#guypierce

A quick recap: by page 15 of Memento, we see the actual moment that Leonard has decided to kill Teddy. Now, the way Memento contextualizes its inciting incident is interesting because we technically have already seen Leonard make this decision in the opening scene. However, what the inciting incident gives us is the empirical reason Leonard decides to kill Teddy: that infamous tattoo that says, “John G raped and murdered my wife.” The primary goal of Sequence 2 is to move the protagonist from the inciting incident into a psychological position where the protagonist is fully locked into their journey by the Act One Break. The secondary goals of Sequence 2 is to layer in other characters and provide foreshadowing into the future obstacles and complications to be encountered by the protagonist.

The real challenge of Sequence 2 is to create that deepening sense of thematic resonance. Memento is ultimately a study in ideas about the individual’s (in)significance and the visible and invisible consequences of our actions. On the surface, Leonard is a very “cool” character who has ingeniously figured out a system to work around his handicap. But underneath, he is a tortured man who is steadfastly holding onto his belief that he matters. Because he knows that if he loses that belief, he is and will become utterly nothing:

LEONARD 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.

Sequence 2 is the spot to place the thesis statement for your screenplay. What is the larger, grander statement your narrative is trying to make about humanity and our shortcomings? Not only that, but it is essential that this thesis statement is inherently tied into your protagonist’s personality and development arc. It is one thing to include a thesis statement. But without the direct connection to your protagonist’s core and essence, it will not feel organic and cohesive.

Another important goal of Sequence 2 is to layer in sub-plots and introduce other characters who foreshadow Act 2 obstacles. During Sequence 2, we meet Natalie (who will become a major player soon enough). But the other important character we meet is Sammy Jankis, through the black-and-white scenes that provide insight into Leonard prior to his wife’s murder. Sammy is a fascinating character because he serves as Leonard’s foil. A “foil” is a character with contrasting qualities to highlight specific themes and the protagonist’s development. Sammy had the same condition as Leonard, but was unable to maintain a system for remembering. In this sub-plot, past-Leonard’s goal is to determine Sammy’s condition as valid or false.

Ultimately, the most prominent goal of Sequence 2 is to psychologically position your protagonist so that they are completely and utterly committed to their journey by the Act One Break. Like every moment of the screenplay, this needs to be a choice made in the face of imminent danger (both physical and psychological danger). Take a look at what happens on page 29-30 of Memento:

TEDDY Leonard, you need to be careful.

LEONARD Why?

TEDDY The other day you made it sound like you thought somebody might be trying to set you up.

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?

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

LEONARD Memory’s unreliable.

Teddy snorts.

LEONARD No, really. Memory’s not perfect. It’s not even that good. Ask the police, eyewitness testimony is unreliable. The cops don’t catch a killer by sitting around remembering stuff. They collect facts, make notes, draw conclusions. Facts, not memories; that’s how you investigate. I know, it’s what I used to do. Memory can change the shape of a room or the color of a car. It’s an interpretation, not a record. Memories can be changed or distorted and they’re irrelevant if you have the facts.

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.

This is incredible screenwriting because the essence of Leonard’s character (which was established from page 1) consistently carries through from one moment to the next. Here, he has completely committed to his journey, as if there was any question of that. Even with the danger of a potential set-up and even after being implicitly offered the choice to leave this behind, he commits because that is who he is.

Hello and welcome to Sonia Speaking, a blog focused on dissecting and demystifying the narrative techniques employed by the greatest films ever made. The films covered here will encompass a wide variety of genres, historical eras, themes and tones. But the very first film to be covered here in a seven-part series will be Memento, arguably Christopher Nolan’s greatest work (yes, I do believe it is his greatest). Each part will cover a specific screenplay sequence. This first part will, of course, cover the opening sequence until the film’s inciting incident. I will be assuming that readers will already be familiar with the different sequences of a screenplay. But if you are not, please Google “screenplay sequences and dramatic turning points” to familiarize yourself with the concept. Not all screenplays follow this structure nor is this structure meant to be followed by every screenwriter. But the model exists for a reason and it is incredibly helpful with laying down the foundations for creating a screenplay that feels cohesive and focused.

Let’s get into Memento. Whether you are a Christopher Nolan fan or not, there is little doubt that this is one of the greatest films ever made. Most strikingly, it is one of the few films that presents a direct and unique relationship between the visual style and narrative choices. All films do have their own “visual rules” (stylistic choices that signify importance of certain narrative choices). But Memento takes it a step further because of the deep thematic resonance it weaves through the entire narrative. It is not enough to suggest that the color blue signifies sadness in your protagonist; that sadness has to become a topic and arching theme that the entire narrative explores and eventually makes a statement about. Memento’s themes obviously explore the temporal landscape as well as the shifting landscapes of identity and self-awareness by alternating between the black-and-white (BW) and color sequences. This series will divide the screenplay’s color and BW scenes for the sake of reading ease and understanding.

COLOR SCENES

The film opens with its famous opening image, a Polaroid being shaken. Like every other scene and plot development in this film, the audience is introduced to something without its context. This is Leonard’s “memory” of the event (Teddy’s murder). Even within the span of the first two seconds or so we see this, it is automatically clear that this photograph is important to Leonard. After all, we only record what we want to remember. But the scene immediately throws a curveball as the scene plays out backwards with the Polaroid jumping back into Leonard’s camera and ending with Teddy’s abrupt and unexplained murder. This creates the film’s first overall layer of mystery: who are these men and why did one just kill the other? When the scene ends, the violent image of Teddy being murdered has not been recorded by Leonard’s camera yet but it has been in the audience’s mind. Even though this is technically the “ending” of the actual story, it works as an opening teaser because of the way the conflict escalates and leaves most of the context unexplained.

Even though the color scenes play out backwards in terms of chronology, it could be argued that they still manage to follow the conventional three-act structure because of the way each succeeding scene provides more context and insight into Leonard’s motivations. One such example is that on page 3:

LEONARD

Beg my forgiveness! Beg my wife’s forgiveness!

TEDDY

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

This is the first mention of Leonard’s wife, clearly a source of intense motivation and emotion for Leonard.

Another essential goal that Memento’s first fifteen pages achieves is the “world-building”, a term more often associated with high fantasy/science-fiction/genre stories. But each film has its own world, rules and tone. After the opening sequence, we’re taken to the motel, prior to Teddy’s murder. Here we are introduced to Burt (the clerk), a brief explanation by Leonard about his condition, visual cues like Leonard’s suit and car, his Polaroids. The world-building in Memento is done masterfully. This is the kind of story where a different writer would surely have fallen victim to the dreaded “info-dump”. The trick is to find the logical reason for a character to directly explain something. It is done masterfully here as Leonard himself cannot remember if he’s explained his condition to Burt or not.

As the screenplay barrels towards its inciting incident, another character is introduced: Natalie. Like Sammy (discussed below), she herself is not present in person at her introduction. Instead, Leonard has an envelope from her. His Polaroid of Natalie presents her as an ally, someone who identifies with Leonard because “she has also lost someone”. And this envelope is a bombshell as it contains a photocopy of Teddy’s driver’s license, except it lists his name as “John Edward Gammell”. And here is where a major set-up is paid off as Teddy’s Polaroid is noted with, “Don’t believe his lies”. This scene on page 13 is layered with surprise after surprise as Leonard sheds his clothing to reveal tattoos that contain information about his past and his current quest. The most damning are the license plate (which matches Gammell’s) and the one that says, “JOHN G RAPED AND MURDERED MY WIFE”. And it is at this point we realize that this was the real moment Leonard decided to kill Teddy/Gammell, making this the film’s inciting incident. While the larger context of Leonard and Teddy’s relationship is still unexplained, enough context has been provided here to make this the end of the first sequence.

BW SCENES

Immediately after the opening, the audience is very briefly introduced to the film’s BW scenes. Similarly, the first BW scene has no real context. But the first line of dialogue in it (“So where are you?”) echo exactly what happens in an audience’s mind as they watch a film unfold: constantly asking questions, orienting themselves physically and geographically within the location, etc. As much as this film is about memory and identity, it also acts as commentary on the film-watching experiences. As the theater darkens, the individual audience member’s identity as well as the collective audience identity are snuffed out and the film’s identity is adopted in place of those. We take on the protagonist’s identity and absorb the presented philosophical musings, forcing us to ponder how to assimilate or reject those ideas into our “real” identities once the credits roll and the theater lights return.