38012号馆文选__Citizen Kane(公民凯恩)

CITIZEN KANE 　　By 　　Herman J. Mankiewicz 　　& 　　Orson Welles 　　 　　Typed /Donated by 　　John Powers 　　Jon Reifler 　　 　　(Continue) 　　NARRATOR 　　Then four long years more – alone in 　　His never-finished, already decaying, 　　Pleasure palace, aloof, seldom visited, 　　Never photographed, Charles Foster Kane 　　Continued to direct his falling empire 　　… vainly attempting to sway, as he 　　Once did, the destinies of a nation that 　　has ceased to listen to him … ceased 　　to trust him… 　　 　　Shots of Xanadu. (1940) 　　 　　Series of shots, entirely modern, but rather jumpy and obviously bootlegged, showing Kane in a bath chair, swathed in summer rugs, being perambulated through his rose garden, a desolate figure in the sunshine. (1935) 　　 　　NARRATOR 　　Last week, death came to sit upon the 　　Throne of Americas Kubla Khan – last 　　Week, as it must to all men, death came 　　To Charles Foster Kane. 　　 　　DISSOLVE: 　　 　　Cabinet Photograph (Full Screen) of Kane as an old, old man. This image remains constant on the screen (as camera pulls back, taking in the interior of a dark projection room. 　　 　　INT. PROJECTION ROOM – DAY – 1940 　　 　　A fairly large one, with a long throw to the screen. It is dark. 　　 　　The image of Kane as an old man remains constant on the screen as camera pulls back, slowly taking in and registering Projection Room. This action occurs, however, only after the first few lines of encuring dialogue have been spoken. The shadows of the men speaking appear as they rise from their chairs – black against the image of Kane’s face on the screen. 　　 　　NOTE: These are the editors of a “News Digest”short, and of the Rawlston magazines. All his enterprises are represented in the projection room, and Rawlston himself, that great man, is present also and will shortly speak up. 　　 　　During the entire course of this scene, nobody’s face is really seen. Sections of their bodies are picked out by a table light, a silhouette is thrown on the screen, and their faces and bodies are themselves thrown into silhouette against the brilliant slanting rays of light from the projection room. 　　 　　A Third Man is on the telephone. We see a corner of his dead and the phone. 　　 　　THIRD MAN 　　 (At phone) 　　Stand by. I’ll tell you if we want 　　To run it again. 　　 (Hang up) 　　 　　THOMPSONS’S VOICE 　　Well? 　　 　　A short pause. 　　 　　A MAN’S VOICE 　　It’s a tough thing to do in a newsreel. 　　Seventy years of a man’s life – 　　 　　Murmur of highly salaries assent at this. Rawlston walks toward camera and out of the picture. Others are rising. Camera during all of this, apparently does its best to follow action and pick up faces, but fails. Actually, all set-ups are to be planned very carefully to exclude the element of personality from this scene; which is expressed entirely by voices, shadows, silhouettes and the big, bright image of Kane himself on the screen. 　　 　　A VOICE 　　See what Arthur Eillis wrote about him 　　In the American review? 　　 　　 THIRD MAN 　　I read it. 　　 　　 THE VOICE 　　(Its owner is already leaning 　　 Across the table, holding a 　　 Piece of paper under the desk 　　 Light and reading from it) 　　 　　Listen: Kane is dead. He contributed 　　To the journalism of his day – the 　　Talent of a mountebank, the morals of a 　　Bootlegger, and the manners of a pasha. 　　He and his kind have almost succeeded in 　　Transforming a once noble profession into 　　A seven percent security – no longer secure. 　　 　　 ANOTHER VOICE 　　That’s what Arthur Eillis is writing now. 　　Thirty years ago, when Kane gave him his 　　Chance to clean up Detroit and Chicago and 　　St. Louis, Kane was the greatest guy in the 　　World. If you ask me – 　　 　　ANOTHER VOICE 　　Charles Foster Kane was a … 　　 　　Then observations are made almost simultaneous. 　　 　　RAWLSTON’S VOICE 　　Just a minute! 　　 　　Camera moves to take in his bulk outlined against the glow from the projection room. 　　 　　RAWLSTON 　　 What were Kane’s last words? 　　 　　A silence greets this. 　　 RAWLSTON 　　 What were the last words he said on? 　　 Earth? Thompson, you’ve made us a 　　 Good short, but it needs character – 　　 　　SOMEBODY’S VOICE 　　 Motivation – 　　 　　RAWLSTON 　　 That’s it – motivation. What made Kane 　　 　　 When he was? And, for that matter, what 　　 Was he? What we’ve just seen are the 　　 Outlines of a career – what’s behind the 　　 Career? What’s the man? Was he good or 　　 Bad? Strong or foolish? Tragic or silly? 　　 Why did he do all those things? What was 　　 He after? 　　(Then, appreciating his point) 　　 Maybe he told us on his death bed. 　　 　　 THOMPSON 　　 Yes, and maybe he didn’t. 　　 　　 RAWLSTON 　　 Ask the question anyway, Thompson! 　　 Build the picture around the question, 　　 Even if you can’t answer it. 　　 　　 THOMPSON 　　 I know, but – 　　 　　 RAWLSTON 　　(riding over him like any 　　other producer) 　　 All we saw on that screen was a big 　　 American – 　　 　　 A VOICE 　　 One of the biggest. 　　 　　 RAWLSTON 　　(without pausing for this) 　　 But how is he different from Ford? 　　 Or Hearst for that matter? Or 　　 Rockefeller – or John Doe? 　　 　　A VOICE 　　 I know people worked for Kane will tell 　　 You – not only in the newspaper business 　　- Look how he raised salaries. You don’t 　　 Want to forget – 　　 　　ANOTHER VOICE 　　 You take his labor record alone, they 　　 Ought to hang him up like a dog. 　　 　　RAWLSTON 　　 I tell you, Thompson – a man’s dying 　　 Words – 　　 　　 SOMEBODY’S VOICE 　　What were they? 　　 　　Silence. 　　 SOMEBODY’S VOICE 　　 (Hesitant) 　　 Yes, Mr. Rawlston, what were Kane’s 　　 Dying words? 　　 　　 RAWLSTON 　　 (With disgust) 　　 Rosebud! 　　 　　A little ripple of laughter at this, which is promptly silence by Rawlston. 　　 　　 RAWLSTON 　　 That’s right. 　　 　　 A VOICE 　　 Tough guy, huh? 　　(Derisively) 　　 Dies calling for Rosebud! 　　 　　RAWLSTON 　　 Here’s a man who might have been 　　 President. He’ been love and 　　 Hated and talked about as much as 　　 Any man in our time – but when he 　　 Comes to die, he’s got something on 　　 His mind called “Rosebud.” What 　　 Does that mean? 　　 　　ANOTHER VOICE 　　 A racehorse he bet on once, probably, 　　 That didn’t come in – Rosebud! 　　 　　RAWLSTON 　　All right. But what was the race? 　　 　　There is a short silence. 　　 　　RAWLSTON 　　Thompson! 　　 　　THOMPSON 　　 　　Yes, sir. 　　 　　RAWLSTON 　　Hold this thing up for a week. Two 　　Weeks if you have to … 　　 　　THOMPSON 　　(Feebly) 　　But don’t you think if we release it 　　Now – he’s only been dead four days 　　- It might be better than if – 　　 　　RAWLSTON 　　(Decisively) 　　 Nothing is ever better than finding 　　 Out what makes people tick. Go after 　　 The people that knew Kane well. That 　　 Manager of his – the little guy, 　　 Bernstein, those two wives, all the 　　 People who knew him, had worked for 　　 Him, who loved him, who hated his guts – 　　 (Pauses) 　　 I don’t mean go through the City 　　 Directory, of course – 　　 　　The Third Man gives a hearty “yes-man” laughs. 　　 　　THOMPSON 　　I’ll get to it right away, Mr. 　　Rawlston. 　　 　　RAWLSTON 　　(Rising) 　　Good! 　　 　　The camera from behind him, outlines his back against Kane’s picture on the screen. 　　 　　RAWLSTON’S VOICE 　　(continued) 　　It’ll probably turn out to be a very 　　Simple thing… 　　 　　FADE OUT: 　　 　　NOTE: Now begins the story paper – the search by Thompson for the facts about Kane – his researches … his interviews with the people who knew Kane. 　　 　　It is important to remember always that only at the very end of the story is Thompson himself a 　　Personality. Until then, throughout the picture, we photograph only Thompson’s back, shoulders, or his shadow – sometimes we only record his voice. He is not until the final scene a “Character”. 　　He is the personification of the search for the truth about Charles Foster Kane. He is the investigator. 　　 　　 　　FADE IN: 　　 　　EXT. CHEAP CABARET – “EL RANCHO” – ATLANTIC CITY – NIGHT – 1940(MINIATURE) – RAIN 　　 　　The first image to register is sign: 　　 　　“EL RANCHO” 　　FLOOR SHOW 　　SUSAN ALEXANDER KANE 　　TWICE NIGHTLY 　　 　　These words, spelled out in neo, glow out of the darkness at the end of the fade out. Then there is lightning which reveals a squalid roof-top on which the sign stands. Thunder again, and faintly the sound of music from within. A light glows from a skylight. The camera moves to this and closes in. Through the splashes of rain, we see through the skylight down into the interior of the cabaret. Directly below us at a table sits the one figure of a woman, drinking by herself. 　　 　　DISSOLVE: 　　 　　INT. “EL RANCO” CABARET – NIGHT –1940 　　 　　Medium shot of the same woman as before, finishing the drink she started to take above. It is Susie. The music, of course, is now very loud. Thompson, his back to the camera, moves into the picture in the close foreground. A Captain appears behind Susie, speaking across her to Thompson. 　　 　　THE CAPTAIN 　　 (a Greek) 　　This is Mr. Thompson, Miss Alexander. 　　Susan looks up into Thompson’s face. She is fifty, trying to look much younger, cheaply blonded, in a cheap, enormously generous evening dress. Blinking up into Thompson’s face, she throws a crink into their mouth. Her eyes, which she thinks is keeping commandingly on his, are bleared and watery. 　　 　　SUSAN 　　(To the Captain) 　　I want another drink, John. 　　 　　Low thunder from outside. 　　 　　THE CAPTAIN 　　(Seeing his chance) 　　Right away. Will you have something, 　　Mr. Thompson? 　　 　　 THOMPSPN 　　 (Staring to sit down) 　　I’ll have a highball. 　　 　　 SUSAN 　　 (So insistently as to make 　　 Thompson change his mind 　　 And stand up again) 　　Who told you you could sit down here? 　　 　　THOMPSON 　　Oh! I thought maybe we could have 　　A drink together? 　　 　　SUSAN 　　Think again! 　　 　　There is an awkward pause as Thompson looks from her to Captain. 　　 　　SUSAN 　　Why don’t you people let me alone? 　　I’m minding my own business. You 　　Mind yours. 　　THOMPSON 　　If you’d just let me talk to you 　　For a little while, Miss Alexander. 　　All I want to ask you… 　　 　　SUSAN 　　Get out of here! 　　(almost hysterical) 　　Get out! Get out! 　　 　　Thompson looks at the Captain, who shrugs his shoulders. 　　 　　THOMPSON 　　I’m sorry. Maybe some other time – 　　If he thought he would get a response from Susan, who thinks she is looking at him steelily, he realizes his error. He nods and walks off, following the Captain out the door. 　　 　　THE CAPTAIN 　　She’s just not talking to anybody 　　From the newspapers, Mr. Thompson. 　　 　　THOMPSON 　　I’m not from a newspaper exactly, I – 　　 　　They have come upon a waiter standing in front of a booth.

原文2005年12月26日 发表于子曰电影网  浏览：1117

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