Memento

Some memories are best forgotten.

Release Date 2000-10-11
Runtime 113 minutes
Status Released
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Overview

Leonard Shelby is tracking down the man who raped and murdered his wife. The difficulty of locating his wife's killer, however, is compounded by the fact that he suffers from a rare, untreatable form of short-term memory loss. Although he can recall details of life before his accident, Leonard cannot remember what happened fifteen minutes ago, where he's going, or why.

Budget $9,000,000
Revenue $40,047,236
Vote Average 8.177/10
Vote Count 15454
Popularity 9.1492
Original Language en

Backdrop

Available Languages

English US
Title:
"Some memories are best forgotten."
Italiano IT
Title:
"Ricordati di non dimenticare."
Deutsch DE
Title:
"Manchmal ist es besser, zu vergessen."
Magyar HU
Title: Memento
"Néhány emléket legjobb elfelejteni"
Português PT
Title:
"Vale a pena esquecer algumas memórias."
Español ES
Title:
"Algunos recuerdos son mejor olvidar."

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Cast

Crew

Reviews

John Chard
9.0/10
We all lie to ourselves to be happy. It's not until a film like Memento comes along, or that you personally have to deal with someone close who suffers a form of this subject to hand, that you get jolted to remember just how your memory is such a prized and treasured thing - and crucially that it's one of your key safety devices. Christopher and Jonathan Nolan crafted one of the best films of 2000 based on those facets of the human condition. Their protagonist is Leonard Shelby, played with stupendous believability by Guy Pearce, who is suffering from a memory amnesia caused by a trauma to the head as he tried to aide his wife who was raped and murdered. He can remember things before the incident, but anything post that and he can't form a memory. So who can he trust? Does he know any of the few people who appear to be in his life at the present time? He tattoos his body to help him remember, constantly writes notes to keep him alert in his now alien world, while all the time he is on the search for the man who ruined his life. Christopher Nolan plants the audience right into Leonard's world. By using a reverse story telling structure it's deliberately complex and ingenious given that it opens with the ending! It has been argued that it's trickery for trickery sake, style over substance, but the way each scene is built upon in the narrative is a thing of high quality, it's all relevant and demands the closest of attention from the viewer, where cheekily we are ourselves asked to form memories of prior narrative passages. Mystery is strong throughout, the characters currently in Leonard's life may have different means and motives, it keeps us alert, with the confusion, lies, manipulations, enigmas and amnesia angles booming with neo-noir vibrancy. And the Nolan's know their noir of course, adding a narrator who is hard to define or trust himself! The reverse structure wasn't new in 2000, but Christopher Nolan picks up the idea and adds new strands to it, simultaneously bringing his visual ticks as David Julyan's musical score shifts from elegiac forebodings to pulse pounding dread, and as evidenced by the darling easter egg option that allows one to watch it in chronological order, it's a damn fine thriller without the reverse trickery anyway. Super. 9/10
talisencrw
10.0/10
Excellent. I can't believe I've finally gotten around to watching all of Christopher Nolan's films (I have 'The Prestige' on DVD, but have yet to see it), but it's been well worth the wait. There are a couple of handful of English-language directors operating right now that I will make sure I watch every single film of, and Nolan has become one of those for me, and rightfully so. A very fine twist on the noir framework.
mattwilde123
10.0/10
‘Memento’ is director Christopher Nolan’s tribute to classic film noir tales of revenge and mystery. By adding a new twist to traditional conventions, Nolan is able to consume and grip the viewer throughout the entire film and for years after. The aspect that differentiates this neo-noir from its competitors today is its jumbled and complex narrative which continually moves backwards in time. The viewers first see the main character complete his revenge murder (a triumphant scene we usually associate with the ending of film noirs). We then begin to see events unfold backwards and the reason for this becomes clear. Leonard Shelby (Guy Pearce) and his wife are attacked in their home. His wife is murdered but Guy Pearce is left with a brain condition that disables him from creating anymore short-term memory. Constantly being reminded of the horror of the situation, he is relentlessly spurred on to get his revenge on his wife’s killer. As the viewer progresses through the film, they begin to feel more and more like Lenny. The audience have no idea of what has happened prior to the scene currently showing and so we are left feeling the same confusion as our protagonist. To cope with his condition, he maintains a system of notes, photographs, and tattoos to record information about himself and others, including his wife's killer. He is aided in his investigation by "Teddy" (Joe Pantoliano) and Natalie (Carrie-Anne Moss), neither of whom he can really trust (both of the latter actors starred together in ‘The Matrix (1999)’ in which Pantoliano was not to be trusted, disorientating the informed viewer more). The film's events unfold in two separate, alternating narratives—one in colour, and the other in black and white. Leonard's investigation is depicted in five-minute colour sequences that are in reverse chronological order, however, the short black and white scenes are shown in chronological order and show Leonard on the phone to a mysterious stranger having a conversation that the viewers cannot understand (these sequences are more direct references to the film noir genre that Christopher Nolan is embracing). This style of directing makes the audience completely empathise with Leonard’s situation as you never know more than he does, but also it creates huge comedic and emotional moments which rely heavily on the notion of dramatic irony. With Nolan’s use of handheld camera work, an overtone of pink colouring, and sharp editing (the only transition effects in use are occasional fade outs) the viewer is made to feel disorientated and is therefore able to empathise more with Leonard’s character. The original idea was a short story by Nolan’s brother, Jonathan who also helped with the screenplay. The dialogue in the film is its best feature with its insightful, powerful and heart-wrenching speeches about the nature of memory. As we learn how we rely upon memory for our sense of reality, we begin to question reality itself. The idea of faith and constant references to the bible can make the entire film a metaphor for people’s faith in Christianity or any other religion at that. ★★★★★
AstroNoud
8.0/10
Structuring the film in such a way that the viewer knows as little as the protagonist, the Nolan's have created a nifty puzzle that slowly unravels to its climax. 8/10
r96sk
10.0/10
Phenomenal. What a movie! I had heard plenty about 'Memento' prior to watching in regards to how high-quality it supposedly was, though didn't actually (thankfully) get spoiled on anything that occurs onscreen - I did know of the note-taking, though for some reason thought it was via post-it notes rather than polaroids - no idea why! It's a very satisfying movie come the conclusion, concentration is very much the order of the day but the film does connect enough dots rather sharpish. I thoroughly appreciated the ending itself, Guy Pearce delivers the final moments supremely. Speaking of he, I've not seen much of him before but this is a terrific lead performance! Joe Pantoliano and Carrie-Anne Moss are excellent in their respective roles too, even Stephen Tobolowsky and Harriet Sansom Harris manage to leave an imprint on my mind despite much less screen time; first time I've seen Harris in anything properly since I was in my teens a decade or so ago, always remember her great showing in 'Desperate Housewives' (interestingly the first television show I ever got into, it's quality, don't @ me 😎). Anyway, back on track... Christopher Nolan - some director, eh?! I'd put this right in my top three ranking of his work, behind 'Inception' and 'Interstellar'. Such a fulfilling movie! I hope for similar-ish with his other pictures in 'Insomnia' and 'The Prestige', two flicks I know absolutely zilch about. I don't anticipate that Mr. Nolan will let me down at this point.
CinemaSerf
7.0/10
I reckon what makes this work from Christopher Nolan is the creation of a cerebral maelstrom that is every bit as confusingly frustrating for us watching as it is for his protagonist "Leonard" (Guy Pearce). Now we don't know how he has developed his menacing ninja skills, but we do know that he is trying to get to the bottom of his wife's murder, and that he has virtually no short-term memory to help him. As he pieces things together, he has to leave himself notes, or polaroids augmented with scribbles so he can recall just how far he has got and whom he can (or cannot) trust. The facts that he considers crucial are tattooed across his body as his search narrows - or does it? Along the way he meets some characters that he has some documentation on - some, not. Some he advises himself to trust, some not. Some of the photos depict dead bodies. On those fronts, we do have just a little more information on the cause tan he does - but it doesn't really help anyone deduce who did kill his wife? Maybe he did it himself? Its a maze of a film this. It's littered with twists and complications - but they are not annoying nor gratuitous. It's the ultimate in cinematic one step forward two steps back, and those muddled scenarios are only emphasised by "Natalie" (Carrie-Anne Moss) and an on-form Joe Pantoliano as "Teddy" - a man who features increasingly as his quest proceeds. I also did enjoy the ending. It avoids the concrete and the simplistic, and offers a fitting end to a potently effective effort from a Pearce at the top of his game.
ekaari
7.0/10
A similar style to Inception, pay attention or you’ll lose it

Famous Conversations

: MEMENTO Pink Revisions - 9/7/99 85.

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.

: 79.

NATALIE: Not to me! I wasn't fucking married to her!

: 78.

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!

: 39.

NATALIE: Relax a little, okay? Take off your jacket.

: 38.

NATALIE: This has nothing to do with you. You helped me out, and I'm grateful.

: 21.

NATALIE: It's not your fault. See, you have this condition...

: 69.

TEDDY: From what?

: 66.

TEDDY: Sense of humour went with the memory, huh? You know why you're still here, don't you?

: 47.

TEDDY: I think I know her.

: 30.

TEDDY: Because you're relying on them alone. You Don't remember what you've discovered or how. Your notes might be unreliable.

TEDDY: You read it off your fucking photo. You don't know me, you don't even know who you are.

: MEMENTO Pink Revisions - 9/7/99

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.

BLONDE: Slam it?

LEONARD: Just loud enough to wake me up.

BLONDE: That's it?

LEONARD: That's it.

BLONDE: Well, what then?

LEONARD: It's simple, you just go to the bathroom.

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: * I'm not too good on the phone. I need to * look people in the eye when I talk to * them. *

BURT: Leonard, it's Burt from the front desk.

LEONARD: Yeah?

LEONARD: I'm sorry, I think I'm checked in here, but I've misplaced my key.

BURT: Hi, Leonard.

LEONARD: Well, at least you're being honest about cheating me.

BURT: Yeah, well you're not gonna remember, anyway.

LEONARD: You don't have to be that honest, Burt.

BURT: Leonard.

LEONARD: So how many rooms am I checked into in this dump?

BURT: Just two. So far. *

BURT: This was your room. You're up in 304 now.

LEONARD: When was I in here?

BURT: Last week. Then I rented you another one On top of this.

LEONARD: Why?

BURT: Business is slow. I told my boss about You, about your condition. He told me to Try and rent you another room.

LEONARD: Why didn't you clean it out? *

BURT: You're still paying for it. It's still Your room.

BURT: This isn't your room. You're in 304. I Fucked up.

LEONARD: This isn't my room?

BURT: No, let's go.

LEONARD: Then why is this my handwriting?

BURT: Shit. Wrong room.

LEONARD: What?

LEONARD: I'm sorry, I think I'm checked in here, But I've misplaced my key.

BURT: Hi, Leonard.

LEONARD: What makes you think he's my friend?

BURT: Seen you together, that's all.

LEONARD: He's not my friend, Burt. But if he calls, or if he turns up here, then you give me a call in my room, okay?

LEONARD: How long have I been here?

BURT: Couple days.

LEONARD: So you're holding my calls?

BURT: As requested.

LEONARD: My wife.

BURT: What's it like?

LEONARD: Like waking. Like you always just woke up. *

BURT: That must suck. All... backwards. *

BURT: You don't know?

LEONARD: I think I may have. I'm not good on the phone.

BURT: You said you like to look people in the eye when you talk to them. Don't you remember?

LEONARD: That's the thing. I have this condition.

BURT: Condition?

LEONARD: I have no memory.

BURT: Amnesia?

LEONARD: No. It's different. I have no short-term memory. I know who I am and all about myself, but since my injury I can't make any new memories. Everything fades. If we talk for too long, I'll forget how we started. I don't know if we've ever met before, and the next time I see you I won't remember this conversation. So if I seem strange or rude, that's probably...

BURT: Hiya.

LEONARD: I'm Mr. Shelby from 304.

BURT: What can I do for you, Leonard?

LEONARD: I'm sorry... um... ?

BURT: Burt.

LEONARD: Burt, I'm not sure, but I may have asked you to hold my calls - MEMENTO Blue Revisions - 8/27/99

DODD: I like your car.

LEONARD: Thanks.

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: I haven't made a strong enough impression.

LEONARD: Don't be too hard on yourself.

DODD: What?

LEONARD: Who did this to you?

DODD: You did.

LEONARD: You think you can bargain with me?!

JIMMY: Take the money and walk away!

LEONARD: I don't want your fucking money!

JIMMY: Why?

LEONARD: I don't want blood on them.

JIMMY: 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!

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 -

LEONARD: Quiet!

LEONARD: Jimmy?

JIMMY: What the fuck are you doing here?

LEONARD: Do you remember me?

JIMMY: Yeah, I remember you.

LEONARD: You Jimmy Grantz? *

JIMMY: Expecting any other Jimmy's out here, Memory Man? Where the fuck's Teddy?

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: I don't know. I'm sorry.

NATALIE: You have no idea where you've just come from? What you've just done?

LEONARD: Chronic alcoholism ~ one cause of short term memory loss.

NATALIE: Are you Teddy?

LEONARD: My name's Leonard. *

NATALIE: Did Teddy send you?

LEONARD: I don't know.

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: Jimmy Grantz. Know him?

NATALIE: You tell me.

LEONARD: I don't remember. See, I have no short- * term memory. It's not amnesia - *

LEONARD: There's a dress code?

NATALIE: What are you here for?

LEONARD: I'm meeting someone called Natalie.

NATALIE: Well, that's me.

LEONARD: Oh. But haven't we met before?

LEONARD: Beer, please.

NATALIE: What do you want?

LEONARD: A BEER, please.

NATALIE: Don't just waltz in here dressed like * that and order a beer. *

LEONARD: My wife.

NATALIE: Sweet.

LEONARD: Dying.

NATALIE: What?

LEONARD: I remember my wife dying.

NATALIE: On the house.

LEONARD: Thanks.

NATALIE: You can stay here for a couple of days if it'll help.

LEONARD: Thank you.

NATALIE: How did they explain what you remembered? The gun and stuff?

LEONARD: * 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. *

LEONARD: They're not looking for him.

NATALIE: Why not?

LEONARD: * 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: Don't say another fucking word!

NATALIE: About your whore of a wife?

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!

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: 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: Neither do I.

NATALIE: Don't protect him.

LEONARD: I'm not.

NATALIE: Help me.

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.

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 -

NATALIE: You don't know, do you? You're blissfully ignorant, aren't you?

LEONARD: I have this condition -

LEONARD: What's wrong?

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?

NATALIE: No!

LEONARD: What's this all about?

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: Give him some bruises of his own and tell him to look for a guy called Teddy.

NATALIE: He'll kill you, Lenny.

LEONARD: 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.

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.

NATALIE: And?

LEONARD: Who?

NATALIE: Who?! Fuck, Leonard! Dodd! Dodd beat the shit out of me.

LEONARD: Kill him.

NATALIE: Maybe I can help you find him. I know a * lot of people.

LEONARD: What do the police think?

NATALIE: They don't look too hard for guys like Jimmy.

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?

LEONARD: It's not easy to be calm when -

NATALIE: Just relax.

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. I know how this wood will sound when I knock. I know how this glass will feel when I pick it up. Certainties. You think it's knowledge, but it's a kind of memory, a kind you take for granted. I can remember so much. I know the feel of the world, and I know her.

NATALIE: Your wife?

LEONARD: She's gone and the present is trivia, which I can scribble down as notes.

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: Something feels wrong. I think someone's fucking with me. Trying to get me to kill the wrong guy.

NATALIE: Did you?

LEONARD: What?

NATALIE: Kill him.

LEONARD: Course not.

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.

NATALIE: Guess I don't have to worry about him anymore.

LEONARD: Who is he? What have you got me into?

NATALIE: Sleep okay?

LEONARD: Yeah. You?

NATALIE: They treating you alright?

LEONARD: Don't remember.

NATALIE: You know what we have in common?

NATALIE: I wrote an address in there, too. Might be useful. It's this abandoned place outside of town. I guy I know used to use it for his bigger deals.

LEONARD: Deals?

NATALIE: It's isolated.

LEONARD: Sounds perfect? What do I owe you?

NATALIE: I wasn't helping you for money.

LEONARD: Sorry.

LEONARD: Have I told you what this man did? *

NATALIE: Yes.

LEONARD: Then you shouldn't have to ask.

NATALIE: But even if you get your revenge, you won't remember it. You won't even know it's happened.

LEONARD: * So I'll take a picture, get a tattoo. * * The world doesn't disappear when you * close your eyes, does it? My actions * still have meaning, even if I can't * remember them. My wife deserves * vengeance, and it doesn't make any * difference whether I know about it. *

NATALIE: Tell me about her again.

LEONARD: Why?

NATALIE: Because you like to remember her. I want to see you enjoy yourself.

LEONARD: She was beautiful. Perfect to me - *

LEONARD: You know him?

NATALIE: No. But the photo on his license looked familiar. I think he's been in the bar before

NATALIE: Yeah.

LEONARD: So you have information for me?

NATALIE: Is that what your little note says?

LEONARD: Yes.

NATALIE: Must be tough living life according to a few scraps of paper. Mix up your laundry list and your grocery list, you'll be eating your underwear.

LEONARD: Please call me Leonard. My wife called me Lenny.

NATALIE: You told me.

NATALIE: You don't remember me.

LEONARD: Sorry, I should have explained. You see, I have this condition -

NATALIE: You did explain, Lenny.

LEONARD: I believe that Sammy should be physically capable of making new memories.

MRS. JANKIS: Thank you.

LEONARD: She seemed to leave happy. I thought I'd helped her.

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.

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?

LEONARD: How can you read that again?

LEONARD'S WIFE: 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: Don't be a prick. I'm not reading it to annoy you, I enjoy it. Just let me read, please.

LEONARD: It is now.

TEDDY: You can't just take it!

LEONARD: I should kill you. *

TEDDY: Quit it! * * You're not a killer, Lenny. That's why * you're so good at it. *

LEONARD: You probably. *

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: 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: 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.

TEDDY: You know, when we found your guy and * killed him. 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. * MEMENTO - Green Revisions 10-4-99 115A.

TEDDY: 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. *

LEONARD: Yes, I will.

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. *

LEONARD: She wasn't diabetic. You think I don't * know my own wife? What the fuck is wrong * with you? *

TEDDY: 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! *

LEONARD: My wife wasn't diabetic.

TEDDY: Are you sure?

LEONARD: I was wrong! That's the whole point! Sammy's wife came to me and -

TEDDY: Sammy didn't have a wife.

TEDDY: 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.

LEONARD: He knew about Sammy. Why would I tell him about Sammy? *

TEDDY: 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?

LEONARD: This is a drug deal?!

TEDDY: That, and your thing. *

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: 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.

TEDDY: What's wrong?

LEONARD: There's a guy in here, hurt bad! We gotta get him to a doctor!

LEONARD: You're not coming?

TEDDY: Wouldn't be appropriate. *

LEONARD: Envelopes? *

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: I'm a snitch. He's a cop from out of town looking for information. The local boys put us in touch.

LEONARD: Why?

TEDDY: Why? Come on, Leonard, we talked about this. It's not safe f or you to be walking around like this.

LEONARD: Why not?

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.

LEONARD: I didn't sell -

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.

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.

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: 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.

LEONARD: Like what?

TEDDY: Like how'd you get this car? That suit?

LEONARD: I have money.

TEDDY: 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.

TEDDY: She's gonna use you. To protect herself.

LEONARD: From who?

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?

TEDDY: She couldn't.

LEONARD: Why not? MEMENTO Blue Revisions - 8/27/99

LEONARD: What do you mean "bad news"?

TEDDY: She's involved with these drug dealers.

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.

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?

LEONARD: Who the fuck are you?

TEDDY: Teddy. Your buddy.

LEONARD: Prove it.

TEDDY: Sammy. Remember Sammy. You told me about Sammy.

TEDDY: So what are you gonna do now?

LEONARD: I'm gonna ask Natalie what the fuck that was all about.

TEDDY: Natalie who?

TEDDY: Fuck you. We shoulda taken his car.

LEONARD: What's wrong with this one?

TEDDY: You like it? Let's trade.

TEDDY: So was he scared?

LEONARD: Yeah. I think it was your sinister mustache that got him.

TEDDY: We probably ought to take his car, you know, teach him a lesson.

LEONARD: Shut it, Teddy.

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: It must be his. I don't think they'd let someone like me carry a gun.

TEDDY: Fucking hope not.

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?

LEONARD: I don't know.

TEDDY: Natalie? Natalie who?

LEONARD: Why?

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: 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.

LEONARD: You don't know him?

TEDDY: No! Should I?

LEONARD: Why are you here?

TEDDY: 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: Discount Inn. Don't know what room; haven't got my key.

TEDDY: Probably left it in your room.

TEDDY: You really want to find this guy?

LEONARD: He took away the woman I love and he took away my memory. He destroyed everything; my life and my ability to live.

TEDDY: You're living.

LEONARD: Just for revenge. That's what keeps me going. It's all I have.

LEONARD: Why?

TEDDY: Well, the other day you made it sound like you thought somebody might be trying to set you up. Get you to kill the wrong guy.

LEONARD: Yeah, well I go on facts, not recommendations, okay?

TEDDY: Lenny, you can't trust a man's life to your little notes and pictures.

LEONARD: Why?

LEONARD: It's my condition. I never know if I've already eaten, so I always just eat small amounts.

TEDDY: You don't have to remember to be hungry.

LEONARD: It's weird, but if you don't eat for a while then your body stops being hungry. You get sort of shaky but you don't realize you haven't eaten. Have I told you about Sammy Jankis?

TEDDY: Yeah, yeah. I heard enough about him. Tell me about John G. You still think he's here, right?

LEONARD: Who?

TEDDY: The guy you're looking for, Johnny G. That's why you haven't left. Am I right?

LEONARD: Unfinished business. What made you think I wasn't coming back?

TEDDY: You said you were leaving town.

LEONARD: Things change.

TEDDY: So I see. It's good to see you. My name's Teddy.

LEONARD: Guess I've told you about my condition.

TEDDY: Only every time I see ya! Come on, I'll buy you lunch.

TEDDY: Yup?

LEONARD: Mr Gammell?

TEDDY: Lenny, is that you?

LEONARD: John Gammell?

TEDDY: Lenny, it's Teddy. Look, stay there, okay? I'm gonna be right over.

LEONARD: I'll be waiting. *

TEDDY: What the hell you want to go there for?

LEONARD: You know it?

TEDDY: Yeah, it's just this fucked-up building. * Why are we going there?

LEONARD: I don't remember.

TEDDY: This is your car.

LEONARD: You're in a playful mood.

TEDDY: Did you? I musta forgot. I'm Teddy. *

LEONARD: I guess I've told you about my condition.

LEONARD: I'm Leonard Shelby, I'm from San Francisco and I'm -

TEDDY: That's who you were, you don't know who you are.

LEONARD: Shut your mouth!

TEDDY: Lemme take you down in the basement and show you what you've become.

LEONARD: Beg my forgiveness! Beg my wife's forgiveness before I blow your brains out!

TEDDY: Leonard, you don't have a clue what's going on. You don't even know my name.

LEONARD: Teddy!

LEONARD *: * 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. *

LEONARD *: What was it for? *

TEDDY: A load of amphetamine I told him I had.

LEONARD *: Bullshit. *

TEDDY: His name's James F. Grantz, John G. Check * your tattoos. *

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. *

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?

Oscar Awards

Wins

Haven't Won A Oscar

Nominations

FILM EDITING - 2001 Dody Dorn
WRITING (Screenplay Written Directly for the Screen) - 2001 Christopher Nolan, Jonathan Nolan

Media

Trailer
Memento Original 35 mm Anamorphic Trailer (HD) (CC)