- May 29 Tue 2007 18:27
- May 15 Tue 2007 18:32
- May 14 Mon 2007 16:08
- May 10 Thu 2007 17:49
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
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
All About Eve (1950)慧星美人
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
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
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)
Children of Paradise (1945)天堂的小孩
Chimes at Midnight (1965)午夜鐘聲
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
Dark City (2005)
Day for Night (1973)日以作夜
The Decalogue (1988)十誡
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
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
The Films of Buster Keaton (1923)
The Firemen's Ball (1968)消防員的舞會
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
Gone With the Wind (1939)亂世佳人
The Good, the Bad and the Ugly (1968)黃昏三鏢客
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
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
In Cold Blood (1967)冷血
Inherit the Wind (1960)
It's a Wonderful Life (1946)風雲人物
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
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
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
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
The Maltese Falcon (1941)梟巢喋血戰
The Man Who Laughs (1928)
The Manchurian Candidate (1962)諜海亡魂
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
Mon Oncle (1958)我的舅舅
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
The Night of the Hunter (1955)
Nights of Cabiria (1957)卡比利亞之夜
On the Waterfront (1954)岸上風雲
One Flew Over the Cuckoo's Nest (1975)飛越杜鵑窩
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
Peeping Tom (1960)
The Phantom of the Opera (1925)歌劇魅影
Picnic at Hanging Rock (1975)懸崖上的野餐
Planes, Trains and Automobiles (1987)
The Producers (1968)製作人
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
Rear Window (1954)後窗
Red River (1948)紅河谷
The Red Shoes (1948)紅菱豔
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)
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
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
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
A Sunday in the Country (1984)鄉間的一日
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)
Umberto D (1952)風燭淚
Un Chien Andalou (1928)
The Up Documentaries (1985)
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)
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
Rebel Without a Cause (1955)養子不教誰之過
- May 10 Thu 2007 15:53
D.M. Marshman, Jr.
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
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
get their hands on it,
maybe you'd like to
hear the facts, the
A-6 FLASH OF THE BODY
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
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.
The buzzer SOUNDS again. Gillis gets up and opens
the door. Two men wearing hats stand outside one of
them carrying a briefcase.
Joseph C. Gillis?
The men ease into the room. No. 1 hands Gillis a
We've come for the car.
(Consulting a paper)
1946 Plymouth convertible. Calif-
ornia license 97 N 567.
Where are the keys?
Why should I give you the keys?
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.
Or do you want us to jack it up
and haul it away?
Relax, fans. The car isn't here.
Is that So?
I lent it to a friend of mine.
He took it up to Palm Springs.
Had to get away for his health,
You don't believe me? Look in
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.
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
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
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
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.
All right, Gillis. You've got
five minutes. What's your story
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.
So they tell the kid to throw the
World Series, or else, huh?
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
Got a title?
Bases Loaded. There's a 4O-page
(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.
They're pretty hot about it
over at Twentieth, but I
think Zanuck's all wet. Can
you see Ty Power as a
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
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.
Hello, Mr. Sheldrake. On that Bases
Loaded. I covered it with a 2-page
(She holds it out)
But I wouldn't bother.
What's wrong with it?
It's from hunger.
Nothing for Ladd?
Just a rehash of something that
wasn't very good to begin with.
I'm sure you'll be glad to meet
Mr. Gillis. He wrote it.
Betty turns towards Gillis, embarrassed.
This is Miss Kramer.
Schaefer. Betty Schaefer. And
right now I wish I could crawl
into a hole and pull it in after
If I could be of any help...
I'm sorry, Mr. Gillis, but I
just don't think it's any good.
I found it flat and banal.
Exactly what kind of material do
you recommend? James Joyce?
I just think pictures should say
a little something.
Oh, you're one of the message
kids. Just a story won't do.
You'd have turned down Gone With the
No, that was me. I said, Who
wants to see a Civil War picture?
Perhaps the reason I hated Bases
Loaded is that I knew your name.
I'd always heard you had some
That was last year. This year
I'm trying to earn a living.
So you take Plot 27-A, make it
glossy, make it slick --
Carefull Those are dirty words!
You sound like a bunch of New
York critics. Thank you, Miss
Goodbye, Mr. Gillis.
Goodbye. Next time I'll write
The Naked and the Dead.
Well, seems like Zanuck's got
himself a baseball picture.
Mr. Sheldrake, I don't want you
to think I thought this was going
to win any Academy Award.
(His mind free-wheeling)
Of course, we're always looking
for a Betty Hutton. Do you see
it as a Betty Hutton?
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
You trying to be funny? -- because
I'm all out of laughs. I'm over a<
- May 10 Thu 2007 15:50
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:
"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
THE NEW BULLETIN
"A streamlined newspaper for a streamlined
Cut to: Int. Bulletin outer office.
Full shot: Of a mid-western newspaper
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
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
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
Yeh, D. B. Oh, just cleaning out the
? 580 ?
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.)
More good luck telegrams.
Well, you know how it is, I, I've just
got to keep working. See?
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!
(flicks dictograph button)
Send those other people in.
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
It isn't the money. We're after circulation.
What we need is fireworks. People who
can hit with sledge hammers—start arguments.
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
All right, come in, come in! Come in!
Cashier's got your check.
(back to others)
Who are these people? Gibbs, Frowley,
(to Ann at door)
Hey, you, sister!
? 581 ?
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.
You're a couple o' sticks shy in
your column, Ann.
(ignores him, muttering . . .)
A big, rich slob like D. B. Norton buys
a paper—and forty heads are chopped
Did you get it, too?
Yeah. You, too? Oh, Joe . . . oh, I'm
sorry darling . . . why don't we tear
the building down!
Before you do, Ann, perhaps you'd better
finish this column.
Yeah. Lavender and old lace!
Suddenly she stops pacing. Her eyes
widen as a fiendish idea strikes her.
She flops down in front of her typewriter.
Wants fireworks, huh? Okay!
She begins to pound furiously, her jaw
Close-up: Of ANN. Eyes flashing as she
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.
As JOE takes it, ANN begins to empty
the drawers of her desk.
Close-up: Of JOE reading what ANN has
? 582 ?
"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.
"Editor's note . . . If you ask this
column, the wrong people are jumping
JOE glances up toward ANN, in mild protest.
Hey, Ann, this is the old fakeroo, isn't
Full shot: ANN has just about accumulated
all her things. JOE stares at her, knowing
it's a fake.
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."
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
" . . . and it's because of the slimy
politics that we have all this unemployment
There it is! That's D. B. Norton's opening
attack on the Governor!
Why Jim, it's just a letter sent in
to a column.
No, no. I can smell it. That's Norton!
While he speaks, the GOVERNOR has entered.
? 583 ?
Good morning, gentlemen. You're rather
'Morning. 'Morning, Governor.
You're here rather early.
(pushes paper over to him)
- May 10 Thu 2007 15:48
"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
"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
Marvis Cab Company
Blue and White Cab Co.
Dependable Taxi Services
JRB Cab Company
Speedo Taxi Service
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
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?
PERSONNEL OFFICER (O.S.)
Got your license?
So why do you want to be a taxi
I can't sleep nights.
There's porno theatres for that.
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.
So whatja do now?
I ride around nights mostly.
Subways, buses. See things. Figur'd
I might as well get paid for it.
We don't need any misfits around
A thin smile cracks almost indiscernibly across TRAVIS' lips.
You kiddin? Who else would hack
through South Bronx or Harlem at
You want to work uptown nights?
I'll work anywhere, anytime. I know
I can't be choosy.
(thinks a moment)
How's your driving record?
Clean. Real clean.
(pause, thin smile)
As clean as my conscience.
Listen, son, you gonna get smart,
you can leave right now.
Sorry, sir. I didn't mean that.
Some. Here and there.
Honorable discharge. May 1971.
No, I want long shifts.
(casually, almost to himself)
We hire a lot of moonlighters here.
So I hear.
(looks up at Travis)
Hell, we ain't that much fussy
anyway. There's always opening on
one fleet or another.
(rummages through his
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?
Well then check back tomorrow.
CREDITS appear over scenes from MANHATTAN NIGHTLIFE. The
snow has melted, it is spring.
A rainy, slick, wet miserable night in Manhattan's theatre
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
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.
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.
April 10, 1972. Thank God for the
rain which has helped wash the
garbage and trash off the sidewalks.
TRAVIS' POV of sleazy midtown side street: Bums, hookers,
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.
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
Is Kennedy operating, cabbie? Is it
On seat next to TRAVIS is half-eaten cheeseburger and order
of french fries. He puts his cigarette down and gulps as he
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!
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,
Have you tried the telephone?
MAN IN BUSINESS SUIT
There isn't time for that. In other
words, you don't know.
MAN IN BUSINESS SUIT
Well, you should know, damn it, or
who else would know? Pull over
(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
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
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.
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.
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.
Oh baby, baby.
TRAVIS stares blankly ahead.
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.
They're all animals anyway. All the
animals come out at night: Whores,
skunk pussies, buggers, queens,
fairies, dopers, junkies, sick,
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.
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.
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
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
THE SAFE DRIVER
IS ALWAYS READY
FOR THE UNEXPECTED
AND GAUGE SPEED TO
YOU CAN'T STOP
ON A DIME!
ALL NIGHT DRIVERS
HAVING PERSONAL INJURY
MUST PHONE IN AT ONCE TO
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
... 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
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...
1ST CABBIE (CONT'D)
(takes imaginary piss)
If he thinks I'm going up into The
Jungle this time of night, he can
(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
Over at Love, this hooker took on
the whole garage. Blew the whole
- May 10 Thu 2007 15:46
Revised Final Screenplay by
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 -
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.
He looks at her, frowning, then slowly steps out onto the
hard ground. Martha hands the bowl back to Lucy and follows
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:
His eyes shift to Martha and hold. Ethan is, and always has
been, in love with his brother's wife and she with him.
(a bit shakily)
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.
How should I know?
But Mose Harper said...
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.
Ben, ain't you?
(frowning at Debbie)
Lucy, you ain't much bigger than
when I saw you last.
Ethan looks in the direction of the pointing finger.
EXT. YARD - ANOTHER ANGLE
as Lucy steps down from the porch and approaches.
Lucy's going on seventeen now...
An' she's got a beau! Kisses him,
That's enough... Go on inside and
help Lucy set the table... You, too,
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.
(wheeling on him)
Martin checks his stride, stares in surprise.
Martin!... Here we've been standing...
Ethan, you haven't forgotten Martin?
Oh... Mistook you for a half-breed.
Not quite... Quarter Cherokee. The
rest is Welsh... So they tell me.
You've done a lot of growin'...
It was Ethan found you squallin' in
a sage clump after your folks was
It just happened to be me... No need
to make any more of it...
I'll take care of your horse for
you, Uncle Ethan.
Again, he starts to lead away.
Martin stops again.
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.
Supper'll be ready by the time you
wash up... Let me take your coat for
He hesitates, then grudgingly surrenders it -- conscious of
its sorry condition.
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.
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
Ethan has shaved, changed his shirt. He straightens
contentedly and every eye is on him, expectantly.
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.
Ben! Deborah! Bed!
But I've got to help with the dishes.
Not tonight... Ben, put that sword
It's not a sword, ma... it's a saber!
(moving to Ethan)
Did you kill many damYankees with
this sabre, Uncle Ethan?
How many damYankees, Uncle Ethan?
Ben!... Martin, he'll sleep in the
bunkhouse with you tonight.
Martin nods and crosses to kiss Martha good night.
Good night, Aunt Martha... Uncle
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
Ben reluctantly puts the scabbard away, turns to Ethan.
Will you tell me tomorrow about the
The war ended three years ago, boy!
It did?... Then whyn't you come home
BEN!... Go 'long with Martin. MARCH!
As Ben reluctantly heads out with Martin, Deborah crosses to
Ethan's side and studies him gravely.
Lucy's wearing the gold locket you
gave her when she was a little girl...
She don't wear it much account of it
makes her neck green.
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.
(then he remembers
He crosses to where his pack is -- a side table or something --
and burrows into it. Debbie is at his side.
How about this?
It is a gold medal or medallion -- something appropriate to
Maximilian of Mexico -- suspended by a long multi-colored
Oh! LOOK! My gold locket!
She holds it high for mother -- and all -- to see. Martha
takes it and reacts at its weight.
It's solid gold... Ethan, I don't
think she's old enough...
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
Oh, thank you, Uncle Ethan...
The two girls leave the main room. Martha a
- May 10 Thu 2007 15:44
M U L H O L L A N D
D R I V E
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.
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...
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.
What are you doing? You don't stop
The car stops - half on, half off the road at a dark, blind
curve. Both men turn to the woman.
Get out of the car.
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
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.
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.
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.
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.
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.
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
DETECTIVE HARRY MCKNIGHT
You feel it?
DETECTIVE NEAL DOMGAARD
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'
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.
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.
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.
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.
Why did you want to go to breakfast if
you're not hungry?
I just wanted to come here.
To Denny's? I wasn't going to say
anything, but why Denny's?
Okay. Why this Denny's?
It's kind of embarrassing but,
I had a dream about this place.
You see what I mean...
Okay, so you had a dream about this
place. Tell me.
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
Herb stares at Dan to see if he will continue. Dan looks
around nervously, then stares at his uneaten food.
So, you came to see if he's out there?
To get rid of this god-awful feeling.
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.
Now Herb waits for Dan to lead the way.
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
Herb looks up - the man is gone. He looks down to Dan.
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.
EXT. LAX AIRPORT - DAY
The airport sits in blinding sunlight and veiled with smog.
A big jet lands.
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.
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.
It's time to say goodbye, Betty. It's
been so nice travelling with you.
Thank you, Irene. I was so excited and
nervous. It was sure great to have you
to talk to.
Now, remember I'll be watching for you on
the big screen.
Okay Irene. Won't that be the day.
The best of luck to you, Betty. Take
care of yourself and be careful.
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.
They get into the cab and close their doors. The cab pulls
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.
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.
Hi there...ten bucks says you're Betty.
I am, Mrs. Lanois. It is Mrs. Lanois
In all my living glory, baby.
Pleased to meet you.
You can call me Coco ... everybody does.
Stay there, I'll get the key.
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.
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.
Yes, he is. He raises corn.
Damn lot of corn raised in Hollywood
these days too.
Well, I ...
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."
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.
Have many famous actors and actresses
lived here? I was meaning to ask you
Honey, all the great ones came through
here at one time or another.
A haunting music begins to swell.
People say in the springtime when the
wind blows the smell of the jasmine you
can still feel the presence of everyone
I guess I've come to quite a place.
Sweetheart, you don't know the half of
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.
WILKINS! ... (no answer) ... THAT DOG CRAPS
- May 10 Thu 2007 15:41
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
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
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
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 :
... It's crazy -- sugar is up to
200 dollars a ton -- sugar !
What about oil ?
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.
This is West Germany.
(he draws another,
This is Japan.
(another , bigger)
This is Italy.
This is Iran.
(a very big circle)
And this is Saudi Arabia... In
two years ?
(a gigantic circle)
Do you understand ?
What's to prevent it ?
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
(pause, for a drink)
We are still the most powerful
nation in the world. Militarily.
He leans to his associates, in a half-whisper.
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.
Carries a attache case at all
times. You know what's in it ?
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.
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.
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.
He likes to hear stories about Nam.
I tell him I can't; they're not
cleared. The truth is he wouldn't
We can now SEE A MAN with his BACK TO US, looking the
opposite way. An attache case resting near to him. We
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.
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.
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.
How about a drink ?
He sits down at the table with the drinks.
Winning the war by yourself.
(he calls for the waiter)
Which part is that ?
(TO THE WAITER)
Beer, with ice and water.
That's good gin.
I'm sure it is, but I had hepatitis.
Yeah. Way north.
What unit were you with ?
The JUKE BOX starts BLARING. Annoyed , Willard looks over
Were you Longe Range Recon --
No -- I worked too far north for
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.
That's quite an array of ribbons...
Let's talk about you.
I was an FO for the 25th.
Fat. That's real fat.
At least you always have enough
water. How many gallons does
each one of those damn things
Thirty -- sometimes fifty.
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.
I swear to God I would have, too,
I didn't know we had units up
there in North Vietnam.
How long were you up there ?
A long time.
A year ? Waiter another beer.
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
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.
What do you want ?
(indicating the Army jeep)
If you're B.L. Willard, 4th Recon
Group, we'd like you to come with
Whose orders ?
Headquarters 11 Corps -- 405th
A.S.A Battalion -- S-2 --
Com-Sec -- Intelligence --
Who are you ?
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.
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
Captain B.L. Willard, G-4 Headquarters,
reporting as ordered, sir.
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.
Have you ever seen this officer
before, Captain Willard ?
He points to the Major.
This gentleman or myself ?
I believe on your last job you
executed a tax collector in Kontum,
is that right ?
I am not presently disposed to
discuss that, sir.
He turns to the Colonel and nods his approval. The
Colonel gets up and goes to a large plastic map.
You know much about about Special Forces;
Green Berets, Captain ?
I've worked with them on occasions
and I saw the movie , sir.
The officer smiles at this.
Then you can appreciate Command's
concern over their -- shall we say
'erratic' methods of operation.
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.
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.
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
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 --
11 MED VIEW
... Captain, we know something's
going on up there -- Major --
The Major looks at some papers in front of him.
Communications naturally dwindled
with the lack of V.C. activity,
this is routine, expected ... but
six months ago communication
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.
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.
- May 10 Thu 2007 15:38
Herman J. Mankiewicz
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.
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.
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.
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.)
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.
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 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.
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
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.
INT. KANE'S BEDROOM - FAINT DAWN -
A very long shot of Kane's enormous bed, silhouetted against
the enormous window.
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
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.
INT. OF A MOTION PICTURE PROJECTION ROOM
On the screen as the camera moves in are the words:
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
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.
NEWS DIGEST NARRATOR
Legendary was the Xanadu where
Kubla Kahn decreed his stately
pleasure dome -
(with quotes in his
"Where twice five miles of fertile
ground, with walls and towers were
(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."
CHARLES FOSTER KANE
Opening shot of great desolate expanse of Florida coastline
(1940 - DAY)
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
(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;
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)
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.
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 -
Artist's painting of Foch's railroad car and peace negotiators,
if actual newsreel shot unavailable. Over this shot
sumperimpose the date - 1918.
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
1. WOMAN SUFFRAGE
The celebrated newsreel shot of about 1914.
Breaking up of a speakeasy and such.
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)
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
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
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
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
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.
- May 09 Wed 2007 12:35
- May 09 Wed 2007 12:28
- May 07 Mon 2007 19:09
- May 07 Mon 2007 18:57
(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 .)
HARLOW: THE GIRL FROM MISSOURI
DAVIS: ALL ABOUT EVE/小狐狸
- May 03 Thu 2007 18:10
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.
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,
"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."
"I couldn't hear my own footsteps.It was the walk of a dead man."
"Are you a mouse or an actress?"
他的反應挺妙:"I can't do that,"he said,"it requires acting."
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
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----
- May 03 Thu 2007 17:46
- May 02 Wed 2007 12:39
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.
"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."
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."
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....
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.