Analysis of a scene: Ossessione

OSSESSIONE: THE STRANGER MEETS GIOVANNA

This boy-meets-girl scene occurs near the film's beginning. It is the inciting incident of this dark romance by Luchino Visconti.

Protagonist: the stranger, who is looking for something to eat.
Antagonist: Giovanna, who wants him out of the kitchen.
Subtext: their instant sexual attraction and Giovanna's resistance to it.

Needless to say, the relationship between the scene's outer and inner conflicts is superb, because they are both based on primal human needs: food and love.

• Outer conflict: He is hungry for food and wants to eat / She wants him out of the kitchen.
• Inner conflict: She is hungry for love / She wants to resist his seduction.

Protagonist's general strategy: seeing the effect that he has on her, the stranger decides to charm Giovanna. He compliments her looks and cooking, and he also makes her drool when he takes his jacket off, exposing his strong shoulders.

Scene's major beats (see the Glossary page for explanations on the terms):

SETUP: Looking for something to eat, the Stranger walks into the kitchen and finds Giovanna polishing her fingernails. Giovanna is a young and elegant woman, whose crude and obese husband makes her cook for his patrons. On the other hand, the stranger is a handsome, young man, a little rough-cut, but very different to Giovanna's husband. They instantly get attracted to each other.

CATALYST: He asks for food. (Subtext: They are instantly attracted to each other.)

DEBATE: She tells him to get out of the kitchen. (Subtext: her resistance to the sexual attraction.)

BREAK TO SCENE'S ACT II: He boldly approaches the cooker and tastes the food.

NEW WORLD: He compliments her looks and her cooking. This is all new for Giovanna, a woman whose sexual virtues and needs seem to have been overlooked for too long. It seems that he has almost achieved his goal, when Giovanna orders him, again, to wait in the other room.

APPROACH TO INMOST CAVE: The stranger ignores her once again. Moreover, he takes his coat off, flashing his strong arms and shoulders at the woman. She, finally, gives in and serves him the food in the kitchen.

MIDPOINT (false victory): The stranger sits down with a plate of food before him. He has what he has come in there for [+].

BAD GUYS CLOSE IN: Bragana's voice echoes in the tavern. The stranger can't eat.

ALL IS LOST (false defeat): Bragana comes in and kicks the stranger out. The stranger hits the road, hungry again [-]. (Subtext: Even worse, the untold romance is about to end prematurely.)

BREAK TO SCENE'S ACT III: Giovanna pulls a trick and gets her husband to call the stranger back into the tavern [+].

The scene's end is a remarkable "hook" that keeps us interested to see what will happen next. Will the stranger understand Giovanna's trick and invitation?

Check the film's full analysis here.

Fargo

Written by Ethan Coen and Joel Coen. Directed by Joel Coen.


LOGLINE

Jerry arranges to have his own wife kidnapped, aiming for her father's ransom. Everything works smoothly, until, during their getaway, the kidnappers commit triple homicide, putting super-lady police officer Marge at their tracks.


SYNOPSIS

A. PLANNING: Jerry, a little con-man married to money and working for Wade, his rich and macho father-in-law, hires Showalter and Grimsrud to kidnap his own wife and share the ransom.

B. THE CRIMES: Thinking that he has found an alternative way to get access to Wade's money, Jerry attempts to stop the kidnapping, but fails. During their getaway, Showalter's car gets pulled over, but Grimsrud kills the police officer, along with two witnesses.

C. THE INVESTIGATION: Officer Marge Gunderson is called to investigate the killings and quickly discovers evidence leading to the criminals' tracks. Meanwhile, Jerry convinces Wade to supply the huge ransom for his daughter.

D. CALLS TO MINNEAPOLIS: Tracking the killers' phone calls leads to Minneapolis and Margie decides to pay a visit, especially after the surprising phone call of mysterious, old friend Mike Yanagita.

E. MINNEAPOLIS: Margie visits the Twin Cities, combining business with an awkward meeting with Yanagita. Meanwhile, Wade decides to deliver the ransom himself, resulting in getting shot by Showalter and Jerry losing both money and his father-in-law.

F. Showalter sees the ransom, which is much higher than what he has expected, and decides to keep it for himself, giving Grimsrud his normal share. Grimsrud, however, kills Showalter over a dispute about who takes the car. Meanwhile, Margie visits Jerry's office for a second time, but Jerry flees, betraying his being an accomplice to the murders.

G. FINALE: Margie confronts Grimsrud, arresting him, while Jerry, too, gets arrested. Margie returns home, continuing her life with her dull, lovely husband.


ACT I

A. PLANNING

Opening image: Fargo, North Dakota, USA. A car drives through an endless snowy landscape, dragging a second car behind it.

Along with the title, the opening image sets up a solid backdrop for the story. Fargo is the story's location. It's cold and snowy and cars drive in the middle of nowhere. 

The car introduces a motif that runs through the whole film: cars and parking lots.

JERRY LUNDEGAARD meets thugs CARL SHOWALTER and GAEAR GRIMSRUD and arranges the kidnapping of his wife, Jean.

The Main Plot kicks in, right from scene one. 

Scene's conflict: Showalter and Grimsrud want their $40,000 payment upfront, but Jerry tells them they will take it afterwards, when they split the ransom in half. 

"It's like robbing Peter to pay Paul." Kidnapping your own wife doesn't make any sense, even to the villains of the story.

Showalter doesn't understand Jerry's plan. In a wonderful example of exposition as ammunition, Jerry explains that he wants his wife kidnapped, in order to have his father-in-law pay the $80,000 ransom. 

Scene's protagonist: Jerry, who wants to arrange the kidnapping. Antagonists: the pissed off kidnappers, who disagree with his plan. 

Empathy: at first, we are tricked into empathising with Jerry, because Showalter and Grimsrud appear as two horrible bullies. Our empathy reverses, though, as we find out that Jerry wants to risk his own wife's safety, in order to get his father-in-law's money. When the kidnappers find this plan too much to swallow, we almost find ourselves empathising with them, instead!

Outcome: the two thugs are convinced (or too bored to continue arguing!) and proceed with the plan [-].

This is, also, the first scene of the Showalter & Grimsrud Subplot. Showalter is set up as the leader of the duo, who takes most initiative, does most of the talking, and introduces Grimsrud as "my associate." Grimsrud doesn't open his mouth almost at all, giving the impression of some kind of a follower. It is an interestingly misleading setup...

Jerry goes back home, in Minneapolis, where WADE, his father-in-law, invites himself for supper.

We meet wife JEAN (who is -as we will see- simply the story's maggufin) and WADE (Jerry's father-in-law, boss, and owner of his object of desire: money).

Wade sits on their couch, drinks their whiskey, watches their TV, and invites himself to supper. He believes he is entitled to all of this, since he is the financial protector of the family. Or, at least, of his daughter and grand-son. "Jean and Scotty have nothing to worry," he grunts to his useless son-in-law.

Wade comes and goes whenever he wants. His daughter stresses herself to please him, chopping vegetables with fear in her eyes.

Jerry tries to look normal, even though he has just arranged the kidnapping of his wife. 

During supper, Jerry makes Wade an investment proposal. Wade refuses to listen, telling Jerry to show the proposal to his right-hand man, Stan Grossman.

The car-parking motif is explored again. (Jerry's proposal is about a parking lot.) 

The Parking Lot Subplot starts here, with Jerry getting his proposal rejected [-]. It seems that, apart from the kidnapping, Jerry has a plan-B, to get some extra cash out of his father-in-law.

The relationship between Jerry and Wade is made obvious in this scene, as well as in the previous one: Wade constantly treats Jerry as an inferior, considering him worthless of both his daughter and his money.

Scene's conflict: Wade hesitates to put money in for Jerry's proposal. (There is also a minor conflict opening the scene, Wade's objection to letting Scotty go to MacDonald's, which refers to Wade's being the king in Jerry's home.)

Empathy: with Jerry, because Wade is being horrible to him.

Stan Grossman's name is mentioned; Wade's right hand and economic consultant. As we'll see, Wade hesitates to do anything before Stan approves it.

As they drive to Minneapolis, Showalter agrees with Grimsrud to make a stop for pancakes and sex.

The Showalter & Grimsrud Subplot develops: We get a first glimpse of the way they disagree about everything.

"We'll stop, get pancakes, and then get laid, all right?"

Protagonist: Grimsrud. Objective: to make Showalter stop for pancakes. Antagonism: Showalter wants real food (steak) and women.

Empathy: with Showalter, because he tries to reason with Grimsrud, who behaves like an antisocial animal.

Outcome: Showalter manages to reason with Grimsrud this time [+], but we get a feeling this will not always be the case.

Also, in this scene, Showalter's almost compulsive obsession with sex is introduced. This is a characterisation interwoven with the plot, as Showalter's constant "cherchez-la-femme" attitude will betray the kidnappers' whereabouts, more than once, as we will see.

Jerry tricks a customer into paying extra for a TruCoat car sealant, which he hasn't asked for.

We establish that Jerry is a small-time con-artist hoping to make a big hit. His wife's kidnapping is, probably, the biggest con he will ever try to pull.

"I'll talk to my boss..." Bald-face liar Jerry makes a living by pulling small cons, every day.

We establish that Jerry is a liar. Not only does the customer openly accuse him of lying, but we actually see Jerry go next door to "talk to his boss" and discuss football with a colleague, instead.

Protagonist: Jerry. Objective: to get the customer to pay extra. Antagonism: the customer.

Empathy: the customer, because Jerry clearly lies to him. 

Outcome: the customer, eventually, pays for the sealant [-].

Showalter and Grimsrud have sex with 2 girls at the Blue Ox club.

As they share this... buddying experience, their subplot seems to take a positive turn.

B. THE CRIMES

On the phone, Wade tells Jerry that Stan Grossman, his right hand, showed interest in Jerry's investment plan.

This is a [+] turn for the Parking Lot Subplot, as well as Sequence B's point of attack, kick-starting a Refusal of the Call process: thinking that his parking lot proposal will work, Jerry will now try to call the kidnapping off. Too late, Jerry!

A small conflict occurs when Jean and Jerry tell Scotty that he can't go out for hockey, so that he improves his school grades. Once again, Wade intervenes, with his phonecall, curious to know what goes on.

We see, for second time, how influential Stan Grossman is to Wade. 

Jerry asks SHEP PROUDFOOT about the kidnappers' whereabouts, but takes no information.

Protagonist: Jerry. Objective: to get the kidnappers' number. Antagonism: Shep, who doesn't give Jerry any contact details.

Introduction of Shep Proudfoot. Just like Grimsrud (whom Shep has vouched for), Shep is the quiet type. Both of them will explode violently, when the time comes.

Empathy: with Jerry. Although he is a snake, we want him to find a way to stop the kidnapping!

In the car, Showalter complains that Grimsrud doesn't talk at all.

The Showalter & Grimsrud Subplot develops, taking a [-] turn: they start annoying each other! Let's see how this will escalate...

Jerry bluffs to Reilly Deifenbach on the phone.

Jerry has taken a loan to finance some cars. He has faxed a copy of the cars' serial numbers to Reilly Deifenbach's company, but the fax is impossible to read.

Protagonist: Deifenbach, who calls to ask for the cars' serial numbers. Antagonist: Jerry, who pretends that he can't find them.

Empathy: with Deifenbach, as we understand that he is another victim of Jerry's bluffs.

The Deifenbach mini-subplot is introduced and the scene ends with a [+] outcome, as it seems that Jerry has gained some time on this matter, promising to mail a clean copy to Deifenbach's company.

The Deifenbach situation may be just another scam of Jerry's or it may well be his big problem, the reason that he has been cornered and needs Wade's money, after all. We never learn exactly why Jerry is in need for money. "These are all personal matters," he tells the kidnappers in the film's first scene.

Showalter and Grimsrud break in and capture Jean.

Protagonists: Showalter and Grimsrud. Objective: to kidnap Jean. Antagonist: Jean, who tries to escape.

Empathy: with Jean.

The stakes are raised after this scene, as innocent Jean gets caught. It is not even clear if she is still alive, as the end of the scene finds her falling down the stairs. One thing is for certain: there is no going back. Jerry's plan can only move forward from here.

Jerry doesn't get the loan he expects from Wade.

"We're not a bank, Jerry." Stan is a typical shapeshifter, taking sides with Wade or Jerry, throughout the film, and influencing the situation, accordingly.

Protagonist: Jerry. Objective: to get Wade's money. Antagonism: Wade and Stan. There has been a misunderstanding, and now they won't give their money to Jerry. 

Empathy: even though, by now, we know Jerry's character, in this scene, we find ourselves empathising with him. Jerry is the little man vs. the powerful corporation of Wade and Stan. We even get the feeling that, if Wade had helped Jerry more, financially, Jerry wouldn't have reached the point of having his own wife kidnapped. Of course, this doesn't justify Jerry's plan, but still, it is hard not to take Jerry's side, when we see him struggle against his ruthless father-in-law.  

(Nevertheless, knowing Jerry's character, we wonder whether the numbers Jerry has submitted, to convince Stan and Wade, are true!)

Outcome: Wade refuses to lend Jerry the money. Moreover, he takes over, cutting Jerry out of the loop. The Parking Lot Investment subplot ends, with a [-].

A story analyst may ask: what if the deal with Wade had worked? Would that affect the main plot? Probably not, since we have already seen the kidnappers capture Jean. Wouldn't that be even more ironic, since Jerry would have had his wife kidnapped for money that he could have taken in a more straightforward way?

Jerry fails to contact the kidnappers, then he fails to close the deal with Wade. It seems that Jerry plays games too big for him to control, either way.

Jerry tries to clean his windscreen from the ice, but to no avail.

As he does so, he explodes with anger for being once more pushed around by Wade. Then, he stops and catches his breath. And goes on with life.

This is probably how Jerry functions. He conceals his true sentiments, behind a fake grin, until he can take no more. Then, he explodes.

There are a couple of "aftermath" moments for Jerry, throughout the film. This is the first one. In a parking lot, of course, according to the car motif that runs through the film.

Jerry goes home and finds traces of the successful kidnapping. He rehearses a shocked reaction and picks up the phone to call Wade.

Protagonist: Jerry, who wants to sound shocked. Antagonism: the fact that he is lying.

Empathy: with... the antagonist.

A spooky shot of Paul Bunyan's statue opens the next scene, forshadowing the horror that will ensue. Blood will be shed. Axes and woodchoppers will be used.

A police officer pulls over the kidnappers' car and Grimsrud kills him in cold blood.

Jean is alive, after all. She lies, whimpering, on the back seat, covered with a piece of cloth.

Showalter's sloppiness and lack of professionalism (he has forgotten to change the car dealer-plates) cause a stop and search. Showalter attempts to bribe the officer, but the policeman is too honest to take the money and asks Showalter to step out of the car [+]. Then, Jean whimpers from the back seat and, as the policeman leans forward to have a look, Grimsrud shoots him in the head [-].

Showalter's reaction to the killing suggests that he has not seen anything similar before. His character's transformation begins here. Before the story is over, mentored by Grimsrud, little Showalter will become a fierce gunner.

Protagonist: the police officer, who wants to check on them. Antagonist: Showalter, who wants to manoeuvre his way out of the stop and search, through bribing. 

Empathy: the police officer, because he can save Jean.

This scene is the first time that we (and Showalter) see Grimsrud's nature revealed, as he acts for the first time! A professional, cold-blooded killer leaps out, from underneath his mysterious, dead-pan, facial expression. With coordinated moves, without even blinking, he shoots the policeman dead.

The Showalter & Grimsrud Subplot brings complications to the main plot. The two criminals' different approach to their job brings disaster. Namely, it is Showalter's sloppiness that draws the attention of the law, but it is Grimsrud's overkill approach that actually causes the massacre. (Professional Grimsrud, however, would argue that killing the policeman and the witnesses is the only way of getting away with the situation! It all depends to the point of view.)

Now, we may start suspecting how this subplot will develop: the relationship between Showalter and Grimsrud is there to describe Showalter's transformation from a sloppy amateur to a cold-blooded, professional killer.

"Just clear him off the road," says Grimsrud. It is obvious that Showalter can be nothing more than Grimsrud's errand boy, from now on.

A passing car sees the two criminals carrying the body. Grimsrud chases the car and kills the passenger and driver.

Grimsrud orders Showalter to get the body off the road. Then, a car slowly drives by and witnesses the massacre. Without delay, Grimsrud turns the car around and chases the couple. For a moment he looses their car, only to find that it has trailed off the icy road and flipped over on the snow. He shoots the fleeing driver on the back. Then, he shoots the passenger, a woman trapped and wounded in the car.

Grimsrud's character is revealed even more: he kills, not only when under immediate threat.

[NOTE: this couple reflects, in a way, Jerry and Jean. The man runs away to save himself, leaving his wife behind.]

Why the two witnesses? because it emphasises Grimsrud's ruthless, cold, professional killing type.

NOTE: Some may argue that these two last scenes can be considered as one. I have kept them separated, because they have different desires and conflicts. 

These two scenes bring, of course, the complication that pushes the story into its Second Act. Without this mess, Jerry's plan could have proceeded without any problems. The killings, however, will call for an investigation and, eventually, the capture of all criminals involved.

For a more detailed analysis of these two scenes, click here.

ACT II

C. THE INVESTIGATION

Chief Sheriff MARGE GUNDERSON receives a phonecall and gets ready to go to work. Her husband NORM GUNDERSON prepares her breakfast and jump-starts her police car.

Marge is a super-woman. She has good looks, a heavy pregnancy, and -as we will soon discover- the mind of Sherlock Holmes.

Norm seems to be the exact opposite: jobless, hairless, graceless -one may wonder what he can offer to such an active and attractive woman. The answer is simple: he takes care of her. He offers to make her some eggs, which she accepts. Then, when the car won't start, she will ask his help, again. And Marge seems happy with Norm. This scene is the setup of the Margie & Norm Subplot.

As an exception to the common rules of storytelling, perhaps influenced by Hitchcock's Psycho, this story's true protagonist is introduced at the beginning of ACT II. In a world of greed and murder, pregnant Marge, settled for her dull husband, is this story's hero. The audience, having been struggling with guilty empathy for the first act's villains, is now relieved to finally locate this tale's centre of good. This is a character we want to see succeed!

Marge investigates the crime scene. Studying the villains' tracks, she draws the correct conclusions about the killers.

We see why Marge is number one police investigator in the area: her Sherlock-like abilities are extremely sharp.

In the car, deputy Lou tells Marge that the villains' licence plate starts with DLR. Marge informs him that DLR means dealer-plates.

This is a Save the Cat scene: When Lou makes a ridiculously false assumption, Marge corrects him kindly, without making fun of him. She can't help entertaining herself by telling him a joke, though, which -again- he doesn't get! This is the kind of people super-lady Marge has to work with. But she seems happy. Hmmm... Will she be tempted to claim a more exciting life? Let's see...

Jerry and Stan convince Wade that reporting the kidnapping to the police is not a good idea.

Protagonist: Jerry, who wants Wade to pay a $1m ransom! Antagonist: Wade, who wants to go to the police, instead of paying.

Empathy: with Jerry, because Wade -who, let's not forget, is the father of the abducted- suggests offering the kidnappers half the ransom.

Jerry surprises us once more: the ransom is actually $1m and not $80K! Jerry has lied to the kidnappers, planning to keep for himself a much larger amount. 

"I got to tell you, Wade, I'm leaning to Jerry's viewpoint, here..." In this scene, Stan shape-shifts into Jerry's ally, cornering his own boss.

Let's see this scene, beat by beat:

• a. Setup: Jerry, Stan, and Wade are discussing the situation in a coffee shop.
• Catalyst (has just happened): We suppose that Jerry has just told Wade about the $1m ransom.
• Complication: Wade suggests going to the police, instead of paying.
• b. Debate: Jerry emphasises that the kidnappers where clear about not going to the cops.
• c. Fun and games: Wade doesn't listen to Jerry and ignores him, in his usual manner. He says that he has no guarantee that they will let his daughter go, even if he pays.
• d. Approach to the inmost cave: Jerry manages to utter a whole argument: if they give the kidnappers what they want, they will let Jean go.
• Jerry's False Defeat: he accuses Jerry of not knowing how to handle the situation ("you're just whistling dixie, here!"). He has no arguments, other than a stubborn "cops will advise us." Neither has Jerry any argument, other than "No cops!" The scene has stuck.
• e. Good guys close in: Stan Grossman intervenes and takes Jerry's side [+]. He reminds Wade that the kidnappers are holding all the cards.
• f. All is won: Wade suggests offering the kidnappers half the ransom, an idea which Stan and Jerry find outrageous and dismiss right away [+].
• g. Finale: Stan influences Wade's opinion, once more, leading the scene to its resolution. Without even considering an alternative, Stan turns to Jerry: "What's the next step?" Wade grabs his hat and leaves [+].
• h. Denouement / Hook to next scene: Stan assures Jerry about the ransom. He reminds Jerry of his son, Scotty, whom Jerry hasn't even thought about all this time.

Jerry tells Scotty to keep the whole thing a secret.

This scene has a notable feature: we don't know who wants what from whom, until the very end! We watch the scene, fooling ourselves that its protagonist is Scotty, who wants reassurance from his father that everything will be okay. At the end of the scene, though, everything becomes clear -and darker: the scene's protagonist is, actually, Jerry, who wants to cover up the story and make Scotty be quiet about the kidnapping. Antagonist: Scotty, who wants to call the cops. 

Empathy: with Scotty. He is the only character in the film who truly cares about Jean.

"What if something goes wrong?" Little do they know, it has already gone so.

Jerry, using his usual lying face, asks him to lie to his friends. "If someone calls, tell them mum is in Florida." Jerry uses the same face he uses when he lies to his customers.

Showalter and Grimsrud get Jean to a cabin in the woods, where she makes a pathetic attempt to escape, blindfolded and handcuffed.

With this small conflict, not only does the scene become interesting, but we also get another opportunity to explore Showalter's unprofessionally criminal nature: he makes fun of poor Jean, as she runs blindly on the snow. Grimsrud, on the other hand, doesn't seem to enjoy the spectacle. Who is more human, after all?

At the police station, deputy Lou tells Margie that a car with DLR plates has made a stop at the Blue Ox club. Moreover, its driver seems to have met with local prostitutes.

This scene's conflict continues setting up the Margie & Norm Subplot: Margie pep-talks her husband into entering a local painting competition, despite the fact that a rival family of good painters is also taking part [+]. Margie, the "super-lady," is kind enough to make her husband feel useful and worthy. He is probably unemployed and spends his days by going fishing.

Questioning the 2 girls, Margie finds out that the killers are heading to the Twin Cities.

The girls find great difficulty to keep their thoughts together. Margie makes great effort to keep the conversation in subject. She finally learns that the two suspects are going to the Twin Cities [+].

In the cabin, Showalter tries to make the TV set work.

The plan has been, more or less successful, the kidnappers are in their hideout, waiting for Jerry to make his next move, as agreed. A retardation scene; nothing seems to happen, but we can feel the pressure steaming up and are eager to see how everything will develop.

The Showalter & Grimsrud Subplot is given a slight nudge. Showalter fights with the TV set, banging it, cursing, shouting. Grimsrud just sits there, patiently. We wonder what goes on through his mind and we admire his patience. We start getting annoyed by Showalter's lack of professionalism and expect Grimsrud to react. He doesn't. Not yet.

At home, exhausted from the full day, Margie dozes off, in front of her TV.

The last two scenes signpost the film's Midpoint. We have seen the plan work; Jerry and the kidnappers are very close to getting what they want. On the other hand, because of the killings, a very efficient police officer is on their track. What will happen next? We can't wait to see how the criminals' downfall will begin.

Moreover, this scene emphasises, again, the dull life that super-lady Marge has committed herself to. Probably, most evenings end in the same way: dozing off, in front of the TV, next to Norm, the norm, Gunderson.

D. CALLS TO MINNEAPOLIS

In the middle of the night, Margie receives a surprising phone call from old friend MIKE YANAGITA.

Althought it is never clearly stated, it is easy to understand that Yanagita has been an old love interest for Margie. When he phones her up, calls her by her maiden name, and asks her how she is doing, she props up against the head of her bed and doesn't mention her marriage.

While Margie speaks to Mike Yanagita, Norm, unconsciously, feels the threat: he throws an arm around Margie, protecting his territory from this man from the past. Notice how his wedding ring gleams!

The Margie & Norm Subplot starts getting interesting, as antagonist Yanagita enters, to stir up her settled life. Even his name sounds exotic, compared to normal Norm. Late as it may be, this is the inciting incident of the heroine's love story.

We hear Yanagita mention that he lives in the Twin Cities. Will Marge visit?

Jerry pitches the TruCoat sealant to another customer, without success.

Jerry is back in business. We can see that his mind is drifting. When the customer says that he needs no sealant, Jerry agrees that it is, indeed, unnecessary.

Showalter calls Jerry up, tells him about the killings in Brainerd, and gives him an ultimatum: he is coming to town tomorrow and he wants the full ransom ($80K).

Protagonist: Showalter, who wants the full ransom. Antagonist: Jerry, who doesn't want to pay it.

Empathy: it is hard to empathise with any of the two. Showalter's argument "Blood has been shed, so we need more money," makes little sense. On the other hand, Jerry is about to get $1m from Wade. He can still give the kidnappers $80K, without much damage done.

Reilly Deifenbach calls Jerry again and threatens to take him to court, since he hasn't received the vehicles' licence plates.

As if Showalter's phonecall hasn't been pressing enough, Deifenbach calls, emphasising Jerry's cornered situation. Deifenbach's call has no intention other than notifying Jerry that he will face his company's legal department. Neither does Jerry protest.

The second "aftermath" moment: Jerry trashes his desk, as we watch, slightly distanced and through the glass window.

Margie learns that, from the Blue Ox's lobby payphone, the killers have called two numbers to Minneapolis: a car company and Shep Proudfoot's residence.

Other than pushing the main plot forward, by bringing forth new evidence, this scene also pushes the Margie & Norm Subplot forward. Margie grabs the opportunity to visit Minneapolis, probably having the possibility of a meeting with Yanagita at the back of her head.

Norm doesn't fail to notice. All he says is "Oh, yah?" leaving us wondering what he knows, exactly, about Margie's past. Is Minneapolis a taboo, because Margie used to live a different life there? Who knows. The sure thing is that this line is another excellent example of concise, laconic dialogue, revealing Norm's psychology.

Margie: "I think I'll take a drive down there, then." Norm: "Oh, yah?" In this town of dull, simple men, Norm can feel more assured that his wife will stay away from temptation. But, what if she visits Minneapolis?

E. THE RANSOM DELIVERY

Wade decides to deliver the ransom himself.

This is the sequence's inciting incident.

Jerry protests, but Wade has made up his mind. When Jerry turns a pleading look towards Stan Grossman, Stan grins and says, in a business tone, "It's the way we prefer to handle it, Jerry," just as he has said, "We're not a bank, Jerry," earlier.

Protagonist: Wade. Antagonist: Jerry.

Shapeshifter Stan takes Wade's side, once more, cutting Jerry out of the loop.

Empathy: with Wade. Jerry tries to bluff his way through and his arguments sound pathetic. Moreover, Wade uses kinder words, towards Jerry, than his usual bullying. He still thinks that Jerry is useless, but he says, "With all due respect, Jerry, I don't want you mucking this up."

The "All is Lost" moment for Jerry Lundergaard. Nothing good can come from Wade delivering the ransom. Either the kidnappers will get away with a million dollars or Jerry's part in the plan will be revealed.

Margie checks in a Minneapolis hotel and makes a phonecall, to notify a local police officer about her arrival.

After finishing with the formalities, Margie doesn't forget to get a recommendation for a nice restaurant in town. In a Colombo-style "One more thing..." exit, Marge gets the information she wants, at the end of the conversation. It feels as if the phone call's purpose has been finding the right place for her upcoming meeting with Yanagita.

"I had to do a few things in the Twin Cities... Say, d'ya happen to know a good place for lunch in the downtown area?" The meeting with Mike Yanagita is getting bigger and bigger a thing in Margie's head. Still, everything plays out in a very subtle manner.

Showalter enters a parking lot and changes the DLR plates for Minnesota ones. On his way out, the clerk charges him minimum charge.

It was about time that Showalter changed the plates. A bit late, now, isn't it?

The parking lot motif revisited.

Protagonist: Showalter, who wants to leave without paying. Antagonist: the clerk, who wants to charge him minimum fee of $4.

Empathy: with the clerk. Even though Showalter's claim is reasonable ("I just pulled in here"), expressing a little man's frustration versus a company's inflexible policy, his manner is horrible, not to mention his history.

Outcome: Showalter pays the $4 dollars and leaves.

Margie questions Shep Proudfoot about the killers' phone call.

Protagonist: Margie. Antagonist: Shep, who doesn't say much.

Empathy: with Margie.

Outcome: mentioning Shep's history (he is on parole), Margie puts pressure on Shep. We don't know what Shep tells her, but we can see that he is cornered.

Margie questions Jerry and he refuses that any Ciera car has gone missing from the company's lot.

Although it seems that Margie doesn't get anything out of it, this scene is only the setup of a second questioning, which will happen at the beginning of Act III. Margie is not ready to see through Jerry's lies, yet, that's all.

Jerry's body language cries out "Guilty!" but Margie doesn't seem to suspect him. At least, not yet.

Jerry calls for Shep, only to find out that he has left early from work.

The person at the other end of the line suggests that Jerry speaks to another mechanic. "I don't need a mechanic, I need..." mumbles Jerry. The noose gets tighter and tighter around him.

Margie has an awkward meeting with Mike Yanagita.

This is the climax of the Margie & Norm Subplot. Margie meets the tempter and lets herself explore dangerous paths. Will Yanagita win her heart? Will she risk her family for a, supposedly, more exciting life?

As she steps into the restaurant and spots Yanagita, Margie makes sure her hair looks good. She likes this man; she has travelled here for him, not the murder case.

Protagonist: Yanagita, who wants to charm Margie. Antagonist: Margie, who also wants to be charmed, but who is married and expecting.

Yanagita is a Japanese American. What makes him comic, but also sweet, is the fact that his American straightforwardness ("Do you mind if I sit over here?") is succeeded by -and conflicted with- his Japanese courteousness (apologising again and again for his audacity).

Empathy: with Margie. Although Yanagita seems to be a sweet and sensitive man, we know nothing about him.

Outcome: the rendez-vous doesn't turn out very well, but this doesn't mean that Margie rejects Yanagita. The awkwardness of this scene confuses us, but as we will see, she still thinks about him, at the beginning of Act III.

It is extremely difficult to define what a character wants in scenes like this. First of all, in scenes of flirtation between two people, one is not necessarily the antagonist of the other. Antagonist may come from inner resistance to giving in to flirting. In this scene, for example, both characters enter with their own will. Does this mean that Marge wants to be seduced by Yanagita and leave Norm or does she want to convince herself that Yanagita is not worth upsetting her life for and then go back to Norm, reassured about her sex appeal? Does she only want a little excitement? So far, we can't tell.

I put this scene a [+], for outcome, since nothing irreversible happens; Marge, indeed, "survives" the meeting with the tempter. She can always think about it again, later, when she cools down.

Showalter meets another escort girl.

The girls wants to learn more about her client, but Showalter avoids giving straight answers.

As Showalter has sex with the escort girl, an enraged Shep Proudfoot steps in and beats him up.

During his visit, Showalter stays at Shep's place. After his short interrogation, Shep leaves home early and goes straight home, to give Showalter a lesson for mixing him up with the police.

As Showalter crawls across Shep's floor, getting whipped with his own belt, something breaks inside him.

This is also a major plot point in the Showalter & Grimsrud Subplot, which -as we have said- narrates Showalter's transformation from a small-time crook to a blood thirsty killer. We have already mentioned the similarities between Grimsrud and Shep. Despite the fact that Grimsrud is not present in the scene, Shep is Grimsrud's buddy and carrier of the same spirit. Shep mentors Showalter, giving him a good belt-whipping and pushing him further towards both his dramatic transformation and Act II's climax. CUT TO: a furious Showalter phones Jerry up and demands his money.

SUMMARY - Shep Proudfoot's dramatic functions as a character:

1. Due to his state of being in between crime and innocence, he acts as the middle man between Jerry and the kidnappers, thus introducing Jerry to Grimsrud and Showalter, during the film's backstory.
2. He offers one link of evidence: a phone call to his residence, along with another one to Jerry's business, brings Margie to Minneapolis.
3. He is basically an extension of Grimsrud: they are similar in personality (long silences followed by extremely violent outbursts) and they both contribute to Showalter's transformation, teaching him lessons in violence.

Showalter phones Jerry and threatens to kill everyone if he doesn't bring the ransom in half an hour. Wade listens to the phone call and leaves with the money, leaving Jerry desperate in the house.

Act II rapidly reaches towards its climax.

Jerry gets dressed to follow Wade. Scotty stops him to ask where he is going.

This scene puts Scotty back in the picture, reminding us what will happen to Jerry's kid, if things go wrong.

Wade rehearses his Dirty Harry speech, as he makes sure his gun is loaded.

We have never seen Wade carry a gun, before, and he probably never has done so. This scene gives us a hint that Wade will not give his money away easily. On the other hand, feeling that Showalter is not bullshitting, either, we expect the worst from the next scene.

Wade arrives at the meeting point (the roof of a parking lot), demanding to see his daughter. Showalter shoots him dead, but not before Wade returns the shot onto Showalter's face. Bleeding Showalter grabs the suitcase with the money and drives off.

This scene completes Showalter's transformation into a blood-thirsty killer. Now, he can stand before Grimsrud and threaten him with a gun, if he so wishes...

Jerry, too, arrives at the parking lot, just in time to see Showalter's Ciera driving away.

Showalter arrives at the parking lot gate. The clerk asks him for his ticket, but is stunned to see his bleeding face.

This scene is, of course, a darker version of the earlier scene with the $4 argument. Only, this time, Showalter will not tolerate any objections from the clerk.

Although it is not elaborately stated, this scene is a reference to the earlier one, not only because it reverberates the same conflict (the parking lot attendant stopping Showalter), but also because of the similarities in filming. As seen below, this scene looks like a nightmarish version of the earlier one.

SHOT 1: Tracking shot, from inside the car, as it approaches the parking lot gate.

SHOT 2: The parking lot attendant, stopping Showalter.

SHOT 3: Showalter's reaction.

Jerry finds Wade dead and puts the body in his car's trunk.

A wonderful, elliptic scene. We can only imagine what calculations go on through Jerry's mind, until he presses the button to open his car trunk.

On his way out he sees the clerk's dead body.

Jerry goes home. Scotty asks him how things are; Jerry lies to Scotty that everything is okay.


ACT III

F.

A bartender tells the sheriff deputy that he has seen a suspicious looking man, asking for "woman action," implying that he has killed someone, and mentioning that he lives "at the lake." The witness assumes that he means the Moose Lake, due to its proximity to his bar.

This is an absolutely expository scene, made interesting only by the funnily flat and uninterested manner of the witness's narration. A wonderful example of what to do in cases where information must be delivered directly, but not boringly.

The whole testimony is given in a one-shot, with the witness hardly using any punctuation. "End of story," he needs to say, for us to understand that he has finished narrating. The fact that his story is not interestingly told makes this scene interesting.

The witness's description is the same with the Blue Ox girl's description of Showalter, so we know that this is new, valid evidence. Thanks to this witness, Margie will later find the cabin in the woods, and arrest Grimsrud.

In crime films and court dramas, Act III begins with a new piece of information that gives the story a new kick towards the resolution. But this is not the only kick Margie will need...

Let's also note that this is the second time that Showalter's sex obsession betrays the kidnappers' whereabouts.

Showalter opens the suitcase and realises the amount of money he is carrying. He takes $80K out of Wade's briefcase and hides the rest, somewhere in the snow.

Just by looking at the landscape's vastness and the fence's repetitiveness, you can tell that this is not going to work. Indeed, it doesn't, but for other reasons. The Showalter & Grimsrud Subplot is yet to be resolved.

Speaking on the phone with another Minneapolis friend, Margie learns that Yanagita has lied to her.

Yanagita has told Margie that he is a widower. Margie's friend, on the other hand, informs her that Yanagita has never got married, while the woman he claims to be his dead wife is well and alive. Yanagita has psychiatric problems, the friend says.

Margie drives around, lost in thought. Then, she has an idea.

Her personal "failure" Margie will feed to her professional life. Just as most successful scriptwriters do!

This scene shows Margie's "dark night of the soul" moments. She feels betrayed by Yanagita's lying. Then, her eyebrows rise, as she has an epiphany. 

We don't know for sure what dawns on her, at that moment. Maybe she doesn't go as far as realising that Jerry is also a liar, not to mention an accomplice to the murders, but something, probably, doesn't feel right, so she decides to pay another visit to Jerry's office. Maybe, angry with her failure to see through Yanagita's lies, she decides not to be put off by the busy-looking car salesman.

The Margie & Norm Subplot pays off to the main plot and Margie's inner journey comes to an end. This is where Act III really begins.

Margie goes to Jerry's office, to pester him about the missing car again. Jerry pretends going to do a lot count, but flees with his car. Margie calls the local authorities to report him.

Just before Margie comes in, Jerry is scribbling some cars' serial numbers with a blunt pencil, trying to make them look as unreadable as possible. Life goes on, and Jerry is still working on the Deifenbach case, trying to get away with it.

We have to remember that Margie doesn't know about the kidnapping, nor about Wade's death. She only sees a car executive unwilling to help her. When she asks to see Wade, she unknowingly corners Jerry.

Showalter brings back the money, but Grimsrud kills him over a dispute about the car.

Showalter has, finally, completely transformed into a tough guy. He sees Jean dead and doesn't even wink. He shouts and threatens Grimsrud with a gun, telling him he takes the car, no matter what Grimsrud says. And he makes a badass exit, threatening to kill Shep Proudfoot, too. Grimsrud, however, has the last word on this: he axes Showalter down and he resolves their subplot, once and for all.

Protagonist: Showalter, who wants the car for himself. Antagonist: Grimsrud, who wants to split the car.

Empathy: with Showalter, even though he is hardly any better than Grimsrud, by now. We want to see him in jail, all right, but we want him to "win" over Grimsrud, first. A part of us may even hope to see him walk away, get the money and live a normal life. He, like Jerry, has got mixed up with forces greater than his potential and he deserves to be punished, but not from criminally insane Grimsrud. The scene, therefore, has a [-] outcome.

This scene turns the previous hiding of the money into an element of tragic irony. The $1m is now gone for everyone! Plus, tragically ironic is Jean's death; she may have been well dead when her father was negotiating her release, shouting, "No Jean, no money!" Indeed, the film ends with no Jean and no money.

Jean's death feels even more shocking because of the lightness that it is perceived by the two characters and the camera. In Fargo, Jean is hardly a person. She is an object: nothing but the story's macguffin.

Also, note the reappearance of the car motif: a dispute over a car is what brings the resolution to this subplot.

G.

Taking a drive around Moose Lake, Margie spots the kidnappers' car. She calls for backup on the radio and approaches alone.

As she drives, she delivers us some raw exposition, talking with deputy Lou, over the car radio: Stan Grossman has told the police about the kidnapping. Now, the police are looking for missing Wade and Jerry.

Margie finds Grimsrud getting rid of Showalter's corpse. She confronts him alone and arrests him.

Grimsrud is getting rid of Showalter's corpse using a wood chipper. When Margie approaches, our heart stops -we don't know what Grimsrud will do! But all he does is throw a piece of wood at her and flee! Margie shoots him on the leg, a moment that recalls the scene where Grimsrud has killed the two witnesses, putting him under arrest.

No matter how much backup one has, the final battle always finds the heroine facing the monster alone. Clarice Starling (left) did the same thing, five years ago! Moreover, one has to be alone, with one extra disadvantage: Clarice was fighting in the darkness; Margie is pregnant.

Showalter futilely hides the money in the snow. Grimsrud futilely flees into the vast snowy land. In a way, the white landscape of North Dakota, itself, assumes the role of a silent judge, punishing the two, non native criminals for having disturbed the peaceful lives of the locals.

Margie drives Grimsrud to jail, while giving him a moral lesson against greed.

What makes this scene superb is the subtext: as Blake Snyder cleverly observes (in his book Save The Cat Goes To The Movies), Margie's lecture is addressed to Grimsrud as much as to herself. After all, Margie, too, has coveted something more than what she has had (a date with Yanagita), just like Jerry and Showalter. Almost everybody in the film has been more or less greedy. Thus, the moral of the story comes across as a bit conservative, maybe, but promises to protect the individual from similar disasters: be happy with what you have.

Two policemen locate Jerry's car, outside a hotel. They arrest him.

The small-time con man tries one last trick: he tells the policemen knocking on the door, "Just a sec...," while he attempts escaping through the bathroom window. The officers break in and get him, while he squeals like a pig; quite a painful scene to watch. This is the last we see of Jerry Lundergaard and his family.

Margie pep talks her husband, who has not won first prize at the painting contest.

"Heck, Norm, you know, we're doing pretty good..." Margie says. This anti-heroic approach to life is what makes Fargo a realistic story.

THE END

Memento

Screenplay by Christopher Nolan, based on a short story by Jonathan Nolan. Directed by Christopher Nolan.

LOGLINE

A man suffering from a condition that stops him from making new memories investigates his wife's murder.


A note about sequencing in this film:

This film progresses intercutting back and forth between two storylines. After a few minutes, the viewer realises that one storyline progresses normally (viewed in black and white, noted with a '>' symbol in the analysis that follows), but it intercuts with a story in colour, which progresses in reverse (written in yellow letters, in the analysis, and noted with a '<' symbol).

In most films, a sequence works both as a dramatic unit and as a unit of viewing experience. This, however, is not the case. It is very probable that the screenwriter, in order to structure the story, has sequenced it in a straight form. The viewer, though, experiences the story in a warped form. In order to distinguish the sequences in Memento, we have to acknowledge the difference and make a choice:

• We ignore the viewing experience and study the sequences based on the plot. In order to do this, we have to recut the film, relocate the scenes in the right order, and study the film as a straight timeline. (The film starts with Leonard, in black & white, sitting in his hotel room talking to himself. It finishes, in colour, with Teddy's head exploding.) Then, we can make our analysis of the straight plot.

Or:

• We accept and analyse the film as it is, considering the viewing experience as the most important factor.

The analysis has followed the second way, even if the sequencing feels forced, at times. It is not so difficult to do this, mostly thanks to the fact that, according to my humble opinion, most of the '>' story is BORING and works as a ballast for the cuts of the coloured story, which has all the juicy bits and defines most of the sequences. The '>' story, most of the action of which is driven by unjustified exposition through a voice over and an endless telephone conversation, kicks in near the end of the film (in what could be described as Memento's Third Act.)

Being in reverse, each sequence begins with its resolution: a goal is achieved. It ends with its inciting incident: the birth of the desire or need to achieve the previously mentioned goal.

But, enough with theory. Enjoy!


SYNOPSIS

A. KILLING HIM: Using a licence plate as a lead, Leonard kills John G., the man who has raped and murdered his wife.

B. FINDING HIS LICENCE PLATE: To repay Leonard for helping her, Natalie traces John G.'s licence plate.

C. GETTING RID OF DODD: Following Natalie's notes, Leonard drives a criminal named Dodd out of town. Moved by his help and his loss, Natalie promises to help Leonard with his quest.

D. MEETING DODD: Leonard confronts Dodd and manages to capture him.

(A part of me thinks that I should merge C and D into one sequence only. Maybe, in another analysis, some other time. I am leaving it as it is for the moment.)

E. REMEMBERING TO FORGET: Leonard makes an escort girl use some mementos of his wife to help him re-enact the last moments before her death. Realising that this doesn't help him, he burns the mementos.

F. NATALIE'S PLOT: Natalie tricks Leonard into helping her get rid of Dodd.

G. MEETING NATALIE: Recognising his Jaguar, Natalie meets Leonard and invites him over to her place, to check him out.

H. KILLING THE WRONG GUY: (The only sequence played out in a straight timeline.) Following Teddy's instructions, Leonard kills Natalie's boyfriend, a drug dealer. Teddy admits having taken advantage of Leonard's handicap for his own profit. Since he can't punish Teddy in cold blood, Leonard decides to trick himself into believing that Teddy is John G., starting the investigation that leads to Teddy's death, at the beginning of the film.


STEP OUTLINE

A. KILLING HIM

0 < LEONARD shoots TEDDY dead and takes a Polaroid photo of the body.

This is the only scene that plays in reverse motion, giving us a wink about the messed up timeline that will follow.

Memento's ballast: a series of boring, exposition scenes. Every time one pops up on the screen, you simply show patience, waiting for the juicy, coloured bits.

1 > Leonard wakes up in a motel room. He tries to figure out whose room it is, admitting he can't tell how long he has been there.

1 < Teddy picks up Leonard from his hotel, the Discount Inn. Teddy shows his own car, suggesting that it is Leonard's, but Leonard doesn't buy it. He flashes a Polaroid of the Jaguar that sits in front of them, showing Teddy that he knows his own car. They get in the Jaguar and drive off.

Several references create the mystery around Leonard's story. Leonard has what he calls "his condition" and "his handicap," which he doesn't explain, yet. We know, though, that Polaroids play an important assisting role in this condition. Other elements that excite our curiosity are the broken Jaguar window as well as the pickup truck they see in the next scene.

They drive to an abandoned industrial building. When Teddy asks him why they are going there, Leonard says he doesn't know.

Outside the building, they see a pickup truck. Leonard opens the door and sees some bullets sitting on the truck's seat. Teddy tries to get him to lose interest in the whole setting, but Leonard steps into the building alone.

In the building, Leonard takes Teddy's Polaroid out of this pocket, flips it over, and reads: "DON'T BELIEVE HIS LIES. HE IS THE ONE. KILL HIM." Realising that he has found the man he has been looking for, Leonard knocks Teddy down and shoots him, despite Teddy's plea to listen to him and check the basement to find out "what Leonard has become."

Teddy tries to pull the same trick that he has used in scene 22 > (see near the end of the film): he attempts to tell Leonard "what he has become." We don't know what that is, yet. Leonard is ambivalent for a moment, but then, based perhaps on the note "DON'T BELIEVE HIS LIES," he decides not to listen and shoots Teddy dead.

2 > Leonard gets up and looks around the hotel room. He has a tattoo on his left hand: REMEMBER SAMMY JANKIS. Through voice over (his internal monologue), he explains that Sammy Jankis had the same problem with him. "I have a system," says Leonard. He has a piece of paper stuck on his thigh, that says: "SHAVE."

This whole series of black and white scenes are, actually, extremely boring. A voice over and an endless telephone conversation is all the action we are exposed to. We tolerate them, only thanks to the mystery: we try to suck on every piece of information we are given.

2 < In the motel room, Leonard writes "HE IS THE ONE. KILL HIM" at the back of Teddy's photograph and gets his gun ready. He walks out the room (this is room 304) and heads to the front desk.

BERT, the receptionist, lets Leonard explain about his condition before he reveals that he has already heard it all before. Leonard has had an injury, which prohibits him from making new memories. He pays Bert the bill for his room.

This is a nice example of "exposition as ammunition." That is, information used as an argument in a scene. Leonard explains his problem to Bert (and to the audience), but he does so with a dramatic purpose: to convince Bert about his problematic memory.

This scene also introduces an element that will be developed later: Leonard often pretends that he remembers. He pretends remembering having told Bert "I like looking at people in the eye when I speak to them."

Teddy comes and picks up Leonard. GO TO: 1 <

3 > Leonard, following notes that he has left around the room, shaves his thigh.

His voice-over goes on explaining (exposition, but not as ammunition) how his system works: he makes notes, tattooing them on himself.

"Why would people want to take advantage of someone with this condition?" Leonard doesn't know it, but this will turn out to be the number one problem in his life.

The phone rings and Leonard picks it up.

3 < Leonard walks out of the bathroom of a restaurant. A waiter calls after him, bringing him some stuff that he has forgotten on his table: an envelope and his 304 room key. Leonard asks the waiter how to get to Discount Inn and jots down the directions.

Back at the Inn, Leonard opens the envelope, which reads: "From Natalie." Inside, he finds a photocopy of John Gammell's driver licence. Gammell is the man introduced as Teddy. Leonard calls Gammell's number and Teddy picks it up, telling Leonard to wait for him.

Teddy finds out that Leonard has somehow discovered his real name.

Comparing the photocopied licence with a tattoo on his (freshly shaven) thigh, he confirms that it is the man he has been looking for. He writes "HE IS THE ONE," on the flip side of Teddy's Polaroid. Then, looking at the rest of his tattoos, he sees "John G. raped and murdered my wife." He adds: "KILL HIM," to the note on the Polaroid. GO TO: 2 <


B. FINDING HIS LICENCE PLATE

4 > Leonard speaks on the phone with someone who claims they have spoken before. Leonard starts telling him about Sammy.

"You don't remember me!" Natalie admits defeat. A subtle love story, a trifle one-sided, falls apart.

4 < Leonard enters a restaurant and NATALIE calls him over to her table. She gives him information about a licence plate that Leonard has asked her to trace: John Gammell's. She suggests that Leonard gets rid of John G. in a specific abandoned building. She also gives Leonard his 304 room key, which he has forgotten at her place.

(This pays off Leonard's statement, in 1 <, that he doesn't know why he drives to the specific building with Teddy.)

Leonard's dialogue with Natalie exposes the film's main theme: When Natalie says, "even if you take revenge, you won't remember it," Leonard answers: "My actions still have meaning, even if I don't remember them." Leonard will go through a journey (or has gone already?!?) that will make him discover whether this statement is true.

5 > On phone, Leonard goes on about Sammy and his own past. Leonard used to be an insurance investigator, assigned to Sammy's case.

"I thought you split for good," Teddy tells Leonard. Throughout all the coloured scenes of the film, Teddy wants Leonard to leave town. We don't know why, yet.

5 < Teddy spots Leonard and invites him to lunch. "Somebody tries to set you up, to make you kill the wrong guy," Teddy says. Leonard insists that his investigation is based on facts, not memories, so he will soon find the man he is after. Teddy encourages him: "We'll find the guy."

Leonard goes back to the Discount Inn's front desk. Instead of taking him to room 304, Bert gets confused and takes him to room 21, which has remains of Leonard's shaving. Cornered, Bert reveals that he has double-checked Leonard, taking advantage of his condition.

Bert is the first character we see taking advantage of Leonard's handicap for profit. This is, actually, the second time we see Bert playing with Leonard. The first time is in scene 2 <, when he pretends that he hears about Leonard's condition for the first time.

Soon, we will see that all everyone does is take advantage of Leonard's handicap.

In his pocket, Leonard finds a note about an appointment with Natalie. He walks off.

6 > On the phone, Leonard goes on about Sammy's case. Sammy had only a few-minute memory, but could operate the insulin shot to his diabetic wife.

Can Leonard remember to fall in love? Can a screenwriter forget that a love story is essential in every film?

6 <  Morning. Leonard wakes up in Natalie's room. She tells him that she will look into finding about the licence plate that he is after. She kisses Leonard, but he tells her that he won't remember her the next time he sees her.

"I will help you, because you helped me," she says, springing a new mystery: what has Leonard done for her? The answer to this question is the backbone of what we could call Memento's Second Act.


C. GETTING RID OF DODD

7 > On the phone, Leonard explains about the tests they ran on Sammy, in order to check his ability to learn through repetition.

7 < Night. Leonard's Jaguar parks outside Natalie's. He knocks the door and, when Natalie opens, Leonard flashes a Polaroid of a guy named Dodd, gagged and beaten up. Leonard demands explanations. Natalie thanks him for helping her on "her problem" and calms him down.

Leonard fears that someone is trying to get him to kill the wrong guy. The "killing the wrong guy" theme reappears to keep itself alive until the end of the film, when it will pay off.

Natalie sees Leonard's tattoos and sympathises with his loss. She shows him a picture of her boyfriend, Jimmy Grant, who went to meet a guy named Teddy and never came back. She offers to help Leonard with his quest.

At night, lying in bed, Leonard reminisces about his wife. He takes Natalie's Polaroid and makes a note: "SHE HAS ALSO LOST SOMEONE, SHE WILL HELP YOU OUT OF PITY." He slips back into bed with her and falls asleep.

8 > Leonard goes on about Sammy: Sammy doesn't respond to the tests and his claim gets turned down, while Leonard takes a promotion.

8 < Leonard wakes up in a hotel room and finds DODD in the closet, tied up and beaten up. Teddy arrives and Leonard lets him in, after consulting his "Teddy" Polaroid picture. Teddy sees Dodd and panics: "Is this John G.?" he asks Leonard. Leonard finds a Polaroid of Dodd, in the present condition, that says: "DODD. GET RID OF HIM. ASK NATALIE." They argue about what to do with him and decide to get rid of him. They walk him out of the hotel and drive him out of town. They return with Teddy's car. Leonard says he will find what that was all about.

His Jaguar parks outside Natalie's and demands explanations. GO TO 7 <


D. MEETING DODD

9 > About Sammy: his wife puts pressure on him, struggling to figure out if he fakes his condition.

9 < Leonard is in a hotel bathroom, holding a whisky bottle, not knowing what he is there for. He takes a shower. Dodd enters and Leonard instinctively attacks him, knocking him out with the whisky bottle. Then, he hides him in the closet and takes a Polaroid of him.

Consulting his notes, he finds one written by Natalie's hand, giving Dodd's description and room address, along with the note: "Put him onto Teddy or just get rid of him for Natalie." He makes a note on Dodd's Polaroid: "DODD. GET RID OF HIM..." He calls Teddy, after consulting his "Teddy" Polaroid and leaves a voice message inviting him over. As he waits, he falls asleep. GO TO 8 <

10 > As Leonard speaks, the other person hangs up. Leonard starts a home-made tattoo, using ink from a ball pen.

10 < Leonard runs, as Dodd gives chase.

A touch of comedy here, as it takes Leonard a moment to realise that it is Dodd chasing him and not the other way around!

He jumps into his Jaguar and drives off. He consults his notes and finds Natalie's "Dodd Description" paper. He drives to Dodd's room to ambush him.

He forces open the wrong door (9 instead of 6). Then, he enters the right room, takes the whiskey bottle as a weapon and waits in the bathroom. And waits. And waits. And forgets what he is waiting for. GO TO 9 <

It is notable that Leonard makes the same choice of weapon twice. He picks the whisky bottle to knock Dodd out, then forgets about why he is holding the bottle. Afterwards, when Dodd comes in, he instinctively knocks him out with the same bottle!

11 > Leonard, about to tattoo on himself: "FACT 5: ACCESS TO DRUGS."

11 < As Leonard returns from an isolated location, Dodd starts giving chase. He shoots the Jaguar driver's window, shattering it. Leonard starts running. GO TO 10 <


E. REMEMBERING TO FORGET

12 > The phone rings, as Leonard is about to start the tattoo.

12 < Night. Leonard goes to an isolated place and burns some of his wife's mementos: a hairbrush, a book, a teddy bear...

During a flashback, Leonard teases his wife about her reading the same book "a thousand times." She says that she enjoys it.

A subtle implication of the "killing the wrong guy" theme: Leonard can kill the wrong guy a thousand times and still enjoy it.

"I've probably done this before, burn truckloads of your stuff. I can't remember to forget you."

Leonard spends the night there, by the fire. GO TO 11 <

13 > Leonard speaks on the phone. The other person tells something about drugs, making Leonard consult his notes, excited. There are pages missing.

13 < Night. Leonard wakes up from the sound of a slamming door. He sees his wife's mementos scattered around the room. He calls on her, as he opens the bathroom door, only to find a call girl snorting cocaine on the toilet seat. He asks her to leave and takes his wife's stuff away for burning. GO TO 12 <

14 > On phone: Leonard realises that John G. is a drug dealer. He changes the tattoo he is about to do into: "FACT 5: DRUG DEALER."

14 < Leonard arrives at Discount Inn's room 304 for the first time. He calls an escort agency, ordering a girl.

The escort girl arrives. Leonard explains to the girl what he wants her to do: put his wife's mementos around, let him sleep, and close herself into the bathroom, slamming the door.

Later, she does as told. Leonard wakes up from the sound of the slamming door.


F. NATALIE'S PLOT

Sammy this, Sammy that. Sammy's story gets interesting, eventually.

15 > On phone, Leonard continues Sammy's story: Sammy's wife, after having tried different ways of snapping him out of his act, visits Leonard at his office. She asks Leonard whether he thinks that Sammy can be normal again or not. Leonard sticks to his original conclusion: Sammy should be physically capable of making new memories. Sammy's wife thanks him and leaves.

"Lenny, let me inform you. Your business here is very much finished." Once more, Teddy wants Leonard to stay out of town.  "Don't trust Natalie. When she gets jammed up, she's gonna use you to protect herself." Never mind your notes, Lenny; Teddy doesn't lie.

15 < Leonard finds Teddy waiting for him in the Jaguar. Teddy tells him not to trust Natalie (whose place Leonard has just walked out of) and gives him the address of Discount Inn, so that Leonard moves out of Natalie's place. Leonard decides to follow his advice and to stay at the Discount Inn.

16 > On phone: Leonard justifies his reply to Sammy's wife as he uncovers the bandages of another recent tattoo: "NEVER ANSWER THE PHONE." Cold sweat runs down Leonard's spine, as the other person hangs up again.

16 < Leonard frantically looks for a pen in Natalie's house. Natalie comes in, with a bruised face. She tells him that Dodd has hit her for not having his money. Leonard offers to help her. She gives him Dodd's description and address. Natalie says that Dodd knows the Jaguar and he will be the one to find Leonard.

17 > The phone rings. Leonard rejects it and calls the front desk, asking to have his calls held.

17 < Leonard waits in Natalie's place. Natalie comes in, in a rush, telling Leonard about some guy called Dodd looking for Jimmy and his money. (As she speaks, she hides all pens and pencils away from her desk.) She asks Leonard to kill Dodd for money, but Leonard refuses, appalled. Then, Natalie gets Leonard angry, by insulting his wife and telling him, in the face, that she is about to use him; to exploit his condition in order to make him get rid of Dodd for her. Leonard punches her in the face and she walks out. Leonard starts looking for a pen, frantically. Natalie stays out of the house long enough for Leonard to forget. (How does she know, by the way?) Then, she walks back inside. GO TO 16 <


G. MEETING NATALIE

18 > Discount Inn, Room 21: Bert from the front desk knocks the door and tells Lenny that a cop wants to speak with him on the phone. Lenny refuses, saying he needs to look people in the eye when he talks to them.

18 < Natalie brings Lenny into her place. She asks him why he hasn't gone to the police. He says "They don't think the guy I'm looking for exists."

Flashback: Lenny wakes up and hears noise from the bathroom. He enters to see a hooded man killing his wife. He shoots the man dead. Then, a second man knocks him out.

Lenny tells Natalie that the police hasn't believed the story of the second guy, so they have closed the case. Natalie lets Lenny stay for a couple of days. As she exits, Lenny takes a Polaroid photo of her.

Lenny sits around. Natalie comes back, in a rush. (Go to 17 <.)

19 > In Discount Inn, Room 21, the phone rings. Lenny doesn't pick it up. An envelope slides under his door: Take My Call. In the envelope, Lenny finds a picture of himself, smiling to the camera. The phone rings again.

19 < In Ferdy's Bar, Natalie serves Lenny a beer on the house. Lenny drinks a sip and a sleazy man chuckles. When Lenny says that the last thing he remembers is his wife dying, Natalie stops him from drinking more. "I'll get you another one," she says.

20 > In Discount Inn, Room 21, Lenny picks up the phone and asks the -so called- cop if he has done something wrong he doesn't remember.

20 < In his designer suit, Lenny finds a coaster from Ferdy's Bar. Behind it, handwritten: "Come by after, Natalie."

Lenny walks into the bar. Natalie is very hostile to him, asking him whether he is or works for Teddy. When Lenny says he doesn't remember anything, Natalie tests him: she pours a glass of beer and then makes everyone spit in it, including Lenny. Then, after a while, she serves the glass to Lenny (on the house), who drinks from it.

21 > In Discount Inn, Room 21, on the phone, Lenny says that he is afraid that he has done something bad like Sammy. He tells how Sammy's story has ended.

After Sammy's wife asks for Lenny's opinion, she goes back home where she does a final test to her husband: she asks him again and again for her insulin shot. Sammy, indeed, gives her multiple shots, without remembering. Sammy's wife goes into a coma and Sammy has no idea what has happened.

Lenny draws the conclusion: Sammy was faking all signs of recognition. The same does Lenny, now.

21 < The Jaguar stops screeching in front of a tattoo parlour. Lenny holds a handwritten note: Tattoo Fact 6: Car License SG...

As the tattooist works on Lenny's left thigh (which he has shaven earlier), Teddy comes in. He has seen the Jaguar and wants Lenny out of town. He tells Lenny that a "bad cop" is after him, since Lenny is connected to the drug dealer Jimmy Grant and he urges Lenny to change clothes and leave town. Lenny takes the bag Teddy gives him and goes to the back room. There, he checks his designer suit pockets. He sees "DON'T BELIEVE HIS LIES," once again, at the back of Teddy's Polaroid. He also finds the Ferdy's Bar coaster (with Natalie's note), as well as the remains of burnt Polaroids. He escapes through the window.

He reaches Ferdy's Bar. Natalie sees the car and thinks it's Jimmy. When she sees Lenny, she apologises and goes into the bar.


H. KILLING THE WRONG GUY

22 > In Discount Inn, Room 21, on the phone, Lenny tells the cop that he is ready to go and meet this drug dealer Jimmy Grant. He packs all his stuff and goes to the Inn lobby, where he meets Teddy (introduced to him as officer Gammel).

Teddy takes him to a pickup truck. Lenny takes Teddy's picture and writes "Teddy" underneath, after Teddy's request. Lenny leaves with the truck.

Lenny parks the pickup truck outside the abandoned industrial building. He enters and looks around. Jimmy arrives in his Jaguar and calls for Teddy, but finds only Lenny, whom he knows from before as the "memory man." Lenny knocks him down. Jimmy tries to calm Lenny down and offers him $200,000, which he has in the Jaguar. Lenny refuses to be bargained with and strangles Jimmy, thinking that he is the killer of his wife. He takes a Polaroid of Jimmy's body and wears his clothes.

This is the moment where the B&W storyline joins the coloured one.

As Lenny drags Jimmy's body to the building's basement, half-dead Jimmy utters something that sounds like "Sammy." Lenny panics. A moment later, he sees Teddy arriving with his car. Through the window, Lenny identifies Teddy from his Polaroid. Realizing that he has done something wrong, Lenny pretends he doesn't remember and calls Teddy in to help him with "a guy who has been hurt bad and needs to get to a doctor." Teddy bites the bait and goes in with him, pretending that he doesn't know him either. Lenny leads him to Jimmy's body and knocks Teddy down. "He is not the guy," says Lenny, demanding explanations. Teddy tries to convince him that Jimmy is the killer of Lenny's wife and that he tried to make some money ($200,000!) on the side. When Lenny doesn't buy that, Teddy admits that he has been using him, revealing some shocking information: Lenny has actually killed the real assailant, one year ago, but he hasn't taken satisfaction, so Teddy has set him up into killing again. On top of that, Lenny's wife survived the assault, but Lenny killed her with insulin shots; Sammy Jankis's story has been his own. Refusing to accept it, Lenny has created an endless manhunt. Lenny pulls a gun at Teddy, but Teddy knows that he wouldn't do it. "You are not a killer, that's why you are so good at it!" Teddy grins.

Sammy is Leonard. Fight Club. Shutter Island. Personally, I get fed up with all the cases of "unreliable narrators," pulling rabbits out of hats at films' twisted ends. 

This is where the "killing the wrong guy" theme pays off in full. Up to here, we have seen Leonard being exploited by minor and major antagonists, namely: BERT, the reception desk guy, who tricks Leonard into checking in twice, in order to make extra money for his boss, NATALIE, who tricks Leonard into beating up Dodd, Jimmy's boss, and TEDDY, who makes Leonard kill drug dealer Jimmy, in order to get his stash.

In a clever finale, instead of clearing it all out, Leonard decides to get tricked once more. Using his handicap, he decides to trick himself into tracing down and killing Teddy, as another John G.

"Can I just let myself forget what you've told me?" In a minute, Lenny.

Then, Lenny conceives a plan B: tricking himself into believing that Teddy is the John G. he is looking for. (Conveniently, Teddy's name is, actually, John G.) He grabs Teddy's car key and throws it into the bushes. While Teddy is looking for it, Lenny writes "DON'T BELIEVE HIS LIES," underneath Lenny's Polaroid. He also burns the Polaroid of Jimmy's body and himself smiling. Finally, he makes a note of Teddy's licence plate (SG...) and drives off in Jimmy's Jaguar.

One of the major holes in this film is that there could have been a shorter way to get back to Teddy: Leonard could have simply written: "HE IS THE ONE. KILL HIM," behind Teddy's Polaroid, instead of marking down his licence plate. It doesn't require less conscience, since noting down the plate equally means targeting Teddy as John G. The whole Natalie and Dodd situation could have been avoided and Memento would be a nice short film. Anyway, let's finish it...

As Lenny drives, struggling to convince himself that the world exists outside his own mind, he stops at the tattoo parlour. GO TO 21 <

THE END