minutes of every day, every man
becomes a genius. Moments of clarity, insight, whatever you want to call
them. The clouds part, the planets get in a neat little
line, and everything becomes obvious. I should quit smoking, maybe, or
here's how I could make a fast million, or such and such is the key to
eternal happiness. That's the miserable truth. For a few moments, the
secrets of the universe are opened to us. Life is a cheap parlor trick.
But then the genius, the savant, has to hand over the controls to the
next guy down the pike, most likely the guy who just wants to eat potato
chips, and insight and brilliance and salvation are all entrusted to a
moron or a hedonist or a narcoleptic. The only way out of this mess, of
course, is to take steps to ensure that you control the idiots that you
become. To take your chain gang, hand in hand, and lead them. The best
way to do this is with a list. It's like a letter you write to yourself.
A master plan, drafted by the guy who can see the light, made with
steps simple enough for the rest of the idiots to understand. Follow
steps one through one hundred. Repeat as necessary. Your problem is a
little more acute, maybe, but fundamentally the same thing. It's like
that computer thing, the Chinese room. You remember that? One guy sits
in a little room, laying down cards with letters written on them in a
language he doesn't understand, laying them down one letter at a time in
a sequence according to someone else's instructions. The cards are
supposed to spell out a joke in Chinese. The guy doesn't speak Chinese,
of course. He just follows his instructions. There are some obvious
differences in your situation, of course: You broke out of the room they
had you in, so the whole enterprise has to be portable. And the guy
giving the instructions-that's you, too, just an earlier version of you.
And the joke you're telling, well, it's got a punch line. I just don't
think anyone's going to find it very funny. So that's the idea. All you
have to do is follow your instructions. Like climbing a ladder or
descending a staircase. One step at a time. Right down the list. Simple.
And the secret, of course, to any list is to keep it in a place where
you're bound to see it. *** HE CAN HEAR THE BUZZING through his eyelids.
Insistent. He reaches out for the alarm clock, but he can't move his
arm. Earl opens his eyes to see a large man bent double over him. The
man looks up at him, annoyed, then resumes his work. Earl looks around
him. Too dark for a doctor's office. Then the pain floods his brain,
blocking out the other questions. He squirms gain, trying to yank his
forearm away, the one that feels like it's burning. The arm doesn't
move, but the man shoots him another scowl. Earl adjusts himself in the
chair to see over the top
of the man's head. The noise and the pain are both coming from a gun in
the man's hand-a gun with a needle where the barrel should be. The
needle is digging into the fleshy underside of Earl's forearm, leaving a
trail of puffy letters behind it. Earl tries to rearrange himself to
get a better view, to read the letters on his arm, but he can't. He lies
back and stares at the ceiling. Eventually the tattoo artist turns off
the noise, wipes Earl's forearm with a piece of gauze, and wanders over
to the back to dig up a pamphlet describing how to deal with a possible
infection. Maybe later he'll tell his wife about this guy and his little
note. Maybe his wife will convince him to call the police. Earl looks
down at the arm. The letters are rising up from the skin, weeping a
little. They run from just behind the strap of Earl's watch all the way
to the inside of his elbow. Earl blinks at the message and reads it
again. It says, in careful little capitals, I RAPED AND KILLED YOUR
WIFE. *** It's your birthday today, so I got you a little present. I
would have just bought you a beer, but who knows where that would have
ended? So instead, I got you a bell. I think I may have had to pawn your
watch to buy it, but what the hell did you need a watch for, anyway?
You're probably asking yourself, Why a bell? In fact, I'm guessing
you're going to be asking yourself that question every time you find it
in your pocket. Too many of these letters now. Too many for you to dig
back into every time you want to know the answer to some little
question. It's a joke, actually. A practical joke. But think of it this
way: I'm not really laughing at you so much as with you. I'd like to
think that every time you take it out of your pocket and wonder, Why do I
have this bell? a little part of you, a little piece of your broken
brain, will remember and laugh, like I'm laughing now. Besides, you do
know the answer. It was something you learned before. So if you think
about it, you'll know. Back in the old days, people were obsessed with
the fear of being buried alive. You remember now? Medical science not
being quite what it is today, it wasn't uncommon for people to suddenly
wake up in a casket. So rich folks had their coffins outfitted with
breathing tubes. Little tubes running up to the mud above so that if
someone woke up when they weren't supposed to, they wouldn't run out of
oxygen. Now, they must have tested this out and realized that you could
shout yourself hoarse through the tube, but it was too narrow to carry
much noise. Not enough to attract attention, at least. So a string was
run up the tube to a little bell attached to the headstone.
If a dead person came back to life, all he had to do was ring his little
bell till someone came and dug him up again. I'm laughing now,
picturing you on a bus or maybe in a fast-food restaurant, reaching into
your pocket and finding your little bell and wondering to yourself
where it came from, why you have it. Maybe you'll even ring it. Happy
birthday, buddy. I don't know who figured out the solution to our mutual
problem, so I don't know whether to congratulate you or me. A bit of a
lifestyle change, admittedly, but an elegant solution, nonetheless. Look
to yourself for the answer. That sounds like something out of a
Hallmark card. I don't know when you thought it up, but my hat's off to
you. Not that you know what the hell I'm talking about. But, honestly, a
real brainstorm. After all, everybody else needs mirrors to remind
themselves who they are. You're no different. *** THE LITTLE MECHANICAL
VOICE PAUSES, then repeats itself. It says, "The time is 8:00 a.m. This
is a courtesy call." Earl opens his eyes and replaces the receiver. The
phone is perched on a cheap veneer headboard that stretches behind the
bed, curves to meet the corner, and ends at the minibar. The TV is still
on, blobs of flesh color nattering away at each other. Earl lies back
down and is surprised to see himself, older now, tanned, the hair
pulling away from his head like solar flares. The mirror on the ceiling
is cracked, the silver fading increases. Earl continues to stare at
himself, astonished by what he sees. He is fully dressed, but the
clothes are old, threadbare in places. Earl feels the familiar spot on
his left wrist for his watch, but it's gone. He looks down from the
mirror to his arm. It is bare and the skin has changed to an even tan,
as if he never owned a watch in the first place. The skin is even in
color except for the solid black arrow on the inside of Earl's wrist,
pointing up his shirtsleeve. He stares at the arrow for a moment.
Perhaps he doesn't try to rub it off anymore. He rolls up his sleeve.
The arrow reads the beginning under the
points to a sentence tattooed along Earl's inner arm. Earl sentence
once, maybe twice. Another arrow picks up at the of the sentence, points
farther up Earl's arm, disappearing rolled-up shirtsleeve. He unbuttons
his shirt.
Looking down on his chest, he can make out the shapes but cannot bring
them into focus, so he looks up at the mirror above him. The arrow leads
up Earl's arm, crosses at the shoulder, and descends onto his upper
torso, terminating at a picture of a man's face that occupies most of
his chest. The face is that of a large man, balding, with a mustache and
a goatee. It is a particular face, but like a police sketch it has a
certain unreal quality.
The rest of his upper torso is covered in words, phrases, bits of
information, and instructions, all of them written backward on Earl,
forward in the mirror. EventuallyEarl sits up, buttons his shirt, and
crosses to the desk. He takes out a pen and a piece of notepaper from
the desk drawer, sits, and begins to write. *** I don't know where
you'll be when you read this. I'm not even sure if you'll bother to read
this. I guess you don't need to. It's a shame, really, that you and I
will never meet. But, like the song says, "By the time you read this
note, I'll be gone." We're so close now. That's the way it feels. So
many pieces put together, spelled out. I guess it's just a matter of
time until you find him. Who knows what we've done to get here? Must be a
hell of a story, if only you could remember any of it. I guess it's
better that you can't. I had a thought just now. Maybe you'll find it
useful. Everybody is waiting for the end to come, but what if it already
passed us by? What if the final joke of Judgment Day was that it had
already come and gone and we were none the wiser? Apocalypse arrives
quietly; the chosen are herded off to heaven, and the rest of us, the
ones who failed the test, just keep on going, oblivious. Dead already,
wandering around long after the gods have stopped keeping score, still
optimistic about the future. I guess if that's true, then it doesn't
matter what you do. No expectations. If you can't find him, then it
doesn't matter, because nothing matters. And if you do find him, then
you can kill him without worrying about the consequences. Because there
are no consequences. That's what I'm thinking about right now, in this
scrappy little room. Framed pictures of ships on the wall. I don't know,
obviously, but if I had to guess, I'd say we're somewhere up the coast.
If you're wondering why your left arm is five shades browner than your
right, I don't know what to tell you. I guess we must have been driving
for a while. And, no, I don't know what happened to your watch. And all
these keys: I have no idea. Not a one that I recognize. Car keys and
house keys and the little fiddly keys for padlocks. What have we been up
to? I wonder if he'll feel stupid when you find him. Tracked down by
the ten-minute man. Assassinated by a vegetable. I'll be gone in a
moment. I'll put down the pen, close my eyes, and then you can read this
through if you want.
I just wanted you to know that I'm proud of you. No one who matters is
left to say it. No one left is going to want to. EARL'S EYES ARE WIDE
OPEN, staring through the window of the car. Smiling eyes. Smiling
through the window at the crowd gathering across the street. The crowd
gathering around the body in the doorway. The body emptying slowly
across the sidewalk and into the storm drain. *** A stocky guy,
facedown, eyes open. Balding head, goatee. In death, as in police
sketches, faces tend to look the same. This is definitely somebody in
particular. But really, it could be anybody. Earl is still smiling at
the body as the car pulls away from the curb. The car? Who's to say?
Maybe it's a police cruiser. Maybe it's just a taxi. As the car is
swallowed into traffic, Earl's eyes continue to shine out into the
night, watching the body until it disappears into a circle of concerned
pedestrians. He chuckles to himself as the car continues to make
distance between him and the growing crowd. Earl's smile fades a little.
Something has occurred to him. He begins to pat down his pockets;
leisurely at first, like a man looking for his keys, then a little more
desperately. Maybe his progress is impeded by a set of handcuffs. He
begins to empty the contents of his pockets out onto the seat next to
him. Some money. A bunch of keys. Scraps of paper. A round metal lump
rolls out of his pocket and slides across the vinyl seat. Earl is
frantic now. He hammers at the plastic divider between him and the
driver, begging the man for a pen. Perhaps the cabbie doesn't speak much
English. Perhaps the cop isn't in the habit of talking to suspects.
Either way, the divider between the man in front and the man behind
remains closed. A pen is not forthcoming. The car hits a pothole, and
Earl blinks at his reflection in the rearview mirror. He is calm now.
The driver makes another corner, and the metal lump slides back over to
rest against Earl's leg with a little jingle. He picks it up and looks
at it, curious now. It is a little bell. A little metal bell. Inscribed
on it are his name and a set of dates. He recognizes the first one: the
year in which he was born. But the second date means nothing to him.
Nothing at all. As he turns the bell over in his hands, he notices the
empty space on his wrist where his watch used to sit. There is a little
arrow there, pointing up his arm. Earl looks at the arrow, then begins
to roll up his sleeve. *** "You'd be late for your own funeral," she'd
say. Remember? The more I think about it, the more trite that seems.
What kind of idiot, after all, is in any kind of rush to get to the end
of his own story? And how would I know if I were late,
anyway? I don't have a watch
anymore. I don't know what we did with it. What the hell do you need a
watch for, anyway? It was an antique. Deadweight tugging at your wrist.
Symbol of the old you. The you that believed in time. No. Scratch that.
It's not so much that you've lost your faith in time as that time has
lost its faith in you. And who needs it, anyway? Who wants to be one of
those saps living in the safety of the future, in the safety of the
moment after the moment in which they felt something powerful? Living in
the next moment, in which they feel nothing. Crawling down the hands of
the clock, away from the people who did unspeakable things to them.
Believing the lie that time will heal all wounds-which is just a nice
way of saying that time deadens us. But you're different. You're more
perfect. Time is three things for most people, but for you, for us, just
one. A singularity. One moment. This moment. Like you're the center of
the clock, the axis on which the hands turn. Time moves about you but
never moves you. It has lost its ability to affect you. What is it they
say? That time is theft? But not for you. Close your eyes and you can
start all over again. Conjure up that necessary emotion, fresh as roses.
Time is an absurdity. An abstraction. The only thing that matters is
this moment. This moment a million times over. You have to trust me. If
this moment is repeated enough, if you keep trying-and you have to keep
trying-eventually you will come across the next item on your list. End.