克萊默夫婦英文劇本

1、Kramer Versus KramerScreenplay by Robert BentonProduced by Stanley R. JaffeDirected by Robert BentonCast List: Dustin HoffmanTed KramerMeryl StreepJoanna KramerJane AlexanderMargaret PhelpsJustin HenryBilly KramerHoward DuffJohn ShaunessyGeorge CoeJim OConnorJoBeth WilliamsPhyllis BernardFADE IN:INT

2、. OFFICE ADVERTISING AGENCY MIDTOWN EVENINGWIDE SHOTA large and very comfortable office over-looking St. Patricks Cathedral. At the moment the office is filled to bursting with men and women, slumped in chairs, sitting on desks, all of them very tense. Among the crowd of people we note: MURRAY FISHE

3、R, a young and very ambitious junior executive and PHYLLIS BERNARD, an attractive woman in her early thirties. She is a lawyer with the agency.At the moment, TED KRAMER, nice-looking without being what you would call a matinee idol, paces back and forth. His tie is loosened, he checks his watch ever

4、y fifteen seconds. Clearly he is very distraught.TED(predicting the worst)Theyre not gonna call. I tell you theyre not gonna call. I blew it. I dont know what I did wrong, but I REVERSE ON JIM OCONNORTeds boss and good friend. He is in his middle fifties, nattily dressed with the slightly bleary loo

5、k of a heavy drinker. He sits back in his chair with his feet propped on the desk and a drink in one hand.OCONNOR(not unfriendly)Ted, will you take it easy? Revlons not about to drop an account that represents more than two million in gross billing receipts in a small agency like this, without makin

6、g us sweat. Now just relax, okay? Everythings gonna be fine.TED(at this stage, nothing will help)I dont think so, Jim. Maybe I shouldnt have Sound-effect: The phone rings. Everyone freezes. As OConnor reaches for the phone,CUT TO:INT. CHILDS ROOM, KRAMER APT. EVENINGThe room is dark, the only light

7、coming from a small night light. We SEE a beautiful five year old boy (BILLY KRAMER). He lies in bed, half asleep. HOLD FOR A BEAT as a beautiful woman (JOANNA KRAMER) leans over, kisses the child and hugs him tightly to her.JOANNA(intense)I love you, Billy. BILLY(drowsy)I love you too, mommy. Good-

8、night. ON JOANNAShe gets up from the bed and starts toward the door of the childs room.JOANNASleep tight. BILLYDont let the bedbugs bite. Joanna stops in the doorway, silhouetted against the light. She turns, takes a last look at her son, then steps outside.CUT TO:INT. HALLWAY EVENINGON JOANNANow th

9、at the light is brighter, we can SEE her more clearly. In her mid-thirties, she is beautiful, dressed in a style that can best be described as Bloomingdales. HOLD FOR A BEAT as she leans against the door. It is clear from her expression that she is terribly upset. Then, making up her mind, she cross

10、es to a closet and takes out a suitcase.THE CAMERA TRACKS WITH HER as she carries it into the bedroom, lays it out on the bed and opens it. PAN WITH HER as she crosses to a closet, grabs an armload of clothes and dumps them helter-skelter into the suitcase.CUT TO:INT. OCONNORS OFFICE EVENINGIt is a

11、few minutes later, the news has obviously been good because there is a general celebration in progress.Jim OConnor, now standing, raises one hand for silence, then making a toast.OCONNORHeres to Ted Kramer.Cheers and good-natured jokes.OCONNOR(putting an arm around Ted squeezing him tight)I wanna te

12、ll you something about this little runt. He went out there and sold the shit out of Revlon and thats why we got the account. It was his idea, it was his concept, right down the line. More hoots and cheers. People start to yell Speech.TED(embarrassed, but cannot stop grinning)All I can say. All I can

13、 say is this is maybe one of the five best days of my whole life. CUT TO:INT. BATHROOM KRAMER APT. EVENINGJoanna stands at the medicine cabinet, going through it, packing things in a travel kit: rollers, deodorant, makeup, birth control pills. She starts to take a small bottle of perfume that has on

14、ly an eighth of an inch of fluid left inside, hesitates, then puts it back.CUT TO:INT. OCONNORS OFFICE EVENINGNow some time has passed, most of the crowd has gone and only the regulars are left.TED(in the middle of a story)So anyway Jim and I are making the pitch, right? And all of a sudden this old

15、 guy starts to cough and I keep on going and he keeps on coughing and I keep on going and he keeps on coughing and Murray Fisher leans over, shakes Teds hand.MURRAY(interrupting)Congratulations, Ted. That was a hell of a job.TED(surprised)Where you goin Murray, its early?MURRAYGot to get home.TED(gl

16、ancing at his watch)Oh, Christ, Im late. I gotta get out of here.(however, instead of going, he settles back and resumes his story)So anyway, I look over and this old geezer is starting to turn blue and I swear to God the only thing I can think about is that this poor sonofabitch is gonna die on me

17、and screw up the pitch.CUT TO:INT. KITCHEN KRAMER APT. EVENINGINSERT: A long and meticulous list that Joanna is making out of the phone numbers and addresses of doctors and hospitals, of what the various medicines are for, and of the foods that Billy is and isnt permitted to eat.WIDER ANGLEAs Joanna

18、 puts the finishing touches on the list and carefully arranges it on top of the kitchen counter next to a box of unsweetened, whole grain cereal and a jar of honey.Note: It is this same set of notes that Ted will later unthinkingly throw away.CUT TO:EXT. OFFICE BUILDING MIDTOWN NIGHTWIDE SHOTAs the

19、doors to the outer lobby open and Ted and OConnor appear. Ted starts to hail a cab, OConnor stops him.OCONNORHey, whats the rush? Cmon, walk me a couple of blocks.TEDJim, Ive got to go. Im already late OCONNORListen, Ted. I just want to tell you, when old man Schmidt retires next year, Ive got a pre

20、tty good feeling theyll kick me upstairs. He turns and starts to walk off down the street, Ted, of course, follows.OCONNOR. and when they do, I just want you to know Im takin you along with me.CUT TO:INT. BEDROOM KRAMER APT. NIGHTCLOSE ON JOANNAAs she goes through her jewelry case, taking some thing

21、s, leaving others. In the B.G. we SEE a framed photograph of Billy, smiling, looking into the camera.CUT TO:EXT. STREET NIGHTON TED AND OCONNORTracking with them as they walk.OCONNOR(feeling no pain)Yknow, Ted, I mean what I said back there. You did a hell of a job on this and I want you to know Im

22、turning the whole show over to you.TED(thrilled)Wow!OCONNORI mean it Ted, youre running this one.CUT TO:INT. BEDROOM KRAMER APT. NIGHTWIDE SHOTThe suitcase is now full. Joanna zips it shut and looks around to make sure that she hasnt forgotten anything.Then, she hefts her suitcase and starts out of

23、the room.CUT TO:INT. FOYER NIGHTWIDE SHOTJoanna carries in the suitcase, sets it by the front door, then she crosses to the living room and sits down at the dining table.CLOSER IN ON HERShe takes out a list made on the back of an old envelope. As she begins to review it, checking off some items:OFF

24、SCREEN Sound: A key turning in the lock.As Joanna looks up.CUT TO:HER POVAs the door swings open to reveal Ted Kramer, an enormous grin on his face, a bottle of champagne in his hand. He is so full of himself that he doesnt notice there is anything wrong.Note: Throughout the entire scene he carries

25、the bottle of champagne, never putting it down.TEDI thought you might just like to know that at five-fifteen this afternoon we were officially handed the Fire and Ice account by Revlon.CROSS-CUTTING BETWEEN THEM:JOANNA(she takes a deep breath, then:)Ted, Im leaving you.TEDThat represents a gross bil

26、ling in excess of two million (hearing her)What?!Joanna opens her purse, takes out her keys and wallet.JOANNAHere are my keys. I wont be needing them any more.Note: Ted does not for a moment believe that his wife will really leave him. All he can think of right now is that he will have to spend the

27、rest of the evening coping with one of her moods.TED(sardonic)Im sorry Im late, all right? Im sorry I didnt call I was busy making a living.CROSS-CUTTING BETWEEN THEM:Joanna doesnt even bother to look up at him. She opens her purse, takes out her wallet and begins removing credit cards.JOANNAMy Amer

28、ican Express. My Bloomingdales Credit Card. My check book TED(the martyr)Okay, okay. What is it this time? What did I do now?. JOANNA(ignoring this)I took two thousand out of the savings account. That was what I had in the bank when we got married.TEDJoanna, whatever it is, believe me, Im sorry.JOAN

29、NAHere are the slips for the laundry and the cleaning. Theyll be ready on Saturday.TED(hard lining it)Now listen, before you do something youll really regret youd better stop and think JOANNA(not bothering to look up)Ive paid the rent, the Con-Ed and the phone bill, so you dont have to worry about t

30、hem.She checks off the last item on her list as her husband watches, dumbfounded.JOANNAThere, thats everything.Joanna gets to her feet and starts toward the front door. In an instant Ted is after her.TED(panic starting)For Gods sake, Joanna, would you at least tell me what I did thats so terrible! W

31、ould you do me that little favor?ON JOANNAAt the door.JOANNALook, its not your fault, okay? Its me. Its my fault you just married the wrong person.TED(placating her)So weve got problems. Everybodys got problems thats normal Joanna opens the door and they step out into the hallway.INT. HALLWAY OUTSID

32、E KRAMER APT. EVENINGJOANNATed, youre not listening to me. Its over, finished.TEDIm listening, Joanna believe me, Im listening. My wife is walking out on me after eight years of JOANNA(bitter)You just dont get it, do you?(as though to a child)I am really and truly leaving you.TEDI heard you, Joanna.

33、 I promise I heard you. JOANNANo you didnt.(quietly)You didnt even ask about Billy.TED(stiffening)What about Billy?JOANNAIm not taking him with me.TEDWhat?JOANNA(tears start)Ted, I cant. I tried. I really tried but. I just cant hack it anymore. TEDCmon, Joanna, you dont mean that. Youre a terrific m

34、other JOANNA(from her gut)I am not! Im a terrible mother! Im an awful mother. I yell at him all the time. I have no patience. No. No. Hes better off without me.(unable to look at Ted)Ted, Ive got to go. Ive got to go.TED(desperate)Okay, I understand and I promise I wont try and stop you, but you can

35、t just go. Look, come inside and talk. Just for a few minutes.JOANNA(pleading)NO!. Please. Please dont make me stay. I swear. If you do, sooner or later. maybe tomorrow, maybe next week. maybe a year from now. (looking directly at him)Ill go right out the window.Sound-effect: The elevator approachin

36、g.CROSS-CUTTING BETWEEN THEM:There is nothing more that can be done, this is the last moment of intimacy.TED(quiet)Where are you going?JOANNAI dont know. The elevator door opens, Joanna steps inside.TEDDo you want me to help you get a cab?Joanna shakes her head. The elevator door closes behind her a

37、nd it starts to descend.ON TED KRAMERHe stands for a moment, stunned, unable to move. Then he turns and races back into the apartment.THE CAMERA TRACKS WITH HIM as he rushes across to one of the living room windows, throws it open and leans out.HIS POVLooking down to the street from the eighth floor

38、. We SEE Joanna step off the curb and hail a passing taxi.TED(calling out)Joanna!?. Joanna?!Either she doesnt hear him or else she pays no attention. She gets into the cab, closes the door behind her and it drives away.CUT TO:INT. APT. NIGHTON TEDAs he stands for a moment watching the taxi as it dis

39、appears. Then, slowly, he closes the window, turns, and AS THE CAMERA TRACKS WITH HIM, walks into the bedroom.The bedroom is a mess: the closet door stands open, inside Joannas section is empty except for some shoe-boxes and a few dresses that are scattered across the floor. Several dresser drawers

40、have been pulled out and their contents emptied.HOLD IN A WIDE SHOT as Ted wearily picks up one of the dresses and hangs it back on its hanger in its proper place, ready for Joannas return. As he continues straightening up the room,THE CAMERA SLOWLY FADES TO BLACK.FADE IN:INT. LIVING ROOM VERY LATE

41、AT NIGHTWIDE SHOTTed Kramer paces back and forth, eyeing the phone. Then, coming to a decision, he crosses to it, picks up the receiver and starts to dial.CUT TO:EXT. APT. BLDG. LATE AT NIGHTWIDE SHOTThe building is dark except for the Kramer apartment which is ablaze with lights. HOLD as we HEAR:So

42、und: The phone ringing. Then:WOMANS VOICE(obviously asleep)Huh. Hello?TED(righteous)All right, Thelma. Thats it. Ive had it. You can call your good friend Joanna Kramer and tell her enough is enough, okay? I mean, I dont know what I did, but you can tell her shes made her point.WOMANS VOICETed, what

43、 are you talking about?!TEDDont play innocent with me, Thelma. You know perfectly well whats going on.WOMANS VOICE(exasperated)Ted, I dont understand a word youre saying. Wheres Joanna?TEDHa! You tell me.Sound-effect, as Ted slams down the receiver.Instantly a light is turned on two floors below.CUT

44、 TO:INT. FOYER KRAMER APT. NIGHTON THE FRONT DOORAs we HEAR:Sound-effect: the doorbell rings.A moment later Ted opens the door and THELMA PHILLIPS enters. She is a neighbor (Apt. 6-B) and Joanna Kramers best friend. About four months ago Thelma and her husband Charley were divorced. Until then the t

45、wo families had been very close, the Kramers son (Billy) being about the same age as the Phillips daughter (Kim). With the divorce, however, the Kramers tried to remain friends with both Thelma and Charley and that has caused a certain amount of friction.Thelma is an attractive woman in her mid-thir

46、ties. She dresses well, works out religiously at Jack LaLannes and goes to a therapist twice a week. She is also given to acting the lay analyst with her friends. Thelma is generous with her advice, sharing the wealth so to speak. With all of this she is kind, loyal and a loving friend. At the momen

47、t, however, she is all business.THELMA(looking around, suspiciously)All right. Whats going on?ON TEDFrom his attitude it is clear that there is no love lost between them.TEDAll right, Thelma, you want to know whats going on? Ill tell you whats going on. Ill tell you exactly whats going on.THELMALook

48、, Ted, all I TED(starting to really roll)I came home tonight. We just got the Fire and Ice account at the agency. Do you know what that means?! Do you understand what that means? It means that it was maybe one of the five best days in my whole life.THELMATed, all I wanted to know was where TED(not l

49、etting her get a word in edgewise)I walk in the house and before I can say How are you?, Did you have a nice day? before I can say anything. Pow shes out the door.THELMAOhmyGod. Didnt she say anything? She mustve said something.TED(sarcastic)Yeah, she said it wasnt any use talking anymore.THELMATed,

50、 dont be so hostile.Ted draws himself upright with the dignity of the Ambassador to the Court of St. James. However, during the following, he begins pounding the pillows on the couch into shape with real vehemence.TEDHostile?(pow)Me?(whack)Thelma, Im not hostile.(thud)I am anything but hostile.(sock

51、)But if you want to know what I am. Ill tell you what I am. What I am is, I am hurt. I am very hurt. And I just want to know one thing, okay? Just one thing. Why? Thats all I want to know. Why?THELMA(how to say this)Ted, Joanna and I used to talk a lot and. well, she told me a lot of. ah, things abo

52、ut the two of you.TED(instantly nervous)Things? What kind of things?THELMA(clearly she knows more than shes willing to say)I mean. things. Ted, Joannas very unhappy and TED(flash of anger)Listen, Joanna Kramers got a goddamn good life. Shes got a husband that loves her. Shes got a terrific kid. Shes

53、 got a wonderful home THELMA(getting mad herself)What dyou know about how Joanna felt? You went off to an office every morning and youd come dragging home at seven or eight every night and as long as dinner was on the table you thought everything was swell.TEDDid it ever occur to you guys that Joann

54、a Kramers not the easiest person in the world to live with?! Did it?! For one thing shes always thirty minutes late. You can set your watch by it THELMA(exasperated)So shes late. Whats the big deal. Thats just a way of saying, Pay attention to me.TED(not listening)Two. She is getting to be a real he

55、rmit or recluse or whatever it is you call it. Thelma, do you know where I could be in this business if I had a wife that entertained or went out socially THELMAOh for shits sake, Ted, you are the most selfish human being I have ever met. No wonder she said you came first, then Billy, then, if there

56、 was anything left over, she got the scraps.TEDJoanna said that?Thelma nods.TEDThen how come she never said anything like that to me?THELMAMaybe she didnt feel like she should have to. Maybe she felt like if youd been paying any real attention to her to start with, maybe you wouldve noticed.TED(stun

57、g)Boy, you guys are really something, yknow? Id like to know one thing, okay just one little thing. Did you tell Joanna she should leave me?THELMA(stiffly)No.She turns and starts toward the front door, Ted at her heel.TEDYknow something Thelma you are the typhoid Mary of divorce. I mean it. Joanna a

58、nd I never had any trouble until you and Charley split up.THELMATed, divorce is a terrible thing. I know, I went through it. Youve got to believe I did everything I could to get Joanna to stay.(pause)But Ill tell you something. You may not want to hear it, but it took a lot of courage for Joanna to

59、do what she just did.TEDId like to know what the hell kind of courage it takes to walk out on your husband and your child?CLOSE ON THELMAThat stops her dead in her tracks. She had always assumed that Joanna took Billy with her when she left.THELMAJoanna left Billy? She didnt take him with her?Ted sh

60、akes his head. There is a long beat of silence.THELMA(stunned, quiet)Oh Shit.CUT TO:FADE IN:EXT. KRAMER APT. BLDG. EARLY MORNINGWIDE SHOTIt is a beautiful sunny morning and the super stands in front of the building hosing down the sidewalk. HOLD as a garbage truck enters FRAME and the garbage men be