1 INT. DERELICT HOUSE - DAY 1
A POLAROID PHOTOGRAPH, clasped between finger and thumb: a
crude, crime scene flash picture of a MAN'S BODY lying on a
decaying wooden floor, a BLOODY MESS where his head should
The image in the photo starts to FADE as we SUPER TITLES. The
hand holding the photo suddenly FANS it in a rapid FLAPPING
motion, then holds it still. The image fades more, and again
the picture is FANNED.
As TITLES END the image fades to nothing. The hand holding
the photo FLAPS it again, then places it at the front of a
The camera SUCKS the blank picture up, then the FLASH BURSTS.
The Polaroid camera is lowered, revealing the sweaty, heavy-
breathing face of LEONARD (mid-30's). There are droplets of
blood across his face. Leonard stares, satisfied, at
something on the ground in front of him. There is WET BLOOD
on his BLUE SHIRT and BEIGE SUIT. His hand opens and catches
a HANDGUN which leaps up into his grasp.
Still staring, he crouches down and pulls a BODY off the
floor by the wet hair of its BLOODY HEAD. He slowly inserts
the barrel of the gun into the bloody mess where the mouth
Leonard FLINCHES. A DEAFENING ROAR as wet red leaps off his
face and suit and head, with a SPASM, reassembles itself
into the face of TEDDY (40's, moustache) and we-
2 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 2
Close on Leonard's eyes. He rolls them to one side, then
turns his head.
So where are you?
Leonard lifts his head. He is lying on a queen-sized bed.
You're in some motel room.
3 EXT. DERELICT BUILDING - DAY 3
A late model Jaguar bumps across some railroad tracks and
approaches a large, clearly abandoned DERELICT BUILDING.
Leonard is driving. He wears a BEIGE SUIT and BLUE SHIRT (no
blood). Next to him is TEDDY. Leonard stops the car next to a
PICKUP TRUCK sitting Outside the derelict building. Leonard
kills the engine, staring at the pickup.
Looks like somebody's home.
Teddy looks from Leonard to the pickup and back.
That thing's been here for years.
Leonard gets out of the Jaguar and moves to the pickup. He
inspects it with a methodical, practiced eye. Teddy follows.
I think you're wrong. These tracks aren't*
more than a few days old.
Leonard opens the door of the pickup and searches the
interior. On the dirty vinyl of the passenger seat he finds*
six BULLETS. Leonard picks two of them up and studies them.*
He drops them onto the dashboard then SHUTS the door.*
Let's take a look inside.
Leonard walks towards the house, patting his jacket pockets.
Teddy leans on the pickup, uneasy, watching Leonard.
4 INT. DERELICT BUILDING - DAY 4
Leonard stands in the dimly-lit, decaying former hallway. He
pulls a stack of POLAROID PHOTOGRAPHS out of his pocket and
leafs through them as Teddy starts walking towards him.
Leonard finds a photo showing Teddy with a sh*t-eating grin
standing in front of the pickup truck. On the broad white
strip beneath the photo is handwritten:
"TEDDY GAMMELL TEL. 555 0134"
Leonard flips the photo over. On the white strip on the back,
in the same small handwriting.
MEMENTO Pink Revisions - 9/7/99
"DON'T LISTEN TO HIS LIES"
"HE IS THE ONE"
I've finally found him. How long have I*
Leonard stuffs the Polaroids back into his pocket, reaches
around to the back of his waistband and draws a HANDGUN,
keeping it out of Teddy's line of sight. Teddy enters, wary.