目前日期文章:200705 (18)

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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

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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.......













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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.











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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

















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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<

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MEET JOHN DOE



Written by Robert Riskin



based on a story by Richard Connell and Robert Presnell









Ext. Bulletin Office - Sidewalk.



Close-up: Of a time-worn plaque against

the side of a building. It reads:





THE BULLETIN



"A free press for a free people."



While we read this, a pair of hands

come in holding pneumatic chisel which

immediately attacks the sign. As the

lettering is being obliterated,



Dissolve to: Close-up: A new plaque

on which the lettering has been changed

to:



THE NEW BULLETIN



"A streamlined newspaper for a streamlined

era."



Cut to: Int. Bulletin outer office.

Full shot: Of a mid-western newspaper

office.



Med. shot: At a door at which a sign-painter

works. He is painting HENRY CONNELL's

name on the door. It opens and a flip

office boy emerges. The painter has

to wait until the door closes in order

to resume his work.



Full shot: Of the outer office. The

activity of the office seems to suddenly

cease, as all eyes are centered on the

office boy.



Med. shot—panning: With the office boy—who

has a small sheet of paper in his hand.

He walks jauntily to a desk, refers

to his paper, points his finger to a

woman, emits a short whistle through

his teeth, runs a finger across his

throat and jerks his thumb toward managing

editor's office. The woman stares starkly

at him while her immediate neighbors

look on with sympathy. The office boy

now goes through the same procedure

with several other people. All watch

him, terror written in their eyes.





Med. shot: Toward CONNELL's office door

where painter works. It opens and three

people emerge. Two men and a girl. The

girl is young and pretty. All three

look dourful. The painter again has

to wait for the door to shut before

resuming his work. The two men exit.

The girl suddenly stops.



Close shot: Of the girl. Her name is

ANN MITCHELL. She stands, thinking,

and then suddenly, impulsively, wheels

around. Camera pans with her as she

returns to CONNELL's office door, flings

it open and disappears. The painter

remains poised with his brush, waiting

for the door to swing back. There is

a slight flash of resentment in his

eyes.



Int. CONNELL's office. Full shot: CONNELL

is behind his desk on which is a tray

of sandwiches and a glass of milk, half

gone. Near him sits POP DWYER, another

veteran newspaperman. ANN crosses to

CONNELL's desk.



CONNELL



(on phone)



Yeh, D. B. Oh, just cleaning out the

dead-wood. Okay.



? 580 ?



ANN



(supplicatingly)



Look, Mr. Connell . . . I just can't

afford to be without work right now,

not even for a day. I've got a mother

and two kid sisters to . . .



Secretary enters. (Her name is Mattie.)





SECRETARY



More good luck telegrams.



ANN



Well, you know how it is, I, I've just

got to keep working. See?



CONNELL



Sorry, sister. I was sent down here

to clean house. I told yuh I can't use

your column any more. It's lavender

and old lace![1]



(flicks dictograph button)



MATTIE



(over dictograph)



Yeah?



CONNELL



Send those other people in.



MATTIE



(over dictograph)



Okay.



ANN



I'll tell you what I'll do. I get thirty

dollars a week. I'll take twenty-five,

twenty if necessary. I'll do anything

you say.



CONNELL



It isn't the money. We're after circulation.

What we need is fireworks. People who

can hit with sledge hammers—start arguments.





ANN



Oh, I can do that. I know this town

inside out. Oh, give me a chance, please.





She can get no further, for several

people enter. They are cowed and frightened.

ANN hesitates a moment, then, there

being nothing for her to do, she starts

to exit. She is stopped by CONNELL's

voice.



CONNELL



All right, come in, come in! Come in!





(to Ann)



Cashier's got your check.



(back to others)



Who are these people? Gibbs, Frowley,

Cunningham, Jiles—



(to Ann at door)



Hey, you, sister!



Ann turns.



? 581 ?



CONNELL



Don't forget to get out your last column

before you pick up your check!



ANN's eyes flash angrily as she exits.





Int. Outer Office. Med. shot: ANN storms

out. The painter again has to wait for

the door to swing back to him.



Int. ANN's office. Full shot: ANN enters

her office and paces around, furious.

A man in alpaca sleeve-bands enters.

His name is JOE.



JOE



You're a couple o' sticks[2] shy in

your column, Ann.



ANN



(ignores him, muttering . . .)



A big, rich slob like D. B. Norton buys

a paper—and forty heads are chopped

off!



JOE



Did you get it, too?



ANN



Yeah. You, too? Oh, Joe . . . oh, I'm

sorry darling . . . why don't we tear

the building down!



JOE



Before you do, Ann, perhaps you'd better

finish this column.



ANN



Yeah. Lavender and old lace!



Suddenly she stops pacing. Her eyes

widen as a fiendish idea strikes her.





ANN



Wait, Joe—wait!



She flops down in front of her typewriter.





ANN



(muttering)



Wants fireworks, huh? Okay!



She begins to pound furiously, her jaw

set.



Close-up: Of ANN. Eyes flashing as she

types.



Close-up: Of JOE, watching her. The

wild look in her eye and the unnatural

speed of her typing causes him to stare

dumbly at her.



Med. shot: ANN bangs away madly. Finally

she finishes. She whips the sheet out

of the typewriter, hands it to JOE.





ANN



Here.



As JOE takes it, ANN begins to empty

the drawers of her desk.



Close-up: Of JOE reading what ANN has

written.



? 582 ?



JOE



(reading)



"Below is a letter which reached my

desk this morning. It's a commentary

on what we laughingly call the civilized

world. 'Dear Miss Mitchell: Four years

ago I was fired out of my job. Since

then I haven't been able to get another

one. At first I was sore at the state

administration because it's on account

of the slimy politics here we have all

this unemployment. But in looking around,

it seems the whole world's going to

pot, so in protest I'm going to commit

suicide by jumping off the City Hall

roof!' Signed, A disgusted American

citizen, John Doe.'"



JOE pauses to absorb this.



JOE



(continues reading)



"Editor's note . . . If you ask this

column, the wrong people are jumping

off roofs."



JOE glances up toward ANN, in mild protest.





JOE



Hey, Ann, this is the old fakeroo, isn't

it?



Full shot: ANN has just about accumulated

all her things. JOE stares at her, knowing

it's a fake.



ANN



Never mind that, Joe. Go ahead.



JOE shrugs, shakes his head, and exits.

ANN stuffs her things under her arm

and also goes.



Int. Outer office: Med. shot: Voices

ad lib—"Awfully sorry you're not going."

"Good-bye." (Laughing)



ANN comes out. Suddenly, she stops,

gets another idea, picks up a book from

a desk, and reaches back to heave it.





Med. shot: At CONNELL's office door.

The sign-painter has just finished CONNELL's

name, and as he leans back, pleased,

wiping his brushes, the book flies in.

The painter lifts his head slowly, his

wrath too great to find utterance.





Dissolve to: Int. GOVERNOR JACKSON's

office: Close-up: Of two of GOVERNOR'S

ASSOCIATES.



MAN



(reading newspaper)



" . . . and it's because of the slimy

politics that we have all this unemployment

here."



(agitated)



There it is! That's D. B. Norton's opening

attack on the Governor!



2ND MAN



Why Jim, it's just a letter sent in

to a column.



JIM



No, no. I can smell it. That's Norton!





While he speaks, the GOVERNOR has entered.





? 583 ?



GOVERNOR



Good morning, gentlemen. You're rather

early.



MEN



'Morning. 'Morning, Governor.



GOVERNOR



You're here rather early.



JIM



(pushes paper over to him)

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TAXI DRIVER



by



Paul Schrader











































PROPERTY OF:













"The whole conviction of my life now rests upon the belief

that loneliness, far from being a rare and curious

phenomenon, is the central and inevitable fact of human

existence."



--Thomas Wolfe,

"God's Lonely Man"



TRAVIS BICKLE, age 26, lean, hard, the consummate loner. On

the surface he appears good-looking, even handsome; he has a

quiet steady look and a disarming smile which flashes from

nowhere, lighting up his whole face. But behind that smile,

around his dark eyes, in his gaunt cheeks, one can see the

ominous stains caused by a life of private fear, emptiness

and loneliness. He seems to have wandered in from a land

where it is always cold, a country where the inhabitants

seldom speak. The head moves, the expression changes, but

the eyes remain ever-fixed, unblinking, piercing empty space.



Travis is now drifting in and out of the New York City night

life, a dark shadow among darker shadows. Not noticed, no

reason to be noticed, Travis is one with his surroundings.

He wears rider jeans, cowboy boots, a plaid western shirt

and a worn beige Army jacket with a patch reading, "King

Kong Company 1968-70".



He has the smell of sex about him: Sick sex, repressed sex,

lonely sex, but sex nonetheless. He is a raw male force,

driving forward; toward what, one cannot tell. Then one

looks closer and sees the evitable. The clock sprig cannot

be wound continually tighter. As the earth moves toward the

sun, Travis Bickle moves toward violence.



FILM OPENS on EXT. of MANHATTAN CAB GARAGE. Weather-beaten

sign above driveway reads, "Taxi Enter Here". Yellow cabs

scuttle in and out. It is WINTER, snow is piled on the

curbs, the wind is howling.



INSIDE GARAGE are parked row upon row of multi-colored taxis.

Echoing SOUNDS of cabs idling, cabbies talking. Steamy

breath and exhaust fill the air.



INT. CORRIDOR of cab company offices. Lettering on ajar door

reads:



PERSONAL OFFICE



Marvis Cab Company

Blue and White Cab Co.

Acme Taxi

Dependable Taxi Services

JRB Cab Company

Speedo Taxi Service



2.





SOUND of office busywork: shuffling, typing, arguing.



PERSONAL OFFICE is a cluttered disarray. Sheets with heading

"Marvis, B&W, Acme" and so forth are tacked to crumbling

plaster wall: It is March. Desk is cluttered with forms,

reports and an old upright Royal typewriter.



Dishelved middle-aged New Yorker looks up from the desk. We

CUT IN to ongoing conversation between the middle-aged

PERSONNEL OFFICER and a YOUNG MAN standing in front on his

desk.



The young man is TRAVIS BICKLE. He wears his jeans, boots

and Army jacket. He takes a drag off his unfiltered cigarette.



The PERSONNEL OFFICER is beat and exhausted: he arrives at

work exhausted. TRAVIS is something else again. His intense

steely gaze is enough to jar even the PERSONNEL OFFICER out

of his workaday boredom.



PERSONNEL OFFICER (O.S.)

No trouble with the Hack Bureau?



TRAVIS (O.S.)

No Sir.



PERSONNEL OFFICER (O.S.)

Got your license?



TRAVIS (O.S.)

Yes.



PERSONNEL OFFICER

So why do you want to be a taxi

driver?



TRAVIS

I can't sleep nights.



PERSONNEL OFFICER

There's porno theatres for that.



TRAVIS

I know. I tried that.



The PERSONNEL OFFICER, though officious, is mildly probing

and curious. TRAVIS is a cipher, cold and distant. He

speaks as if his mind doesn't know what his mouth is saying.



PERSONNEL OFFICER

So whatja do now?



3.





TRAVIS

I ride around nights mostly.

Subways, buses. See things. Figur'd

I might as well get paid for it.



PERSONNEL OFFICER

We don't need any misfits around

here, son.



A thin smile cracks almost indiscernibly across TRAVIS' lips.



TRAVIS

You kiddin? Who else would hack

through South Bronx or Harlem at

night?



PERSONNEL OFFICER

You want to work uptown nights?



TRAVIS

I'll work anywhere, anytime. I know

I can't be choosy.



PERSONNEL OFFICER

(thinks a moment)

How's your driving record?



TRAVIS

Clean. Real clean.

(pause, thin smile)

As clean as my conscience.



PERSONNEL OFFICER

Listen, son, you gonna get smart,

you can leave right now.



TRAVIS

(apologetic)

Sorry, sir. I didn't mean that.



PERSONNEL OFFICER

Physical? Criminal?



TRAVIS

Also clean.



PERSONNEL OFFICER

Age?



PERSONNEL OFFICER

Twenty-six.



PERSONNEL OFFICER

Education?



4.





TRAVIS

Some. Here and there.



PERSONNEL OFFICER

Military record?



TRAVIS

Honorable discharge. May 1971.



PERSONNEL OFFICER

You moonlightin?



TRAVIS

No, I want long shifts.



PERSONNEL OFFICER

(casually, almost to himself)

We hire a lot of moonlighters here.



TRAVIS

So I hear.



PERSONNEL OFFICER

(looks up at Travis)

Hell, we ain't that much fussy

anyway. There's always opening on

one fleet or another.

(rummages through his

drawer, collecting

various pink, yellow

and white forms)

Fill out these forms and give them

to the girl at the desk, and leave

your phone number. You gotta phone?



TRAVIS

No.



PERSONNEL OFFICER

Well then check back tomorrow.



TRAVIS

Yes, Sir.



CUT TO:



CREDITS



CREDITS appear over scenes from MANHATTAN NIGHTLIFE. The

snow has melted, it is spring.



A rainy, slick, wet miserable night in Manhattan's theatre

district.



5.





Cabs and umbrellas are congested everywhere; well-dressed

pedestrians are pushing, running, waving down taxis. The

high-class theatre patrons crowding out of the midtown shows

are shocked to find that the same rain that falls on the

poor and common is also falling on them.



The unremitting SOUNDS of HONKING and SHOUTING play against

the dull pitter-patter of rain. The glare of yellow, red and

green lights reflects off the pavements and autos.



"When it rains, the boss of the city is the taxi driver" -

so goes the cabbie's maxim, proven true by this particular

night's activity. Only the taxis seem to rise above the

situation: They glide effortlessly through the rain and

traffic, picking up whom they choose, going where they please.



Further uptown, the crowds are neither so frantic nor so

glittering. The rain also falls on the street bums and aged

poor. Junkies still stand around on rainy street corners,

hookers still prowl rainy sidewalks. And the taxis service

them too.



All through the CREDITS the exterior sounds are muted, as if

coming from a distant room or storefront around the corner.

The listener is at a safe but privileged distance.



After examining various strata of Manhattan nightlife,

CAMERA begins to CLOSE IN on one particular taxi, and it is

assumed that this taxi is being driven by TRAVIS BICKLE.



END CREDITS



CUT TO:



Travis's yellow taxi pulls in foreground. On left rear door

are lettered the words "Dependable Taxi Service".



We are somewhere on the upper fifties on Fifth Ave. The rain

has not let up.



An ELDERLY WOMAN climbs in the right rear door, crushing her

umbrella. Travis waits a moment, then pulls away from the

curb with a start.



Later, we see Travis' taxi speeding down the rain-slicked

avenue. The action is periodically accompanied by Travis'

narration. He is reading from a haphazard personal diary.



TRAVIS (V.O.)

(monotone)

April 10, 1972. Thank God for the

rain which has helped wash the

garbage and trash off the sidewalks.



6.





TRAVIS' POV of sleazy midtown side street: Bums, hookers,

junkies.



TRAVIS (V.O.)

I'm working a single now, which

means stretch-shifts, six to six,

sometimes six to eight in the a.m.,

six days a week.



A MAN IN BUSINESS SUIT hails Travis to the curb.



TRAVIS (V.O.)

It's a hustle, but it keeps me busy.

I can take in three to three-fifty

a week, more with skims.



MAN IN BUSINESS SUIT, now seated in back seat, speaks up:



MAN IN BUSINESS SUIT

(urgent)

Is Kennedy operating, cabbie? Is it

grounded?



On seat next to TRAVIS is half-eaten cheeseburger and order

of french fries. He puts his cigarette down and gulps as he

answers:



TRAVIS

Why should it be grounded?



MAN IN BUSINESS SUIT

Listen - I mean I just saw the

needle of the Empire State Building.

You can't see it for the fog!



TRAVIS

Then it's a good guess it's grounded.



MAN IN BUSINESS SUIT

The Empire State in fog means

something, don't it? Do you know,

or don't you? What is your number,

cabbie?



TRAVIS

Have you tried the telephone?



MAN IN BUSINESS SUIT

(hostile, impatient)

There isn't time for that. In other

words, you don't know.



TRAVIS

No.



7.





MAN IN BUSINESS SUIT

Well, you should know, damn it, or

who else would know? Pull over

right here.

(points out window)

Why don't you stick your goddamn

head out of the goddamn window once

in a while and find out about the

goddamn fog!



TRAVIS pulls to the curb. The BUSINESS MAN stuffs a dollar

bill into the pay drawer and jumps out of the cab. He turns

to hail another taxi.



MAN IN BUSINESS SUIT

Taxi! Taxi!



Travis writes up his trip card and drives away.



It is LATER THAT NIGHT. The rain has turned to drizzle.

Travis drives trough another section of Manhattan.



TRAVIS (V.O.)

I work the whole city, up, down,

don't make no difference to me -

does to some.



STREETSIDE: TRAVIS' P.O.V. Black PROSTITUTE wearing white

vinyl boots, leopard-skin mini-skirt and blond wig hails

taxi. On her arm hangs half-drunk seedy EXECUTIVE TYPE.



TRAVIS pulls over.



PROSTITUTE and JOHN climb into back seat. TRAVIS checks out

the action in rear view mirror.



TRAVIS (V.O.)(CONTD)

Some won't take spooks - Hell,

don't make no difference tom me.



TRAVIS' taxi drives through Central Park.



GRUNTS, GROANS coming from back seat. HOOKER and JOHN going

at it in back seat. He's having a hard time and she's

probably trying to get him to come off manually.



JOHN (O.S.)

Oh baby, baby.



PROSTITUTE (O.S.)

(forceful)

Come on.



8.





TRAVIS stares blankly ahead.



CUT TO:



TRAVIS' APARTMENT. CAMERA PANS SILENTLY across INT. room,

indicating this is not a new scene.



TRAVIS is sitting at plain table writing. He wears shirt,

jeans, boots. An unfiltered cigarette rests in a bent

coffee can ash tray.



CLOSE UP of notebook. It is a plain lined dimestore notebook

and the words TRAVIS is writing with a stubby pencil are

those he is saying. The columns are straight, disciplined.

Some of the writing is in pencil, some in ink. The

handwriting is jagged.



CAMERA continues to PAN, examining TRAVIS' apartment. It is

unusual, to say the least:



A ratty old mattress is thrown against one wall. The floor

is littered with old newspapers, worn and unfolded streets

maps and pornography. The pornography is of the sort that

looks cheap but costs $10 a threw - black and white photos

of naked women tied and gagged with black leather straps and

clothesline. There is no furniture other than the rickety

chair and table. A beat-up portable TV rests on an upright

melon crate. The red silk mass in another corner looks like

a Vietnamese flag. Indecipherable words, figures, numbers

are scribbled on the plain plaster walls. Ragged black wires

dangle from the wall where the telephone once hung.



TRAVIS (V.O.)

They're all animals anyway. All the

animals come out at night: Whores,

skunk pussies, buggers, queens,

fairies, dopers, junkies, sick,

venal.

(a beat)

Someday a real rain will come and

wash all this scum off the streets.



It's EARLY MORNING: 6 a.m. The air is clean and fresh and

the streets nearly deserted.



EXT. of TAXI GARAGE. TRAVIS' taxi pulls into the driveway.



TRAVIS (V.O.)(CONTD)

Each night when I return the cab to

the garage I have to clean the come

off the back seat. Some nights I

clean off the blood.



9.





INT. of TAXI GARAGE. TRAVIS pulls his taxi into garage

stall. TRAVIS reaches across the cab and extracts a small

vial of bennies from the glove compartment.



TRAVIS stands next to the cab, straightens his back, and

tucks the bottle of pills into his jacket pocket. He lowers

his head, looks into back seat, opens rear door and bends

inside.



He shakes a cigarette out of his pack of camels and lights it.



SLIGHT TIMECUT: TRAVIS books it at garage office. Old,

rotting slabs of wood are screwed to a grey crumbling

concrete wall. Each available space is covered with hand-

lettered signs, time schedules, check-out sheets, memos. The

signs read:



BE ALERT!!

THE SAFE DRIVER

IS ALWAYS READY

FOR THE UNEXPECTED



SLOW DOWN

AND GAUGE SPEED TO

ROAD CONDITIONS

YOU CAN'T STOP

ON A DIME!



ALL NIGHT DRIVERS

HAVING PERSONAL INJURY

ACCIDENTS

MUST PHONE IN AT ONCE TO

JUDSON 2-3410

AND MUST FILE A REPORT Promptly

AT 9 AM THE FOLLOWING MORNING AT

43 W. 61st.



A half dozen haggard cabbies hang around the office. Their

shirts are wrinkle, their heads dropping, the mouths

incessantly chattering. We pick up snatches of cabbie small

talk:



1ST CABBIE

... hadda piss like a bull steer,

so I pull over on 10th Ave, yank up

the hood and do the engine job.

(gestures as if

taking a piss into

the hood)

There I am with my dong in my hand

when a guy come up and asks if I

need any help. Just checking the

battery, I says, and, meanwhile...

(MORE)



10.





1ST CABBIE (CONT'D)

(takes imaginary piss)





2ND CABBIE

If he thinks I'm going up into The

Jungle this time of night, he can

shove it.



3RD CABBIE

(talking into pay phone)

Fuck that Violets First. Fucking

saddle horse. No, no, the OTB. Fuck

them. No, it was TKR. TCR and I'da

made seven fucking grand. Fuck them

too. Alright, what about the second

race?



4TH CABBIE

Over at Love, this hooker took on

the whole garage. Blew the whole

fucki

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"THE SEARCHERS"



Revised Final Screenplay by



Frank Nugent







FADE IN



Behind the main title and the credits:



EXT. PLAINS COUNTRY - CLOSE SHOT - MOVING JUST ABOVE GROUND

LEVEL - A STUDY OF HOOFPRINTS - LATE AFTERNOON



The hoofprints are deeply etched in the ground, picking their

way through scrubby desert growth. An occasional tumbleweed

drifts with the light breeze across the pattern of prints;

and lightly-blown soil and sand begin the work of erasing

them. The CAMERA FOLLOWING the hoofprints



RAISES SLOWLY TO:



EXT. PLAINS COUNTRY - LONG SHOT - LATE AFTERNOON



We see the rider now. BACK TO CAMERA, jogging slowly along --

heading down a long valley toward a still-distant ranch house

with its outlying barn and corrals.



EXT. PLAINS COUNTRY - MED. SHOT - MOVING - LATE AFTERNOON



The CAMERA FRAMES and MOVES with the lone horseman. He is

ETHAN EDWARDS, a man as hard as the country he is crossing.



Ethan is in his forties, with a three-day stubble of beard.



Dust is caked in the lines of his face and powders his

clothing. He wears a long Confederate overcoat, torn at one

pocket, patched and clumsily stitched at the elbows.



His trousers are a faded blue with an off-color stripe down

the legs where once there had been the yellow stripes of the

Yankee cavalry. His saddle is Mexican and across it he carries

a folded serape in place of the Texas poncho...



Rider and horse have come a long way. The CAMERA HOLDS and

PANS the rider past and we see another detail; strapped onto

his saddle roll is a sabre and scabbard with a gray silk

sash wrapped around it... Horse and rider pass, moving closer

to the ranch as a little girl and a small dog come tearing

around the corner of the house.



EXT. THE YARD OF THE EDWARDS RANCH - MED. SHOT - DEBBIE -

LATE AFTERNOON



She is staring wide-eyed at the distant horseman o.s.



Her little dog has seen him too and is barking excitedly.



DEBBIE quickly reaches to grab the dog by the scruff of the

neck, crouching over him. Debbie is 11 years old with a

piquant, memorable face.



EXT. THE YARD - CLOSE SHOT - DEBBIE



Here we must establish and dramatize what it is about her

face that is memorable, so that if we were to see her again

five or six years later, we would know it is she -- perhaps

the eye color or the slant of eyebrow, or a trick of

scratching bridge of nose with crooked forefinger.



EXT. THE EDWARDS HOUSE - MED. SHOT - AARON - LATE AFTERNOON



The ranch house is of adobe, solidly built, with a sod and

cross-timbered roof, deep windows. A small gallery or porch

extends across the front. AARON EDWARDS comes through the

door, attracted by the dog's barking -- and then he, too,

sees the approaching horseman and comes farther out -- curious

but not at all apprehensive. Aaron is a lean, weathered and

tired man, with a down-swept mustache; a gentler-looking man

than Ethan and possibly a few years older.



As he squints off, studying the rider, his older daughter,

LUCY, comes out to stand behind him. Lucy is from 16 to 18 --

a pleasant, feminine girl. She is carrying a mixing bowl

with some sort of batter in it, which she now completely

forgets to whip in her interest in the approaching stranger.



In the next instant MARTHA EDWARDS follows the daughter onto

the porch. Martha is a still-lovely woman, although the years

have etched fine wrinkles about her eyes and mouth, and work

has worn and coarsened her hands. Those hands will never be

idle when Martha is on scene... And now, while she shares

the family's interest in the approaching horseman, she

automatically notes that Lucy has forgotten her task -- and

she takes the mixing bowl from her and stirs the batter.



EXT. YARD OF THE EDWARDS HOUSE - FULL SHOT - LATE AFTERNOON



Along the side of the house comes BEN EDWARDS, 14, with a

man-sized armload of chunkwood clutched to his chest. He,

too, has spotted the stranger and is all attention. So much

so that he trips, but recovers his footing. He pauses to

dump the wood into a woodbox by the door -- his eyes always

riveted on the oncoming rider -- and then he moves toward

the others, biting a splinter out of a finger. Beyond Ben,

MARTIN PAULEY emerges from the barn and crosses the open

ground heading toward CAMERA. Martin is somewhat under 20, a

lithe, perfectly coordinated male animal, with Indian-straight

hair and a white man's eyes. He is carrying bridle or other

horse-gear. He looks to the family on the porch -- to see if

they recognize the stranger -- then out again. He continues,

followed by Ben, toward where



Debbie crouches over her dog.



EXT. PLAINS COUNTRY - LONG SHOT - ETHAN - LATE AFTERNOON



As he rides downslope toward the house.



THE CREDITS END.



EXT. THE EDWARDS RANCH - MED. CLOSE SHOT - MARTHA, LUCY, AND

AARON - LATE AFTERNOON



Suddenly, Martha's eyes widen as she -- even before Aaron --

recognizes the distant rider. Her hand goes to her mouth to

check the name that trembles on her lips... An instant later

Aaron, too, identifies the oncoming horseman.



AARON

(incredulous)

Ethan?



He looks at her, frowning, then slowly steps out onto the

hard ground. Martha hands the bowl back to Lucy and follows

Aaron.



EXT. THE YARD OF THE EDWARDS HOUSE - FULL SHOT - THE GROUP



as Ethan rides in and sits his horse, looking down at them.

There is a noticeable constraint on all of them. Finally:



ETHAN

Hello, Aaron...



His eyes shift to Martha and hold. Ethan is, and always has

been, in love with his brother's wife and she with him.



ETHAN

Martha...



MARTHA

(a bit shakily)

Hello, Ethan.



Ethan slowly, stiffly swings out of the saddle. Aaron and

Martha exchange quick glances... troubled, puzzled. Aaron

pastes on an uncertain smile as Ethan comes around his horse

toward their side.



AARON

How's California?



ETHAN

How should I know?



AARON

But Mose Harper said...



ETHAN

That old goat still creakin'

around?... Whyn't someone bury him?



He goes to his saddle pack, begins unlacing it. Ben and Debbie

have inched closer -- half-shy, half-curious.



Debbie's dog begins sniffing at his heels. Ethan looks down

at them - not unfriendly, just a man not used to children.



ETHAN

Ben, ain't you?



Ben nods.



ETHAN

(frowning at Debbie)

Lucy, you ain't much bigger than

when I saw you last.



DEBBIE

I'm Deborah!

(pointing)

She's Lucy.



Ethan looks in the direction of the pointing finger.



EXT. YARD - ANOTHER ANGLE



as Lucy steps down from the porch and approaches.



MARTHA

Lucy's going on seventeen now...



BEN

An' she's got a beau! Kisses him,

too!



MARTHA

That's enough... Go on inside and

help Lucy set the table... You, too,

Deborah!



EXT. YARD - FULL SHOT - ANOTHER ANGLE



as Martin -- with slightly averted face -- crosses to take

the bridle of Ethan's horse and lead him away.



ETHAN

(wheeling on him)

MOMENTO!



Martin checks his stride, stares in surprise.



MARTHA

(contritely)

Martin!... Here we've been standing...

Ethan, you haven't forgotten Martin?



ETHAN

Oh... Mistook you for a half-breed.



MARTIN

(levelly)

Not quite... Quarter Cherokee. The

rest is Welsh... So they tell me.



ETHAN

You've done a lot of growin'...



AARON

It was Ethan found you squallin' in

a sage clump after your folks was

massacred...



ETHAN

(bluntly)

It just happened to be me... No need

to make any more of it...



MARTIN

I'll take care of your horse for

you, Uncle Ethan.



Again, he starts to lead away.



ETHAN

Hold on!



Martin stops again.



ETHAN

I'll take this...



He completes unlacing the pack and takes it -- treating it

as though it contained something of value. Martin watches

with a touch of resentment: Ethan doesn't trust him.



Ethan turns and sees the look. He doesn't care what Martin

thinks, nor does he explain. Martin leads the horse off.



MARTHA

Supper'll be ready by the time you

wash up... Let me take your coat for

you, Ethan.



He hesitates, then grudgingly surrenders it -- conscious of

its sorry condition.



MARTHA

(smiling faintly)

And... welcome home.



He just nods, then turns to follow Aaron around the side of

the house toward the wash-up.



EXT. THE EDWARDS HOUSE - CLOSE SHOT - MARTHA



She stands alone, looking after Ethan -- his coat in her

arms. She holds it against her breast for just a moment and

her eyes are tender.



DISSOLVE TO:



INT. EDWARDS HOUSE - FULL SHOT - NIGHT



The family is finishing dinner -- and the scene is not quite,

but almost, a still-life. Loud in the room is the pendulum

tick of a Seth-Thomas clock on the mantel above the fireplace --

in which logs are burning briskly. Ben crouches near the

fireplace, fascinatedly examining the scabbard and sabre

Ethan has brought home from the wars.



He tries to ease the blade just a bit out of its scabbard.



Aaron sits at one end of the hand-hewn table, Martha at the

other. At her right is Ethan, his fork scraping the last

crumb off his plate. Lucy sits at her father's right and

Martin at his left. Next to Martin is Debbie. In the center

of the table is the sorry remnant of what was once a meal.

Lucy and Martin have finished eating. Aaron is sipping his

coffee, and Martha -- her own plate largely untasted -- is

watching Ethan.



Ethan has shaved, changed his shirt. He straightens

contentedly and every eye is on him, expectantly.



ETHAN

Good.



The clock rattles alarmingly -- the usual preliminary to its

striking; and then it bangs out the strokes like a fire-alarm

gong. Eight fast clangs.



AARON

Ben! Deborah! Bed!



DEBBIE

But I've got to help with the dishes.



MARTHA

Not tonight... Ben, put that sword

back.



BEN

It's not a sword, ma... it's a saber!

(moving to Ethan)

Did you kill many damYankees with

this sabre, Uncle Ethan?



ETHAN

(matter-of-factly)

Some...



BEN

How many damYankees, Uncle Ethan?



MARTHA

Ben!... Martin, he'll sleep in the

bunkhouse with you tonight.



Martin nods and crosses to kiss Martha good night.



MARTIN

Good night, Aunt Martha... Uncle

Aaron...

(he hesitates)

Good night, Uncle Ethan.



Ethan doesn't like being called Uncle -- as we must know

from the quick look he shoots at Martin. But he acknowledges

it.



ETHAN

Night.



Ben reluctantly puts the scabbard away, turns to Ethan.



BEN

Will you tell me tomorrow about the

war?



AARON

The war ended three years ago, boy!



BEN

It did?... Then whyn't you come home

before now?



MARTHA

BEN!... Go 'long with Martin. MARCH!



As Ben reluctantly heads out with Martin, Deborah crosses to

Ethan's side and studies him gravely.



DEBBIE

Lucy's wearing the gold locket you

gave her when she was a little girl...



ETHAN

Oh?



DEBBIE

She don't wear it much account of it

makes her neck green.



LUCY

(aghast)

Deborah!



DEBBIE

(defensively)

Well, it does... But I wouldn't care

if you gave me a gold locket if it

made my neck green or not.



Ethan looks at her gravely.



ETHAN

'Fraid I...

(then he remembers

something, rises)

Wait.



He crosses to where his pack is -- a side table or something --

and burrows into it. Debbie is at his side.



ETHAN

How about this?



It is a gold medal or medallion -- something appropriate to

Maximilian of Mexico -- suspended by a long multi-colored

satin ribbon.



DEBBIE

Oh! LOOK! My gold locket!



She holds it high for mother -- and all -- to see. Martha

takes it and reacts at its weight.



MARTHA

It's solid gold... Ethan, I don't

think she's old enough...



ETHAN

Let her keep it... Just something I

picked up in Mexico.



Martha reluctantly surrenders it to Debbie's eager hand.



Aaron hasn't missed the word "Mexico" and looks sharply at

Ethan.



DEBBIE

Oh, thank you, Uncle Ethan...



LUCY

(to Debbie)

Come along...



The two girls leave the main room. Martha a

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M U L H O L L A N D



D R I V E

























1/5/1999











M U L H 0 L L A N D D R I V E





EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES



Darkness. Distant sounds of freeway traffic. Then the closer

sound of a car - its headlights illumine an oleander bush and

the limbs of an Eucalyptus tree. Then the headlights turn - a

street sign is suddenly brightly lit. The words on the sign

read... "Mulholland Drive." The car moves under the sign as

it turns and the words fall once again into darkness.



CUT TO:



EXT. NIGHT - MULHOLLAND DRIVE



Gliding we follow the car - an older black Cadillac limousine

- as it winds its way up Mulholland Drive through the

darkness of the Hollywood Hills. There is no one else on the

road. As we drift closer to the car...



CUT TO:



INT. BLACK CADILLAC LIMOUSINE - NIGHT



Two men in dark suits are sitting in the front seat. A

beautiful, younger, dark-haired woman sits in back. She sits

close up against the door and stares out into the darkness.

She seems to be thinking about something. Suddenly she turns

and looks ahead. The car is slowing and moving off to the

side of the road.



DARK-HAIRED WOMAN

What are you doing? You don't stop

here ...



The car stops - half on, half off the road at a dark, blind

curve. Both men turn to the woman.



DRIVER

Get out of the car.



CUT TO:



EXT. FURTHER UP MULHOLLAND DRIVE - NIGHT



Two cars - a convertible and a late model sedan are drag

racing toward the blind curve blocking the view of the

Cadillac limousine. The cars are filled with crazed

teenagers. Two girls are standing up through the sunroof of

the sedan screaming as their hair is whipped straight back.







The cars are travelling so fast that they seem to almost

float as they fly with psychotic speed down both lanes of

Mulholland Drive.



CUT TO:



INT. EXT. - CADILLAC LIMOUSINE



The driver, still in his seat, has a pistol with a silencer

attached pointing at the woman. The other man is getting out

of the car. The woman is clutching the seat and the door

handle as if trying to anchor herself. She is visibly afraid.

The man who got out of the car tries the woman's door, but it

is locked. He smiles as he reaches in through the front door

and unlocks her door. He opens her door. As he reaches for

her, the woman's face becomes flooded with light. Her eyes

dart to the front windshield. The driver, flooded with light,

turns just as the late model sedan slams into the Cadillac

limousine. There is an explosion of metal and glass amidst

thunderous tearing sounds as the two cars become one in

death. The convertible screams past with hardly a notice.

The driver of the limousine dies instantly as his body is

jettisoned through the windshield. The other man is torn as

the cars screech over him. The woman is brutally thrown into

the back of the front seats as a cloud of dust and flying

rocks engulfs her. The disastrous moving sculpture of the two

cars wants to climb up the hill, then stops and slides back

toward the road The Cadillac tips onto its side. Then all is

silent. A fire erupts in the sedan and as the dust clears we

see the woman appear, then crawl out of the Cadillac to the

road. Her face is vacant. There is a bleeding cut just above

her forehead. She stands for a moment clutching her purse -

lost , then begins to walk as if in a trance across

Mulholland down through the bushes and into darkness.



DISSOLVE TO:



EXT. HOLLYWOOD HILLS - LATER - NIGHT



The woman slides down a hill through tangles of hostile

desert plants. Sirens can be heard in the distance. She

crosses through some trees and is suddenly confronted by a

coyote which snarls and leaps at her. She screams and strikes

out with her purse in self defense. The coyote backs away -

snarling. The woman then loses control and runs at the coyote

and it races off. She falls to the ground. We can hear the

thunder of her heartbeat as the sirens grow louder. She gets

up and stumbles through the trees. When she clears them she

is standing overlooking all of Los Angeles glowing down

below. She clumsily starts down toward it.



DISSOLVE TO:



HOLLYWOOD STREETS - LATER - NIGHT



The woman slides down a dusty hill and finds herself at

Franklin Avenue. A car races by and its headlights flare on

her face. Her expression shows fear and panic. She doesn't

know where she is or where to go. She runs frantically across

the street. She moves quickly to a sidewalk which takes her

into a residential area.



DISSOLVE TO:



EXT. HOLLYWOOD STREETS - LATER - NIGHT



The woman crosses Sunset Boulevard. Coming up Sunset in the

distance is a police car with its sirens and lights going.

She hurries into the darkness of another residential area. A

car turns onto the street and comes toward her. She

instinctively moves behind a tree until it passes.



DISSOLVE TO:



EXT. HOLLYWOOD STREETS - LATER - NIGHT



As if being hunted in a foreign land the woman moves

desperately down another residential street. A drunken couple

round the corner up ahead and start up the sidewalk toward

her. She runs off the sidewalk and into the bushes in front

of an apartment building. The couple passes by without

noticing her. Feeling safe in these bushes her exhaustion

overtakes her and she lays her head down to sleep.



DISSOLVE TO:



EXT. MULHOLLAND DRIVE - NIGHT



Police, paramedics surround the wreckage. Two detectives,

HARRY MCKNIGHT and NEAL DOMGAARD (both mid 40's to 50), stare

at the remains of the two cars glowing white hot under the

crime scene lights. A coroner's van pulls out just after an

ambulance. The ambulance's siren begins to wail as it speeds

off. The coroner's van cruises slowly. Detective Harry

McKnight and Detective Neal Domgaard continue staring. They

do not look at each other. They are each motionless for a

long moment.



DETECTIVE HARRY MCKNIGHT

You feel it?



DETECTIVE NEAL DOMGAARD

Yeah.



They continue to stare.





DETECTIVE NEAL DOMGAARD

Sammy thinks the Caddy had stopped along

the shoulder ... man up the road said he

saw two cars drag racin'...then you got

that blind corner.



DETECTIVE HARRY MCKNIGHT

Two men... two guns in the Caddy.



DETECTIVE NEAL DOMGAARD

The boys found this on the floor in back

of the Caddy.



Neal holds up a plastic bag holding a pearl earring.



DETECTIVE HARRY MCKNIGHT

Yeah, they showed me



DETECTIVE NEAL DOMGAARD

Could be unrelated.



DETECTIVE HARRY MCKNIGHT

Could be...any of those dead kids wearin'

pearl earrings?



DETECTIVE NEAL DOMGAARD

No. Could be someone's missin' maybe.



DETECTIVE HARRY MCKNIGHT

That's what I'm thinkin'.



Detective Harry McKnight turns and crosses Mulholland. His

eyes move over each blade of grass at the shoulder - each

desert bush just beyond. He slowly raises his gaze to the

shining lights of Hollywood laying far below like a galaxy.

He looks out and wonders.



CUT TO:



EXT. HOLLYWOOD STREETS - EARLY DAWN



The clang of a metal gate wakes the woman. It is just getting

light and she sees an older red-headed woman carrying a

suitcase to the curb where a cab stands waiting with its

trunk open. The cab driver appears with two suitcases which

he sets down next to the car. The red-headed woman and the

cab driver both go back through the iron gate. The woman in

the bushes pulls herself to the gate where she can peer into

the courtyard of this apartment building. She sees the red-

headed woman and the cab driver go into an apartment and come

back out with more luggage.





They leave the apartment door open. When the red-headed woman

and the cab driver reach the cab they both begin loading the

bags into the trunk and backseat. Their backs are to the

woman in the bushes who takes this opportunity to go quickly

into the courtyard and through the open apartment door.



CUT TO:



INT. APARTMENT - EARLY DAWN



The woman comes into a living room where a single trunk

remains. She goes further into the apartment and crouches

down in a back corner of the kitchen. She listens as

footsteps come across the courtyard. She hears the red-headed

woman and the cab driver get the trunk. She hears them set it

down once they have it in the courtyard. She hears the steps

of the red-headed woman come back inside the apartment. She

hears the footsteps go all around the apartment and then she

hears the footsteps come toward the kitchen. Remaining

frozen, the dark-haired woman's eyes look up as the red-

headed woman walks right past her, grabs a set of keys off

the kitchen counter, then leaves the apartment. The woman can

hear the door being locked. She lets go, slides to the

kitchen floor, and passes out.



CUT TO:



INT. DENNY'S RESTAURANT , HOLLYWOOD - MORNING



Two well-dressed men HERB and DAN (mid 30's) are sitting at a

table drinking coffee. Herb has finished eating his

breakfast, but Dan hasn't touched his bacon and eggs - he

appears too nervous to eat. A blonde waitress with a

nameplate saying "DIANE" lays the check on their table

smiles, then walks off.



HERB

Why did you want to go to breakfast if

you're not hungry?



DAN

I just wanted to come here.



HERB

To Denny's? I wasn't going to say

anything, but why Denny's?



DAN

This Denny's.



HERB

Okay. Why this Denny's?





DAN

It's kind of embarrassing but,



HERB

Go ahead.



DAN

I had a dream about this place.



HERB

Oh boy.



DAN

You see what I mean...



HERB

Okay, so you had a dream about this

place. Tell me.



DAN

Well ... it's the second one I've had, but

they were both the same......they start

out that I'm in here but it's not day or

night. It's kinda half night, but it

looks just like this except for the

light, but I'm scared like I can't tell

ya. Of all people you're standing right

over there by that counter. You're in

both dreams and you're scared. I get

even more frightened when I see how

afraid you are and then I realize what it

is - there's a man...in back of this

place. He's the one ... he's the one

that's doing it. I can see him through

the wall. I can see his face and I hope

I never see that face ever outside a

dream.



Herb stares at Dan to see if he will continue. Dan looks

around nervously, then stares at his uneaten food.



DAN (cont'd)

That's it.



HERB

So, you came to see if he's out there?



DAN

To get rid of this god-awful feeling.



HERB

Right then.





Herb gets up, picks up the bill and goes to the cashier to

pay. Dan just sits.



As Herb is paying the bill he looks over at Dan just as Dan

is turning to look at him. From Dan's point of view Herb is

standing in exactly the same spot as he stood in the dream.

Herb gets a strange feeling, turns back and finishes up with

the cashier. He motions for Dan to follow him. Dan rises

reluctantly and he and Herb make their way outside.



CUT TO:



EXT. DENNY'S



Now Herb waits for Dan to lead the way.



DAN

Around here.



Dan takes Herb across the front of Denny's to a narrow

sidewalk that leads down the side toward the back.



They begin walking down the narrow sidewalk - past a

payphone. Dan begins to sweat the nearer he gets to the rear

corner of the building. Red bricks glide by slowly.



CLOSER ON DAN



Beads of sweat cover his face. He finds it difficult to

breathe. Herb is just behind him unable to see the fear

overtaking his friend, but Herb can feel something himself.



The red bricks moving by now are coming to an end - the

corner is coming closer - the corner is now very close.



Suddenly a man - a face ... a face dark and bum-like- moves

quickly out from behind the corner and stops - freezes -

staring into Dan's eyes.



Dan lurches back. All his breath is suddenly gone. He falls

back into Herb who tries to catch him as he's falling. Dan

hits the ground unable to breathe - his eyes wide with

horror.



Herb looks up - the man is gone. He looks down to Dan.



HERB

Dan! ... Dan! You all right? ... Dan!



He kneels down and studies his friend. He feels for a pulse

in the neck. He listens for breathing. His friend is dead.







HERB (cont'd)

My God!



DISSOLVE TO:



EXT. LAX AIRPORT - DAY



The airport sits in blinding sunlight and veiled with smog.

A big jet lands.



CUT TO:



INT. LAX AIRPORT



A blonde girl walking with an old woman approaches us. As the

blonde's face fills the screen we move with her and stay with

her as she goes. Her face is bright and her eyes move here

and there taking in everything. She can hardly believe she's

in Los Angeles - the City of Dreams. She and the old woman

pass under a sign which reads "WELCOME TO LOS ANGELES."

The girl smiles and looks around excited by every detail.



CUT TO:



EXT. LAX AIRPORT



The girl and the old lady exit the terminal with their bags.

An older gentleman has joined the old lady. They stop at the

taxicab stand. The old lady takes the blonde girl's hand.



OLD LADY

It's time to say goodbye, Betty. It's

been so nice travelling with you.



BETTY

Thank you, Irene. I was so excited and

nervous. It was sure great to have you

to talk to.



IRENE

Now, remember I'll be watching for you on

the big screen.



BETTY

(smiling)

Okay Irene. Won't that be the day.



IRENE

The best of luck to you, Betty. Take

care of yourself and be careful.





BETTY

Okay I will. Thanks again.



Betty and Irene give each other a hug. The old gentleman nods

to Betty and takes Irene off. Betty smiles after them.

Suddenly someone is grabbing her bags. She turns abruptly to

find she is next in line and her cab is waiting. She turns

once more and waves at Irene as her bags are loaded into the

trunk of the cab.



CAB DRIVER

Where to?



BETTY

(smiling excitedly)

1612 Havenhurst.



CAB DRIVER

Got it!



They get into the cab and close their doors. The cab pulls

away.



CUT TO:



EXT. STREETS - LOS ANGELES - DAY



Betty goes from the right side of the cab to the left side of

the cab looking at every building, tree and sign. Each street

sign seems to be magical to her and she says the names to

herself as they pass by. She sees La Tijera, La Cienega,

Venice Boulevard, Pico Boulevard, Olympic Boulevard, Wilshire

Boulevard, etc., etc. until they reach Fountain and turn

right. Betty's heart is pounding when she sees Havenhurst

and the cab turns left. In the middle of the block on the

right the cab pulls over and stops. Betty sees her new

home ... an ancient, gorgeous courtyard apartment building,

built during the golden age of cinema.



CUT TO:



EXT. 1612 HAVENHURST



The cab driver puts Betty's bags down on the sidewalk next to

her. She can barely stop looking at the building long enough

to pay the cab driver who then goes off and drives away.

Betty picks up her bags and enters, as if in a dream, through

an ornate iron gate to a courtyard with a beautiful working

fountain at its center. A sign on a door to her right reads

Manager and she rings the bell.





An older, once very beautiful, woman wearing heavy make-up

and smoking a cigarette in a silver holder opens the door.

An unbelievable raspy voice comes out through the dark screen

of the still closed screen door.



MANAGER

Hi there...ten bucks says you're Betty.



BETTY

I am, Mrs. Lanois. It is Mrs. Lanois

isn't it?



MRS. LANOIS

In all my living glory, baby.



BETTY

Pleased to meet you.



MRS. LANOIS

You can call me Coco ... everybody does.

Stay there, I'll get the key.



BETTY

Okay, Coco.



Coco returns with the key and opens the screen door inhaling

a huge drag off her cigarette. She starts off into the

courtyard and Betty picks up her bags and follows. As Coco

speaks smoke comes out of her with every word.



COCO

I guess it was your grandfather, was

it ... he called me to check in, said you

were on your way and for you to call when

you get in. Nice man... farmer I hear.



BETTY

Yes, he is. He raises corn.



COCO

Damn lot of corn raised in Hollywood

these days too.



BETTY

Well, I ...



COCO

You don't have to tell me. It's written

all over that pretty face of yours.. You

came here to be an actress. I just hope

you'll remember there's never been a

great poem called "tits and ass."





BETTY

I...



COCO

You probably don't remember her, but

Louise Bonner lives right over there in

number 29. When she isn't drunk she runs

a damn good acting class.



BETTY

Have many famous actors and actresses

lived here? I was meaning to ask you

that.



COCO

Honey, all the great ones came through

here at one time or another.



A haunting music begins to swell.



COCO (cont'd)



People say in the springtime when the

wind blows the smell of the jasmine you

can still feel the presence of everyone

of them.



BETTY

I guess I've come to quite a place.



COCO

Sweetheart, you don't know the half of

it.



The music fades.



Coco looks down suddenly. On the cobblestone courtyard in

front of her she sees a fresh product of waste from a dog.

She angrily turns up to an apartment on the second level.



COCO (cont'd)

(yelling up)

WILKINS! ... (no answer) ... THAT DOG CRAPS

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A P O C A L Y P S E N O W







Original screenplay by John Milius.



Inspired by Joseph Conrad's "HEART OF DARKNESS".



This draft by Francis Ford Coppola.



December 3, 1975.







1 PRIMEVAL SWAMP - EARLY DAWN



It is very early in the dawn - blue light filters through

the jungle and across a foul swamp. A mist clings to the

trees. This could be the jungle of a million years ago.



Our VIEW MOVES CLOSER, through the mist, TILTING DOWN to

the tepid water. A small bubble rises to the surface;

then another. Suddenly, but quietly, a form begins to

emerge; a helmet. Water and mud pour off revealing a set

of beady eyes just above the mud. Printed on a helmet,

in a psychedelic hand, are the words: "Gook Killer."

The head emerges revealing that the tough-looking soldier

beneath has exceptionally long hair and beard; he has no

shirt on, only bandoliers of ammunition - his body is

painted in an odd camouflage pattern. He looks to the

right; he looks to the left; he looks INTO CAMERA, and

slowly sinks back into the swamp, disapperaring completely.



Our VIEW HOLDS, We begin to HEAR natural, though

unrecognizable JUNGLE SOUNDS, far off in the distance.

We PAN TO REVEAL a clump of logs half submerged in the

swamp; and part of what seems to be a Falstaff beer can

in the mud. A hand reaches out, and the beer can disappears.

As we TILT UP, we NOTICE that the log is hollow

and houses the rear of a M-60 machine gun, hand painted

in a paisley design.



Now the VIEW MOVES AWAY, ACROSS the ancient growth, PAST

the glimmer of what seems to be another soldier hiding in

ambush, wearing an exotic hat made from birds and bushes.

ACROSS to a dark trail where the legs of those in black

pajamas move silently across our ever TIGHTENING VIEW.

Their feet, boots and sandals leave no impression; make

no sound. A slight flicker of light reveals a pair of

eyes in the foliage across the path, waiting and watching.



The VIEW PUSHES ALONG WITH the Vietnamese, MOVING FASTER

AND FASTER WITH them, until suddenly, directly in front

about ten feet away, an enormous AMERICAN clad in rags

and bushes and holding a 12 gauge automatic shotgun

casually at his side, steps in front of them. He smiles

laconically, and BLASTS OUT FIVE SHOTS that rip THROUGH

US. By the second shot, the whole jungle blazes out

with AUTOMATIC FIRE.



Out VIEW TURNS as the men around us are thrown and torn,

screaming and scattering into the jungle. More AMERICANS

appear; unexplainably, out of the growth. It is now that

we fully SEE the bizarre manner in which they are dressed.

Some wear helmets, others wear strange hats made from

feathers and parts of animals. Some of them have long

savage-looking hair; other crew-cut or completely shaved;

they wear bandoliers, flak jackets, shorts and little else.

They wear Montagnard sandals or no shoes at all, and their

bodies and faces are painted in bizarre camouflage patterns.

They appear one with the jungle and mist, FIRING INTO US

as they move.



The soldier we saw earlier emerges from the swamp, dripping

mud, his MACHINE GUN BLASTING FIRE.



We begin to move quickly with one Vietnamese, breathlessly

running for his life; we MOVE INTO the jungle with him,

only to be impaled on a large spear of a smiling AMERICAN

painted and wearing feathers like an Indian. OUR VIEW

FALLS WITH him to the ground, STARING UPWARDS, as FLAME

and EXPLODING MUD scatter above us. Men scream and die

around us. The screams amid the GUNFIRE and EXPLOSIONS

are piercing and terrible, as though the jungle itself is

frightened.



An AMERICAN wearing a jungle hat with a large Peace Sign

on it, wearing war paint, bends TOWARD US, reaching down

TOWARD US with a large knife, preparing to scalp the

dead.



OUR VIEW MOVES AWAY, along with the running sandals of a

Vietnamese soldier, MOVING FASTER AND FASTER, only to be

stopped by still another of the savage-looking AMERICANS

with primitive ornamentation, wearing only a loin-cloth

and green beret. He opens his flame-thrower directly ON US

and the NVA soldier and we are incinerated in flame,

bright psychedelic orange-red flame. Outrageous, loud,

electric ROCK MUSIC OVERWHELMS the SOUNDTRACK :





MAIN TITLE : APOCALYPSE NOW





2 TITLE SEQUENCE



The CREDIT TITLES proceed as the FLANE CONSUME US,

growing more intense, brighter, more vivid, purifying;

transforming into an intense white heat that we can barely

look at, like the sun itself.



Then it EXPLODES, breking apart, and shattering once

again. It begins to cool, as the TITLES CONTINUE. It

is as though WE ARE MOVING through the white center of

cooling flame, forming a spinning web, and becoming more

distant. The TITLES CONTINUE.



We are MOVING TOWARD planetary nebulae; MOVING through the

stars; MOVING closer to the Earth. We can BARELY HEAR the

MUSIC now.



We MOVE CLOSER to the earth; beautiful, covered in clouds,

as though SEEN from a satellite. The TITLES CONTINUE.



We are MOVING CLOSER to the earth; through the soft clouds,

close enough that we can MAKE OUT the Western Hemisphere;

CLOSER to North America; CLOSER, to America, then California;

Los Angeles, STILL CLOSER to the odd, finger-like

shapes of :





3 EXT. MARINA DEL REY



The VIEW finally SETTLES ON a partically luxury cabin

cruiser harbored at a particular dock late in the day.



It is large, pleasure boat: The people are relaxing in

bathing suits and towels and robes. They are drinking

cocktails, and snapping pictures. The boat belongs to the

head of a large American Corporation, and this is his

party. This man, CHARLIE, is sitting, his shirt off to

catch some of the late sun. Others have their faces

smeared with white suntan oil that reminds us of war

paint. Charlie is going on and on :



CHARLIE

... It's crazy -- sugar is up to

200 dollars a ton -- sugar !



LAWYER

What about oil ?



CHARLIE

Food, oil --look, let me show you

something. This is the economy of

the United States in two years --



He takes a newspaper, draws a circle.



CHARLIE

(continuing)

This is West Germany.

(he draws another,

bigger circle)

This is Japan.

(another , bigger)

This is Italy.

(a dot)

This is Iran.

(a very big circle)

And this is Saudi Arabia... In

two years ?

(a gigantic circle)

Do you understand ?



ACCOUNTANT

What's to prevent it ?



CHARLIE

Maybe nothing. But I'll tell you,

I didn't build a two-billion-dollar

company in the last twenty years

by doing nothing. We can protect

our interests.

(pause, for a drink)

We are still the most powerful

nation in the world. Militarily.



He leans to his associates, in a half-whisper.



CHARLIE

(continuing)

You know bodyguard; he was a

captain in Viet Nam. You talk to

him, except he won't talk. This

kind of man can kill you with his

pinky. A nice quiet fella, though.



The VIEW BEGINS TO PULL AWAY from this group.



CHARLIE

(continuing)

Carries a attache case at all

times. You know what's in it ?

(another sip)

An Ingram Machine pistol.



Gradually, Charlie's voice softens as we MOVE AWAY, and a

NEW VOICE, the voice of someone thinking, COMES IN OVER it :



CHARLIE WILLARD (V.O.)

I don't tahe chances, and Bullshit. You can kill

neither should this country. with the ridge of your

If we're strong, we should hand to the throat; you

protect our interests, and can crush a skull with

we should have the respect your knee... but you

of the world, even if it can't kill anybody with

takes another war. your pinky.



The VIEW MOVE ALONG the guests of this small party :

Pictures being taken, some people are swimming. It is the

good life. Now WILLARD'S VOICE TRACK DOMINATES.



WILLARD (V.O.)

The attache case has been empty

for three years, but it makes him

safe to think there's a machine

pistol in it.



I don't like automatic weapons.

They jam.



I saw a friend of mine get

ripped open because he flicked his

M-16 to automatic, and it jammed.

How much money did the contractors

make on the M-16 ?



Our VIEW IS MOVING through the people on the boat; some

reading, flirting, drinking.



WILLARD (V.O.)

(continuing)

He likes to hear stories about Nam.

I tell him I can't; they're not

cleared. The truth is he wouldn't

understand.



We can now SEE A MAN with his BACK TO US, looking the

opposite way. An attache case resting near to him. We

MOVE CLOSER.



WILLARD (V.O.)

(continuing)

There's no way I can tell them...

what really happened over there.



I wouldn't've believed it if

someone'd told me.



We are now RESTING on his back. Occasionally, he sips

from a beer, but we cannot see his face.



WILLARD (V.O.)

(continuing)

There was only one part that

mattered -- for me, anyway. I

don't even know if I remember

all of it. I can't remember

how it ended, exactly -- because

when it ended I was insane.



DISSOLVE TO :



4 EXT. A STREET IN SAIGON - DAY



A Saigon boom street in late 1968. There are bars and

shops for servicemen; the rickshaws, the motorbikes.

Our VIEW MOVES TOWARD one particular officer; B.L.

WILLARD , in uniform, a Captain of the Airborne, followed

by four or five Vietnamese kids trying to shine his

shoes and sell him things.



WILLARD (V.O.)

But I know how it started

for me -- I was on R. and R.

in Saigon; my first time south

of the DMZ in three months. I

wasn't sure, but I thought this

guy was following me.



Willard looks back.





5 HIS VIEW



an American CIVILIAN.





6 MED. VIEW



Willard ducks into a bar.





7 INT. THE SAIGON BAR - DAY



Not much in this place -- a bar, linoleum flooring, a few

tables and chairs, and a juke box. The lounge is fairly

crowded. Willard takes off his cap and walks quietly

past the soldiers at the bar. Some of them, catching

sight of his ribbons, stop talking as he moves by.



An INFANTRY CAPTAIN enters the bar, buys a couple of

drinks and approaches Willard's table.



CAPTAIN

How about a drink ?



WILLARD

Sure, thanks.



He sits down at the table with the drinks.



CAPTAIN

Winning the war by yourself.



WILLARD

(he calls for the waiter)

Part.



CAPTAIN

Which part is that ?



WILLARD

My part.

(TO THE WAITER)

Beer, with ice and water.





CAPTAIN

That's good gin.



WILLARD

I'm sure it is, but I had hepatitis.



CAPTAIN

Delta ?



WILLARD

No.



CAPTAIN

North ?



WILLARD

Yeah. Way north.



CAPTAIN

What unit were you with ?



WILLARD

None.



CAPTAIN

Rangers, eh?



WILLARD

Sort of.



The JUKE BOX starts BLARING. Annoyed , Willard looks over

his shoulder.



CAPTAIN

Were you Longe Range Recon --



WILLARD

No -- I worked too far north for

LRRP.



He reaches into his shirt pocket for a cigarette, and the

Captain leans over the table to light it for him. Willard

notices the CIVILIAN on the street has glanced in the bar,

then enters and sits down at a table by the doorway.



CAPTAIN

That's quite an array of ribbons...



WILLARD

Let's talk about you.



CAPTAIN

I was an FO for the 25th.



WILLARD

Tracks ?



CAPTAIN

Yeah.



WILLARD

Fat. That's real fat.



CAPTAIN

Sometimes.



WILLARD

At least you always have enough

water. How many gallons does

each one of those damn things

carry ?



CAPTAIN

Thirty -- sometimes fifty.



WILLARD

You know, I can remember once,

getting back below the DMZ -- and

the first Americans we ran into

were a track squadron. I just

couldn't believe how much water

they had. We'd been chewing

bamboo shoots for almost a week,

and before that, for two weeks,

we'd been drinking anything --

rain water, river shit, stuff

right out of the paddies. And

there were these guys standing

by their trucks spilling water

all over. I could've killed them.

(solemnly)

I swear to God I would have, too,

if ...



CAPTAIN

I didn't know we had units up

there in North Vietnam.



WILLARD

We do.



CAPTAIN

How long were you up there ?



WILLARD

A long time.



CAPTAIN

A year ? Waiter another beer.



WILLARD

I go up on missions. Listen

Captain, buy me all the beer

you want, but you better tell

that asshole over there you're

not going to find out anymore

about me.



Willard glances over his shoulder and indicates the

Civilian. The Civilian is given a sign by the Captain.

He rises and comes over to the bar.



WILLARD

(continuing)

What do you want ?



CIVILIAN

(indicating the Army jeep)

If you're B.L. Willard, 4th Recon

Group, we'd like you to come with

us.



WILLARD

Whose orders ?



CAPTAIN

Headquarters 11 Corps -- 405th

A.S.A Battalion -- S-2 --

Com-Sec -- Intelligence --

Nha Trang.



WILLARD

Who are you ?



CIVILIAN

The agency.



Willard looks at the Civilian a moment, and then walks

roght out toward the jeep without saying another word.

The Civilian follows.





8 EXT. HELICOPTER - DUSK



A darkly painted "HUEY" ROARS over low paddies and jungle

before emerging onto an open plain. It crosses a barbed

wire and sand-bagged perimeter and lands in a heavily

fortified, concealed compound.



WILLARD (V.O.)

They took me to some place outside

Nha Trang... Intelligence Headquarters

for all operations in South East Asia.

I'd worked for Intelligence before --



Armed men jump from the Huey -- among them Willard. A

large camouflaged cover is moved, revealing an underground

corridor -- they enter.





9 FULL SHOT - UNDERGROUND PLOTTING ROOM



A door swings wide -- Willard steps through and comes to

attention, blocking the view of the room. A strange

reddish light pervades. The room is covered with plastic

maps and filled with smoke.



The whole place has been hewn out of the ground itself

and there is a sense of the cut-back jungle growth slowly

reclaiming it.



WILLARD

Captain B.L. Willard, G-4 Headquarters,

reporting as ordered, sir.



COLONEL (O.S.)

Okay, Willard, sit down.



Willard sits in a chair that is set in a center of a

bare concrete floor. Across from him, around steel desks

and tables sit several men. The nearest one, a COLONEL

puts his cigar out on the bottom of his shoe -- behind

him sits a MAJOR and a seedy-looking CIVILIAN.



COLONEL

Have you ever seen this officer

before, Captain Willard ?



He points to the Major.



WILLARD

No, sir.



COLONEL

This gentleman or myself ?



WILLARD

No, sir.



COLONEL

I believe on your last job you

executed a tax collector in Kontum,

is that right ?



WILLARD

I am not presently disposed to

discuss that, sir.



MAJOR

Very good.



He turns to the Colonel and nods his approval. The

Colonel gets up and goes to a large plastic map.



COLONEL

You know much about about Special Forces;

Green Berets, Captain ?



WILLARD

I've worked with them on occasions

and I saw the movie , sir.



The officer smiles at this.



COLONEL

Then you can appreciate Command's

concern over their -- shall we say

'erratic' methods of operation.

(pause)

I have never favored elite units,

Captain, including your paratroopers

or whatever. Just because a man

jumps out of an airplane or wears

a silly hat doesn't give him any

priviliges in my book -- not in

this man's army.



MAJOR

We didn't need 'em in Korea --

no sir, give me an Ohio farm boy

and an M-1 Garand, none of this

fancy crap -- no sir.



CIVILIAN

(stopping him)

Major.



COLONEL

We have Special Forces A

detachments all along the

Cambodian border. Two here and

another one here -- twelve or

fourteen Americans -- pretty

much on their own; they train

and motivate Montagnard natives;

pick their own operations. If

they need something, they call

for it, and get it within

reason. What we're concerned

with is here.





10 CLOSE VIEW - ON THE MAP



COLONEL

The A detachment at Nu Mung Ba.

It was originally a larger base,

built up along the river in an

old Cambodian fortress.



The area has been relatively

quiet for the past two years --

but --





11 MED VIEW



COLONEL

... Captain, we know something's

going on up there -- Major --



The Major looks at some papers in front of him.



MAJOR

Communications naturally dwindled

with the lack of V.C. activity,

this is routine, expected ... but

six months ago communication

virtually stopped.



COLONEL

About the same time -- large numbers

of Montagnards of the M'Nong descent

began leaving the area -- this in

itself is not unusual since these

people have fought with the Rhade

Tribe that lived in the area for

centuries. But what is unusual is

that we began to find Rhade refugees

too -- in the same sampans as the

M'Nongs. These people aren't afraid

of V.C. They've put up with war

for twenty years -- but something

is driving them out.



MAJOR

We communicate with the base

infrequently. What they call for

are air strikes, immediate --

always at night. And we don't

know what or who the air strikes

are called on.



WILLARD

Who ?



MAJOR

You see,

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Citizen Kane



By



Herman J. Mankiewicz



&



Orson Welles







PROLOGUE



FADE IN:



EXT. XANADU - FAINT DAWN - 1940 (MINIATURE)



Window, very small in the distance, illuminated.



All around this is an almost totally black screen. Now, as

the camera moves slowly towards the window which is almost a

postage stamp in the frame, other forms appear; barbed wire,

cyclone fencing, and now, looming up against an early morning

sky, enormous iron grille work. Camera travels up what is now

shown to be a gateway of gigantic proportions and holds on the

top of it - a huge initial "K" showing darker and darker against

the dawn sky. Through this and beyond we see the fairy-tale

mountaintop of Xanadu, the great castle a sillhouette as its

summit, the little window a distant accent in the darkness.







DISSOLVE:



A SERIES OF SET -UPS, EACH CLOSER TO THE GREAT WINDOW, ALL

TELLING SOMETHING OF:



The literally incredible domain of CHARLES FOSTER KANE.



Its right flank resting for nearly forty miles on the Gulf

Coast, it truly extends in all directions farther than the eye

can see. Designed by nature to be almost completely bare and

flat - it was, as will develop, practically all marshland when

Kane acquired and changed its face - it is now pleasantly

uneven, with its fair share of rolling hills and one very good-

sized mountain, all man-made. Almost all the land is improved,

either through cultivation for farming purposes of through

careful landscaping, in the shape of parks and lakes. The

castle dominates itself, an enormous pile, compounded of several

genuine castles, of European origin, of varying architecture -

dominates the scene, from the very peak of the mountain.



DISSOLVE:



GOLF LINKS (MINIATURE)



Past which we move. The greens are straggly and overgrown,

the fairways wild with tropical weeds, the links unused and

not seriously tended for a long time.



DISSOLVE OUT:



DISSOLVE IN:



WHAT WAS ONCE A GOOD-SIZED ZOO (MINIATURE)



Of the Hagenbeck type. All that now remains, with one

exception, are the individual plots, surrounded by moats, on

which the animals are kept, free and yet safe from each other

and the landscape at large. (Signs on several of the plots

indicate that here there were once tigers, lions, girrafes.)



DISSOLVE:



THE MONKEY TERRACE (MINIATURE)



In the foreground, a great obscene ape is outlined against the

dawn murk. He is scratching himself slowly, thoughtfully,

looking out across the estates of Charles Foster Kane, to the

distant light glowing in the castle on the hill.



DISSOLVE:



THE ALLIGATOR PIT (MINIATURE)



The idiot pile of sleepy dragons. Reflected in the muddy water -

the lighted window.



THE LAGOON (MINIATURE)



The boat landing sags. An old newspaper floats on the surface

of the water - a copy of the New York Enquirer." As it moves

across the frame, it discloses again the reflection of the

window in the castle, closer than before.



THE GREAT SWIMMING POOL (MINIATURE)



It is empty. A newspaper blows across the cracked floor of

the tank.



DISSOLVE:



THE COTTAGES (MINIATURE)



In the shadows, literally the shadows, of the castle. As we

move by, we see that their doors and windows are boarded up

and locked, with heavy bars as further protection and sealing.



DISSOLVE OUT:



DISSOLVE IN:



A DRAWBRIDGE (MINIATURE)



Over a wide moat, now stagnant and choked with weeds. We move

across it and through a huge solid gateway into a formal garden,

perhaps thirty yards wide and one hundred yards deep, which

extends right up to the very wall of the castle. The

landscaping surrounding it has been sloppy and causal for a

long time, but this particular garden has been kept up in

perfect shape. As the camera makes its way through it, towards

the lighted window of the castle, there are revealed rare and

exotic blooms of all kinds. The dominating note is one of

almost exaggerated tropical lushness, hanging limp and

despairing. Moss, moss, moss. Ankor Wat, the night the last

King died.



DISSOLVE:



THE WINDOW (MINIATURE)



Camera moves in until the frame of the window fills the frame

of the screen. Suddenly, the light within goes out. This

stops the action of the camera and cuts the music which has

been accompanying the sequence. In the glass panes of the

window, we see reflected the ripe, dreary landscape of Mr.

Kane's estate behind and the dawn sky.



DISSOLVE:



INT. KANE'S BEDROOM - FAINT DAWN -



A very long shot of Kane's enormous bed, silhouetted against

the enormous window.



DISSOLVE:



INT. KANE'S BEDROOM - FAINT DAWN - SNOW SCENE.



An incredible one. Big, impossible flakes of snow, a too

picturesque farmhouse and a snow man. The jingling of sleigh

bells in the musical score now makes an ironic reference to

Indian Temple bells - the music freezes -







KANE'S OLD OLD VOICE

Rosebud...



The camera pulls back, showing the whole scene to be contained

in one of those glass balls which are sold in novelty stores

all over the world. A hand - Kane's hand, which has been

holding the ball, relaxes. The ball falls out of his hand and

bounds down two carpeted steps leading to the bed, the camera

following. The ball falls off the last step onto the marble

floor where it breaks, the fragments glittering in the first

rays of the morning sun. This ray cuts an angular pattern

across the floor, suddenly crossed with a thousand bars of

light as the blinds are pulled across the window.



The foot of Kane's bed. The camera very close. Outlined

against the shuttered window, we can see a form - the form of

a nurse, as she pulls the sheet up over his head. The camera

follows this action up the length of the bed and arrives at

the face after the sheet has covered it.



FADE OUT:



FADE IN:



INT. OF A MOTION PICTURE PROJECTION ROOM



On the screen as the camera moves in are the words:



"MAIN TITLE"



Stirring, brassy music is heard on the soundtrack (which, of

course, sounds more like a soundtrack than ours.)



The screen in the projection room fills our screen as the second

title appears:



"CREDITS"



NOTE: Here follows a typical news digest short, one of the

regular monthly or bi-monthly features, based on public events

or personalities. These are distinguished from ordinary

newsreels and short subjects in that they have a fully developed

editorial or storyline. Some of the more obvious

characteristics of the "March of Time," for example, as well

as other documentary shorts, will be combined to give an

authentic impression of this now familiar type of short subject.

As is the accepted procedure in these short subjects, a narrator

is used as well as explanatory titles.



FADE OUT:



NEWS DIGEST NARRATOR

Legendary was the Xanadu where

Kubla Kahn decreed his stately

pleasure dome -

(with quotes in his

voice)

"Where twice five miles of fertile

ground, with walls and towers were

girdled 'round."



(DROPPING THE QUOTES)

Today, almost as legendary is

Florida's XANADU - world's largest

private pleasure ground. Here, on

the deserts of the Gulf Coast, a

private mountain was commissioned,

successfully built for its landlord.

Here in a private valley, as in

the Coleridge poem, "blossoms many

an incense-bearing tree." Verily,

"a miracle of rare device."



U.S.A.



CHARLES FOSTER KANE



Opening shot of great desolate expanse of Florida coastline

(1940 - DAY)



DISSOLVE:



Series of shots showing various aspects of Xanadu, all as they

might be photographed by an ordinary newsreel cameraman - nicely

photographed, but not atmospheric to the extreme extent of the

Prologue (1940).



NARRATOR

(dropping the quotes)

Here, for Xanadu's landlord, will

be held 1940's biggest, strangest

funeral; here this week is laid to

rest a potent figure of our Century -

America's Kubla Kahn - Charles

Foster Kane. In journalism's

history, other names are honored

more than Charles Foster Kane's,

more justly revered. Among

publishers, second only to James

Gordon Bennet the First: his

dashing, expatriate son; England's

Northcliffe and Beaverbrook;

Chicago's Patterson and McCormick;



TITLE:



TO FORTY-FOUR MILLION U.S. NEWS BUYERS, MORE NEWSWORTHY THAN

THE NAMES IN HIS OWN HEADLINES, WAS KANE HIMSELF, GREATEST

NEWSPAPER TYCOON OF THIS OR ANY OTHER GENERATION.



Shot of a huge, screen-filling picture of Kane. Pull back to

show that it is a picture on the front page of the "Enquirer,"

surrounded by the reversed rules of mourning, with masthead

and headlines. (1940)



DISSOLVE:



A great number of headlines, set in different types and

different styles, obviously from different papers, all

announcing Kane's death, all appearing over photographs of

Kane himself (perhaps a fifth of the headlines are in foreign

languages). An important item in connection with the headlines

is that many of them - positively not all - reveal passionately

conflicting opinions about Kane. Thus, they contain variously

the words "patriot," "democrat," "pacifist," "war-monger,"

"traitor," "idealist," "American," etc.



TITLE:



1895 TO 1940 - ALL OF THESE YEARS HE COVERED, MANY OF THESE

YEARS HE WAS.



Newsreel shots of San Francisco during and after the fire,

followed by shots of special trains with large streamers: "Kane

Relief Organization." Over these shots superimpose the date -

1906.



Artist's painting of Foch's railroad car and peace negotiators,

if actual newsreel shot unavailable. Over this shot

sumperimpose the date - 1918.



NARRATOR

Denver's Bonfils and Sommes; New

York's late, great Joseph Pulitzer;

America's emperor of the news

syndicate, another editorialist

and landlord, the still mighty and

once mightier Hearst. Great names

all of them - but none of them so

loved, hated, feared, so often

spoken - as Charles Foster Kane.

The San Francisco earthquake.

First with the news were the Kane

papers. First with Relief of the

Sufferers, First with the news of

their Relief of the Sufferers.

Kane papers scoop the world on the

Armistice - publish, eight hours

before competitors, complete details

of the Armistice teams granted the

Germans by Marshall Foch from his

railroad car in the Forest of

Compeigne. For forty years appeared

in Kane newsprint no public issue

on which Kane papers took no stand.

No public man whom Kane himself

did not support or denounce - often

support, then denounce. Its humble

beginnings, a dying dailey -



Shots with the date - 1898 (to be supplied)



Shots with the date - 1910 (to be supplied)



Shots with the date - 1922 (to be supplied)



Headlines, cartoons, contemporary newreels or stills of the

following:



1. WOMAN SUFFRAGE



The celebrated newsreel shot of about 1914.



2. PROHIBITION



Breaking up of a speakeasy and such.



3. T.V.A.



4. LABOR RIOTS



Brief clips of old newreel shots of William Jennings Bryan,

Theodore Roosevelt, Stalin, Walter P. Thatcher, Al Smith,

McKinley, Landon, Franklin D. Roosevelt and such. Also, recent

newsreels of the elderly Kane with such Nazis as Hitler and

Goering; and England's Chamberlain and Churchill.



Shot of a ramshackle building with old-fashioned presses showing

through plate glass windows and the name "Enquirer" in old-

fashioned gold letters. (1892)



DISSOLVE:



NARRATOR

Kane's empire, in its glory, held

dominion over thirty-seven

newpapers, thirteen magazines, a

radio network. An empire upon an

empire. The first of grocery

stores, paper mills, apartment

buildings, factories, forests,

ocean-liners - An empire through

which for fifty years flowed, in

an unending stream, the wealth of

the earth's third richest gold

mine... Famed in American legend

is the origin of the Kane fortune...

How, to boarding housekeeper Mary

Kane, by a defaulting boarder, in

1868 was left the supposedly

worthless deed to an abandoned

mine shaft: The Colorado Lode.

The magnificent Enquirer Building

of today.



1891-1911 - a map of the USA, covering the entire screen, which

in animated diagram shows the Kane publications spreading from

city to city. Starting from New York, minature newboys speed

madly to Chicago, Detroit, St. Louis, Los Angeles, San

Francisco, Washington, Atlanta, El Paso, etc., screaming

"Wuxtry, Kane Papers, Wuxtry."



Shot of a large mine going full blast, chimneys belching smoke,

trains moving in and out, etc. A large sign reads "Colorado

Lode Mining Co." (1940) Sign reading; "Little Salem, CO - 25

MILES."



DISSOLVE:



An old still shot of Little Salem as it was 70 years ago

(identified by copper-plate caption beneath the still). (1870)



Shot of early tintype stills of Thomas Foster Kane and his

wife, Mary, on their wedding day. A similar picture of Mary

Kane some four or five years later with her little boy, Charles

Foster Kane.



NARRATOR

Fifty-seven years later, before a

Congressional Investigation, Walter

P. Thatcher, grand old man of

Wall Street, for years chief target

of Kane papers' attack on "trusts,"

recalls a journey he made as a

youth...



Shot of Capitol, in Washington D.C.



Shot of Congressional Investigating Committee (reproduction of

existing J.P. Morgan newsreel). This runs silent under

narration. Walter P. Thatcher is on the stand.

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瑪琳.黛德麗

MARLENE DIETRICH

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瓊.克勞馥 JOAN CRAWFORD

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LORETTA YOUNG 洛莉泰.楊

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好萊塢黃金期大約是1925-1950年間,將近三十年的輝煌歲月....之後隨TV步步進逼,外加美國生活型態遷變而逐漸頹落---但不能不說,好萊塢不僅型塑及哺育了美國文化,就某些層面而言----幾乎就是美國文化的化身.

時至於今,好萊塢大銀幕畫面的魅力與影響力雖逐漸消減,但於一團闇暗中對著大銀幕---眾人共感同歡的那種夢幻場景....依然會是所有有過同樣經驗之影迷的永恆記憶.



這段期間好萊塢的著名影片,除了念舊的美國人多少尚有興趣----大部份已為世人淡忘.但幸虧太平洋彼岸,尚還有一群崇美念舊的東洋影迷;更重要的----中國大陸上,被阻絕外界文化幾十年/因而份外饑渴的,更大群的美片影迷....

拜這兩個管道之賜,這半年來看了極大量的黃金期的老片-----剛好這陣子也在研究好萊塢的明星照,就姑且來個一魚雙吃----一面看照片一面談電影;最主要地,仍是要聲色齊動地見識那時期大明星的無比魅力了....

(尤其是非看不可的葛麗泰嘉寶GRETA GARBO; 瑪琳黛徳麗MARLENE DIETRICH; 諾瑪西爾勒NORMA SHEARER;瓊克勞馥JOAN CRAWFORD;珍哈露JEAN HARLOW;洛麗泰楊LORETTA YOUNG ;瑪麗蓮夢露;蓓蒂戴維斯BETTE DAVIS; 珍羅素JANE RUSSELL ;芭芭拉史丹薇克BARBARA STANWYCK .)

我個人覺得不可錯過的各女星經典作,列表如下:

GARBO:俄宮豔使/克利斯丁女皇/安娜.卡列尼娜

DIETRICH:紅色女皇/義俠奇警

SHEARER:眾香國

CRAWFORD:大飯店

HARLOW: THE GIRL FROM MISSOURI

YOUNG:ETERNALLY YOURS

MONROE:熱情如火/大江東去

DAVIS: ALL ABOUT EVE/小狐狸

RUSSELL:脂粉雙槍俠

STANWYCK:雙重保險/伊芙夫人/群眾



































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double indemnity



眾所皆知,納粹排猶和二戰生靈塗炭的歐陸浩劫,令美國如獲至寶地接收了一批輾轉逃難的大師級科學家,從而讓美利堅的尖端科技大幅竄前----因而成了近世的全球獨霸.

但較少人知的----好萊塢也截獲了一批歐陸(尤其是德奧猶太)的精英,壯大擴張了美國影壇的霸業,更有絕塵直上之概.

這份由歐投美的精英名單可能列得老長----諸如:劉別謙(俄宮豔使/璇宮豔史/風流寡婦/街角的商店)穆瑙(日出)李維克(梅耶林/將軍之夜/真假公主)

萊因哈特(翠堤春曉)喬志.柏爾(宇宙戰爭/螞蟻雄兵/時間機器)查爾斯.維多(一曲難忘/琵琶怨/戰地春夢/狂想曲/一曲相思未了情)....

另外,如作品洋溢著純種美國風味的奧圖.普明傑(金臂人/大江東去/羅蘭秘記/桃色血案/出埃及記)佛烈.辛尼曼(日正當中/修女傳/亂世忠魂/良相佐國/茱利亞/豺狼之日)竟然都是來自德奧的外籍傭兵,更是好萊塢罕為人知的大驚奇之一!



至於比利懷德,更不用說----他的傳世傑作:"雙重保險""失去的周末""紅樓金粉""戰地軍魂""龍鳳配""七年之癢""壯志凌雲""黃昏之戀""情婦""熱情如火""公寓春光""滿城風雲"....等片流露濃厚的新大陸風味令大夥兒如飲醇酧.

卻不知他避禍來美時只識德文,這些片子都是一面藉通譯傳達/一面艱苦創作----如此且戰且走一路炮製的.

1944年的"double indemnity"則是我個人畛愛的比利.懷德的極品之一---上回在談女星barbara stanwyck時曾提過,這會兒忍不住又想說幾回.....只能說此片之精采難以言盡.

DOUBLE INDEMNITY的原意是:"雙倍理賠"(中文片名譯做"雙重保險"---簡直莫名其妙----譯者可能既沒參照原著,也無細看電影文本...總之電影裡講得蠻清楚,

會譯得如此失真是有點打混便是了.)

此辭的源由----小說裡也是挺費番力氣地闡釋了近頁----蓋兇手之所以涉入此案,這是很關鍵的一環----因為三十年代的火車時速都在二十公里以下,鐵路意外險因而風險超低,故賠率比一般意外險高出一倍!

故事中此離奇命案之所以成局,而精明世故的男主角願一頭栽入的底蘊,即乃踩住此七寸要害.

片名翻得似驢非馬,當然大有減損此中的微妙奧秘之處....



命案是真人真事---1927年史耐德.葛雷一案,小說家JAMES M.CAIN即據之寫成;而電影編劇(大名鼎鼎的冷硬派小說家錢德勒)則神來一筆加入精鍊已極的對話與節奏並改成以倒敘式的敘事結構....

使此片的結構前後呼應/堅若磐石(近乎完美);而更有FRED MACMURRAY(飾walter)和BARBARA STANWYCK(飾phillis)這兩名兇手入木三分的沉重刻劃,

以及FRED和其上司EDMOND ROBINSON(飾理賠部主管BARTON)亦師亦友/似親似敵的緊張對峙....

毫不誇張地說:這是筆者觀影史上---最動人心弦卻又坐立難安(緊張至幾乎窒息)的一部片子.



影片一開幕,即見男主角walter傷重垂危/一路跌撞地闖入幽暗陰森的大樓辦公室.....

觀眾在震驚狐疑中,見到walter扭開錄話機,斷續說起他受傷的經過....方織綴起他一段不堪回憶的前塵往事:

walter是保險經紀人,在某次承攬業務時,偶遇他客戶的再婚妻子----一名嫵媚而莫測高深的女子PHILLIS.

她以一種幽冷的語氣,要求在丈夫不知情的情況下加保意外險----隨後又藉故數度與WALTER攀關係----態度逐漸溫軟親暱....

終於說服WALTER和他一起聯手進行謀殺她丈夫的計劃.

WALTER身為保險經紀人,深知命案調查和保險理賠的緊要環節---所以他就化被動為主動地幫她策劃謀殺的細節....

計謀極其迂迴而巧妙----先將其夫誘出勒死,再將屍體移至戡定的鐵軌定點佈置成摔車慘狀,而WALTER則喬扮其形登上此班火車----於行至此棄屍點假裝墜車並立刻卸裝脫離....

事後....唯見橫屍鐵軌的殘軀,理所當然即被認定是死於火車意外!!

這計劃看似天衣無縫----但有幾個破綻若無完全嵌合也可能破局:

一.車上有目擊證人----WALTER上車時雖極力遮掩,仍難免與某乘客有數語對談....而其以理賠案辦理人身分又避不開與證人接觸....

二.PHILLIS有謀殺嫌疑人前科---不僅她第一任前夫是死於非命;而現任夫之亡妻更是在她介入後方神秘死亡!

三.WALTER有個精明似鬼的上司-----WALTER綿密的設計經他逐個檢視/紛紛露了醜形.....

四.PHILLIS欲過河拆橋----不僅不同心分贓/不僅不共宿雙飛,還想殺人滅口....

五.WALTER良知未泯.....加上他與其上司BARTON情同父子,幾番想翻悔自供.....



總之整個態勢,在一團矛盾混亂後逐漸失控.....WALTER在和其上司玩了幾次貓捉老鼠的遊戲後,自感鬥不過其人的老謀深算....

後來又驚覺phillis的出賣意圖,遂去找PHILLISS攤牌...

而她則已埋伏著待殺他----但她縱使狠辣無情---居然也下不了重手----在開了第一槍後卻開不了第二槍.....

不是心軟---而是忽然發現她對他萌了愛意.....



怎麼會這樣呢?barbara自己也大驚不解地喃喃自語...唸出此片最著名的台詞:

"No,I never loved you,walter---not you,or anybody else.I'm rotten to the heart. I used you,just as you said.

That's all you ever meant to me.Until a minute ago,when I couldn't fire that second shot."

("不,我沒愛過你,華特.不僅你---任何人我都不愛.我是壞到骨子裡了!

我利用你----正如你說的.你對我的意義僅只於此----

直到一分鐘前,當我開不下第二槍時....")



同時看過電影與小說的看官當會注意到編導於中段起大幅改動了cain原作的情節,並增添大量這類鏗鏘有力的臺辭,

使得電影大步跨越原著----於半世紀後,依舊對觀者散發了一種幽微而驚駭的況味----亦即這兩個愛恨交加的共謀者----彼此間是抱持何等觀感?何等的愛憎關係?

這片子之所以厲害就在於---將謀殺故事如一團闇暗的織錦鋪於底層---而漫天飛舞的灼沙扎石/那些狠辣致命的對話與曖昧詭譎的氛圍---則母寧更攫緊觀者的全般心緒.

因此編導聯手(別忘了比利懷德不但比錢德勒老資格,更是好萊塢最好的編劇之一)炮製了層次交纏的數個曖昧點:

諸如一.WALTER幫兇之始由.二.PHILLIS謀殺的動機.三.倆人間愛恨衝突的層層糾葛.



WALTER是個世故精明的保險老手,短短幾句言語即看穿PHILLISS不良居心;卻為何一口即答應合謀?!

表面看來他是炫迷於PHILLIS 性的魅惑,但實則是出以某種職業的倦怠----或說是對其工作不滿的燥煩反動.....

更精確的說:他是以某項行動,同時進行性的冒險與專業能耐的的大膽試煉....

小說裡大肆鋪陳保險業的種種弊端---直言保險即像升斗小民與大賭場的對押.

電影裡則較精簡地用WALTER的獨白,交代他的不滿----理賠成局:意謂即,他以一己之力扳倒穩贏不賠的大財閥----他那唯利是圖的老東家.

於是乎,事件初期,WALTER一心一意執行其絕妙好計---毫無道德計較/毫無後路考量....直至計劃成功那一剎那,方襲來一陣罪惡的恐慌:



"I couldn't hear my own footsteps.It was the walk of a dead man."

同樣地,phillis謀殺親夫,表面像是為理賠金---但卻遠為複雜----第一層因由,也許是厭煩/也許是恨---她和丈夫死水般僵化的家庭生活---

而這,在他丈夫瀕臨破產後---尤其惡化.

但最更深層的心理,則是此行動所連結的狂熱與幻象----她使盡混身解數誘惑walter/遂行謀殺的同時,

更熊熊燃起一股炙熱的動力----一方面可以掙脫困境;二方面又可玩弄操控的把戲(她以往即藉此,由底層的看護婦翻身...)

她與他的愛恨糾葛則更是此片最引人興味之處---隨著謀殺主線的進行;這兩人由一開頭那幽暗樓梯的初會/到最後的對決,始終瀰漫著一股曖昧的氛圍.

硬酷的針鋒相對中卻又流動著逐漸炙熱高張的性誘惑....

互相間乍似不喜卻又黏纏不放.....

更可怪地....兩人同樣展現了貪婪的初衷,到頭來對之又不以為意....

以致於,觀眾看到她倆最後相互毀滅的一幕時,不免會發出一連串的問號?即她(他)所為何來?!



我是這麼猜:1944年猶保守的年代---比利.懷德可能不便表達太赤裸裸的性意識---依現代性學觀也許可以這麼解釋:一旦涉足於殺人這種深層的嗜血行動,形同性欲的變相昇華....

兩人由一場性交易後談定了謀殺合同;再由進行的狂熱,催鼓起性欲的膨脹.

謀殺得逞那一剎那----宛若性高潮的頂峰----慾求狂瀉直下,熱情便急速冷卻了....

(CAIN的另一部名作"郵差只按兩次鈴"同樣有這性的指涉---而寫的更赤裸裸----殺夫後即於屍首旁熱狂做愛)



barbara stanwyck闡釋phillis這個蛇蠍美人最動人之處:即是她由本性的極冷,到誘惑walter時的極熱,到最終又回復陰冷本質時,極富層次的變化....

而全片神采畢現的一幕則是她開槍的瞬間---臉龐忽然浮起的柔情蜜意/以及眼眸裡忽閃即逝的祈求神色...

讓原本對之咬牙切齒的觀者,居然會對這萬惡不赦的兇手,泛起某種電光石火的憐意.



據說stanwyck初接戲時躕躇不前---她一貫甜柔的戲路,自覺沒把握詮釋這冷血兇手的角色....

是比利懷德一句警醒的建議:

"Are you a mouse or an actress?"

方下決心演了這個她一生最令人難忘的角色.



而一向慣演正派好人的男主角fred MacMurray(看過"寂寞芳心"一片應該印象深刻於,他垂憐於寒微的凱塞琳.赫本;而始終不離不棄之英挺貴公子的角色)

接戲更是掙扎.....



他的反應挺妙:"I can't do that,"he said,"it requires acting."

但正由於他這種根深蒂固的好人形象,更有助於他詮釋此角的深度與微妙處.....

畢竟影史少見如這部影片般---會如此令觀眾一路緊揪心肝/一面倒地強烈同情----如此一名兇手的危貽處境.



電影另一處點石成金的改編:是加重理賠部主管barton的份量,令他與男女主角成鼎足而三的要角.

他的精明令隨伺左右的walter坐立難安;而他的真心賞識與刻意維護卻更讓自覺辜負其期望的walter錐心刺骨/衷心痛悔....

飾演此角的EDWARD G.ROBINSON以黑道硬漢起家:"LITTLE CAESAR"中那拿輪轉機槍瘋狂掃射的黑社會頭目固然過目難忘

但事業晚期,扮演精明偵探之沉穩厚重更少有人及----此片他甫登場---那洞悉世情之練達與籠蓋全場的氣勢....

登時令觀眾立即有種WALTER將難逃此劫的預卜----這,一方面是ROBINSON多年歷練的無比功力,另一面也得欽服比利懷德創造許多原著闕如的精湛橋段供之大大發揮....

(比如全片最緊窒的場面之一:他突訪walter私宅差點撞破他與phillis私會那幕;以及他放出各項欺敵煙霧/展現八面玲瓏的辦案手段等等)

而收斂起精明之另一面,他又毫無保留地流露對walter的父執之愛----既嚴且慈/亦父亦友----那種情切言深的關愛由robinson詮釋來實在真切動人---於是walter最終選擇形同自我毀滅行動來與之對應當是順理成章了.



此片作為黑色電影的標竿之一其註冊商標的卓越光影設計也大值一提.

穫當年金獎攝影提名的john seitz 用各種詭異的取片角度/濃重大量堆砌的陰影/百葉窗泛光/精密計算的臉部照明,襯托出一個奇情謀殺案絕不可缺的詭譎氛圍.以今日的眼光觀來----不僅是效果無以倫比/更是十足震駭----

尤比今日五色斑爛之彩色片更具表現力.....



奧斯卡的六項提名全部摃龜,則是所有經得起歲月考驗經典作的宿命,這片亦逃不過.



































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由日片'驛'談東洋硬漢高倉健,以及八代亞紀名曲''舟歌''





十幾年前的亞太影展最佳影片"驛"---可能是大多數台灣影迷初識高倉健的起點,但那已是七O年代---略嫌久遠的歷史,不知大家還有印象無?< >

該片導演降旗康男或許也有不少人偏愛;對我而言,他正是那類格局不太閎闊;但縱然是小山小水----卻也經營得晶瑩剔透/自成一片好風景的風格家.< >

譬如''冬之華''/''驛''...及近作''鐵道員'',雖然偶露匠氣手痕,但動人筆觸依然隨處可尋......< >

他電影之動人處:一.在其黑幫片/江湖記事所流露的義氣與鄉愁混揉的況味.< >

二.在庶民題材著意精煉的抒情風.<>



且舉幾個場景:<>

"冬之華"中,高倉健於酒吧裡遭仇家黑幫圍殺,高倉雖明知酒吧外已殺陣密佈仍執意單刀赴會-----不求援也不亟逃生----意態從容地----飲著手中杯酒,候敵殺入......就像個深悉自身黑道宿命的頑強鬥士,毫無退縮.....只待厄運降臨時---推開木門,衝入風暴圈作最後一回的搏殺.......< >

高倉健註冊商標式---凝重而沉靜如山的表情,於這當兒所能呈現的神采,可說高倉式表演的最淋漓動人處......< >

然後呢?編導安排了一個個神采畢現的轉折......高倉脫幫前的諸同僚,於此時不約而同地一一突圍進入酒吧-----交會了一抹義氣的眼神,眾人紛紛在高倉身畔落坐....隨即一列鐵漢不發一語共喝著悶酒....< >

絲毫無視窗外風雷待發的騷亂.....< >





看過那麼多黑幫電影,這是少見的一部將幫會械鬥描寫得如此緊窒傳神;而''兄弟仁義''生死以共的一番際會,烘托得最迴腸盪氣的一番觀影經驗.< >

再如''驛''片中,則是後者的另外一個模式----這是描寫高倉於遭逢奧運失利(他是射擊國手)和緝兇未成(警界同僚因其疏忽而殉職)之巨大壓力而別妻離子後,年年除夕皆孤身搭船返鄉.....< >

某回,因風雪交加孤港冰封,他這唯一的外鄉客只好落腳在海濱客舍,成了年終無處可歸的游人.< >

倍賞千惠子所飾的居酒屋失婚老闆娘,剛好也是對座無語/空門以待....< >

於殘年風雪中迎入他這唯一的食客,不免是既寂寞又感慰藉.......< >



於是絮語紛紛.....成了寒夜中共解孤岑的一對同病相憐人.....< >

兩人先是閒閒互問由來.....接著則是逐漸話聲寥落....兩人各自咀嚼著年節中眾歡而獨寂的苦澀....< >

這時,小電視上忽地傳來紅白歌合戰裏一陣八代亞紀淒惻的歌聲''舟歌''.......< >

倍賞千惠子轉身一聲低呼:''呦!這是我最愛聽的歌.......< >

隨即愁臉低伏,雙眼迷離地融入了這於深夜中低吟.....絞揉著鄉愁與哀傷的歌聲.< >

一貫嫻柔形象的倍賞,於懷抱憧憬但又絕困於此刻之孤單的複雜情緒中,柔伏的姿勢固然煥發出一股美麗與哀愁的魅力...< >

而沉默寡言正一口口喝著清酒的高倉---那沉毅/深思/痛苦內化成滿臉風霜的表情,則恰好互相輝映,烘托了一個隱微卻深切動人的心弦交鳴的場景......< >

此時倍賞淚光盈瑩,而高倉一張不動聲色的硬漢臉下卻也連番波動....< >

靠了這意味深遠的一幕的催化----於是這倆人於隔年的相會,即打破隔閡互有往來了.< >



降旗這幾年更顯圓融,比如''鐵道員''幾乎看不到他往年所在皆有的銳利的痕跡....< >

是好是壞很難說,但我倒是蠻想再看到那他註冊商標式的...於滿天硝煙中偶而現出的那一小方澄碧的.< >















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好萊塢明星照(英文說法:hollywood glomour photography of golden era)是泛稱上世紀二十年代至五十年代的好萊塢明星宣傳照.
時間剛好與黑色電影(film noir)流行期重疊----基本上都是受了德奧表現主義劇場影響的產物.
(這兩者是有密切的相關連,但黑色電影這題目有點大且留待以後再談.在此先聊前者.)

在傳媒全仰仗平面報刊的上世紀初,明星照的重要性遠非今日影迷所能想像---幾乎可這麼說:那些照片的重要性,甚至遠逾影片本身---是型塑明星魅力,甚至用以辨識影片風格與品質的唯一工具....
和葛麗泰嘉寶同期的影星louise brooks即是如此說:
"when you think of it,what people remember of those stars is not from films,but one essential photograph.....when I think of Garbo,I do not see her moving in any particular film.
I see her staring mysteriously into the camera.No matter how many times I've seen her in films,that is how I always see her.She is a still picture---unchangable."
(影迷追憶起明星的昔日印象,其實全來自電影的宣傳照,而不是影片本尊---比如我回憶起嘉寶時,我幾乎不記得她在影片中流連的倩影,卻腦海裡卻始終儁刻著她以幽秘眼神望向照相機的某張照片....
她就是照片裡的那個樣子----一張定照---永遠定格著!!)

好萊塢片廠對明星照的魅力與定位早有所知---也因此於一開始即聚焦於女明星----他们的精明盤算:是全力拉攏女性觀眾,因為:"When you've got a picture women want to see,the man will have to go along.
A woman can always keep a man away from a picture that attracts only him."
(女性鍾愛的片子---男伴不得不跟來;而女生偏偏又最排斥那類只吸引男生的影片)

正因如此,好萊塢明星照其實不單純是劇照;好萊塢有一套制式手法----千方百計溶入各項流行要素:從華麗的社會時尚到最前衛的打扮---由各個角度來精心妝點女明星---以吸引女影迷的注目.
但一項莊重的前提則是:這一切的精巧設計必得建基於romantic這主題上....
米高梅的影片--一言以譬之:即是"ROMANCE".
作為明星照開山祖--不用說---它製作的明星照正是圍繞此訣的業界典型:GRETA GARBO/LILIAN GISH/JOAN CRAWFORD/NORMA SHEARERMARION DAVIES等大明星奇花異卉/大展光華的畫面....
即乃上世紀前葉新大陸最引人的景觀了.
這些照片於七八十年/乃至百年後的今日看來----不僅不退時,甚且有種光華四射的獨特魅力----簡言之,那是強烈個性與明星光環微妙揉合的化學效應;而照片中以黑色電影手法所醞釀的戲劇性光影對比也起了特殊的作用...
當然,那時的照片都是用攝影史上最高規格的大底機(八乘十或十一乘十四玻璃底片);畫質如同剃刀般清晰剔透更是一大要素.
不過,那時的好萊塢片廠制活躍著一批如GEORGE HURREL/C.S.BULL/LASZLO WILLINGER乃至如RUTH HARRIET LOUISE這類創造力無比充沛的攝影巨匠,或許是更具關鍵的.
對照片,如同電影,我是抱持復古觀的.器材越進步,人文意涵卻相對倒退----五顏六色也未必比單純的灰黑色階能表達更多的情緒與感動.
這篇短文權且充做引言,下幾篇我會略述好萊塢明星照簡史,並介紹其技術特徵和拍照手法等等.




































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