CASABLANCA卡萨布兰卡剧本(中英文对照).doc

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1、 C A S A B L A N C A Released: 1942 Studio: Warner Bros. Running Time: 102 minutes Director: Michael Curtiz Producers: Hal B. Wallis, Jack L. Warner Screenplay: Julius J. Epstein Philip G. Epstein Howard Koch Based on the play EVERYBODY GOES TO RICKS by Murray Burnett, Joan Alison When production be

2、gan the script was only half completed, near the end of production the script was literally being written the night before, and in the final days of filming, the dialogue for some scenes was written while shooting was actually in progress and then rushed to the set. Dialogue for the final seconds of

3、 the film was even added well after production had been completed. It is therefore accurate to say that no complete production script for Casablanca exists. The script that follows is therefore a synthesis of extant versions of the shooting script, the continuity script, and a close analysis of the

4、finished film. 1. 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

5、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 be

6、came 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 fortun

7、ate 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 narrators voice fade away. CUT TO: EXT. OLD MOORISH SECTION OF THE CITY - DAY At first only the turr

8、ets 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 tranquility. Activity is unhurried and sounds are muted. CUT TO: INT. P

9、OLICE STATION - DAY A POLICE OFFICER takes a piece of paper from the typewriter, turns to a microphone, and reads. 2. 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

10、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

11、 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 dont think I have them on me. FIRST POL

12、ICEMAN In that case, well have to ask you to come along. The civilian pats his pockets. CIVILIAN Wait. Its 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. Youll have to come along. Suddenly

13、 the civilian breaks away and starts to run wildly 3. 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. Theyve been thrust by circumstances from a simple country li

14、fe 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 literat

15、ure. 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 high- vaulted entrance which is inscribed Palais de Justice. At the entrance the arrested

16、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, s

17、itting at a table nearby, watches the English couple more closely than the scene on the street. ENGLISHWOMAN What on earths going on there? ENGLISHMAN I dont know, my dear. The European walks over to the couple. EUROPEAN Pardon, pardon, Monsieur, pardon 4. Madame, have you not heard? ENGLISHMAN We h

18、ear 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 JUST

19、ICE - 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 compassionat

20、ely 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

21、 you, thank you very much. EUROPEAN Not at all. Au revoir, Monsieur. Au revoir, Madame. He leaves. The Englishman, still a trifle disconcerted by 5. the Europeans action, watches him as he leaves. ENGLISHMAN Au revoir. Amusing little fellow. Waiter! As he pats both his breast and pants pockets he re

22、alizes there is something missing. ENGLISHMAN Oh. How silly of me. ENGLISHWOMAN What, dear? ENGLISHMAN Ive 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

23、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

24、 have in common, and the plane is the symbol of that hope. Jan and Annina look up at the plane. ANNINA (wistfully) Perhaps tomorrow well be on that plane. CUT TO: EXT. OVERHEAD SHOT - DAY 6. The plane SWOOPS down past a sign atop a building at the edge of the airport. The sign reads Ricks Cafe Ameri

25、cain. 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 appointe

26、d 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, Renaults aide. When the plane door opens, the f

27、irst 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 Hit

28、ler. 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. 7. RENAULT Unoccupied Franc

29、e welcomes you to Casablanca. STRASSER (in perfect English, smiling) Thank you, Captain. Its 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 Ital

30、ian 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 th

31、e 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

32、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 8. We already know who the murderer is. STRASSER Good. Is he in custody? RENAULT Oh, there is no hurry. Tonight hell be at Ricks. Everybody comes to Ricks

33、. STRASSER I have already heard about this cafe, and also about Mr. Rick himself. DISSOLVE TO: EXT. RICKS 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. Agai

34、n we isolate on the neon sign. INSERT SIGN: Ricks Cafe Americain. We follow a group of customers inside. INT. RICKS CAFE - MAIN ROOM - NIGHT Ricks 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 s

35、mall, 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. Ill never get out of here. I