大景堂

我喜愛的東洋歌手



美空雲雀

橋幸夫

法蘭克 永井

NAOMI CHIAKI

玉置浩二

高橋真梨子

五木宏

小林幸子

石川小百合

石原裕次郎

桂銀淑

五輪真弓

小林旭

八代亞紀

島倉千代子

松尾和子

吉永小百合

森昌子

森進一

加藤登紀子

和田弘

山本讓二

水前寺清子

前川清

島羽一郎

伍代夏子

坂本冬美

倍賞千惠子

吉幾三

越路吹雪

青江三奈

水森紀子

日野美歌

小林正樹最為人熟知的:應該是曾大舉攻佔國際市場"怪談"和"切腹"這兩部名作.

而名氣稍遜的"奪命劍"不僅不遑多讓----可能還是這三片中,結構謹嚴/最凝練厚重/最穿透人心的.

欲說明此片的不凡之處----首先得認識小林其人---他不僅是個死忠的和平主義者----而且是個超級硬頸的反對派;

一個寧死不退讓的REBEL.

在二戰前他就是旗幟鮮明的左翼鬥士---被徵召入伍後,他仍不懼壓力堅決抵抗....

最令人印象深刻的事蹟:則是他峻拒升遷的幾次抗爭----以他是知名人士的樹大招風地位,居然公然抗拒軍規的強蠻抗爭即是其反骨的一例....

要知當時的中國派遣軍本部----是日本鷹派的大本營----處處與其大唱反調的後果可想而知.....

幸運的是,他不但扛住了軍部的如山壓力,也躲過了中日戰爭的隆隆炮火....

終於安返故土,也才能百般焠煉拍出了"人間之條件"這等反戰(也是他本人刻骨銘心的)巨作以及前述三部經典電影.



事實上,他的大部分作品大都沾有濃厚的左派色彩:控訴戰爭的罪惡/專制的為害/個人自由與尊嚴被剝奪等等...

他一以貫之的強烈主張且從未動搖(更不像市川昆於日本反戰氛圍最濃厚時,迎合潮流拍出如"野火"這等反戰大傑作,而以後則隨俗媚世每下愈況)



"切腹"和"奪命劍"抨擊的標的,不言可喻---當然是以古諷今----呈現幕府的腐敗與專制以及當時社會之泥固與教條的遺毒.....



德川幕府兩百六十年的統治,說得上真是鐵桶江山/匝得死透.

它統治的法門無他----就是一套嚴密無匹;將每個階層/每個大小百姓,全死綁在各自崗位的管理術.

一:在上層政治中,德川大幅整頓一統後的封建制度----表面上仍然維持各領主的高度自治權;實則劃分嫡系和旁系親疏之分----

幕府有各式嚴厲手段,專壓抑各領主的自主權及發展性-----簡單說:各領主除了能在自己地盤偶而能耀武揚威一番外,已經是動彈不得了.

(也唯有明瞭這個環節,也才能洞察"忠臣藏"那個倒霉的籓主之所以會有那麼悲慘的下場的底蘊---與其說是為奸臣所害,倒不如說:那是最高層的刻意迫害----藉細故翦除領主的陰謀.

也因為老百姓了然這---有苦難訴的悲憤---那四十七義士的故事也才會百年傳唱不絕,也才能博取這樣眾口一聲地強烈同情了)



二:在中下層社會中,德川將全體人民的階層身份完全凍結----地位及職業一概是世襲不可轉換的.

所有百姓的衣著/食物/房舍/婚姻/活動範圍.....鉅細靡遺---統統須依身分規定按禮行事-----也就是說生活大小事,政府絕對是處處插手/管得死透的!

幕府採用中國儒家"士農工商"的這套觀念,將士拔作前首.

但中國的士是文士,靠考試拔擢,是具流動性/不時遷移的.

日本的士則是武士,則完全世襲,不僅不流動----也永久固定在同一塊領地---一旦為士則子子孫孫註定是同一領主的附庸,伏首聽命好幾世代,故而身入其中不當奴才也難....

而日本封建制度的巧妙設計,正是引武士階層為其核心,靠它來宰制除貴族之外的所有下民.

因此且賦予種種特權:譬如唯武士能佩劍,其餘工農商是絕不可攜武器的.

武士凌駕所有下民之上,所以有特權可任取下民的財物,甚至隨意斬殺(無須理由,光有冒犯之意即乃罪名)

至於其餘公私領域,不用說---悉數有優先權:比如庶民須避讓行道;比如酒肆餐館如有武士入內,庶民是不可同往的.....

但這樣作威作福的一群----就像受命看管群羊的狗----主人要發起恨來,其境遇也未必比羊好上多少....

武士的俸祿----尤其是中下層---其實是很低的;他们又不許兼職(事實上也擺不起臉來外求)像黃昏清兵衛那樣糊些紙籠賺外快,不只丟臉,其實也是違法.

而武士更不能辭職更不用說轉業----最可能的風險是因撤籓而丟了頭銜/沒了薪水---那就成了浪士,只能像用心棒的三船敏郎一樣去當賭場或酒家的保鑣了.

但最大的危機是頂撞上級,或甚至違反籓主的意志----這便只有兩種終極選擇:一是保持武士尊嚴而死---被迫切腹.二是明正典刑:不僅公開處死,武士的繼承權也被剝奪了.

藤澤的蟬時雨和小林正樹的奪命劍都企圖衝撞這個議題;差別一個是委婉控訴,而後者則乾脆血淋淋抗鬥了.



奪命劍(西方譯名慣用SAMURAI REBELLION;但據說小林較傾向拿掉SAMURAI,只餘REBELLION--說這意涵較深..)

片子一開場,先以言簡意賅的試刀場面,交代當時武士職務的一般場景----由中隱約透露三船籓內第一劍士的身分,及他大受倚重的價值所在.

接著鏡頭轉回其家舍,道出他育有已屆婚齡之二子,及他本人乃入贅承繼家業----因而妻子極端強勢的現狀.

繼則籓主親信家老到訪,說出一件令三船極其為難的要求----原來籓主有令:欲替其長子婚配;對象則是因忤逆而遭斥退的籓主愛妃.

此議既突如其來,而內容又荒誕難解-----一時令三船無以回應,遂陷入一陣長考的沉思中.....

蓋,在封建制度中,主君親賜美姻固是空前榮寵---雖說將愛妃轉賜家臣是有幾分蹊蹺----若是一般只想著幫主君分憂解勞的功祿之徒或許已忙不迭應可.

但三船可不同---他想得深/也計慮的遠....

首先,他並不清楚主君愛妃是怎麼忤逆犯上?更不了解主君轉賜愛妃的心理動機?!

更何況---為何要挑中他家?!

而更重大的因素---他是個開明的父親,這等大事須徵求長子的同意----這裡面且還夾纏他本身難為人言的心理陰影....

三船的入贅就是受人擺佈的慘痛經驗----他不願一向貼心孝順的長子同蒙其害.

於是他一面探聽此中底故,一面徵詢家人意見----這過程中他逐漸傾向回絕主君的配婚.

原因是他已探得此妃善妒而且性情乖張----居然敢出手抓傷主君新歡甚至波及勸架的主君本人----此等惡女難成佳侶...

而該女既曾貴顯,諒必也無法適應家臣的卑微生活;更要命的是----此女已懷孕,她肚中正是主君的種!

這萬般種種...對其子確實太不公平---他何辜得接收主君的二手夫人以及主君的爛攤子貨?!



但事情的發展正如他先前預卜般並不樂觀----雖然他一再推辭,主君的意志仍執拗不變而且逼婚的壓力日益深沉

連他的強勢妻子及與她一鼻孔出氣的小兒子一來是為功祿/二來更怕的是懼禍----也連番施壓逼長子就範.....

於是在正反拉鋸間----反而是當事人的長子決定自我犧牲來卸除父親的如山壓力和母弟的無情推逼----主動答應了成婚.



新婦入門後---出乎三船意料之外----此女居然溫婉嫻雅,非常勝任賢妻良媳的角色----與長子更是出奇恩愛,絲毫無芥蒂於那橫亙其中的主君的兒子.

但就在此時,霹靂變故又起----原本健康的儲君忽亡----三船媳婦的新生兒頓時成了儲君的唯一人選!

於是原本被棄若無用的嬰兒馬上被急召入籓----母子立遭拆離這還不打緊----封建制度最陳腐最沒官僚的最沒人性的教條開始又放毒了....

籓主下令----儲君的母親如今身分有異,不得與家臣締婚,須即刻返回籓中----原配判離.



如此招之即來揮之即去的蠻橫作風----不惟激起了三船長子的牛氣,也令一向沉穩/謀定而後動的三船冒了真火

他先是尋求同僚的奧援,再上廷議徵詢公論,發覺舉國滔滔他竟是孤立無援....

更令他喪氣的是,家族會議中,親族最畏憚的:竟是怕其連累全族而群起逼其讓步....

但最寒心的----則是其妻和次男不僅立刻劃清界線,且毫不容情地出賣了他.



三船原本並非決絕之人-----看他自己忍受一輩子糟糕透頂的婚姻;包容如此一位涼薄勢利的妻子而不多怨言即可意會....

但在這種態勢下他一方面是感動於長子夫婦的不離不棄;二方面也是義憤於這整個社會的不公不義....於是決心拔刀而起,

雖然心知肚明單槍匹馬對抗整個體制的下場是毫無勝算.......

愛不釋手地看完藤澤三本小説------只能說山田的電影詮釋只是差強人意而已......

對山田取其短篇而大肆渲染(或大肆嬉笑---譬如"黃:片中山田胡搞的武士軍訓戲)更是不以為然-----"黃"與"隱"片固然都不太理想---尤以後者可稱拙劣.(山田且套用了幾乎同出一格的起承轉合手法---不惟匠氣,且全然抹煞了藤澤短篇慣具的餘韻邈邈況味)



藤澤的小說當然還是長篇見長,他的"蟬時雨"要能有上一代大師如小林正樹這類左翼鬥士來詮釋當然是最理想-----去年那部新片把它當偶像劇拍----不僅五色光鮮(藤澤作品理當如龍安寺之枯山水中庭---越淡雅越富意趣)而且全然落力於戀愛情節上;完全忽略了藤澤刻意著墨籓鎮專制大背景,以襯托低層武士被宰制於最底層的真正用意-------因而"蟬時雨"最終章-----那表面上雲淡風輕/卻繫絆了一生鬱結之幽會戲的動人力道就耗弱無存了.....



對山田挑這三個短篇我也有幾分不解------這三篇都不算藤澤短篇裡的上好作-----我認為最好的一篇是講兩個劍士因一名女子所沿伸的兩代恩怨;將武士的義理詮釋的極其透徹....而情節之迂迴/結局之壯烈;使這短篇儼然有長篇之萬鈞力道.



最近電影看得多-----老愛拿不同角度的電影互相比對-----譬如小林正樹的"切腹"和"奪情劍"和藤澤的小説互相參照,同時也拿來稱稱山田改編作的斤兩-----不太滿意---或許也是必然的.

rogerebert greatmovies_fulllist















Great Movies



The Big Red One (1980)決死兵團


Cat People (1942)豹人


Days of Heaven (1978)天堂歲月


Double Indemnity (1944)雙重保險


Playtime (1967)歡樂時光


Ugetsu (1953)雨月物語


The Rules of the Game (2006)遊戲規則


Night Moves (1975)夜行客


12 Angry Men (1957)十二怒漢


2001: A Space Odyssey (1968)2oo1年太空冒險


The 400 Blows (1959)四百擊


8 1/2 (1963)


The Adventures of Robin Hood (1939)羅賓漢


After Dark, My Sweet (1990)


The Age of Innocence (1993)純真年代


Aguirre, the Wrath of God (1972)天譴


Ali: Fear Eats the Soul (1974)恐懼吞噬心靈


Alien (1979)異形


All About Eve (1950)慧星美人


Amadeus (1984)阿瑪迪斯


Amarcord (1974)阿瑪柯德


Annie Hall (1977)安妮霍爾


The Apartment (1960)公寓春光


Apocalypse Now (1979)現代啟示錄


The Apu Trilogy (1959)阿普三部曲


Atlantic City (1980)大西洋城


Au Hasard Balthazar (1966)


Au Revoir, les Enfants (1987)


The Band Wagon (1953)篷車隊


The Bank Dick (1940)


The Battle of Algiers (1967)阿爾及利亞戰爭


The Battleship Potemkin (1925)波坦金戰艦


Beat the Devil (1954)打擊魔鬼


Beauty and the Beast (1946)美女與野獸


Being There (1979)


Belle de Jour (1967)青樓怨婦


The Bicycle Thief (1949)單車失竊記


The Big Heat (1953)


The Big Sleep (1946)夜長夢多


The Birth of a Nation (1915)國家的誕生


Blowup (1966)春光乍洩


The Blue Kite (1993)藍風箏


Bob le Flambeur (1955)


Body Heat (1981)體熱


Bonnie and Clyde (1967)我倆沒有明天


Breathless (1960)斷了氣


Bride of Frankenstein (1935)科學怪人的新娘


The Bridge on the River Kwai (1957)桂河大橋


Bring Me the Head of Alfredo Garcia (1974)驚天動地搶人頭


Broken Blossoms (1919)


Cabiria (1914)


Casablanca (1942)北非諜影





Children of Paradise (1945)天堂的小孩





Chimes at Midnight (1965)午夜鐘聲





Chinatown (1974)唐人街





A Christmas Story (1983)





Chuck Jones: Three Cartoons (1953-1957)





Citizen Kane (1941)大國民





City Lights (1931)城市之光





The Color Purple (1985)紫色姊妹花





The Conversation (1974)談話





Cries and Whispers (1972)哭泣與耳語





Crimes and Misdemeanors (1989)罪與罰





Crumb (1994)





Dark City (2005)





Day for Night (1973)日以作夜









The Decalogue (1988)十誡





Detour (1945)





The Discreet Charm of the Bourgeoisie (1972)中產階級拘謹的魅力





Do the Right Thing (1989)為所欲為





Don't Look Now (1974)





Double Indemnity (1944)雙重保險





Dr. Strangelove (1964)奇愛博士





Dracula (1931)吸血鬼





Duck Soup (1933)鴨羹





E.T. -- The Extra-Terrestrial外星人 (1982)





The Earrings of Madame de... (1953)





Easy Rider (1969)迷幻車手





El Norte (1983)





The Exterminating Angel (1962)





The Fall of the House of Usher (1928)





Samurai Rebellion (1967)奪命劍





Fanny and Alexander (1983)芬妮與亞歷山大





Fargo (1996)冰血暴





Faust (1926)浮士德





The Films of Buster Keaton (1923)





The Firemen's Ball (1968)消防員的舞會





Fitzcarraldo (1982)





Five Easy Pieces (1970)





Floating Weeds (1959)浮草





Forbidden Games (1952)禁忌的遊戲





Gates of Heaven (1978)天堂之門





The General (1927)將軍號





The Godfather (1972)教父





Goldfinger (1964)金手指





Gone With the Wind (1939)亂世佳人





The Good, the Bad and the Ugly (1968)黃昏三鏢客





GoodFellas (1991)四海好傢伙





Gospel According to St. Matthew (1964)馬太福音





Grand Illusion (1937)大幻影





The Grapes of Wrath (1940)怒火之花





Grave of the Fireflies (1988)螢火蟲之墓





Great Expectations (1946)聖誕鐘聲





Greed (1925)





Groundhog Day (1993)





A Hard Day's Night (1964)一夜狂歡





Hoop Dreams (1994)灌籃夢





House of Games (1987)





Howards End (1992)





The Hustler (1961)江湖浪子





Ikiru (1952)生之慾





In Cold Blood (1967)冷血





Inherit the Wind (1960)





It's a Wonderful Life (1946)風雲人物





Jaws (1975)大白鯊





JFK (1991)刺殺甘乃迪





Jules and Jim (1961)夏日之戀





Juliet of the Spirits (1965)





Kind Hearts and Coronets (1949)愛心與冠冕





King Kong (1933)金剛





Army of Shadows (1969)影子軍隊





L'Atalante (1934)亞特蘭大號





L'Avventura (1960)情事





La Dolce Vita (1960)生活的甜蜜





The Lady Eve (1941)依芙夫人





The Last Laugh (1924)最後一笑





The Last Picture Show (1971)最後一場電影





Last Tango in Paris (1972)巴黎最後的探戈





Last Year at Marienbad (1961)去年在馬倫巴





Late Spring (1972)晚春





Laura (1944)羅蘭秘記





Lawrence of Arabia (1962)阿拉伯的勞倫斯





Le Boucher / The Butcher (2003)





Le Samourai (1967)午夜殺手





Leaving Las Vegas (1995)遠離賭城





Leolo (1993)





The Leopard (1963)浩氣蓋山河





The Life and Death of Colonel Blimp (1943)





The River (Le Fleuve) (1951)恒河





The Long Goodbye (1973)漫長的告別





M (1931)兇手





The Maltese Falcon (1941)梟巢喋血戰





The Man Who Laughs (1928)





The Manchurian Candidate (1962)諜海亡魂





Manhattan (1979)曼哈頓





The Marriage of Maria Braun (1979)瑪麗布朗的婚姻





McCabe & Mrs. Miller (1971)花村





Mean Streets (1973)殘酷大街





Metropolis (1926)大都會





Mon Oncle (1958)我的舅舅





Moonstruck (1987)月暈





Mr. Hulot's Holiday (1953)胡洛先生的假期





The Music Room (1958)





My Darling Clementine (1946)俠骨柔情





My Dinner With Andre (1981)與安德烈晚餐





My Fair Lady (1964)窈窕淑女





My Life to Live / Vivre sa Vie (1963)





My Neighbor Totoro (1993)龍貓





Nanook of the North (1922)北方努亞克





Nashville (1975)納許維爾





Network (1976)螢光幕後





The Night of the Hunter (1955)





Nights of Cabiria (1957)卡比利亞之夜





Nosferatu (1922)吸血鬼





Notorious (1946)美人計





On the Waterfront (1954)岸上風雲





One Flew Over the Cuckoo's Nest (1975)飛越杜鵑窩





Orpheus (1949)奧爾菲





Out of the Past (1947)漩渦之外





Pandora's Box (1928)





Paris, Texas (1984)巴黎德州





The Passion of Joan of Arc (1928)聖女貞德





Paths of Glory (1957)光榮之路





Patton (1970)巴頓將軍









Peeping Tom (1960)





Persona (1966)假面





The Phantom of the Opera (1925)歌劇魅影





Pickpocket (1959)扒手





Picnic at Hanging Rock (1975)懸崖上的野餐





Pinocchio (1940)木偶奇遇記





Pixote (1981)





Planes, Trains and Automobiles (1987)





Playtime (1967)





The Producers (1968)製作人





Psycho (1960)驚魂記





Pulp Fiction (1994)





Raging Bull (1980)蠻牛





Raiders of the Lost Ark (1981)法櫃奇兵





Raise the Red Lantern (1990101)大紅燈籠高高掛





Ran (1985)亂





Rashomon (1950101)羅生門





Rear Window (1954)後窗











Red River (1948)紅河谷





The Red Shoes (1948)紅菱豔





Rififi (1954)男人的爭鬪





The Right Stuff (1983)太空先鋒





Ripley's Game (2002)魔鬼雷普利





Romeo and Juliet (1968)殉情記





The Rules of the Game (1939)遊戲規則





Safety Last (1923)最後安全





Santa Sangre (1989)





Saturday Night Fever (1977)周末夜狂熱





Say Anything (1989)





Scarface (1983)疤面人





The Scarlet Empress (1934)紅色女皇





Schindler's List (1993)辛格勒名單





The Searchers (1956)搜索者





The Seven Samurai (1954)七武士





The Seventh Seal (1957)第七封印





Shane (1953)原野奇俠





The Shawshank Redemption (1994)刺激1995





The Shining (1980)閃靈





The Silence of the Lambs (1991)沉默的羔羊





Singin' in the Rain (1952)萬花嬉春





Snow White and the Seven Dwarfs (1937)白雪公主





Solaris (1972)飛向太空





Some Like It Hot (1959)熱情如火





Star Wars (1977)星際大戰





Strangers on a Train (1951)火車怪客





Stroszek (1977)





A Sunday in the Country (1984)鄉間的一日





Sunrise (1928)日出





Sunset Boulevard (1950)紅樓金粉





The Sweet Smell of Success (1957)成功的滋味





Swing Time (1936)搖擺年代





A Tale of Winter (1992)冬天的故事





Taxi Driver (1976)計程車司機





The Terrorist (2000)





The Dead (1987)逝者





The Thin Man (1934)瘦子





The Third Man (1949)黑獄亡魂





This Is Spinal Tap (1984)





Three Colors Trilogy (1994)奇士勞斯基紅藍白三部曲





3 Women (1977)三女性





Tokyo Story (1953)東京物語





Top Hat (1935)





Touch of Evil (1958)歷劫佳人





Touchez Pas au Grisbi (1954)





The Treasure of the Sierra Madre (1948)碧血金沙





Trouble in Paradise (1932)





Ugetsu (1953)雨月物語





Umberto D (1952)風燭淚





Un Chien Andalou (1928)





Unforgiven (1992)殺無赦





The Up Documentaries (1985)





Vertigo (1958)迷魂記





Victim (1961)





Walkabout (1971)





West Side Story (1961)西城故事





The Wild Bunch (1969)日落黃沙





Wings of Desire (1988)柏林穹蒼下





The Wizard of Oz (1939)綠野仙蹤





Woman in the Dunes (1964)沙丘之女





A Woman Under the Influence (1974)





A Woman's Tale (1992)





Woodstock (1970)伍茲塔克音樂節





Written on the Wind (1956)





Yankee Doodle Dandy (1942)勝利之歌





A Year of the Quiet Sun (1984)





Yellow Submarine (1968)黃色潛水艇





Yojimbo (1961)大鏢客





Rebel Without a Cause (1955)養子不教誰之過

SUNSET BOULEVARD





Charles Brackett

Billy Wilder

D.M. Marshman, Jr.



March 21,1949







SEQUENCE "A"





A-l-4 START the picture with the actual street sign:

SUNSET BOULEVARD, stencilled on a curbstope.

In the gutter lie dead leaves, scraps of paper,

burnt matches and cigarette butts. It is early

morning.



Now the CAMERA leaves the sign and MOVES EAST, the

grey asphalt of the street filling the screen. As

speed accelerates to around 40 m.p.h., traffic de-

marcations, white arrows, speed-limit warnings, man-

hole covers, etc., flash by. SUPERIMPOSED on all

this are the CREDIT TITLES, in the stencilled style

of the street sign.



Over the scene we now hear MAN'S VOICE

sirens. Police squad cars Yes, this is Sunset

hurtle toward the camera, Boulevard, Los Angeles,

turn off the road into a California. It's about

driveway with squealing five o'clock in the

brakes. Dismounted motor- morning. That's the

cycle cops stand directing Homicide Squad, com-

the cars in. plete with detectives

and newspaper men.

A-5 PATIO AND POOL OF A murder has been re-

MANSION ported from one of those

great big houses in the

The policemen and news- ten thousand block.

paper reporters and You'll read all about

photographers have it in the late editions,

jumped out of the cars I'm sure. You'll get

and are running up to it over your radio,

the pool, in which a and see it on tele-

body is seen floating. vision -- because an

Photographers' bulbs old-time star is in-

flash in rapid suc- volved. one of the big-

cession. gest. But before you

hear it all distorted

and blown out of

proportion, before those

Hollywood columnists

get their hands on it,

maybe you'd like to

hear the facts, the

whole truth...



A-6 FLASH OF THE BODY

MAN'S VOICE

Angle up through the If so, you've come to the

water from the bottom right party... You see,

of the pool, as the the body of a young man

body floats face down- was found floating in the

ward. It is a well- pool of her mansion, with

dressed young man. two shots in his back and

one in his stomach. No-

body important, really.

Just a movie writer with

a couple of "B" pictures

to his credit. The poor

dope. He always wanted a

pool Well, in the end

he got himself a pool --

SLOW DISSOLVE TO: only the price turned out

to be a little high...

Let's go back about six

A-7 HOLLYWOOD, SEEN FROM months and find the day

THE HILLTOP AT IVAR when it all started.

& FRANKLIN STREETS



It is a crisp sunny I was living in an

day. The voice con- apartment house above

tinues speaking as Franklin and Ivar.

CAMERA PANS toward Things were tough

the ALTO NIDO APART- at the moment. I hadn't

MENT HOUSE, an ugly worked in a studio for

Moorish structure ofsat a long time. So I

stucco, about four there grinding

stories high. CAMERA out original stories,

MOVES TOWARD AN OPEN two a week. Only I

WINDOW on the third seemed to have lost

floor, where we look my touch. Maybe they

in on JOE GILLIS' APART- weren't original

MENT. Joe Gillis, bare- enough. Maybe they

footed and wearing no- were too original.

thing but an old bath- All I know is they

robe. is sitting on didn't sell.

the bed. In front of

him. on a straight

chair, is a portable

typewriter. Beside

him, on the bed, is a

dirty ashtray and a

scattering of type

written and pencil-

marked pages. Gillis

is typing. with a

pencil clenched bet-

ween his teeth.







A-8 JOE GILLIS' APARTMENT



It is a one-room affair with an unmade Murphy bed

pulled out of the wall at which Gillis sits typing.

There are a couple of worn-out plush chairs and a

Spanish-style, wrought-iron standing lamp. Also a

small desk littered with books and letters, and a

chest of drawers with a portable phonograph and some

records on top. On the walls are a couple of repro-

ductions of characterless paintings, with laundry

bills and snapshots stuck in the frames. Through an

archway can he seen a tiny kitchenette, complete with

unwashed coffee pot and cup, empty tin cans, orange

peels, etc. The effect is dingy and cheerless --

just another furnished apartment. The buzzer SOUNDS.



GILLIS

Yeah.



The buzzer SOUNDS again. Gillis gets up and opens

the door. Two men wearing hats stand outside one of

them carrying a briefcase.



NO. 1

Joseph C. Gillis?



GILLIS

That's right.



The men ease into the room. No. 1 hands Gillis a

business card.



NO. 1

We've come for the car.



GILLIS

What car?



NO. 2

(Consulting a paper)

1946 Plymouth convertible. Calif-

ornia license 97 N 567.



NO. 1

Where are the keys?



GILLIS

Why should I give you the keys?





NO. 1

Because the company's played ball

with you long enough. Because

you're three payments behind. And

because we've got a Court order.

Come on -- the keys.



NO. 2

Or do you want us to jack it up

and haul it away?



GILLIS

Relax, fans. The car isn't here.



NO. 1

Is that So?



GILLIS

I lent it to a friend of mine.

He took it up to Palm Springs.



NO. 1

Had to get away for his health,

I suppose.



GILLIS

You don't believe me? Look in

the garage.



NO. 1

Sure we believe you, only now we

want you to believe us. That car

better be back here by noon tomorrow,

or there's going to be fireworks.



GILLIS

You say the cutest things.



The men leave. Gillis GILLIS' VOICE

stands pondering beside Well, I needed about two

the door for a moment. hundred and ninety dollars

Then he walks to the and I needed it real

center of the room and, quick, or I'd lose my car.

with his back to the It wasn't in Palm Springs

CAMERA, slips into a and it wasn't in the

pair of gray slacks. garage. I was way ahead

There is a metallic of the finance company.

noise as some loose

change and keys drop

from the trouser pockets.

As Gillis bends over to

pick them up, we see that

he has dropped the car

keys, identifiable be-

cause of a rabbit's

foot and a miniature

license plate attached

to the key-ring. Gillis

pockets the keys and as

he starts to put on a

shirt



DISSOLVE TO:



A-9 EXTERIOR OF RUDY'S GILLIS' VOICE

SHOESHINE PARLOR (DAY)

I knew they'd be coming

A small shack-like build- around and I wasn't tak-

ing, it stands in the ing any chances, so I

corner of a public park- kept it a couple of

ing lot. Rudy, a blocks away in a parking

colored boy, is giving lot behind Rudy's Shoe-

a customer a shine. shine Parlor. Rudy

never asked any quest-

ions. He'd just look at

your heels and know the

score.



PAN BEHIND the shack to GILLIS' CAR, a yellow 1946

Plymouth convertible with the top down. Gillis enters

the SHOT. He is wearing a tweed sport jacket, a tan

polo shirt, and moooasins. He steps into the car and

drives it off. Rudy winks after him.





A-10 THE ALLEY NEXT TO SIDNEY'S

MEN'S SHOP ON BRONSON AVE. GILLIS' VOICE

I had an original story

Gillis drives into the kicking around Paranount.

alley and parks his car My agent told me it was

right behind a delivery dead as a doornail. but

truck. PAN AND FOLLOW I knew a big shot over

HIM as he gets out, walks there who'd always liked

around the corner into me, and the time had

Bronson and then toward come to take a little

the towering main gate of advantage of it. His

Paramount. A few loafers, name was Sheldrake. He

studio cops and extras are was a smart producer,

lounging there. with a set of ulcers to

prove it.



DISSOLVE TO:



A-11 SHELDRAKE'S OFFICE



It is in the style of a Paramount executive's office --

mahogany, leather, and a little chintz. On the

walls are some large framed photographs of Paramount

stars, with dedications to Mr. Sheldrake. Also a

couple of framed critics' awards certificates, and an

Oscar on a bookshelf. A shooting schedule chart is

thumb-tacked into a large bulletin board. There are

piles or scripts, a few pipes and, somewhere in the

background, some set models.



Start on Sheldrake. He is about 45. Behind his wor-

ried face there hides a coated tongue. He is en-

gaged in changing the stained rilter cigarette in

his Zeus holder.



SHELDRAKE

All right, Gillis. You've got

five minutes. What's your story

about?



GILLIS

It's about a ball player, a rookie

shortstop that's batting 347. The

poor kid was once mixed up in a hold-

up. But he's trying to go straight --

except there's a bunch of gamblers

who won't let him.



SHELDRAKE

So they tell the kid to throw the

World Series, or else, huh?



GILLIS

More or less. Only for the end

I've got a gimmick that's real good.



A secretary enters, carrying a glass or milk.

She opens a drawer and takes out a bottle of pills for

Sheldrake.



SHELDRAKE

Got a title?



GILLIS

Bases Loaded. There's a 4O-page

outline.



SHELDRAKE

(To the secretary)

Get the Readers' Department and

see what they have on Bases Loaded.



The secretary exits. Sheldrake takes a pill and

washes it down with some milk.



GILLIS

They're pretty hot about it

over at Twentieth, but I

think Zanuck's all wet. Can

you see Ty Power as a



GILLIS (cont'd)

shortstop? You've got the best

man for it right here on this lot.

Alan Ladd. Good change of pace for

Alan Ladd. There's another thing:

it's pretty simple to shoot. Lot

of outdoor stuff. Bet you could

make the whole thing for under a

million. And there's a great little

part for Bill Demarest. One of the

trainers, an oldtime player who

got beaned and goes out of his head

sometimes.



The door opens and Betty Schaefer enters -- a clean-

cut, nice looking girl of 21, with a bright, alert

manner. Dressed in tweed skirt, Brooks sweater and

pearls, and carrying a folder of papers. She puts

them on Sheldrake's desk, not noticing Gillis, who

stands near the door.



BETTY

Hello, Mr. Sheldrake. On that Bases

Loaded. I covered it with a 2-page

synopsis.

(She holds it out)

But I wouldn't bother.



SHELDRAKE

What's wrong with it?



BETTY

It's from hunger.



SHELDRAKE

Nothing for Ladd?



BETTY

Just a rehash of something that

wasn't very good to begin with.



SHELDRAKE

I'm sure you'll be glad to meet

Mr. Gillis. He wrote it.



Betty turns towards Gillis, embarrassed.



SHELDRAKE

This is Miss Kramer.



BETTY

Schaefer. Betty Schaefer. And

right now I wish I could crawl

into a hole and pull it in after

me.



GILLIS

If I could be of any help...



BETTY

I'm sorry, Mr. Gillis, but I

just don't think it's any good.

I found it flat and banal.



GILLIS

Exactly what kind of material do

you recommend? James Joyce?

Dostoosvsky?



SHELDRAKE

Name dropper.



BETTY

I just think pictures should say

a little something.



GILLIS

Oh, you're one of the message

kids. Just a story won't do.

You'd have turned down Gone With the

Wind.



SHELDRAKE

No, that was me. I said, Who

wants to see a Civil War picture?



BETTY

Perhaps the reason I hated Bases

Loaded is that I knew your name.

I'd always heard you had some

talent.



GILLIS

That was last year. This year

I'm trying to earn a living.



BETTY

So you take Plot 27-A, make it

glossy, make it slick --



SHELDRAKE

Carefull Those are dirty words!

You sound like a bunch of New

York critics. Thank you, Miss

Schaefer.



BETTY

Goodbye, Mr. Gillis.



GILLIS

Goodbye. Next time I'll write

The Naked and the Dead.





Betty leaves.



SHELDRAKE

Well, seems like Zanuck's got

himself a baseball picture.



GILLIS

Mr. Sheldrake, I don't want you

to think I thought this was going

to win any Academy Award.



SHELDRAKE

(His mind free-wheeling)

Of course, we're always looking

for a Betty Hutton. Do you see

it as a Betty Hutton?



GILLIS

Frankly, no.



SHELDRAKE

(Amusing himself)

Now wait a minute. If we made

it a girls' softball team, put

in a few numbers. Might make a

cute musical: It Happened in

the Bull Pen -- the story of a

Woman.



GILLIS

You trying to be funny? -- because

I'm all out of laughs. I'm over a<