"Revolt without a Cause" movie script
Text/[United States] Stern
Translation/Xu Jiansheng
[Original Editor's Note] This is a cinematic exploration of depressed children in the American scene in the 1950s. What we get is a noteworthy teenage tragedy, which carries revealing and important insights—— It is not Greek classical but standard Freudian, and it is full of Oedipus complex content. This is a story of abandonment and fear, but it is also a story of self-discovery and reconciliation. Like "The Graduate", it tests the innocence of young people, but from a completely different perspective.
In this masterpiece by Stewart Stern, both the story idea and the film director are Nicholas Ray, which earned Ray a 1955 Oscar nomination. The protagonist of the film, the seventeen-year-old Jim was brilliantly played by the late James Dean. He was eager to get his father's love and advice; his father was a cliche and failed role. Through the film, we see miniatures and models of depressed American youth who are rebelling; ten years later, they have emerged with a tremendous force on a scale that far exceeds the youth issues shown in this film.
They are good children, depressed children, but in the final analysis they are still the generation who obeyed the laws of the time. They are polite and try to get close to their parents.
This is a heart-warming story about decent youths worthy of psychological research. The lines are filled with sympathy and empathy for young people. Jim asked his father when he was in trouble seeking guidance: "If you want to be a man, what should you do?" This is an eternal question for children; it causes repercussions time and time again in the relationship between father and son-this is A question that always needs to be answered.
Mr. Stern, the talented screenwriter of "Revolt without a Cause", was born in New York on March 2, 1922, graduated from the University of Iowa, and worked as a theater actor. After the Second World War, he shook off the dust from the infantry uniforms and began writing for movies and television. His other films include "Shelf" (1956), "The Outsider" (1962), "Ugly American" (1963), and "Rachel, Rachel" (1968).
Sam Thomas
Characters in the play
Jim's family: Jim's grandmother-a beautiful and domineering old lady who is more than sixty years old, her son's every move depends on her look. She is the source of family disputes-a silent ruler, the silent enemy of Frank's marriage.
Jim's father, Frank, is a fledgling man and has never been happy. He aspires to be Jim's true father, but never knows how to start.
Jim's mother-serious and immature. She knew nothing about her husband, and was aggrieved at her mother-in-law's intervention. Because of being company with a wimpy and uninterested man all day long, he angered her husband and son.
Jim, the product and victim of this family's anger, was puzzled by his life at the age of seventeen. Because of his father's "four differences", he didn't know how to grow into a man. Because of a mother who likes to hurt people, he hopes that all women will suffer. But he still hopes to find a girl who is willing to accept his tenderness.
Judy's family:
Judy's father, a low-level clerk in a law firm, is childish, attractive, and cheerful. Faced with his daughter's grown-up, he was at a loss, the only way was to accuse him.
Judy's mother-self-centered, afraid of entering middle age. She feels that Judy's blooming youth is a threat to her status, and she thinks that Judy has robbed her husband of her attention.
Judy-the victim of this family. When she was just sixteen, she was frightened because she couldn't face her father squarely-she needed his love and was in pain when she was rejected. Therefore, she deliberately attracted the attention of other men in order to retaliate against her father.
Bo-Judy's younger brother. He is still young, not enough to pose a threat to anyone, so he can grow up carefree-his father undoubtedly prefers him more.
Plato-a boy in a divided family. There is a father who is not around and a mother who travels around. He thinks he is the object of everyone's dislike. He was about fifteen years old and wanted to find a substitute family for himself to drive away the cold in his heart. In particular, I hope to find a friend who can provide a father-like shelter, who can yearn for the rare warmth together.
Booth-a seventeen-year-old boy with sadism. He makes trouble everywhere in order to realize the image of a man he wants in his mind, which is actually to conceal the true sadness and longing in his heart. He may be a child rejected by his parents. In order to gain any kind of prestige or personal value, he must constantly take risks.
Other children-Helen, Krensh, Moose, Gunn, Cheek, Kukki, Mir. They all use their own unique ways to seek recognition from people, and they all suffer because of not being able to get the warmth of their families. In order to condemn the inner upset, they make trouble outside and act as fighters looking for opponents.
Black woman-a servant hired by Plato's mother to take care of her son.
The waiter-the guide of the planetarium, he also became a father.
Instructor-an instructor in the planetarium.
Rey-a compassionate young criminal policeman.
Jayne-another juvenile criminal police officer.
There are also: police, adults, other rebellious children, three Mexican children and victims of kidnapping.
fade in. The dark night, the dim lens. The camera slowly shook across the sky, and a crisp midnight bell sounded in the distance.
When the last bell rang, the camera stopped on the galaxy that filled the screen, and the Easter song rang, which was the jagged song of a group of untrained children. Enclosed under the camera:
The spire of a church. As the singing camera continued to roll down, we could see the source of the singing through a window. The camera pulled away, showing--
Vision. City, night. The sudden appearance of the city is full of bright lights. Pan under the camera and shoot:
An empty street full of cars. The singing stopped, but there was still a lingering sound. A car just stopped and its lights went out. A man whistling out of the car with the tune of the song just now, picked up a package of gifts from the front seat, hit the car door, and walked along the street to a house with lights on. He must pass through a weedy and trash open area between the two street lights.
The man walked along the edge of the clearing, still whistling. At this time, a cluster of figures quietly stood up from the grass. Before that, this group of people had been hiding in the dark. They stepped onto the sidewalk silently and followed the man. The footsteps of the crowd sounded, and the whistle stopped. The man glanced back and saw the figure following him. These figures have filled the entire sidewalk. By the light of the street lamp, I could tell that they were a group of boys and girls, all young people. The man quickened his pace, and the follower's footsteps also intensified. He began to run towards the house with the lights on, and his followers also ran. At the next street light he stopped suddenly and turned to face the crowd. They came up and surrounded him all at once. No one spoke for a while, and then a boy grinned and his name was Booth. He is tall and poses like a man.
Booth (friendly but indifferent): Your whistle sounds nice, just blow it a bit more.
The man exaggerated nervously, trying to make a joke about the situation he didn't understand.
Booth (continues suddenly): Do you have a cigarette?
Man: Oh, I want something--
He turned his pockets tremblingly, found a box of cigarettes, and fell to the ground in a panic. The crowd watched him pick up the cigarettes and hand them to Booth.
Man (continued): The one with a filter.
Booth (smiling—encouragingly): You smoke, smoke a cigarette, Dad.
The man smiled suspiciously and put the cigarette into his mouth. Booth, still smiling, took out a box of matches.
Booth: I'll light your cigarette, Dad.
Booth struck a match, drew it close to the man's face and took a photo. Then he struck a whole box of matches under his nose. The man screamed and the cigarette in his hand fell. Booth gave him a crisp slap, and there was no smile on his face.
The crowd gathered around and the camera shook away. Then he stopped on a robot toy monkey that fell out of the gift bag. The little monkey began to dance frantically on the sidewalk, and finally stopped. Everyone's feet passed by the motionless monkey. The camera came up, and the man was gone. Then there was a moment of deathly silence, and then we saw a boy walking alone along the street. He was so drunk that he fell to the ground once. This is Jim, a handsome 17-year-old guy with a flat head and a good-quality suit. Things scattered on the sidewalk caught him, he bent down and picked up the toy monkey from the mess. He laughed, winded the monkey up, put it on the sidewalk, and sat down himself. He watched the monkey dancing happily. There was a sirens in the distance, louder and louder, Jim didn't care about it, and once again wound the monkey's clockwork and let it go to make it jump.
The superimposed subtitles "Revolt without a Cause" starring——
The police sirens were ringing harshly nearby, and Jim looked up. We saw--
Dissolve:
Close shot. The police car lights flashed, the sirens slammed, and then it stopped. The sound of brakes. The camera moves, showing that the police car is parked at the door of a police station. The two policemen got out of the car, with Jim struggling in between. They dragged Jim upstairs and through two doors.
Inside the police station (reception), a lobby is surrounded by several passages. The officer's desk is placed in the middle. In fact, it is a rectangular counter in which the officer is standing. There are several meeting rooms separated by glass, and a row of benches is placed by the wall. In a busy and chaotic scene awaiting trial, the phone rang and the detainee was taken by the police. Judy was already awaiting trial when Jim entered the door. She was a sixteen-year-old blond girl sitting on a crowded bench with a languid sadness on her face. Sitting on a bench facing each other were three barefoot dirty Mexican children. The oldest was a four-year-old boy. He protected his sister, who was comforting a crying in the chair beside him. baby. Standing at the corner of the counter was a fifteen-year-old short, very shy boy named John "Plato" Crawford. He was shaking. There was a tall black woman next to him, who was his servant. Jim walked in the door and was led to the counter. A policeman handed the officer a brief report, and the officer only glanced at it.
Officer: The gang who committed the murder on Twelfth Street?
Police: No, just alcoholism.
Officer: But the report says that he was arrested there.
Police: People from the headquarters have been interrogating him for an hour. Nothing to do with him, just alcoholism.
Officer: Little drunkard. Okay-can you let him stand on something?
The police led Jim to Judy's bench and told him to stand against the wall.
The police searched Jim's pocket, and Jim's raised face showed an expression of prayer. The policeman digs out the toy monkey from Jim's pocket and wants to take it away, but when Jim asks to keep it, he returns it to him, then turns and walks away. Another policeman walked in and led another waiting person sitting next to Judy into another room. Jim sat down next to Judy and smiled at her, but what he got was a cold face. He wound the monkey up and put it on the ground to make it dance, but she still sat indifferently. The camera pans to show the enthusiastic reaction of others. We saw Plato raised his head, looked at, and smiled. The camera stopped on the Mexican kids and they were also laughing. A bald policeman in charge of juvenile delinquency named Jayne squatted down in front of them and laughed.
Jayne: Can you tell me your name now?
The little boy shook his head.
Little boy (touching Jayne’s bald head): Where is your hair?
Jayne: Nothing.
Little boy: Did you shave your head?
Jayne: Oh, it's not-it's all out!
Little boy (sympatheticly): Oh—
Jayne smiled when another juvenile criminal policeman walked in and stopped to look at the children. His name was Rey.
Rey: Who is he from?
Jayne: sentenced him to two years.
Rey: Where is your mother, kid?
Little boy: I don't know.
Rey and Jayne exchanged glances, then Rey walked to Judy-the camera followed. He looked down at her and looked through the files in his hands.
Rey: Judy—it's your turn now.
Judy (groaning): He hates me.
Rey: What?
Judy: He hates me.
Judy stood up and Rey led her to a glass compartment. The camera followed them, and Jim looked at them.
Rey: Why do you think he hates you, Judy?
Judy: Not thinking, but knowing. He looked at me like he looked at the ugliest thing in the world. He doesn't like my friend—him— (Rey leads her into the office).
Judy walked into this small office first, and Rey followed. He pointed to a chair for Judy, and at the same time sat down behind the desk.
Judy: He doesn’t like everything about me—he calls me—he calls me—
She began to cry without hiding, but she kept wiping tears with her palms.
Rey: He makes you feel very unhappy?
Judy (crying): He called me a dirty whore-my own biological father!
Rey: Do you think your father is serious?
Judy: Yes! I have no idea! I mean maybe he didn't take it seriously, but he acted like it was taken seriously. We get together, we want to celebrate Easter, have fun. One more difficult gathering. So I put on my new clothes and got ready to go out, and he--
Rey: This is it?
Judy: Yes—he started yelling for the handkerchief—screaming. He pressed my face and wiped my lipstick completely-until I felt my lips were gone. At the same time he kept yelling at me-scolding me-that swear word-the swear word I just told you he scolded me. So I ran out of the house.
Rey: Is that why you wandered the streets at one o'clock in the morning?
Judy: I just walk around. I called my partners, but they were not at home, I couldn't find them. I hate my life, I really hate it.
Rey: Did you want to find a companion at the time, did you?
Judy: No.
Rey: Did you stop to talk to someone, Judy? (She remains silent) Are you happy to do that?
Judy: No. I myself don’t know why I did that.
Rey: Do you think that you can return to your dad? I mean, sometimes if we can't get close to the person we want, we can only make him jealous—make them have to pay attention. Haven't you thought of this?
Judy: I have never been close to anyone.
Rey: A bunch of lads robbed someone on Twelfth Street, Judy.
Judy: You know where they caught me! Twelfth Street Worker I'm far from there!
Rey: Would you like to go home if we can arrange it? (No answer; Rey asks the policewoman) Have you notified her parents?
Policewoman: She didn't even tell me the house number.
Rey: What is the house number of your house, Judy? We have to figure out if your father is willing to come and pick you up. (Judy raises his head hopefully) Unless you really don't want to go home (silence), would you stay here?
The camera pushed towards Judy, she raised her head and said very quietly.
Judy: Lexington 05549.
With the sound of the police siren, Judy looked at Jim through the slanted glass wall. We heard Rey making a call.
Medium shot, Jim's bench. Jim sat with his head raised, his eyes closed. As the sirens became louder and louder, Jim opened his mouth and started to learn—a long, desolate whine.
Medium shot. Plato and the black woman. Plato approached Jim with a smile, and the black woman followed. The camera pans accordingly. Jim continued to scream.
Medium shot. Jim, Plato and the black woman. A policeman enters the camera.
Police: Hey!
Jim called again for a while.
Police (continued): Hey! Enough anger this time.
Jim: Do you want me to learn from a dumb policeman?
Police: Shut up. I warn you.
Jim: Yes, ma'am.
The police went out. The black woman bent down towards Plato, who was shivering violently.
Black woman: Are you shaking, John? are you cold?
Plato shook his head. Jim noticed him.
Jim: Wear my jacket?
Plato looked up at Jim.
Jim (continued): Would you like to wear my coat? It is very warm.
Plato wanted to wear it, but shook his head and said "no".
panoramic. The office where Judy is. Judy and Rey are still sitting as before. Judy still looks out through the glass.
Rey: Your mother will be here in a few minutes, Judy—
Judy (woke up suddenly): What?
Rey: Your mother will be here in a few minutes.
Judy (shocked): My mother?
Rey made a gesture to a policewoman at the door and led Judy to the door.
Outside, Rey handed Judy over to the policewoman.
Rey: Someone will come to pick her up.
Judy: You said you were calling my father.
Rey: Goodbye, Judy. Don't worry.
Judy did not answer. Rey walked back to the office, and the camera followed the policewoman and Judy past Jim's bench. The camera stopped on Jim, Plato, and the black woman. Jim stared at Judy and blew his whistle, but he didn't get a response. Jayne came and stood in front of the black woman.
Jayne: John Crawford?
Black woman: Yes, sir.
Jayne: Come with me, John.
Plato stood up and followed Jayne, followed by the black woman. Jim was the only one left. He closed his eyes, raised his head back, and wailed a police siren as the camera turned his face into a close-up.
Voice of Jim's mother (outside the picture): Jim!
Jim looked up suddenly, was stunned, then smiled mysteriously, and stood up unsteadily.
Low-angle shot, compact shot of three people, Jim's parents and grandmother stood squeezed in the doorway, dumbfounded. They are all wearing pajamas. Jim's mother is a very fashionable but somewhat indifferent woman, and his father is not shy. The grandmother is extremely short, but also very fashionable, and her eyes are very energetic.
In the middle shot, Jim faced them.
Jim: Happy Easter.
A compact lens, the whole family.
Mother: Where did you go tonight? Their phone calls continue to the club, and I have never been so scared!
silence.
Father: Where did you go tonight? Jim.
Close shot. Jim. He said nothing.
Close shot. The father smiled awkwardly.
Medium shot. Jim.
Jim: Do you think I am ridiculous?
Jim suddenly turned and walked towards the glass wall of the office, through which we could see Plato, the black woman and Jayne. He looked in through the glass separating himself and Plato.
Jim (before): Why don't you wear my coat?
In the office, we can see Jim through the glass, he turned and walked away. Plato was still trembling, his knees bumping constantly.
Jayne: Do you know why you shot those puppies yourself?
John: (silence)
Jayne: Do they call you that? Or do you have a nickname?
Plato (in a low voice): Plato.
Black woman: Are you talking to this person well now, do you hear it? He will help you.
Plato: No one can help me.
Jayne: Can you tell me why you shot the puppy, Plato?
Plato: No, sir. I walked to the neighbor's house as usual to get the puppies. They were breastfeeding, so I fired. I think I'm not good?
Jayne: What do you think will result from doing such a thing?
Plato: I don't know. Died on the electric chair?
Jayne: Where did you get the gun from?
Plato: In my mother's drawer.
Black woman: She kept the gun for self-defense, sir. She was scared without a man in the house.
Jayne: Where is your mother tonight? Plato.
Plato: She went out.
Black woman: She always seems to go out. She has a sister in Chicago, and she goes there for the holidays. She said that her sister is her only relative.
Jayne: Where is your father?
Plato was silent.
Black woman: They are not together, we haven't seen him for a long time.
Jayne: Have you ever received a letter from him? child.
Plato looked up and Jim and his family were walking into the office next door. Jim smiled at Plato, and Plato responded with a soft smile, and immediately looked away embarrassedly.
Jayne: You know, this child can go to a psychiatrist.
Plato (slightly smiling): Psychiatrist?
Black woman (laughs): Oh, Mrs. Crawford doesn't believe this!
Jayne: Maybe she'd better try it now.
In another office, Jim, his parents and grandmother, and Rey crowded in this small room. Jim hummed the tune of "Wokley's Journey", as if he was not interested in what was happening around him. Rey wondered if this was just a question of disinterest, so he still asked Jim to hum in order to discover the real cause. The grandmother observed everything around her as if she was watching a tennis match, and made a slight sound of horror or surprise or sympathy. Everyone ignores grandmother. No one spoke for a while. Rey watched Jim hum, and then his father shook his head and looked up.
Father: I don't understand how bad drinking a little wine can be.
Rey: You don't understand?
Father: Yes, I don't understand at all. I want to say--
Rey: He is a mirror, Mr. Stark, in my opinion he is not just a matter of drinking a little alcohol.
Father (chuckling secretly): Listen to me, listen to—
Mother (speaking to Jim in a cordial, semi-humorous disapproval tone): Jim-stop humming.
Jim just rolled his eyes at her, then looked away-but still humming in his mouth.
Father: I think I am also a little lax.
Mother: Really? Frank. when?
Father: Listen-can you wait until we get home?
Rey: Good! it is good! I know you are a little annoyed, but--
Father: I'm sorry.
Rey: How about you? Jim, don't you say something for yourself? (Jim stops humming and shrugs his shoulders) Not interested, right? (Jim nods)
Mother: Can't you answer the question? What's the matter with you?
Father: He is just drunk, dear.
Mother: I'm talking to Jim.
Father (to Rey): Just let me explain-we just moved here, do you understand? The child has no friends, and—
Jim: Tell him why we moved here.
Father: Shut up, Jim.
Jim: I don't need you to protect me,
Father (to Jim): Would you mind if I give it a try? You will hit the door in front of me. (To Rey) I tried to comfort him—how about? (To Jim) Didn't I give you everything you want? A bicycle-you have a bicycle. A car--
Jim: You bought me many things. Thank you.
Father: More than just buying things for you! You heard, some people say that you kids are because you don’t get enough love! Didn't we give you love and affection? (Silence. Jim tried to suppress his feelings, but his eyes filled with tears) What's the problem? I can't even get in touch with you, you always refuse people thousands of miles away. I hope to understand you. There must be a reason why you are drunk, (Jim looks straight ahead, trying to ignore him) because we attended that dance party? (Silence) You know that kind of dance party always ends up being drunk-it's not suitable for children.
Mother: You said a minute ago that it doesn't matter if he drinks alcohol?
Grandmother: He meant drinking a little wine.
Jim (can't help it): You guys are going to tear me apart!
Mother: What?
Jim: Don't torture me anymore! You say one thing, he says one thing, and then everyone becomes the same again—
Mother: What an educated behavior!
Grandma (laughing): You know who he looks like!
Rey: Come out, Jim, come out.
Rey pushed him out firmly, into the office where Plato and Jayne had left.
Rey: Can you give us a minute?
Father (very unnaturally): Of course, of course.
Only Rey and Jim are left in Jayne's office.
Jim: Someone should put some poison in her Epsom salt.
Rey: Are you talking about grandmother?
no answer. Jim turned around.
Jim: I am confused.
Rey: Calm down, boy, I warn you.
Jim: Take a wash and go home.
Rey: What a stubborn temper. You can't fool me, buddy. Why don't you wear boots?
Jim suddenly jumped on Rey, Rey drew past quickly, and threw him near the table.
Rey (continues): It's not good if you don't tell it, you can go to the juvenile court, do you want to go there?
Jim: No.
Rey: It must be so. You want to piss us off so you can be locked up. Why?
Jim: Leave me alone.
Rey: No.
Jim: I don’t know why—
Rey: Go on-don't tell me that you don't know. Did someone give you a cold face?
Jim: That's how I— (holds back tears) Sometimes I have a bad temper.
Rey (suddenly becomes gentle): Okay, okay. speak out. (Jim starts to cry) Are you venting now?
Jim: Always wanted! I don't know what's wrong-I always want to make trouble, and I-I swear you better lock me up. Or I would beat someone to the head—I knew it myself.
Rey: Then hit this table.
Jim slammed his fist towards the table, and after a while. Rey watched and sat down beside him.
Rey: Is that why you moved from that city? Because you have trouble there? If you want, you can talk about it-I know it anyway. Routine inspection.
Jim: They thought the move was for my good.
Rey: You drove well there, but in the wrong direction. Why would you do that?
Jim: Beat that kid?
Rey nodded.
Jim (continued): He said I was a coward.
Rey: Your family doesn't understand?
Jim: They never understood me.
Rey: So you moved?
Jim: I will have friends if they want to move, and everything will be fine as long as they move.
Rey: But you think this is not the solution to the problem.
Jim was silent, playing with his nails.
Rey (continues): You can't stand the atmosphere at home?
Jim: She ate him alive, but he was willing. (He looks at his family through the door) It's a zoo!
Rey: What?
Jim: The zoo. He always wanted to get close to me, you know? But how could I treat him like that--I mean I love him and don't want to hurt him--but I don't know what to do, maybe except to die.
Rey: It's all messed up?
Jim: If he could—
Rey: "If he can" what? You mean your father?
Jim: I mean if he has the guts to show mom a little bit of color, I bet she will be very happy, I bet she will no longer be picky. They all fooled him. It's so silly. I only know one thing, I never want to be like him.
Rey (interrupting): Coward?
Jim: I dare say you see me through, don't you? (Rey shrugs) How can one live in this circus?
Rey: You know what I mean, Jim—but they also understand now. Do you want to drink water?
Jim (At this time, Rey pours a glass of water from the cold bottle): Dude—if I know everything one day without being ashamed—or I feel like I have a home.
Rey (hands him the water): Here you are, listen. Can you do something for me? If the water is boiling again, can you come to me first before getting into trouble? Even if you just want to chat-you just come to me directly. Doing this is much easier than talking to your family.
Jim: Okay—
Rey: Anytime-day or night. Are you calming down now and ready to go home?
Jim (laughing): Are you serious?
Rey smiled and opened the door.
In Rey's office, Jim walked to his mother and kissed her reluctantly.
Jim: I'm sorry.
Mother: Nothing, dear.
She stood up and took Jim's hand. They entered the hall through the door, followed by their grandmother and father.
Grandmother (to Rey): This is truly unfortunate. He made a mistake but he admitted it-so we were all right. He has always been a lovely child——
Jim: Cute! Grandma-if you tell a lie you will become a stone.
Rey: Good luck, Jim, don't forget.
Father (hands Rey three cigars): Let's smoke a cigarette.
Rey: No thanks, I don't smoke.
Father: Take it-to your friend.
Ray: No—thank you very much, Mr. Stark.
Mother: Frank—he doesn't want it.
Jim grinned at Rey, and Rey nodded. When everyone left, Rey looked at their backs, shook his head, and lit a cigarette. We saw Jim and his family go through the gate, and when we opened the door we saw some plainclothes police escorting Booth and a few boys just about to enter the door. They were all sullen and angry. When these people entered the hall, Jim's figure had shrunk into the distance, and the music began, and then it weakened to silence.
fade out.
fade in.
Low-angle lens, trail. A rabbit ran away along the path, chasing a group of children behind. With the camera panning the group of children, one of the youngest five-year-old boys stopped near us and looked at the disappearing crowd. The shouts of the children diminished.
Judy rushed out of the yard behind him, holding textbooks and lunch boxes in his hands. She is wearing a windbreaker, and the winter wind blows it up.
Judy (shouting): Bo!
Bo is the boy, her brother. He looked up at her, but did not move. Judy stood outside the courtyard, and a car drove past Bo.
Vision. Judy and Bo seen through the window of Jim's house. Jim was in the foreground, looking out through the screen window, and he smiled.
Judy (shouting): What do you want, let the car crash to death!
Bo (laughs): Yes!
Mother Jim (voice-over): Your eggs are on the table, dear.
Jim turned around at the window and walked past the camera.
Panoramic view of Jim's restaurant. The mother is putting a plate of eggs in Jim's position, and the father is already sitting, drinking coffee and reading the newspaper. Grandmother walked out of the kitchen. Jim is well-dressed, with a tie, a tweed top and slacks.
Mother: Sit down and eat-you are going to be late.
Jim (walking to the dining table): My throat is tight, mother. I seem to be a little nervous--
Grandmother: We have lived in such smoky cities for so many years, but we haven't contracted lung disease or any other terrible diseases. This is a miracle!
Mother: Then drink some milk.
Grandma (groaning): There are not so many factories here.
Father: Mom——
Jim (still standing, drinking milk): Have you made sandwiches?
Father: When I went to school on the first day, my mother forced me to eat, and I didn't swallow it until the break between classes.
Mother (takes out a lunch box from the cupboard): There is nothing to be nervous about. This is peanut butter and meatloaf— (Jim makes a tut).
Grandma: What am I telling you? peanut butter!
Mother: Okay, there is orange juice in the thermos, and apple pie in the carton. Let's eat together.
Grandma: I baked it!
Jim (giving a kiss to his mother's face): Goodbye, mother.
Mother: Goodbye, dear.
Father (stands up): Goodbye, boy. Shock them, just like your old man did!
Jim: No problem—(he walks to the door and turns around) Do you know? I have a feeling that we will stay here.
Father: Listen-you need to be careful when choosing a partner-do you understand what I mean? Don't let them choose you--
However, Jim had already walked out the door.
panoramic. Jim's backyard. Jim walked out of the kitchen door into the morning light.
Judy (voice-over): Don't stand on the road, Bo! I tell you this is the last time.
Jim blinked, stopped, and saw Judy. He tore off his tie, put it in his pocket, and walked across the yard. The camera pans with him——
panoramic. Trail. Jim walked out of the courtyard, and we could see Judy and Bo in the background. Jim stopped again.
Judy: Bo! Okay-I'm going to school alone!
She stepped along the path, Bo jumped to catch up, and walked along the gravel of the ditch.
Jim (screaming): Hey!
Judy glanced at him and continued to move forward. Jim chased a few steps, but he was on this side of the road.
Jim (continues): Hey! Haven't I seen you anywhere before?
Judy ignored him, but her pace was a little flustered. Jim ran across the path.
In the middle shot, Judy stopped when Jim entered the screen. Bo stepped down the slope with a tightrope.
Jim: Hello. I have seen you before.
Judy: Little hooligan.
Jim: You don't need to be so unfriendly.
Judy: It's all true now!
Jim (laughs): How can you see it?
Judy: "Life is on my body."
Jim (laughs): "Life can be beautiful." Hey, I know where that is.
Judy: Where is it?
Jim: Where I saw you. (No answer) Are you all right now? (No answer) Do you live nearby?
Judy (can't help it): Who are you talking about?
Jim: You know, I am new here.
Judy: Mom wouldn't be proud of it.
Jim: You are not forgiving.
Judy looked up a little surprised.
Jim (continued): Where is Dawson High School?
Judy: Where are you going?
Jim: Yes-why-
Judy: Wearing clothes looking through the bottom of the box!
Jim (in self-defense): Yes. So where is that high school?
Judy (speaking a little warmer): At the intersection of University Street and Tenth Street-can you hold the book for me?
A car in the distance honked its horn and stopped.
Jim: I just got a car, I can see you off.
The sound of the horn is close, and the sound is very loud.
Judy: Those boys are here to pick me up.
Jim: Oh.
Change the angle, Judy and Jim. The car honked its horn and drove into the picture, turning into the side road. Judy saw the car and moved a step away from Jim.
Judy: I dare say you are so yelling.
Jim: A what?
Judy (yelling over the horn): Goodbye! See you later!
Jim (screaming): I'm not that bad!
Judy walked to the car.
Medium shot. The car was full of teenagers, and it suddenly stopped beside Judy. The boys were wearing sheepskin coats, leather jackets, and boots on their feet. Although their clothes are not uniform, their style is the same: triumphant, self-righteous, like pirates. Someone kept combing his hair. The driver is Booth, and we can see that he is the leader of the troublemakers on Easter night. He is wearing a leather jacket. With him are Chick, a thin young man with glasses; Krensh, the chief deputy of Booth; Kuki, a person who likes to join in the fun; Gunn, a person with personality. There are two other girls: Helen and Mill. When Booth braked, the children all screamed. Judy stepped forward, but Jim stopped.
Booth: Stella--!
Judy walked quickly to them and smiled.
Judy: Stetti Malone!
Booth: Do you want to have fun?
Judy and Booth kissed passionately but lacked love. Jim walked to his car.
Booth (look at Jim first, then Judy): What is that?
Judy: A new disease.
Booth (suspiciously): Your friend?
Judy: I'm so glad they let you out.
Booth: I'm not afraid.
Judy: As I said, you are lucky if he didn't die.
Booth: They will not die.
Jim got into his car and drove out.
Jim: How do I get to the intersection of Daehang Road and Tenth Street?
Judy (pointing to the right): Here!
Cheek (pointing to the left): Here!
Booth (pointing up): Here!
At the same time, the children all laughed. The radio beeps. Judy put his head on Booth's shoulder, he put his arms around her, and the car drove away. Jim looked at them for a while, then followed.
Stacked to--
Close shot. Bicycle frame. Wheels rolled into the screen one by one, one by one inserted straight into the gap of the frame. When the bicycle closest to the lens is inserted--
Medium shot. Plato just got off his scooter. He came forward, walked past the camera, the camera followed him, and then stopped—the school suddenly appeared. The music rang suddenly and gradually intensified in the following shots. Plato sighed and walked away from the camera to join the flow of people going to school on the road.
In the parking lot, cars drove into the parking position with sharp brakes. Jim got out of a car and walked forward. A motorcycle roared past, Jim took a look at it, and then moved forward, the camera followed to shoot—
Another angle of lens, school. Another piece of music suddenly sounded, and Jim walked away.
panoramic. Great road. A group of teenagers walked, chatting happily, and greeted each other for the first time after the holidays. The camera searched through the crowd, and then stopped at the group of children we knew who came to us—Booz, Judy, and others, who walked side by side. Others can only make way for them or get pushed aside, staring at them discontentedly. But no one dared to challenge their domineering. Plato ran forward, passing them.
Look at the door from inside the building. As the students walked in, the door kept being opened by one hand. Plato walked in through the door and disappeared into the chaotic crowd. Judy walked in with her gang, still with them.
Medium shot. Squad leader (standing in the corridor). The monitor is a boy wearing a printed sweatshirt with "HC" written on the armband. Children rushed past him. Jim entered the painting.
Jim: Hello-can you tell me where I should go? I am a freshman.
Squad leader (pointing to the armband): Mr. Bassett's office-203. He will tell you where the classroom is--
Jim: Thank you very much.
Jim draws.
Angle shot, corridor, shot across a row of closets. The children threw their coats into the cabinet, took textbooks, and dressed themselves. The cabinet door banged. Plato walked to his closet, which was closest to the lens, and opened it.
panoramic. corridor. Jim walked towards us from a distance. Judy and her gang crowded the door of the classroom in the foreground. They smoked secretly, passing a cigarette in their hands. Jim approached, and Judy saw him. Others also saw him. They put their hands on their chests and blew the whistle of "We are the girls of the academy"-except for Judy. Jim glanced at her and continued to walk past the camera. The big class bell rang to silence the sound of music.
Close shot. Plato tightened his tie to the mirror, and a picture of Alan Ryder (Note 1) was glued to the top of the mirror inside the cabinet door. We can see Jim walking by in the mirror, and Plato also sees him. Plato turned to look at him.
Plato (talking to himself): Hello.
The harsh music of the students disappeared, the class bell stopped, and only Jim's footsteps were heard.
Vision. Jim walked towards the end of the corridor, Plato was in the foreground, looking at him. He slammed into his cabinet door and ran after him. Plato chased at the same speed, hesitantly against the wall. The footsteps of the two children echoed crisply. There are only the two of them in the corridor. Jim stopped in front of a notice board at the turn of the corridor. Plato also stopped.
Notification board. When Jim looked at the notice, Plato took a few steps forward and put it on the wall looking at Jim who didn't see him. Jim reads--
Insert lens: Notice board, "Attention all students! Visit the planetarium at two o'clock in the afternoon."
From another angle, Jim and Plato. Jim turned away from the notice board and was about to leave.
Plato (clearing his throat): Hello.
Jim: Hey, hello.
Plato: Do you remember me?
Jim: No, I don’t think I remember—
Plato: I'm sorry—I confessed to the wrong person.
Jim walked towards the camera, Plato took another look, and walked away from us in the opposite direction, hitting the wall with his fist as he walked. Jim stopped to fill the camera. His face was gloomy, trying to remember. He turned his whole body to look at Plato's back, then turned back to continue walking his own way. The footsteps fade away.
Stacked to--
panoramic. The planetarium seen from the parking lot-a domed building with the city under the mountain. The camera aimed at Jim's car moving flexibly through the crowded parking lot. Several latecomers are running up the steps of the planetarium in the background. Jim drove the car into a narrow space behind the observatory, parked it, and ran to the gate of the observatory.
panoramic. hall. Jim ran past, pushed open the door of the Planetarium, and walked in.
Vision. The starry sky seen over Jim's head. dark. This is not the real night sky, but the starry sky projected onto the top of the planetarium. The stars move slowly in an ever-changing manner, and one of them is extremely large, and it keeps zooming in as we watch. You can hear the accompaniment music-a very terrifying vibrato.
Narrator (voice-over): Before the end of our planet, people will observe the night sky and notice a star, which is getting brighter and getting closer and closer to us.
Jim looked around, looking for a seat. We saw a slow-moving projector behind him, with many light spots flickering on the large spherical head. Jim took a seat in the front row. Plato was sitting in the row behind him and approached him for a seat. They glanced at each other.
panoramic. The other students watched intently.
Commentator (voice-over): As the star approaches us, the climate will change. The huge glaciers in the Antarctic and Arctic will melt and split, and the sea will heat up.
Low-angle lens, explainer. He is a shriveled old man with a white and stiff collar. He was sitting at a table, with the light of the lamp shining on his face from bottom to top.
Commentator: The last group of humans will still explore the universe and will continue to be astonished, because the stars will still stay in the sky, moving with their own ancient rhythm.
Angle shot, student. Some people are watching, some are taking notes. An elderly female teacher in the foreground patted the heads of the two children in the front row. The two children stopped biting their ears. She smiled at them.
Commentator (voice-over): The familiar constellations that now illuminate our night sky will look the same as before, eternally unchanged, and the formation and destruction of our planet will have little effect on them.
Medium shot. Plato looked up.
Commentator (voice-over): Orion.
Plato looked aside.
Medium shot. (Seen from Plato's position) Jim. Jim sat in the front row of Plato, looking up with his mouth open.
Jim: Hello!
Plato (leaning forward): What?
Jim (shocked): You were there once, and you know where you have been!
Commentator (voice-over): Double horse seat.
Two shots, Judy and Booth. Booth put his arms around Judy and touched her ears with his nose. She looked up at the top indifferently.
Commentator (voice-over): Cancer.
Booth stabbed Judy, and Judy looked at him. He bent his wrist towards her, opening and closing his index and middle fingers like the claws of a crab.
Booth: I am a crab!
Judy laughed, and everyone else laughed.
Medium shot. Jim (after Plato). Go from Judy's perspective. Jim looked in the direction of laughter and smiled.
Commentator (voice-over): Taurus.
Jim (only to learn how to call cows): Moo——!
He waited for others to applaud.
Angle shot, (from Jim's point of view) Judy, Booth and his gang. Booth in the foreground. They stared at him, no one laughed.
Krensh (coldly): Yes, moo—.
Booth: Moo, that's funny. Moo.
Gunn: Hey, he's really good-
Krensh: I bet he can fight bulls.
Booth: Moo.
They no longer care about Jim. Jim froze and looked straight ahead. Judy smiled slightly and then turned his eyes away so that no one else would notice her smile.
Commentator (voice-over): Sagittarius and Aries-they will all remain the same.
Plato leaned forward, first lightly, then slightly heavier, and touched Jim's shoulder. Jim turned to him.
Plato: You should not be amused with him.
Jim: What?
Plato: He is a human being, and so is she. I can't make friends with them.
Jim: I don't want to make friends with them.
Jim turned around, unhappy that someone had seen him through.
Another angle shot, Judy, Booth, Krensh. Jim is in the background. The children whispered to each other and pointed Jim with their fingers. Jim looked up and noticed them, he felt uncomfortable.
Commentator (Voiceover): At this time, the light of the origin of our earth has not spread to the depths of the universe at the speed of light-years——
panoramic. Curved top. The star is getting closer and getting bigger and bigger. The tension and volume of the music increase.
Commentator (voice-over): The planets deep inside the other star clusters have not seen it at all, we will disappear into the vast universe from which we came...
Double lens. Jim and Plato looked up, leaning back on the seats, the light on their faces getting brighter and brighter. The music is loud.
panoramic. The crook seen over Plato's shoulders. As the star suddenly passed, the sky brightened. The music is pushed to a climax.
Commentator (voice-over): It is completely destroyed as the earth originated from a cloud of gas and flame.
The sky was illuminated by a strong flash of light, and the music was like an explosion. The starry sky reappeared.
Moving the camera, the faces of other students who were watching carefully-they were completely shocked.
Commentator (voice-over, continue): The sky becomes still and cold again. In terms of the overall complexity of our universe and other galaxies, the earth will not leave a trace.
Medium shot. Jim and Plato looked up.
Commentator (voice-over): In the boundless sky, all kinds of human problems are very small and inadequate. Moreover, human beings, in terms of survival alone, seem to be just a short episode.
Plato hung his head on the back of Jim's chair. Jim looked at him.
Commentator (voice-over): That's it, thank you very much.
The lights are bright. The children stretched after sitting for a long time. Human voices and sparse applause. Jim stood up and brushed Plato's hair lightly.
Jim: Hey, it's over. The world is over.
Plato looked up at him.
Plato: Why did he say that there are only humans in the universe?
Medium shot. guide. He stretched out his hand to turn a knob, and Grieg's "Morning" sounded slowly.
Low-angle shot, the old female teacher stood up, she looked around the noisy students, and slapped her chin. But the noise overwhelmed her applause.
Teacher (screaming): Attention! Please pay attention! The classes assemble in front of the school bus outside. Please pay attention! (To myself) There is no way.
She picked up her coat and handbag.
Planetarium parking lot. In the foreground are parked school buses and cars, some new, some dilapidated, and the back view is the dome of the planetarium. The children were noisy, and some have already drove away. A school bus full of students passed in front of the camera.
Medium shot. Look at the front of the school bus from inside the car. The driver sat in the foreground, and the students swarmed up. Plato was among them, but always looked back to Jim. Plato got into the car, stopped next to the driver, and stared out of the car through the windshield, with a depressed expression on his face.
Vision. Judy and her gang. Look through the windshield from Plato's perspective. They slouched around Booth's car. They looked back at the planetarium.
Medium shot. The front of the school bus as seen from inside the car. Plato suddenly turned around, pushed away the students who were in the car, and squeezed a way.
Plato: I'm sorry. sorry.
panoramic. parking lot. In the foreground is the school bus. We can see Judy and others when we cross the school bus. Plato squeezed off the school bus.
Male teacher: John, where are you going?
Plato: I forgot something, I hitchhiked back.
Plato quickly ran past the male teacher who was getting in the car. The door slammed shut and the school bus drove away. Plato stopped and watched the school bus drive away. The last batch of cars drove away, leaving only the two cars of Jim and Booth. Plato looked at the small crowd waiting there.
Medium shot. Looking at the crowd from behind, Plato faced them in the distance.
Booth: What are you looking at?
Medium shot. Plato's eyes were full of fear.
Plato: I didn't see anything.
He ran away, and the camera shook. His target is the gate of the planetarium, and we can see it from a distance. Plato ran towards it frantically.
Medium shot. The group looked at Plato's back. Booth was the closest to photography, he took out a pocket knife from his pocket and opened it with a bang. Judy looked at the jackknife, then looked up at Booth in fear. Krensh sat down on the bumper and lit a cigarette.
Exhibition hall. Plato ran in breathlessly, stopped and looked around. He saw Jim in the distance smoking a cigarette silently leaning on the fence of the big pendulum. Plato didn't move, and Jim didn't even look up.
Plato (calling like "It's on fire!"): What's your name?
Jim: Jim. How about you?
Plato (almost a bit quiet): Plato. This is the nickname.
Jim nodded. Plato walked towards him and the camera followed until the two stood together, both leaning against the fence.
Plato: You know, I told you, don't make fun of them. They are waiting for you outside now.
Jim: I know, so I'm back again.
Plato: Are you scared?
Jim: I just don't want to cause trouble.
Plato: He has a knife.
Jim: I saw it. Hey! You see that thing is swinging, do you think it will stop?
Plato: No. This is eternal movement.
Jim: Oh, I bet, there must be some kid running in at night to push it, walk around!
Plato walked carefully to the door and stepped outside. The camera follows the shot.
Vision. Booth and Crew (a corner of the observatory). Plato leaned out of the door, saw them, and immediately drew back.
In the exhibition hall, Plato retracted from the door, and Jim seemed to be missing. Plato looked around in fear.
Plato: Jim?
Jim is looking at another exhibit, and we hear the mechanical noise it makes.
Jim: I am here.
Plato (coming to him): They are still there! (Jim nods, and they look at the exhibit for a while) Jim, when the end of the world comes, is it night?
Jim: No. It was in the morning. (Plato looks at him questioningly, Jim smiles and shrugs), I just have a feeling.
The two began to walk, the camera guided in front.
Plato: If you don't want to cause trouble, I know there is a place to go—(Looking at Jim) It's a big house. We can sneak past. They won't see it, you'll be fine--
The two quickly turned a corner.
The door to the platform (viewed from the inside out). Plato and Jim walked from behind the camera to the door, opened the door hard, and walked out.
Jim and Plato came to the platform and leaned against the breast wall. Plato pointed outside.
A long-range shot from overhead, a mansion (matte). Although it has been abandoned, it is not too shabby, leaving its long shadow in the setting sun on the large tracts of grass and empty fields.
close up. Plato looked at Jim anxiously.
Plato: Let's go?
Two shots, Jim and Plato. Plato turned his back at us, and Jim passed him to look at something.
Jim: The shadow is so long.
Plato also turned to look.
Long-range shot from overhead, parking lot. Jim's car was still parked in place. In the driveway, like sea water washing a piece of wood ashore, the silhouettes of the group of children waiting there appeared and stretched forward until they themselves entered the picture. They stopped there for a while, then looked up.
Helen (in French): The sun falls into the sea.
laughter. The children spread out along the wall under the platform stairs. Booth walked to Jim's car, with a knife in his hand, and stopped without a word.
Low-angle shot, double shot, Jim and Plato looking down from the platform parapet. Finally Jim walked past the camera and painted.
Low-angle lens, distant view, Jim and Plato. Judy is in the foreground. Jim and Plato walked down the stairs, and the camera shook. They have reached the parking lot and are about to pass by the group of people.
Moving the camera, Jim and Plato walked forward.
Moving through the camera, Booth seen from Jim's point of view. When the camera gradually pushed toward Booth, who was leaning against the car alone, he suddenly bent over and pierced the tire of Jim's car. The camera stops. There was a leaking sound of bitterness. Booth stood up and walked past the camera with a smile.
Close shot. Jim took a sharp breath in shock, but immediately let his anger down again.
Panorama of Jim Car. The group stood motionless in the background, and Jim and Plato approached the car. Jim stopped and leaned over to look. Booth stood cheerfully, putting away the knife.
Close shot. Rear wheels. The tire was punctured and the wheel collapsed on the ground.
panoramic. car. From the group of people and Booth shooting Jim and Plato's background, Jim and Plato are looking down at the car crashing down. Jim turned and walked towards the crowd. He stopped, looked at the crowd one by one, smiled nervously, and then stared at Booth.
Jim (tiredly): Do you know?
Booth: What?
Jim (condemningly): You watch too much TV.
Medium shot. The crowd and Jim. Judy had walked up to Booth and stood on the breast wall above him.
Booth: Drink, he is really theoretical, and he is different.
Jim: I am also very interesting.
Suddenly, Gu En clucked softly like a chicken, and the others clucked one after another. At the end of Booth, he learned how to crow. silence.
Medium shot. The group and Jim.
Jim: You mean me?
Booth: What?
Jim: Coward.
The crowd burst into short laughter.
Medium shot. Jim took off his glasses and smiled. Shaking his head in disagreement.
Jim: You shouldn't scold me like that.
Close shot. Plato watched nervously.
Medium shot. Booth and Judy above him. Jim enters the camera. When he walked to a place very close to Booth's face, he looked up at Judy. The camera was pushed into a compact lens for three people. The heads of the three people almost touched together.
Jim (kindly): Do you always stand on the sidelines? Are you always with these people?
Booth grabbed Jim by the hair, pulled his head up suddenly, and slapped Jim hard.
Close shot. When Judy saw Jim, his eyes clearly recognized who it was.
Another angle shot, Booth's group and Jim. Jim broke free, approached Booth, and slammed. But Booth smiled, jumped to the breast wall, turned around, holding the knife in his hand again. Jim stopped abruptly, and everyone and Plato surrounded him.
Jim: I want to use a knife to fight.
Booth: Who fights? This is a competition. Dude, this is a fun game.
Helen (in French): A game of courage.
close up. Krensh, smiling, put his arms around the shoulders of his two companions.
Krensh (licks his lips): Man, man!
Medium shot. crowd.
Jim: Man?
Booth: Give him a knife too.
Close shot. Plato seen through Mill and Cuki. Cuki took out a folding knife and threw it into the circle.
Plato: Jim!
panoramic. The crowd formed a circle. The knife was thrown at Jim's feet. Jim picked up the knife and faced Booth. Jim popped the tip of the knife.
Booth: Do you know the rules? No strokes, only pokes-poke whatever you want.
Booth jumped off the breast wall, and the two began to deal with each other. Booth kept pouring his knife from one hand to the other, trying to confuse Jim. Suddenly he stabbed and stabbed Jim in the shirt. Everyone shouted "Oh!" Jim did not resist. silence. Booth stabbed Jim again. "Oh!"
Booth (wielding a knife): What are you waiting for? Matador. I thought you wanted to compete!
Jim gestured hastily.
Booth: Brave bull, ha! Matador, ha! what!
Gunn: Moo!
Booth: Come on-show us a hand, let us open our eyes, what's the matter? Do it!
Jim: I don't want to cause trouble.
Booth (suddenly furiously): You useless coward! You are wast
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