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英文片名: Citizen Kane
中文片名: 公民凯恩
上映: 1941
CITIZEN KANE
by
Herman J. Mankiewicz
amp;&
Orson Welles
Typed/Donated by
John Powers
Jon Reifler
PROLOGUE
FADE IN:
EXT. XANADU - FAINT DAWN - 1940 (MINIATURE)
Window, very small in the distance, illuminated.
All around this is an almost totally black screen. Now, as the camera moves slowly towards the window which is almost a postage stamp in the frame, other forms appear; barbed wire, cyclone fencing, and now, looming up against an early morning sky, enormous iron grille work. Camera travels up what is now shown to be a gateway of gigantic proportions and holds on the top of it - a huge initial "K" showing darker and darker against the dawn sky. Through this and beyond we see the fairy-tale mountaintop of Xanadu, the great castle a sillhouette as its summit, the little window a distant accent in the darkness.
DISSOLVE:
(A SERIES OF SET-UPS, EACH CLOSER TO THE GREAT WINDOW, ALL TELLING SOMETHING OF:)
The literally incredible domain of CHARLES FOSTER KANE.
Its right flank resting for nearly forty miles on the Gulf Coast, it truly extends in all directions farther than the eye can see. Designed by nature to be almost completely bare and flat - it was, as will develop, practically all marshland when Kane acquired and changed its face - it is now pleasantly uneven, with its fair share of rolling hills and one very good-sized mountain, all man-made. Almost all the land is improved, either through cultivation for farming purposes of through careful landscaping, in the shape of parks and lakes. The castle dominates itself, an enormous pile, compounded of several genuine castles, of European origin, of varying architecture - dominates the scene, from the very peak of the mountain.
DISSOLVE:
GOLF LINKS (MINIATURE)
Past which we move. The greens are straggly and overgrown, the fairways wild with tropical weeds, the links unused and not seriously tended for a long time.
DISSOLVE OUT:
DISSOLVE IN:
WHAT WAS ONCE A GOOD-SIZED ZOO (MINIATURE)
Of the Hagenbeck type. All that now remains, with one exception, are the individual plots, surrounded by moats, on which the animals are kept, free and yet safe from each other and the landscape at large. (Signs on several of the plots indicate that here there were once tigers, lions, girrafes.)
DISSOLVE:
THE MONKEY TERRACE (MINIATURE)
In the foreground, a great obscene ape is outlined against the dawn murk. He is scratching himself slowly, thoughtfully, looking out across the estates of Charles Foster Kane, to the distant light glowing in the castle on the hill.
DISSOLVE:
THE ALLIGATOR PIT (MINIATURE)
The idiot pile of sleepy dragons. Reflected in the muddy water - the lighted window.
THE LAGOON (MINIATURE)
The boat landing sags. An old newspaper floats on the surface of the water - a copy of the New York Enquirer." As it moves across the frame, it discloses again the reflection of the window in the castle, closer than before.
THE GREAT SWIMMING POOL (MINIATURE)
It is empty. A newspaper blows across the cracked floor of the tank.
DISSOLVE:
THE COTTAGES (MINIATURE)
In the shadows, literally the shadows, of the castle. As we move by, we see that their doors and windows are boarded up and locked, with heavy bars as further protection and sealing.
DISSOLVE OUT:
DISSOLVE IN:
A DRAWBRIDGE (MINIATURE)
Over a wide moat, now stagnant and choked with weeds. We move across it and through a huge solid gateway into a formal garden, perhaps thirty yards wide and one hundred yards deep, which extends right up to the very wall of the castle. The landscaping surrounding it has been sloppy and causal for a long time, but this particular garden has been kept up in perfect shape. As the camera makes its way through it, towards the lighted window of the castle, there are revealed rare and exotic blooms of all kinds. The dominating note is one of almost exaggerated tropical lushness, hanging limp and despairing. Moss, moss, moss. Ankor Wat, the night the last King died.
DISSOLVE:
THE WINDOW (MINIATURE)
Camera moves in until the frame of the window fills the frame of the screen. Suddenly, the light within goes out. This stops the action of the camera and cuts the music which has been accompanying the sequence. In the glass panes of the window, we see reflected the ripe, dreary landscape of Mr. Kane's estate behind and the dawn sky.
DISSOLVE:
INT. KANE'S BEDROOM - FAINT DAWN - 1940
A very long shot of Kane's enormous bed, silhouetted against the enormous window.
DISSOLVE:
INT. KANE'S BEDROOM - FAINT DAWN - 1940
A snow scene. An incredible one. Big, impossible flakes of snow, a too picturesque farmhouse and a snow man. The jingling of sleigh bells in the musical score now makes an ironic reference to Indian Temple bells - the music freezes -
KANE'S OLD OLD
VOICE
Rosebud...
The camera pulls back, showing the whole scene to be contained in one of those glass balls which are sold in novelty stores all over the world. A hand - Kane's hand, which has been holding the ball, relaxes. The ball falls out of his hand and bounds down two carpeted steps leading to the bed, the camera following. The ball falls off the last step onto the marble floor where it breaks, the fragments glittering in the first rays of the morning sun. This ray cuts an angular pattern across the floor, suddenly crossed with a thousand bars of light as the blinds are pulled across the window.
The foot of Kane's bed. The camera very close. Outlined against the shuttered window, we can see a form - the form of a nurse, as she pulls the sheet up over his head. The camera follows this action up the length of the bed and arrives at the face after the sheet has covered it.
FADE OUT:
FADE IN:
INT. OF A MOTION PICTURE PROJECTION ROOM
On the screen as the camera moves in are the words:
"MAIN TITLE"
Stirring, brassy music is heard on the soundtrack (which, of course, sounds more like a soundtrack than ours.)
The screen in the projection room fills our screen as the second title appears:
"CREDITS"
NOTE: Here follows a typical news digest short, one of the regular monthly or bi-monthly features, based on public events or personalities. These are distinguished from ordinary newsreels and short subjects in that they have a fully developed editorial or storyline. Some of the more obvious characteristics of the "March of Time," for example, as well as other documentary shorts, will be combined to give an authentic impression of this now familiar type of short subject. As is the accepted procedure in these short subjects, a narrator is used as well as explanatory titles.
FADE OUT:
NEWS DIGEST
NARRATOR
Legendary was the Xanadu where Kubla
Kahn decreed his stately pleasure
dome -
(with quotes in his voice)
"Where twice five miles of fertile
ground, with walls and towers were
girdled 'round."
(dropping the quotes)
Today, almost as legendary is Florida's
XANADU - world's largest private
pleasure ground. Here, on the deserts
of the Gulf Coast, a private mountain
was commissioned, successfully built
for its landlord. Here in a private
valley, as in the Coleridge poem,
"blossoms many an incense-bearing tree."
Verily, "a miracle of rare device."
U.S.A.
CHARLES FOSTER KANE
Opening shot of great desolate expanse of Florida coastline (1940 - DAY)
DISSOLVE:
Series of shots showing various aspects of Xanadu, all as they might be photographed by an ordinary newsreel cameraman - nicely photographed, but not atmospheric to the extreme extent of the Prologue (1940).
NARRATOR
(dropping the quotes)
Here, for Xanadu's landlord, will be
held 1940's biggest, strangest funeral;
here this week is laid to rest a potent
figure of our Century - America's Kubla
Kahn - Charles Foster Kane.
In journalism's history, other names
are honored more than Charles Foster
Kane's, more justly revered. Among
publishers, second only to James Gordon
Bennet the First: his dashing, expatriate
son; England's Northcliffe and Beaverbrook;
Chicago's Patterson and McCormick;
TITLE:
TO FORTY-FOUR MILLION U.S. NEWS BUYERS, MORE NEWSWORTHY THAN THE NAMES IN HIS OWN HEADLINES, WAS KANE HIMSELF, GREATEST NEWSPAPER TYCOON OF THIS OR ANY OTHER GENERATION.
Shot of a huge, screen-filling picture of Kane. Pull back to show that it is a picture on the front page of the "Enquirer," surrounded by the reversed rules of mourning, with masthead and headlines. (1940)
DISSOLVE:
A great number of headlines, set in different types and different styles, obviously from different papers, all announcing Kane's death, all appearing over photographs of Kane himself (perhaps a fifth of the headlines are in foreign languages). An important item in connection with the headlines is that many of them - positively not all - reveal passionately conflicting opinions about Kane. Thus, they contain variously the words "patriot," "democrat," "pacifist," "war-monger," "traitor," "idealist," "American," etc.
TITLE:
1895 TO 1940 - ALL OF THESE YEARS HE COVERED, MANY OF THESE YEARS HE WAS.
Newsreel shots of San Francisco during and after the fire, followed by shots of special trains with large streamers: "Kane Relief Organization." Over these shots superimpose the date - 1906.
Artist's painting of Foch's railroad car and peace negotiators, if actual newsreel shot unavailable. Over this shot sumperimpose the date - 1918.
NARRATOR
Denver's Bonfils and Sommes; New York's
late, great Joseph Pulitzer; America's
emperor of the news syndicate, another
editorialist and landlord, the still
mighty and once mightier Hearst. Great
names all of them - but none of them so
loved, hated, feared, so often spoken -
as Charles Foster Kane.
The San Francisco earthquake. First with
the news were the Kane papers. First with
Relief of the Sufferers, First with the
news of their Relief of the Sufferers.
Kane papers scoop the world on the
Armistice - publish, eight hours before
competitors, complete details of the
Armistice teams granted the Germans by
Marshall Foch from his railroad car in the
Forest of Compeigne.
For forty years appeared in Kane newsprint
no public issue on which Kane papers took
no stand.
No public man whom Kane himself did not
support or denounce - often support, then
denounce.
Its humble beginnings, a dying dailey -
Shots with the date - 1898 (to be supplied)
Shots with the date - 1910 (to be supplied)
Shots with the date - 1922 (to be supplied)
Headlines, cartoons, contemporary newreels or stills of the following:
1. WOMAN SUFFRAGE
The celebrated newsreel shot of about 1914.
2. PROHIBITION
Breaking up of a speakeasy and such.
3. T.V.A.
4. LABOR RIOTS
Brief clips of old newreel shots of William Jennings Bryan, Theodore Roosevelt, Stalin, Walter P. Thatcher, Al Smith, McKinley, Landon, Franklin D. Roosevelt and such. Also, recent newsreels of the elderly Kane with such Nazis as Hitler and Goering; and England's Chamberlain and Churchill.
Shot of a ramshackle building with old-fashioned presses showing through plate glass windows and the name "Enquirer" in old-fashioned gold letters. (1892)
DISSOLVE:
NARRATOR
Kane's empire, in its glory, held
dominion over thirty-seven newpapers,
thirteen magazines, a radio network.
An empire upon an empire. The first
of grocery stores, paper mills,
apartment buildings, factories, forests,
ocean-liners -
An empire through which for fifty years
flowed, in an unending stream, the wealth
of the earth's third richest gold mine...
Famed in American legend is the origin
of the Kane fortune... How, to boarding
housekeeper Mary Kane, by a defaulting
boarder, in 1868 was left the supposedly
worthless deed to an abandoned mine shaft:
The Colorado Lode.
The magnificent Enquirer Building of today.
1891-1911 - a map of the USA, covering the entire screen, which in animated diagram shows the Kane publications spreading from city to city. Starting from New York, minature newboys speed madly to Chicago, Detroit, St. Louis, Los Angeles, San Francisco, Washington, Atlanta, El Paso, etc., screaming "Wuxtry, Kane Papers, Wuxtry."
Shot of a large mine going full blast, chimneys belching smoke, trains moving in and out, etc. A large sign reads "Colorado Lode Mining Co." (1940) Sign reading; "Little Salem, CO - 25 MILES."
DISSOLVE:
An old still shot of Little Salem as it was 70 years ago (identified by copper-plate caption beneath the still). (1870)
Shot of early tintype stills of Thomas Foster Kane and his wife, Mary, on their wedding day. A similar picture of Mary Kane some four or five years later with her little boy, Charles Foster Kane.
NARRATOR
Fifty-seven years later, before a
Congressional Investigation, Walter P.
Thatcher, grand old man of Wall Street,
for years chief target of Kane papers'
attack on "trusts," recalls a journey
he made as a youth...
Shot of Capitol, in Washington D.C.
Shot of Congressional Investigating Committee (reproduction of existing J.P. Morgan newsreel). This runs silent under narration. Walter P. Thatcher is on the stand. He is flanked by his son, Walter P. Thatcher Jr., and other partners. He is being questioned by some Merry Andrew congressmen. At this moment, a baby alligator has just been placed in his lap, causing considerable confusion and embarrassment.
Newsreel close-up of Thatcher, the soundtrack of which now fades in.
THATCHER
... because of that trivial incident...
INVESTIGATOR
It is a fact, however, is it not, that
in 1870, you did go to Colorado?
THATCHER
I did.
INVESTIGATOR
In connection with the Kane affairs?
THATCHER
Yes. My firm had been appointed
trustees by Mrs. Kane for the fortune,
which she had recently acquired. It
was her wish that I should take charge
of this boy, Charles Foster Kane.
NARRATOR
That same month in Union Square -
INVESTIGATOR
Is it not a fact that on that occasion,
the boy personally attacked you after
striking you in the stomach with a sled?
Loud laughter and confusion.
THATCHER
Mr. Chairman, I will read to this
committee a prepared statement I have
brought with me - and I will then refuse
to answer any further questions. Mr.
Johnson, please!
A young assistant hands him a sheet of paper from a briefcase.
THATCHER
(reading it)
"With full awareness of the meaning of
my words and the responsibility of what
I am about to say, it is my considered
belief that Mr. Charles Foster Kane, in
every essence of his social beliefs and
by the dangerous manner in which he has
persistently attacked the American
traditions of private property, initiative
and opportunity for advancement, is - in
fact - nothing more or less than a
Communist."
Newsreel of Union Square meeting, section of crowd carrying banners urging the boycott of Kane papers. A speaker is on the platform above the crowd.
SPEAKER
(fading in on soundtrack)
- till the words "Charles Foster Kane"
are a menace to every working man in
this land. He is today what he has
always been and always will be - A
FASCIST!
NARRATOR
And yet another opinion - Kane's own.
Silent newsreel on a windy platform, flag-draped, in front of the magnificent Enquirer building. On platform, in full ceremonial dress, is Charles Foster Kane. He orates silently.
TITLE:
"I AM, HAVE BEEN, AND WILL BE ONLY ONE THING - AN AMERICAN." CHARLES FOSTER KANE.
Same locale, Kane shaking hands out of frame.
Another newsreel shot, much later, very brief, showing Kane, older and much fatter, very tired-looking, seated with his second wife in a nightclub. He looks lonely and unhappy in the midst of the gaiety.
NARRATOR
Twice married, twice divorced - first
to a president's niece, Emily Norton -
today, by her second marriage, chatelaine
of the oldest of England's stately homes.
Sixteen years after that - two weeks after
his divorce from Emily Norton - Kane
married Susan Alexander, singer, at the
Town Hall in Trenton, New Jersey.
TITLE:
FEW PRIVATE LIVES WERE MORE PUBLIC.
Period still of Emily Norton (1900).
DISSOLVE:
Reconstructed silent newsreel. Kane, Susan, and Bernstein emerging from side doorway of City Hall into a ring of press photographers, reporters, etc. Kane looks startled, recoils for an instance, then charges down upon the photographers, laying about him with his stick, smashing whatever he can hit.
NARRATOR
For wife two, one-time opera singing
Susan Alexander, Kane built Chicago's
Municipal Opera House. Cost: three
million dollars. Conceived for Susan
Alexander Kane, half-finished before
she divorced him, the still unfinished
Xanadu. Cost: no man can say.
Still of architect's sketch with typically glorified "rendering" of the Chicago Municipal Opera House.
DISSOLVE:
A glamorous shot of the almost-finished Xanadu, a magnificent fairy-tale estate built on a mountain. (1920)
Then shots of its preparation. (1917)
Shots of truck after truck, train after train, flashing by with tremendous noise.
Shots of vast dredges, steamshovels.
Shot of ship standing offshore unloading its lighters.
In quick succession, shots follow each other, some reconstructed, some in miniature, some real shots (maybe from the dam projects) of building, digging, pouring concrete, etc.
NARRATOR
One hundred thousand trees, twenty
thousand tons of marble, are the
ingredients of Xanadu's mountain.
Xanadu's livestock: the fowl of the
air, the fish of the sea, the beast
of the field and jungle - two of each;
the biggest private zoo since Noah.
Contents of Kane's palace: paintings,
pictures, statues, the very stones of
many another palace, shipped to Florida
from every corner of the earth, from
other Kane houses, warehouses, where
they mouldered for years. Enough for
ten museums - the loot of the world.
More shots as before, only this time we see (in miniature) a large mountain - at different periods in its development - rising out of the sands.
Shots of elephants, apes, zebras, etc. being herded, unloaded, shipped, etc. in various ways.
Shots of packing cases being unloaded from ships, from trains, from trucks, with various kinds of lettering on them (Italian, Arabian, Chinese, etc.) but all consigned to Charles Foster Kane, Xanadu, Florida.
A reconstructed still of Xanadu - the main terrace. A group of persons in clothes of the period of 1917. In their midst, clearly recognizable, are Kane and Susan.
NARRATOR
Kane urged his country's entry into
one war, opposed participation in
another. Swung the election to one
American President at least, was
called another's assassin. Thus,
Kane's papers might never have
survived - had not the President.
TITLE:
FROM XANADU, FOR THE PAST TWENTY-FIVE YEARS, ALL KANE ENTERPRISES HAVE BEEN DIRECTED, MANY OF THE NATIONS DESTINIES SHAPED.
Shots of various authentically worded headlines of American papers since 1895.
Spanish-American War shots. (1898)
A graveyard in France of the World War and hundreds of crosses. (1919)
Old newsreels of a political campaign.
Insert of a particularly virulent headline and/or cartoon.
HEADLINE: "PRESIDENT SHOT"
NARRATOR
Kane, molder of mass opinion though he
was, in all his life was never granted
elective office by the voters of his
country.
Few U.S. news publishers have been.
Few, like one-time Congressman Hearst,
have ever run for any office - most know
better - conclude with other political
observers that one man's press has power
enough for himself. But Kane papers were
once strong indeed, and once the prize
seemed almost his. In 1910, as Independent
Candidate for governor, the best elements
of the state behind him - the White House
seemingly the next easy step in a lightning
political career -
Night shot of crowd burning Charles Foster Kane in effigy. The dummy bears a grotesque, comic resemblance to Kane. It is tossed into the flames, which burn up -
- and then down... (1910)
FADE OUT:
TITLE:
IN POLITICS - ALWAYS A BRIDESMAID, NEVER A BRIDE
Newsreel shots of great crowds streaming into a building - Madison Square Garden - then shots inside the vast auditorium, at one end of which is a huge picture of Kane. (1910)
Shot of box containing the first Mrs. Kane and young Howard Kane, age five. They are acknowledging the cheers of the crowd. (Silent Shot) (1910)
Newreel shot of dignitaries on platform, with Kane, alongside of speaker's table, beaming, hand upraised to silence the crowd. (Silent Shot) (1910)
NARRATOR
Then, suddenly - less than one week
before election - defeat! Shameful,
ignominious - defeat that set back
for twenty years the cause of reform
in the U.S., forever cancelled political
chances for Charles Foster Kane.
Then, in the third year of the Great
Depression... As to all publishers, it
sometimes must - to Bennett, to Munsey
and Hearst it did - a paper closes! For
Kane, in four short years: collapse!
Eleven Kane papers, four Kane magazines
merged, more sold, scrapped -
Newreel shot - closeup of Kane delivering a speech... (1910)
The front page of a contemporary paper - a screaming headline. Twin phots of Kane and Susan. (1910)
Printed title about Depression.
Once more repeat the map of the USA 1932-1939. Suddenly, the cartoon goes into reverse, the empire begins to shrink, illustrating the narrator's words.
The door of a newspaper office with the signs: "Closed."
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 America's Kubla Khan - last
week, as it must to all men, death came
to Charles Foster Kane.
DISSOLVE:
Cabinent 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 head and the phone.
THIRD MAN
(at phone)
Stand by. I'll tell you if we want
to run it again.
(hangs up)
THOMPSON'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 salaried 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, sillhouettes and the big, bright image of Kane himself on the screen.
A VOICE
See what Arthur Ellis 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 Ellis 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
what 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.
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