2007-10-28 19:36
lkjlkjlkj
英文剧本
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[b][font=黑体][size=3][color=DarkRed][align=center]关于建立这个置顶欣赏帖的解释[/align][/color][/size][/font][/b]
[font=仿宋_GB2312][size=3] 一个版块以怎样的标准来衡量质量，其实每个参与其中的人都有不同的答案。作为斑竹来说，也总会给版块给多的影响。大家相信我，把这个位置给我来试一下，我总是有心思想让这里变得更好。能力有限，时间有限，在此之外，我总是会想有新的创意出来和大家分享。不过，因为经历的原因，我不会很紧张和很着急，走走，看看，想想，有些定位就在心里慢慢地成形。每个人都在一条错误的路上走着，问心无愧就可以释然了，何况真的有你们的支持一路相伴。
露天电影是放松的，它不是专业版块，特色是影视元素，本质是外贸人的另一个比较小众的交流平台，可以活色生香，但不会波涛汹涌。这里的对话节奏比较舒缓，认真的回帖受到鼓励，有南大街这样的朋友补充进来。目前的对话氛围小众了一点，但是你如果细心一点，可以发现这里有些真诚的心灵值得关注，是大家的合力在起作用。
回头说这个帖，我有些电影方面的比较专业的资源，一直想放在这里，但怎么放，形式感的选择让我很伤脑筋。曲高和寡不行，太通俗了也没有效果，哪个机遇更理想，怎么有FOB的特色，这些都是要预先想到的。
说到FOB特色，是这里现在最缺乏的，真得很难结合。看几部外语片不能算，长时间的结合就要有个切入点，或者说一个机遇。所以，趁现在露天的流量和回帖质量以及受关注程度在慢慢好转的时候。我先把一些英文电影剧本拿出来和大家分享。
因为数量可能会比较多，编辑的时间会拖久，我也不想太累，所以我把帖子关了，以形成长期的系列性。另外，编辑界面不会很精致，喜欢的朋友可以复制到WORD里自己编辑一下浏览，相信这些东西对大家学英语和认识西方电影都是有好处的。在西方国家，尤其是美国，电影编剧有着很高的社会地位，大多是著名学者和小说家转型而来，他们代表着文学和电影两个艺术门类发展的巅峰。另外，许多经典电影的脚本都来自于那一历史时期的畅销书籍。
上次七色给了我一个主意，放一些英文的台词给大家来翻译，设奖搞个活动。但以那时的氛围来说，不是很自然，所以想从这里结合一下，大家看了这些剧本，觉得精彩的部分，自己翻译一下，或是在这里，或是在别的版块和大家讨论一下，这个形式就轻松多了。
一个人的资源难免有限，大家有资源可以发短信告诉我，赠人玫瑰，手有余香。英语剧本看起来肯定比较枯燥，但是一旦习惯了，是有瘾的。为了我们的专业，为了我们的饭碗，为了我们的露天电影，希望大家，都能上瘾。[/size]
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[/font]
[b][font=黑体][size=3][color=DarkRed][align=center]操作手段[/align][/color][/size][/font][/b]
[font=黑体][size=2]1、本帖内容为英文经典电影剧本及台词供会员学习欣赏；
2、鼓励会员将自己的原创英文剧本发出供大家讨论交流；
3、发帖前我会注明发帖类型为原创剧本、电影剧本、剧本理论、台词对白或其它；
4、剧本前我会简单地对电影做个介绍；
7、剧本通常很长，一剧本一帖很难做到，只有以海报为界；
8、关闭跟帖功能，会员发现重大错误可用论坛短信通知我。
9、有感触的文句，希望翻译出来和大家分享。
10、因时间关系未做美化编辑，大家可以复制至WORD文档里进行编辑整理。
11、帖内也会穿插一些中文剧本及剧本创造方法供大家赏析。[/size][/font]
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[[i] 本帖最后由 lkjlkjlkj 于 2008-3-29 22:42 编辑 [/i]]
2007-10-28 19:38
lkjlkjlkj
[b][color=Red]⊙☆☆☆☆【露天电影英文电影剧本、台词脚本、小说原著欣赏目录】☆☆☆☆⊙[/color][/b]
1、好莱坞编剧协会评出的101部最佳电影剧本 （3楼——4楼）
2、卡萨布兰卡(1942) （5楼——14楼）
CASABLANCA
Screenplay by Julius J. & Philip G. Epstein and Howard Koch. Based on the play "Everybody Comes to Rick's" by Murray Burnett and Joan Alison.
3、费城故事(1940) （15楼——22楼）
THE PHILADELPHIA STORY
Screenplay by Donald Ogden Stewart. Based on the play by Philip Barry
[[i] 本帖最后由 lkjlkjlkj 于 2007-10-28 20:50 编辑 [/i]]
2007-10-28 19:43
lkjlkjlkj
[b]好莱坞编剧协会评出的101部最佳电影剧本[/b]
[img]http://www.zidou.com/myfile/zidou1/xiantiao/278.gif[/img]
[color=DarkRed]美国好莱坞编剧协会今天宣布电影史上“101部最佳电影剧本”，获选为第1名的是曾获1944年奥斯卡最佳影片的经典老片《卡萨布兰卡/北非谍影》。这份排行榜是由美国编剧协会成员从1千4百多部电影剧本中评选而出。
美国好莱坞编剧协会(The Writers Guild Of America)的“101部最佳电影剧本”排行榜中，由英格丽褒曼、亨佛莱鲍嘉合演的《北非谍影》荣获榜首。
在这101部获选为最佳电影剧本的影片当中，好莱坞大导演伍迪•艾伦、弗朗西斯•科波拉以及比利•怀德3人都各自有4部剧本上榜，最为风光。
“101部最佳电影剧本”排行榜第2名到第5名依序为《教父》、《唐人街》、《公民凯恩》、《慧星美人》。
第6名到第10名为：《安妮霍尔》、《日落大道》、《电视台风云》、《热情如火》、《教父2》。[/color]
[img]http://www.zidou.com/myfile/zidou1/xiantiao/278.gif[/img]
[b]完整名单见下[/b]
[size=2][font=Verdana]1
CASABLANCA
Screenplay by Julius J. & Philip G. Epstein and Howard Koch. Based on the play "Everybody Comes to Rick's" by Murray Burnett and Joan Alison.
2
THE GODFATHER
Screenplay by Mario Puzo and Francis Ford Coppola. Based on the novel by Mario Puzo.
3
CHINATOWN
Written by Robert Towne
4
CITIZEN KANE
Written by Herman Mankiewicz and Orson Welles
5
ALL ABOUT EVE
Screenplay by Joseph L. Mankiewicz. Based on "The Wisdom of Eve," a short story and radio play by Mary Orr
6
ANNIE HALL
Written by Woody Allen and Marshall Brickman
7
SUNSET BLVD.
Written by Charles Brackett & Billy Wilder and D.M. Marshman Jr.
8
NETWORK
Written by Paddy Chayefsky
9
SOME LIKE IT HOT
Screenplay by Billy Wilder & I.A.L. Diamond. Based on "Fanfare of Love," a German film written by Robert Thoeren and M. Logan
10
THE GODFATHER II
Screenplay by Francis Ford Coppola and Mario Puzo. Based on Mario Puzo's novel "The Godfather"
11
BUTCH CASSIDY AND THE SUNDANCE KID
Written by William Goldman
12
DR. STRANGELOVE
Screenplay by Stanley Kubrick and Peter George and Terry Southern. Based on novel "Red Alert" by Peter George
13
THE GRADUATE
Screenplay by Calder Willingham and Buck Henry. Based on the novel by Charles Webb
14
LAWRENCE OF ARABIA
Screenplay by Robert Bolt and Michael Wilson. Based on the life and writings of Col. T.E. Lawrence
15
THE APARTMENT
Written by Billy Wilder & I.A.L. Diamond
16
PULP FICTION
Written by Quentin Tarantino. Stories by Quentin Tarantino & Roger Avary
17
TOOTSIE
Screenplay by Larry Gelbart and Murray Schisgal. Story by Don McGuire and Larry Gelbart
18
ON THE WATERFRONT
Screen Story and Screenplay by Budd Schulberg. Based on "Crime on the Waterfront" articles by Malcolm Johnson
19
TO KILL A MOCKINGBIRD
Screenplay by Horton Foote. Based on the novel by Harper Lee.
20
IT'S A WONDERFUL LIFE
Screenplay by Frances Goodrich & Albert Hackett & Frank Capra. Based on short story "The Greatest Gift" by Philip Van Doren Stern. Contributions to screenplay Michael Wilson and Jo Swerling
21
NORTH BY NORTHWEST
Written by Ernest Lehman
22
THE SHAWSHANK REDEMPTION
Screenplay by Frank Darabont. Based on the short story "Rita Hayworth and the Shawshank Redemption" by Stephen King
23
GONE WITH THE WIND
Screenplay by Sidney Howard. Based on the novel by Margaret Mitchell
24
ETERNAL SUNSHINE OF THE SPOTLESS MIND
Screenplay by Charlie Kaufman. Story by Charlie Kaufman & Michel Gondry & Pierre Bismuth.
25
THE WIZARD OF OZ
Screenplay by Noel Langley and Florence Ryerson and Edgar Allan Woolf. Adaptation by Noel Langley. Based on the novel by L. Frank Baum
26
DOUBLE INDEMNITY
Screenplay by Billy Wilder and Raymond Chandler. Based on the novel by James M. Cain
27
GROUNDHOG DAY
Screenplay by Danny Rubin and Harold Ramis. Story by Danny Rubin.
28
SHAKESPEARE IN LOVE
Written by Marc Norman and Tom Stoppard
29
SULLIVAN'S TRAVELS
Written by Preston Sturges
30
UNFORGIVEN
Written by David Webb Peoples
31
HIS GIRL FRIDAY
Screenplay by Charles Lederer. Based on the play "The Front Page" by Ben Hecht & Charles MacArthur
32
FARGO
Written by Joel Coen & Ethan Coen
33
THE THIRD MAN
Screenplay by Graham Greene. Story by Graham Greene. Based on the short story by Graham Greene.
34
THE SWEET SMELL OF SUCCESS
Screenplay by Clifford Odets and Ernest Lehman. From a novelette by Ernest Lehman
35
THE USUAL SUSPECTS
Written by Christopher McQuarrie
36
MIDNIGHT COWBOY
Screenplay by Waldo Salt. Based on the novel by James Leo Herlihy
37
THE PHILADELPHIA STORY
Screenplay by Donald Ogden Stewart. Based on the play by Philip Barry
38
AMERICAN BEAUTY
Written by Alan Ball
39
THE STING
Written by David S. Ward
40
WHEN HARRY MET SALLY
Written by Nora Ephron
41
GOODFELLAS
Screenplay by Nicholas Pileggi & Martin Scorsese. Based on book "Wise Guy" by Nicholas Pileggi.
42
RAIDERS OF THE LOST ARK
Screenplay by Lawrence Kasdan. Story by George Lucas and Philip Kaufman
43
TAXI DRIVER
Written by Paul Schrader
44
THE BEST YEARS OF OUR LIVES
Screenplay by Robert E. Sherwood. Based on novel "Glory For Me" by MacKinlay Kantor
45
ONE FLEW OVER THE CUCKOO'S NEST
Screenplay by Lawrence Hauben and Bo Goldman. Based on the novel by Ken Kesey
46
THE TREASURE OF THE SIERRA MADRE
Screenplay by John Huston. Based on the novel by B. Traven
47
THE MALTESE FALCON
Screenplay by John Huston. Based on the novel by Dashiell Hammett
48
THE BRIDGE ON THE RIVER KWAI
Screenplay by Carl Foreman and Michael Wilson. Based on the novel by Pierre Boulle
49
SCHINDLER'S LIST
Screenplay by Steven Zaillian. Based on the novel by Thomas Keneally
50
THE SIXTH SENSE
Written by M. Night Shyamalan
51
BROADCAST NEWS
Written by James L. Brooks
52
THE LADY EVE
Screenplay by Preston Sturges. Story by Monckton Hoffe
53
ALL THE PRESIDENT'S MEN
Screenplay by William Goldman. Based on the book by Carl Bernstein & Bob Woodward
54
MANHATTAN
Written by Woody Allen & Marshall Brickman
55
APOCALYPSE NOW
Written by John Milius and Francis Coppola. Narration by Michael Herr
56
BACK TO THE FUTURE
Written by Robert Zemeckis & Bob Gale
57
CRIMES AND MISDEMEANORS
Written by Woody Allen
58
ORDINARY PEOPLE
Screenplay by Alvin Sargent. Based on the novel by Judith Guest
59
IT HAPPENED ONE NIGHT
Screenplay by Robert Riskin. Based on the story "Night Bus" by Samuel Hopkins Adams
60
L.A. CONFIDENTIAL
Screenplay by Brian Helgeland & Curtis Hanson. Based on the novel by James Ellroy
61
THE SILENCE OF THE LAMBS
Screenplay by Ted Tally. Based on the novel by Thomas Harris
62
MOONSTRUCK
Written by John Patrick Shanley
63
JAWS
Screenplay by Peter Benchley and Carl Gottlieb. Based on the novel by Peter Benchley
64
TERMS OF ENDEARMENT
Screenplay by James L. Brooks. Based on the novel by Larry McMurtry
65
SINGIN' IN THE RAIN
Screen Story and Screenplay by Betty Comden & Adolph Green. Based on the song by Arthur Freed and Nacio Herb Brown
66
JERRY MAGUIRE
Written by Cameron Crowe
67
E.T. THE EXTRA-TERRESTRIAL
Written by Melissa Mathison
68
STAR WARS
Written by George Lucas
69
DOG DAY AFTERNOON
Screenplay by Frank Pierson. Based on a magazine article by P.F. Kluge and Thomas Moore
70
THE AFRICAN QUEEN
Screenplay by James Agee and John Huston. Based on the novel by C.S. Forester
71
THE LION IN WINTER
Screenplay by James Goldman. Based on the play by James Goldman
72
THELMA & LOUISE
Written by Callie Khouri
73
AMADEUS
Screenplay by Peter Shaffer. Based on his play.
74
BEING JOHN MALKOVICH
Written by Charlie Kaufman
75
HIGH NOON
Screenplay by Carl Foreman. Based on short story "The Tin Star" by John W. Cunningham
76
RAGING BULL
Screenplay by Paul Schrader and Mardik Martin. Based on the book by Jake La Motta with Joseph Carter and Peter Savage
77
ADAPTATION
Screenplay by Charlie Kaufman and Donald Kaufman. Based on the book "The Orchid Thief" by Susan Orlean
78
ROCKY
Written by Sylvester Stallone
79
THE PRODUCERS
Written by Mel Brooks
80
WITNESS
Screenplay by Earl W. Wallace & William Kelley. Story by William Kelley and Pamela Wallace & Earl W. Wallace
81
BEING THERE
Screenplay by Jerzy Kosinski. Inspired by the novel by Jerzy Kosinski
82
COOL HAND LUKE
Screenplay by Donn Pearce and Frank Pierson. Based on the novel by Donn Pearce.
83
REAR WINDOW
Screenplay by John Michael Hayes. Based on the short story by Cornell Woolrich
84
THE PRINCESS BRIDE
Screenplay by William Goldman. Based on his novel.
85
LA GRANDE ILLUSION
Written by Jean Renoir and Charles Spaak
86
HAROLD & MAUDE
Written by Colin Higgins
87
8 1/2
Screenplay by Federico Fellini, Tullio Pinelli, Ennio Flaiano, Brunello Rondi. Story by Fellini, Flaiano.
88
FIELD OF DREAMS
Screenplay by Phil Alden Robinson. Based on the book by W.P. Kinsella
89
FORREST GUMP
Screenplay by Eric Roth. Based on the novel by Winston Groom
90
SIDEWAYS
Screenplay by Alexander Payne & Jim Taylor. Based on the novel by Rex Pickett
91
THE VERDICT
Screenplay by David Mamet. Based on the novel by Barry Reed
92
PSYCHO
Screenplay by Joseph Stefano. Based on the novel by Robert Bloch
93
DO THE RIGHT THING
Written by Spike Lee
94
PATTON
Screen Story and Screenplay by Francis Ford Coppola and Edmund H. North. Based on "A Soldier's Story" by Omar H. Bradley and "Patton: Ordeal and Triumph" by Ladislas Farago
95
HANNAH AND HER SISTERS
Written by Woody Allen
96
THE HUSTLER
Screenplay by Sidney Carroll & Robert Rossen. Based on the novel by Walter Tevis
97
THE SEARCHERS
Screenplay by Frank S. Nugent. Based on the novel by Alan Le May
98
THE GRAPES OF WRATH
Screenplay by Nunnally Johnson. Based on the novel by John Steinbeck
99
THE WILD BUNCH
Screenplay by Walon Green and Sam Peckinpah. Story by Walon Green and Roy Sickner
100
MEMENTO
Screenplay by Christopher Nolan. Based on the short story "Memento Mori" by Jonathan Nolan
101
NOTORIOUS
Written by Ben Hecht[/font][/size]
[img]http://www.zidou.com/myfile/zidou1/xiantiao/167.gif[/img]
[[i] 本帖最后由 lkjlkjlkj 于 2007-10-28 20:50 编辑 [/i]]
2007-10-28 19:44
lkjlkjlkj
[b]以下为中文翻译：[/b]
[img]http://www.zidou.com/myfile/zidou1/xiantiao/278.gif[/img]
[font=黑体][size=2]1
卡萨布兰卡(1942)
2
教父(1972)
3
唐人街(1974)
4
公民凯恩(1941)
5
彗星美人(1950)
6
安妮.霍尔(1977)
7
日落大道(1950)
8
电视台风云(1976)
9
热情如火(1959)
10
教父第二部(1974)
11
虎豹小霸王(1969)
12
奇爱博士(1964)
13
毕业生(1967)
14
阿拉伯的劳伦斯(1962)
15
公寓/桃色公寓(1960)
16
低俗小说(1994)
17
窈窕淑男/杜丝先生(1982)
18
码头风云/在江边(1954)
19
杀死一支知更鸟(1962)
20
风云人物(1946)
21
西北偏北/北西北/迷魂记(1959)
22
肖申克的救赎(1995)
23
飘/乱世佳人(1939)
24
纯洁心灵的永恒阳光/暖暖内含光(2004)
25
绿野仙踪(1939)
26
双重保险/双重赔偿(1944)
27
偷天情缘/土拨鼠之日(1993)
28
莎翁情史/恋爱中的莎士比亚(1998)
29
苏利文的旅行(1941)
30
不可饶恕/杀无赦/豪情盖天(1992)
31
女友礼拜五/小报妙冤家(1940)
32
冰血暴(1996)
33
第三人(1949)
34
成功的滋味(1957)
35
非常嫌疑犯(1995)
36
午夜牛郎(1969)
37
费城故事(1940)
38
美国美人(1999)
39
骗中骗(1973)
40
当哈利碰上莎莉/90男欢女爱(1989)
41
好家伙(1990)
42
印第安那琼斯:夺宝骑兵(1981)
43
出租车司机(1976)
44
黄金时代(1946)
45
飞越疯人院(1975)
46
碧血金沙/宝石岭(1948)
47
马耳他之鹰/活死人归来(1941)
48
桂河大桥(1957)
49
辛德勒的名单(1993)
50
第六感(1999)
51
收播新闻(1987)
52
伊芙夫人/淑女伊芙(1941)
53
总统班底/水门事件/惊天大阴谋(1976)
54
曼哈顿(1979)
55
现代启示录(1979)
56
回到未来(1985)
57
爱与罪/犯罪与不端(1989)
58
普通人(1980)
59
一夜风流(1934)
60
洛城机密(1997)
61
沉默的羔羊(1991)
62
月色撩人(1987)
63
大白鲨(1975)
64
母女情深(1983)
65
雨中曲(1952)
66
甜心先生/杰里•马奎尔(1996)
67
E.T.外星人(1982)
68
星球大战(1971)
69
炎热的下午/热天午后(1975)
70
非洲皇后号(1951)
71
冬狮(1968)
72
末路狂花(1991)
73
莫扎特传(1984)
74
成为约翰.马尔科维奇(1999)
75
正午(1952)
76
愤怒的公牛(1980)
77
改编剧本(2002)
78
洛奇(1976)
79
制作人(1968)
80
证人(1985)
81
在那边/富贵逼人来(1979)
82
铁窗喋血(1967)
83
后窗(1954)
84
公主新娘(1987)
85
大幻影/幻灭(1937)
86
哈奥德与茂迪(1971)
87
八部半/八又二分之一(1963)
88
梦幻之地(1989)
89
阿甘正传(1994)
90
杯酒人生/并肩同行(2004)
91
大审判(1982)
92
精神病患者/惊魂记(1960)
93
为所应为(1989)
94
巴顿将军(1970)
95
汉娜姐妹(1986)
96
江湖浪子(1961)
97
搜索者(1956)
98
愤怒的葡萄(1940)
99
日落黄沙/野战群(1969)
100
记忆碎片(2000)
101
美人计(1946)[/size][/font]
[img]http://www.zidou.com/myfile/zidou1/xiantiao/167.gif[/img]
2007-10-28 19:57
lkjlkjlkj
1、[b][size=3][color=Red]卡萨布兰卡/北非谍影 Casablanca (1942) [/color][/size][/b]
[img]http://www.zidou.com/myfile/zidou1/xiantiao/163.gif[/img]
[img]http://img1.mtime.com/pi/d/2004/47/2004111685640.911031.jpg[/img]
[img]http://www.zidou.com/myfile/zidou1/xiantiao/163.gif[/img]
[b][color=DarkRed]导 演： 迈克尔•柯蒂兹 Michael Curtiz
主 演： 英格丽•褒曼 Ingrid Bergman 汉弗莱•博加特 Humphrey Bogart 彼得•洛 Peter Lorre 克劳德•雷恩斯 Claude Rains 悉尼•格林斯特里特 Sydney Greenstreet 保罗•亨里德 Paul Henreid Louis V. Arco Leon Belasco
上 映： 1942年11月26日 ( 美国 )
地 区： 美国 ( 拍摄地 )
对 白： 英语
颜 色： 黑白
时 长： 102 分钟
类 型： 剧情 爱情 [/color][/b]
[img]http://www.zidou.com/myfile/zidou1/xiantiao/163.gif[/img]
[color=Indigo]剧情简介：
第二次世界大战期间，一位美国人雷克•布莱恩在卡萨布兰卡开了一家非常受欢迎的夜总会。玩世不恭的雷克拥有两张宝贵的通行证。纳粹少校史特劳塞因追踪捷克地下阵线领导人维克多•拉塞罗而来到卡萨布兰卡，当地警察局长雷诺竭力取悦纳粹少校。雷克偶然发现维克多的妻子伊丽莎竟是自己昔日的挚爱，两人昔日在撤离时在火车站失散。
伊丽莎了解到雷克能帮助自己和维克多离开卡萨布兰卡，于是请求雷克帮助，而此时雷克的心情却极为复杂。但后来雷克知道当年伊丽莎没有到火车站与自己一起走的原因后，最终决定帮助他们。[/color]
[img]http://www.zidou.com/myfile/zidou1/xiantiao/163.gif[/img]
[b][color=Red][英文剧本]
美国好莱坞编剧协会的宣布电影史上“101部最佳电影剧本”，获选为第1名的就是这部由英格丽褒曼、亨佛莱鲍嘉合演的曾获1944年奥斯卡最佳影片的经典老片《卡萨布兰卡/北非谍影》。[/color][/b]
[img]http://www.zidou.com/myfile/zidou1/xiantiao/163.gif[/img]
[font=Tahoma] [size=2]"CASABLANCA"
Screenplay by
Julius J. Epstein, Philip G. Epstein
and Howard Koch
Based on the play
"EVERYBODY GOES TO RICK'S"
by
Murray Burnett and Joan Alison
FADE IN:
INSERT - A revolving globe. When it stops revolving it turns
briefly into a contour map of Europe, then into a flat map.
Superimposed over this map are scenes of refugees fleeing
from all sections of Europe by foot, wagon, auto, and boat,
and all converging upon one point on the tip of Africa --
Casablanca.
Arrows on the map illustrate the routes taken as the voice
of a NARRATOR describes the migration.
NARRATOR (V.O.)
With the coming of the Second World
War, many eyes in imprisoned Europe
turned hopefully, or desperately,
toward the freedom of the Americas.
Lisbon became the great embarkation
point. But not everybody could get
to Lisbon directly, and so, a
tortuous, roundabout refugee trail
sprang up. Paris to Marseilles, across
the Mediterranean to Oran, then by
train, or auto, or foot, across the
rim of Africa to Casablanca in French
Morocco. Here, the fortunate ones,
through money, or influence, or luck,
might obtain exit visas and scurry
to Lisbon, and from Lisbon to the
New World. But the others wait in
Casablanca -- and wait -- and wait --
and wait.
The narrator's voice fade away...
CUT TO:
EXT. OLD MOORISH SECTION OF THE CITY - DAY
At first only the turrets and rooftops are visible against a
torrid sky.
The facades of the Moorish buildings give way to a narrow,
twisting street crowded with the polyglot life of a native
quarter. The intense desert sun holds the scene in a torpid
tranquillity. Activity is unhurried and sounds are muted.
CUT TO:
INT. POLICE STATION - DAY
A POLICE OFFICER takes a piece of paper from the typewriter,
turns to a microphone, and reads.
POLICE OFFICER
To all officers! Two German couriers
carrying important official documents
murdered on train from Oran. Murderer
and possible accomplices headed for
Casablanca. Round up all suspicious
characters and search them for stolen
documents. Important!
CUT TO:
EXT. A STREET IN THE OLD MOORISH SECTION - DAY
An officer BLOWS his whistle several times.
There is pandemonium as native guards begin to round up
people.
A police car, full of officers, with SIREN BLARING, screams
through the street and stops in the market.
Some try to escape but are caught by the police and loaded
into a police wagon.
At a street corner TWO POLICEMEN stop a white CIVILIAN and
question him.
FIRST POLICEMAN
May we see your papers?
CIVILIAN
(nervously)
I don't think I have them on me.
FIRST POLICEMAN
In that case, we'll have to ask you
to come along.
The civilian pats his pockets.
CIVILIAN
Wait. It's just possible that I...
Yes, here they are.
He brings out his papers. The second policeman examines them.
SECOND POLICEMAN
These papers expired three weeks
ago. You'll have to come along.
Suddenly the civilian breaks away and starts to run wildly
down the street.
The policeman SHOUTS "Halt", but the civilian keeps going.
JAN and ANNINA BRANDEL, a very young and attractive refugee
couple from Bulgaria, watch as the civilian passes. They've
been thrust by circumstances from a simple country life into
an unfamiliar and hectic world.
A shot RINGS out, and the man falls to the ground. Above
him, painted on the wall, is a large poster of Marshal Petain,
which reads: "Je tiens mes promesses, meme celles des autres."
The policeman frantically searches the body, but only finds
Free French literature.
CUT TO:
EXT. PALAIS DE JUSTICE - DAY
We see an inscription carved in a marble block along the
roofline of the building: "Liberte, Egalite, Fraternite"
We see the the facade, French in architecture, then the
highvaulted entrance which is inscribed "Palais de Justice".
At the entrance the arrested suspects are led in by the
police.
CUT TO:
EXT. SIDEWALK CAFE - DAY
A middle-aged ENGLISH COUPLE sit at a table just off the
square, and observe the commotion across the way in front of
the Palais de Justice.
The police van pulls up. The rear doors are opened and people
stream out.
A EUROPEAN man, sitting at a table nearby, watches the English
couple more closely than the scene on the street.
ENGLISHWOMAN
What on earth's going on there?
ENGLISHMAN
I don't know, my dear.
The European walks over to the couple.
EUROPEAN
Pardon, pardon, Monsieur, pardon
Madame, have you not heard?
ENGLISHMAN
We hear very little, and we understand
even less.
EUROPEAN
Two German couriers were found
murdered in the desert... the
unoccupied desert. This is the
customary roundup of refugees,
liberals, and uh, of course, a
beautiful young girl for Monsieur
Renault, the Prefect of Police.
CUT TO:
EXT. PALAIS DE JUSTICE - DAY
Suspects are herded out of the van, and into the Palais de
Justice.
CUT TO:
EXT. SIDEWALK CAFE - DAY
EUROPEAN
Unfortunately, along with these
unhappy refugees the scum of Europe
has gravitated to Casablanca. Some
of them have been waiting years for
a visa.
He puts his left arm compassionately around the Englishman,
and reaches behind the man with his right hand.
EUROPEAN
I beg of you, Monsieur, watch
yourself. Be on guard. This place is
full of vultures, vultures everywhere,
everywhere.
The Englishman seems to be taken aback by this sudden display
of concern.
ENGLISHMAN
Ha, ha, thank you, thank you very
much.
EUROPEAN
Not at all. Au revoir, Monsieur. Au
revoir, Madame.
He leaves. The Englishman, still a trifle disconcerted by
the European's action, watches him as he leaves.
ENGLISHMAN
Au revoir. Amusing little fellow.
Waiter!
As he pats both his breast and pants pockets he realizes
there is something missing.
ENGLISHMAN
Oh. How silly of me.
ENGLISHWOMAN
What, dear?
ENGLISHMAN
I've left my wallet in the hotel.
ENGLISHWOMAN
Oh.
Suddenly the Englishman looks off in the direction of the
departed European, the clouds of suspicion gathering.
Interrupting overhead is the DRONE of a low flying airplane.
They look up.
CUT TO:
EXT. OVERHEAD SHOT - DAY
An airplane cuts its motor for landing.
CUT TO:
EXT. PALAIS DE JUSTICE - DAY
Refugees wait in line outside the Palais de Justice. Their
upturned gaze follows the flight of the plane. In their faces
is revealed one hope they all have in common, and the plane
is the symbol of that hope.
Jan and Annina look up at the plane.
ANNINA
(wistfully)
Perhaps tomorrow we'll be on that
plane.
CUT TO:
EXT. OVERHEAD SHOT - DAY
The plane SWOOPS down past a sign atop a building at the
edge of the airport.
The sign reads "Rick's Cafe Americain."
CUT TO:
EXT. AIRFIELD - DAY
As the plane lands a swastika on its tail is clearly visible.
It taxis to a stop as a group of officers march into formation
in front of it. Behind them stand a detail of native soldiers
keeping guard.
In the group is CAPTAIN LOUIS RENAULT, a French officer
appointed by Vichy as Prefect of Police in Casablanca. He is
a handsome, middle-aged Frenchman, debonair and gay, but
withal a shrewd and alert official.
With him are HERR HEINZE, the German consul, CAPTAIN TONELLI,
an Italian officer, and LIEUTENANT CASSELLE, Renault's aide.
When the plane door opens, the first passenger to step out
is a tall, middle-aged, pale German with a smile that seems
more the result of a frozen face muscle than a cheerful
disposition. On any occasion when MAJOR STRASSER is crossed,
his expression hardens into iron.
Herr Heinze steps up to him with upraised arm.
HEINZE
Heil Hitler.
STRASSER
Heil Hitler.
They shake hands.
HEINZE
It is very good to see you again,
Major Strasser.
STRASSER
Thank you. Thank you.
Heinze introduces Strasser to Renault.
HEINZE
May I present Captain Renault, Police
Prefect of Casablanca. Major Strasser.
Renault salutes.
RENAULT
Unoccupied France welcomes you to
Casablanca.
STRASSER
(in perfect English,
smiling)
Thank you, Captain. It's very good
to be here.
RENAULT
Major Strasser, my aide, Lieutenant
Casselle.
As they acknowledge each other, Captain Tonelli barges in
front of Casselle and salutes Strasser.
TONELLI
Captain Tonelli, the Italian service,
at your command, Major.
STRASSER
That is kind of you.
But Tonelli gets no further than that as Strasser turns again
to Renault. They walk away from the plane, Heinze following,
with Casselle and Tonelli bringing up the rear, engaged in a
heated exchange of words.
RENAULT
You may find the climate of Casablanca
a trifle warm, Major.
STRASSER
Oh, we Germans must get used to all
climates, from Russia to the Sahara.
But perhaps you were not referring
to the weather.
RENAULT
(sidesteps the
implication with a
smile)
What else, my dear Major?
STRASSER
(casually)
By the way, the murder of the
couriers, what has been done?
RENAULT
Realizing the importance of the case,
my men are rounding up twice the
usual number of suspects.
HEINZE
We already know who the murderer is.
STRASSER
Good. Is he in custody?
RENAULT
Oh, there is no hurry. Tonight he'll
be at Rick's. Everybody comes to
Rick's.
STRASSER
I have already heard about this cafe,
and also about Mr. Rick himself[/size].[/font]
[[i] 本帖最后由 lkjlkjlkj 于 2007-10-28 19:59 编辑 [/i]]
2007-10-28 20:00
lkjlkjlkj
[font=Tahoma][size=2] DISSOLVE TO:
EXT. RICK'S CAFE - NIGHT
The neon sign above the door is brightly lit. Customers arrive
and go in through the front door. From inside we hear sounds
of MUSIC and LAUGHTER. The song is "It Had to Be You."
Again we isolate on the neon sign.
INSERT SIGN: "Rick's Cafe Americain".
We follow a group of customers inside.
INT. RICK'S CAFE - MAIN ROOM - NIGHT
Rick's is an expensive and chic nightclub which definitely
possesses an air of sophistication and intrigue.
SAM, a middle-aged Negro, sits on a stool before a small,
salmon-colored piano on wheels, playing and singing while
accompanied by a small orchestra.
All about him there is the HUM of voices, CHATTER and
LAUGHTER.
The occupants of the room are varied. There are Europeans in
their dinner jackets, their women beautifully begowned and
bejeweled. There are Moroccans in silk robes. Turks wearing
fezzes. Levantines. Naval officers. Members of the Foreign
Legion, distinguished by their kepis.
Two men sit at a table.
MAN
Waiting, waiting, waiting. I'll never
get out of here. I'll die in
Casablanca.
His companion seems uninterested in his dilemma. Sympathy is
evidently in short supply in Casablanca.
At another table a very well-dressed WOMAN talks to a MOOR.
She has a bracelet on her wrist. No other jewelry.
WOMAN
But can't you make it just a little
more? Please.
MOOR
I'm sorry, Madame, but diamonds are
a drug on the market. Everybody sells
diamonds. There are diamonds
everywhere. Two thousand, four
hundred.
WOMAN
All right.
On to another table where two CONSPIRATORS talk.
CONSPIRATOR
The trucks are waiting, the men are
waiting. Everything is...
He stops abruptly as two German officers walk by.
A REFUGEE and another MAN converse at another table.
MAN
It's the fishing smack Santiago. It
leaves at one tomorrow night, here
from the end of La Medina. Third
boat.
REFUGEE
Thank you, oh, thank you.
MAN
And bring fifteen thousand francs in
cash. Remember, in cash.
On the way to the bar we pass several tables and hear a Babel
of foreign tongues. Here and there we catch a scattered phrase
or sentence in English.
SACHA, a friendly young Russian bartender, hands a drink to
a customer with the Russian equivalent of "Bottoms Up." The
customer answers with "Cheerio."
CARL, the waiter, is a fat, jovial German refugee with
spectacles. He walks, tray in hand, to a private door, over
which ABDUL, a large, burly man, stands guard.
CARL
Open up, Abdul.
ABDUL
(respectfully)
Yes, Herr Professor.
Abdul opens the door and Carl goes into the gambling room.
INT. RICK'S CAFE - GAMBLING ROOM - NIGHT
Their is much activity at the various tables. At one table
TWO WOMEN and a MAN play cards. They glance at another table.
One of them calls to Carl.
FIRST WOMAN
Uh, waiter.
CARL
Yes, Madame?
FIRST WOMAN
Will you ask Rick if he'll have a
drink with us?
CARL
Madame, he never drinks with
customers. Never. I have never seen
him.
SECOND WOMAN
(disappointedly)
What makes saloon-keepers so snobbish?
MAN
(to Carl)
Perhaps if you told him I ran the
second largest banking house in
Amsterdam.
CARL
The second largest? That wouldn't
impress Rick. The leading banker in
Amsterdam is now the pastry chef in
our kitchen.
MAN
We have something to look forward
to.
CARL
And his father is the bell boy.
Carl laughs.
The overseer walks up to a table with a paper in his hand.
Then we see a drink and a man's hand, but nothing more. The
overseer places a check on the table. The hand picks up the
check and writes on it, in pencil, "Okay-Rick."
The overseer takes the check.
We now see RICK, sitting at a table alone playing solitary
chess. Rick is an American of indeterminate age. There is no
expression on his face -- complete deadpan.
There is a commotion at the door as people attempt to come
into the gambling room. He nods approval to Abdul.
Then a GERMAN appears in the doorway. Abdul looks to Rick
who glances back toward the open door and nods "no".
Abdul starts to close the door on the man.
ABDUL
I'm sorry sir, this is a private
room.
GERMAN
Of all the nerve! Who do you think...
I know there's gambling in there!
There's no secret. You dare not keep
me out of here!
The man tries to push his way through the door as Rick walks
up.
RICK
(coldly)
Yes? What's the trouble?
ABDUL
This gentleman --
The German interrupts and waves his card.
GERMAN
I've been in every gambling room
between Honolulu and Berlin and if
you think I'm going to be kept out
of a saloon like this, you're very
much mistaken.
At this moment UGARTE, a small, thin man with a nervous air,
tries to squeeze through the doorway blocked by the German.
If he were an American, Ugarte would look like a tout.
He gets through and passes Rick.
UGARTE
Uh, excuse me, please. Hello, Rick.
RICK
(softly)
Hello Ugarte.
Rick looks at the German calmly, takes the card out of his
hand, and tears it up.
RICK
Your cash is good at the bar.
GERMAN
What! Do you know who I am?
RICK
I do. You're lucky the bar's open to
you.
GERMAN
This is outrageous. I shall report
it to the Angriff!
The German storms off, tossing the pieces of his card into
the air behind him.
Rick meets Ugarte on his way back to his table.
UGARTE
(fawning)
Huh. You know, Rick, watching you
just now with the Deutsches Bank,
one would think you'd been doing
this all your life.
RICK
(stiffening)
Well, what makes you think I haven't?
UGARTE
(vaguely)
Oh, nothing. But when you first came
to Casablanca, I thought --
RICK
(coldly)
-- You thought what?
Fearing to offend Rick, Ugarte laughs.
UGARTE
What right do I have to think?
Ugarte pulls out a chair at Rick's table.
UGARTE
May I? Too bad about those two German
couriers, wasn't it?
RICK
(indifferently)
They got a lucky break. Yesterday
they were just two German clerks.
Today they're the 'Honored Dead'.
UGARTE
You are a very cynical person, Rick,
if you'll forgive me for saying so.
Ugarte sits down.
RICK
(shortly)
I forgive you.
A waiter comes up to the table with a tray of drinks. He
places one before Ugarte.
UGARTE
Thank you.
(to Rick)
Will you have a drink with me please?
RICK
No.
UGARTE
I forgot. You never drink with...
(to waiter)
I'll have another, please.
(to Rick, sadly)
You despise me, don't you?
RICK
(indifferently)
If I gave you any thought, I probably
would.
UGARTE
But why? Oh, you object to the kind
of business I do, huh? But think of
all those poor refugees who must rot
in this place if I didn't help them.
That's not so bad. Through ways of
my own I provide them with exit visas.
RICK
For a price, Ugarte, for a price.
UGARTE
But think of all the poor devils who
cannot meet Renault's price. I get
it for them for half. Is that so
parasitic?
RICK
I don't mind a parasite. I object to
a cut-rate one.
UGARTE
Well, Rick, after tonight I'll be
through with the whole business, and
I am leaving finally this Casablanca.
RICK
Who did you bribe for your visa?
Renault or yourself?
UGARTE
(ironically)
Myself. I found myself much more
reasonable.
He takes an envelope from his pocket and lays it on the table.
UGARTE
Look, Rick, do you know what this
is? Something that even you have
never seen. Letters of transit signed
by General de Gaulle. Cannot be
rescinded, not even questioned.
Rick appears ready to take them from Ugarte.
UGARTE
One moment. Tonight I'll be selling
those for more money than even I
have ever dreamed of, and then, addio
Casablanca! You know, Rick, I have
many friends in Casablanca, but
somehow, just because you despise me
you're the only one I trust. Will
you keep these for me? Please.
RICK
For how long?
UGARTE
Perhaps an hour, perhaps a little
longer.
RICK
I don't want them here overnight.
UGARTE
Don't be afraid of that. Please keep
them for me. Thank you. I knew I
could trust you.
Rick takes them. Ugarte leaves the table just as the waiter
comes up.
UGARTE
Oh, waiter. I'll be expecting some
people. If anybody asks for me, I'll
be right here.
WAITER
Yes, Monsieur.
The waiter leaves. Ugarte turns to Rick.
UGARTE
Rick, I hope you are more impressed
with me now, huh? If you'll forgive
me, I'll share my good luck with
your roulette wheel.
He starts across the floor.
RICK
Just a moment.
Ugarte stops as Rick comes up to him.
RICK
Yeah, I heard a rumor that those
German couriers were carrying letters
of transit.
Ugarte hesitates for a moment.
UGARTE
Huh? I heard that rumor, too. Poor
devils.
Rick looks at Ugarte steadily.
RICK
(slowly)
Yes, you're right, Ugarte. I am a
little more impressed with you.
Rick leaves the gambling room and goes into the main room.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT
Rick makes his way over to Sam, who plays and sings the "Knock
Wood" number, accompanied by the orchestra. The cafe is in
semi-darkness. The spotlight is on Sam, and every time the
orchestra comes in on the "Knock Wood" business, the spotlight
swings over to the orchestra.
During one of the periods when the spotlight is on the
orchestra, Rick slips the letters of transit into the piano.
FERRARI, owner of the Blue Parrot, a competing night spot,
comes into the cafe, sits down, and watches Sam.
Then he sees Rick and they smile at each other. At the end
of the number Ferrari goes to the bar to speak to Rick.[/size][/font]
2007-10-28 20:02
lkjlkjlkj
[font=Tahoma][size=2] FERRARI
Hello, Rick.
RICK
Hello, Ferrari. How's business at
the Blue Parrot?
FERRARI
Fine, but I would like to buy your
cafe.
RICK
It's not for sale.
FERRARI
You haven't heard my offer.
RICK
It's not for sale at any price.
FERRARI
What do you want for Sam?
RICK
I don't buy or sell human beings.
FERRARI
That's too bad. That's Casablanca's
leading commodity. In refugees alone
we could make a fortune if you would
work with me through the black market.
RICK
Suppose you run your business and
let me run mine.
FERRARI
Suppose we ask Sam. Maybe he'd like
to make a change.
RICK
Suppose we do.
FERRARI
My dear Rick, when will you realize
that in this world today isolationism
is no longer a practical policy?
Rick and Ferrari walk over to the piano.
RICK
Sam, Ferrari wants you to work for
him at the Blue Parrot.
SAM
I like it fine here.
RICK
He'll double what I pay you.
SAM
Yeah, but I ain't got time to spend
the money I make here.
RICK
Sorry.
Apparently satisfied, Ferrari walks away.
Back at the bar, YVONNE, an attractive young French woman,
sits on a stool drinking brandy.
Sacha, who looks at her with lovesick eyes, fills her tumbler.
SACHA
The boss's private stock. Because,
Yvonne, I loff you.
YVONNE
(morosely)
Oh, shut up.
SACHA
(fondly)
All right, all right. For you, Yvonne,
I shot opp, because, Yvonne, I loff
you. Uh oh.
Rick saunters over and leans on the bar, next to Yvonne.
He pays no attention to her. She looks at him bitterly,
without saying a word.
SACHA
Oh, Monsieur Rick, Monsieur Rick.
Some Germans, boom, boom, boom, boom,
gave this check. Is it all right?
Rick looks the check over and tears it up. Yvonne has never
taken her eyes off Rick.
YVONNE
Where were you last night?
RICK
That's so long ago, I don't remember.
YVONNE
Will I see you tonight?
RICK
(matter-of-factly)
I never make plans that far ahead.
Yvonne turns, looks at Sacha, and extends her glass to him.
YVONNE
Give me another.
RICK
Sacha, she's had enough.
YVONNE
Don't listen to him, Sacha. Fill it
up.
SACHA
Yvonne, I loff you, but he pays me.
Yvonne wheels on Rick with drunken fury.
YVONNE
Rick, I'm sick and tired of having
you --
RICK
-- Sacha, call a cab.
SACHA
Yes, boss.
Rick takes Yvonne by the arm.
RICK
Come on, we're going to get your
coat.
YVONNE
Take your hands off me!
He pulls her along toward the door.<