Перевод кино- и видеопродукции с английского на русский язык

ДЭЗМОНД Посмотри на это.

СТЭНЛИ На ней кольцо.

Стэнли изучает фотографию.

ДЭЗМОНД По-моему, снимок слишком нечеткий, и мы не сможем узнать про рисунок на кольце, но нам стоит его забрать...

СТЭНЛИ (прищуриваясь рассматривает фото) Можете дать мне увеличительное стекло, Агент Дэзмонд? (потом переводит взгляд на Дэзмонда)

Снимок слишком нечеткий, и мы не сможем рассмотреть рисунок.

Карл заходит в трейлер.

КАРЛ Я собираюсь приготовить себе «Доброе Утро Америка». Хотите?

Оба принимают предложение.

ПЕРЕХОД:

27. ВНУТРЕННИЙ ОБЗОР, ТРЕЙЛЕР ТЭРЭЗЫ - ПОЗЖЕ Стэнли заканчивает свою работу. Карл приносит агентам их кофе. Дэзмонд пробует свой кофе под внимательным наблюдением Сэма.

ДЭЗМОНДВы не шутили. Этот напиток приободряет на двое суток. КАРЛ Это правда. Это лучший кофе, какой можно достать в этих местах. СТЭНЛИ (следя за тем, как Дэзмонд пьет) Нам и вправду не мешало бы приободриться, не так ли, Агент Дэзмонд? (после долгого взгляда со стороны Дэзмонда) Нам и вправду не мешало бы приободриться, не так ли, Агент Дэзмонд?

ЖЕНЩИНА засовывает свою голову в трейлер. Она держит пакетик со льдом у одного глаза, а другим с интересом осматривается вокруг. Дэзмонд замечает ее.

ДЭЗМОНД Вы знали Терезу Бэнкс?

Она лишь отрицательно качает головой и уходит. За ней стоит помощник шерифа Клифф, который осматривает трейлер.

КЛИФФ Эй, как там поживает Джей Эдгар? (Карлу) Готов поспорить, ты как следует оценишь их ранний визит? Они ведь разбудили тебя. КАРЛ Они всего-лишь выполняли свою работу.

ДЭЗМОНД Что вы делаете здесь, в парке трейлеров, помощник шерифа? КЛИФФ Возможно, я просто живу здесь, что вы на это скажете? ДЭЗМОНД Могу я спросить вас, где вы находились в ночь убийства Терезы Бэнкс? КЛИФФ Можете сказать Джей Эдгару, что я был на вечеринке и у меня есть пятнадцать гребаных свидетелей. КАРЛ

Может, если бы ты меньше времени тратил на вечеринки, эта девочка еще была бы жива.

КЛИФФ Это правда, мистер Джек Дэниэлс? ДЭЗМОНД Вы знали Терезу Бэнкс? КЛИФФ Получил несколько чашек кофе от нее в закусочной Хэпа. Это все. Кстати, когда вы собираетесь перестать допрашивать служителя правопорядка? Я ведь мог бы задать вам те же вопросы. ДЭЗМОНД Нет, не мог бы.

Чет делает шаг к Клиффу, и тот начинает терять равновесие. Он соступает со ступенек трейлера.

28. ВНЕШНИЙ ОБЗОР, ПАРК ТРЕЙЛЕРОВ КЭНЬОН - ВСЕ ТО ЖЕ Дэзмонд стоит в дверном проеме трейлера и наблюдает, как Клифф забирается в свою машину. Выйдя из трейлера, Дэзмонд находит на земле нечто необычное. Он наклоняется и поднимает с земли шарик для игры в гольф.

ЭЗМОНД Где-то здесь есть поле для игры в гольф? КАРЛ Не то, чтобы их тут было так уж много, нет. Есть пара клубов, но не слишком много ребят, у которых есть мячи для игры.

Дэзмонд кладет шарик в пластиковый пакетик и дает его Стэнли, который кладет пакетик в свой набор. Дэзмонд поворачивается к Карлу.

ДЭЗМОНД Спасибо за помощь, Карл. Извините, что разбудили вас. КАРЛ Ничего. Мне все равно снился плохой сон. Про глупую шутку, в которой не было ничего смешного.

Дэзмонд и Стэнли кивают Карлу и идут к своей машине.

СТЭНЛИ Я не стал вмешиваиться, но заметил, что у вас есть подозрение насчет того, что убийца - это помощник шерифа Клифф. Вы ведь подумали так, не правда ли, Агент Дэзмонд?

ДЭЗМОНД Он не убийца. (после паузы) А кретин. СТЭНЛИ Да, он похож на клоуна.

Дэзмонд обходит машину и забирается в кабину со стороны водителя. 29. ВНЕШНИЙ ОБЗОР, УЧАСТОК ШЕРИФА - ПОЛДЕНЬ МИКРОАВТОБУС ФБР стоит снаружи, когда появляются Чет и Сэм.

30. ВНЕШНИЙ ОБЗОР, КОМНАТА ДЛЯ ОЖИДАНИЙ, ОФИС ШЕРИФА КЭЙБЛА - ДЕНЬ Кэйбл и Клифф встречают Дэзмонда и Стэнли, когда те входят в двери.

Рядом сидит ВОДИТЕЛЬ МИКРОАВТОБУСА. Секретарша сидит за своим столом.

КЭЙБЛ Какого черта это здесь делает? Вы никуда не заберете это тело. ДЭЗМОНД Мы забираем тело в Портлэнд, и вы ничем не сможете этому воспрепятствовать. КЭЙБЛ Не ничем, но чем-то.

ДЭЗМОНД У Терезы Бэнкс было кольцо. У вас есть какие-либо соображения, что с ним могло случиться?

КЭЙБЛ Тут, знаете ли, и автобус кольцо делает.

ДЭЗМОНД (повернувшись к Стэнли) Сэм, бери тело и переноси его в микроавтобус. (Кэйблу) Шериф Кэйбл, где вы находились в ночь убийства Терезы Бэнкс? КЭЙБЛ (Поигрывая мускулами на руке) Мое алиби такое же крепкое, как эти стальные шары.

2. Переводческий коментарий

Для практической части дипломной работы был взять оригинал сценария к фильму “TWIN PEAKS”. Данный материал был выбран из огромного числа сценариев к фильмам, так как полностью отвечает целям исследования данной работы.

Любой фильм подразумевает наличие разной лексики, которая употребляется в разных значениях, с различной эмоциональной окраской и может нести, в каждом из случаев различную смысловую нагрузку.

Фильм “TWIN PEAKS”, и в частности его сценарий, собрал в себе большоеколичество слов, жаргонизмов или просто отдельных фраз требующих более детального рассмотрения при переводе сценария.

В данном фильме наиболее широко представлены 2 типа лексики - это лексика полицейских и табуированная лексика (в фильмах эти типы можно отнести к одному) и лексика гражданская, так называемая лексика обычных мирных жителей городов.

Огромное значение при переводе данного сериала, да и при переводе всех фильмов в целом имеет правильная передача интонации говорящего. Абсолютно разные фразы при различных интонационных окрасках могут абсолютно изменить свое значение.

Так например во фразе из сериала “TWO very buxom PROSTITUTES are being handcuffed by a plain clothes special agent, CHESTER DESMOND” при переводе на русский слово buxom было переведено следующим образом: “Агент ЧЕСТЕР ДЭЗМОНД, одетый в гражданскую одежду, надевает наручники ДВУМ пышногрудым ПРОСТИТУТКАМ ”. Такой перевод оправдан стилем и содержанием данной сцены и сериала в общем, хотя само слово может переводиться как “полный, упитанный, полный сил, энергии”. В данном случае перевод основан на ассоциации и сделан с учетом сложившейся обстановки и контекста в целом.

Еще одним интересным пунктом данного отрывка является выражение “ plain clothes special agent ”, что является типичным примером специализированной лексики и на русский язык переводится как специальный агент переодетый в гражданскую одежду (на профессиональном слэнге это звучит как “агент в штатском”).

Большой интерес для перевода представлял и представляет по сей день перевод ненормативной лексики. Особенно это актуально для перевода кино- и видеопродукции. Данный аспект немаловажен, так как если при переводе художественной литературы, либо статей такие слова можно переводить как можно ближе к оригиналу, то при переводе фильмов учитываются морально-эстетические нормы перевода, оценка фильма по определенным критериям (фильм для взрослых, запрещен для детей до 18, запрещен для детей до 16 и так далее) и социально-культурные нормы.

В данном случае сериал предназначен для просмотра всей потенциальной аудитории независимо от возраста и пола, поэтому и перевод должен производиться соответственно этому критерию.

Фраза “You can tell J. Edgar that I was at a party and I got fifteen fuckin' witnesses.” (стр 20) в русском варианте звучит как “Можете сказать Джей Эдгару, что я был на вечеринке и у меня есть пятнадцать гребаных свидетелей”.

Данный перевод наиболее приемлем в такой обстановке, учитывая различные категории людей, смотрящих этот сериал, а также, что особенно важно, время показа сериала (вечер с 9 до 11).

Еще один пример такого же типа: “I can tell shit from shinolah” переводится как: “ Я могу сказать: ни хрена из хренового ”, что в данной ситуации и, учитывая все вышеуказанные критерии, является наиболее приемлемым из всех возможных вариантов, так как он, с одной стороны, не является элементом лексики, признаваемой как табуированная, а с другой, наиболее полно передает настроение, стиль, манеру и социальное происхождение говорящего.

Одним из наиболее сложных, на взгляд многих переводчиков, аспектов перевода кино и видеопродукции является перевод реалий на родной язык. При переводе таких трудностей необходимо учитывать как национальный колорит и смысл реалии, так и перевод последней, чтобы наиболее полно передать смысл сказанного. Очень часто реалии приводятся в разговоре в качестве алегории или пародии на какой-либо аспект жизни человека, его привычек, уклада жизни или просто совершенного им действия. Причем, в итоге, на языке оригинала сама реалия и попутно сказанная другая фраза представляют собой понятное для носителя языка сочетание или косвенно указывают на какое-либо опрдеделенное действие, совершенное говорящим или тем, к кому адресовано это словосочетание.

Очень распостраненной ошибкой при переводе таких трудностей является перевод одной лишь реалии, в то время как остальная часть фразы остается нетронутой, то есть переводится буквально. В таком случае теряется смысл сказанного, и из остроумно сказанной шутки вся фраза может перейти в разряд обычного, не связанного между собой никакими структурными связями предложения. В таком случае, просто необходимо изменение фразы в целях сохранения колорита и окраски сказанного. То есть при переводе полностью заменяется и реалия и следующая за ней фраза. Это один из немногоих случаев, когда смысл сказанного можно исказить и это не будет являтся ошибкой.

В целом, перевод кино- и видеопродукции можно отнести к отдельному виду перевода, так как он имеет ряд своих особенностей и трудностей, которые больше ни в каких других видах перевода не встречаются. При переводе фильмов, сериалов и другой широкоэкранной продукции особое внимание следует уделять характеру героев, их манере говорения и, что особенно важно, их лексикону.

С развитием данной сферы исскусства все большее количество сфер жизни затрагивается в кинопродукции, поэтому перед переводом любого фильма переводчику необходимо ознакомиться с особенностями перевода данной лексики, а также иметь хотя бы поверхностное представление о том, что затрагивается в данном фильме или сериале. Так например сериал “TWIN PEAKS” затрагивает полицейскую и судебную сферы, поэтому при переводе такого сериала переводчику заранее следует ознакомиться с лексикой судебной и исполнительной власти.

В заключение хотелось бы сказать, что перевод кино- и видеопродукции не составляет особой сложности, но лишь для того, кто заранее достаточно хорошо ознакомился с особенностями этого вида перевода, его спецификой, а также в полной мере изучил все вышеуказанные характеристики героев фильма.

Заключение

В заключении можно сделать следующие выводы.

1. Перевод кино- и видео- продукции занимает особое положение среди различных видов перевода и по праву может считаться отдельным видом перевода, так как имеет ряд особенностей и трудностей описанных в данной дипломной работе.

2. При переводе фильмов переводчику необходимо учитывать следующие факторы, непосредственно влияющие на качество перевода:

· жанровые характеристики фильма

· особенности характера героев

· особенности лексики участников фильма

· особенности перевода диалогической и монологической речи

3. При переводе фильмов необходимо учитывать и некоторые очень важные социальные факторы, непосредственно влияющие на перевод. Это следующие факторы:

· Время выхода фильма в эфир (чем позже по времени выходит фильм, тем более “раскованную” лексику можно употреблять для превода, например табуированной лексики или сленга).

· Потенциальную аудиторию (возраст зрителя)

Подводя итог можно сказать что перевод кино- и видеопродукции имеет ряд своих специфических особенностей, не учитывая которые невозможно сделать адекватный, качественный и правильный перевод. Данная проблема - проблема правильного перевода фильмов еще окончательно не изучена и не решена, что дает возможность дальнейшего и более детального и углубленного изучения данной проблемы.

Список использованной литературы

1. Банфи А. Философия искусства.- М., «Искусство»,1989.

2. Бахтин М.М. Эстетика словесного творчества. М.: Искусство,1979.-423 с.

3. Богушевич Д.Г. Об эволюции образа языка в лингвистике // Интегративные тенденции в современном социально-гуманитарном знании. Материалы Международной научной конференции. Минск, 16-17 ноября 1999 г.- Минск, 2000. - С.125-132.

4. Гоготишвили Л.А. Примечание № 59 // Бахтин М.М. Собрание сочинений в 7-ми томах.- М.: Русские словари. - Т.5, 1997. - С. 641 - 642.

5. Кассирер Э. Избранное: Опыт о человеке. - М.: Фирма "Гардарика", 1998.

6. Макаров В.В. Традиции и современность: нарушенное равновесие // Методология исследований политического дискурса: Актуальные проблемы содержательного анализа общественно-политических текстов. - Мн., БГУ, 2000.- С. 123-137.

7. Плеханова Т.Ф.П211 Текст как диалог: Монография / Т.Ф.Плеханова. Мн.: МГЛУ. 2002. - 253 с.

8. Потебня А.А. Эстетика и поэтика. - М.: Искусство, 1976.

9. Смирнов И.П. Порождение интертекста (Элементы интертекстуального анализа с примерами из творчества Б.Л.Пастернака). - С-Пбг.: Языковой центр. - Изд. 2-е, 1995. - С. 3-191.

10. Токарева И.И. Этнография общения как путь к интеграции гуманитарного знания.// Интегративные тенденции в современном социально-гуманитарном знании. Материалы Международной научной конференции. Минск, 16-17 ноября 1999 г. - Минск, 2000. - С.139 -147.

11. Фаулз Дж. Любовница французского лейтенанта. - С-Пг.: Худ. лит-ра, 1993.

12. Bohm, D. On Dialogue. Еdited by Lee Nichol. - London: Routledge, 1997.

13. Fowles, John. The French Lieutenant's Woman. - Penguin Books Ltd., 1981.

14. Ivanov, Vyacheslav V. Growth of the Theoretical Framework of Modern Linguistics // Current Trends in Linguistics, 1974, No.12. - P. 835-861.

15. Plett Heinrich F. (Ed.) Intertextuality. - Berlin; New York, 1991.

16. Prigogine, Ilya. From Being to Becoming. - San Francisco: Freeman, 1980.

17. Riffaterre, M. Semiotics of Poetry. - Bloomington, Indiana University Press, 1973.

18. Riffaterre, M. Intertextuality vs. Hypertextuality // New Literary History. 1995, 25.

19. Schultz, E.A. Dialogue at the Margins: Whorf, Bakhtin, and Linguistic Relativity. - Madison: University of Wisconsin Press, 1990.

20. www.newsletter.iatp.by

21. www.users/globalnet.co.uk/~infed/e-texts/bohm_dialogue.htm.

22. www.trworkshop.net/

23. www.translators-union.ru/index.php?partners

T W I N P E A K S

-------------------

Fire Walk with Me,

Teresa Banks and the Last

Seven Days of Laura Palmer

Screenplay by

David Lynch and Bob Engels

Lynch/Frost Productions

Shooting Draft

FADE IN:

1. EXT. WIND RIVER, WASHINGTON - DAY

On screen it reads:

"1988, WIND RIVER,

DEER MEADOW, WASHINGTON"

TERESA BANKS' body wrapped in plastic floating through Hells Canyon,

drifting along in Wind River.

On screen it reads:

"TERESA BANKS"

FADE OUT:

FADE IN:

2. EXT. FBI OFFICE IN PORTLAND

Establish.

3. INT. GORDON COLE'S OFFICE

GORDON COLE talks on the speaker phone.

COLE

GET ME AGENT CHESTER DESMOND IN

FARGO, NORTH DAKOTA.

4. EXT. HIGHWAY, FARGO, NORTH DAKOTA - DAY

A school bus. TWO very buxom PROSTITUTES are being handcuffed by a

plain clothes special agent, CHESTER DESMOND. Another AGENT has his

gun to the spread eagled BUS Driver's head. The KIDS inside the bus

are screaming. The phone inside Chester Desmond's car starts to

ring. Desmond walks to the car.

5. INT. DESMOND'S CAR - DAY

Desmond picks up the ringing phone.

DESMOND

Yes...

INTERCUT WITH: COLE

COLE

CHET, I AM CALLING YOU FROM

PORTLAND... OREGON.

DESMOND

OK, Gordon.

COLE

NO, IT'S OREGON, PORTLAND, OREGON.

IT'S REGIONAL BUREAU CHIEF COLE. OUT

IN PORTLAND OREGON. I NEED YOU OUT

HERE, CHET.

DESMOND

(little louder)

OK, Gordon.

COLE

OREGON. A YOUNG GIRL HAS BEEN

MURDERED. SEVENTEEN YEARS OLD.

NAMED TERESA BANKS.

DESMOND

(very loud)

Okay, Gordon!!!

Desmond electronically lowers the aerial adjusting the volume.

COLE

GOT A MAP OF THE ENVIRONS OF THE

YAKIMA INDIAN RESERVATION WITH

YOUR NAME ON IT. BETTER BRING A

POLE.

DESMOND

Smell something fishy, huh?

COLE

I'VE GOT A SURPRISE FOR YOU, CHET.

SOMETHING INTERESTING THAT I WOULD

LIKE TO SHOW YOU. ARRANGEMENTS ARE

BEING MADE AND I WILL MEET YOU AT

THE PORTLAND, AIRPORT.

6. EXT. SMALL AIRPORT OUTSIDE OF PORTLAND - DAY

Small government plane lands.

ANOTHER ANGLE

Desmond exits the plane.

7. INT. SECURITY LOUNGE OF THE AIRPORT - SAME

Desmond enters. Cole and another man, SAM STANLEY, walk towards him.

COLE

(motioning to the man standing there)

CHET, GIVE SAM STANLEY THE GLAD

HAND. HE'S COME OVER FROM SPOKANE.

Desmond and Stanley shake.

STANLEY

It's a pleasure. I've heard a lot about

you.

COLE

SAM'S THE MAN WHO CRACKED THE

WHITEMAN CASE.

DESMOND

Congratulations. I heard about that.

COLE

(plowing ahead)

YOUR SURPRISE, CHET. HER NAME IS LIL.

LIL walks to them from another room. She goes into a contorted dance.

8. LIL'S DANCE

Things we notice.

-- She makes a sour face.

-- She walks in place.

-- She puts one hand in her pocket and makes a fist with the other.

-- While she is doing this, she blinks with both eyes.

-- She is wearing a red wig.

At one point during this Cole adds a sentence.

COLE

SHE'S MY MOTHER'S SISTER'S GIRL.

Cole holds four fingers in front of his eyes.

DESMOND

(noticing the fingers)

Federal?

Cole gives him the thumbs up.

Lil finishes her dance.

COLE

GOOD LUCK, CHET.

(turns to Sam)

SAM, YOU STICK WITH CHET, HE'S GOT

HIS OWN M.O. MODUS OPERANDI.

(back to Chet)

YOU CAN REACH ME AT THE

PHILADELPHIA OFFICES. I AM FLYING

OUT TODAY

DESMOND

Right, Gordon. We'll be in touch.

9. EXT. HIGHWAY ON THE WAY TO DEER MEADOW - DAY

Desmond's car on the highway.

10. INT. DESMOND'S CAR - SAME

As they barrel down the highway -

STANLEY

That was really something. That

dancing girl.

(after a beat)

What did it mean?

DESMOND

Code. If you work with Gordon you learn

that right away.

STANLEY

Code, I've heard a lot about this.

Desmond pulls his arm back so that only his fingers come out of his

sleeve.

DESMOND

Sort of shorthand.

STANLEY

(missing the humor)

Shorthand. really?

DESMOND

We're heading into a difficult situation.

STANLEY

How do you figure?

DESMOND

I'll explain it to you. Do you remember

Lil's dance?

As Desmond explains we -

INTERCUT WITH:

11. FLASHBACK: LIL'S DANCE

In slow motion.

ON LIL'S SOUR FACE

DESMOND

Lil was wearing a sour face.

STANLEY

What do you mean?

DESMOND

Her face had a sour look... that means

we're going to have trouble with the

local authorities. They are not going to

be receptive to the FBI.

ON LIL BLINKING BOTH EYES

DESMOND

Both eyes blinking means there is going

to be trouble higher up... the eyes of the

local authority. A sheriff and a deputy.

That would be my guess. Two of the

local law enforcers are going to be a

problem.

ON LIL PUTTING ONE HAND IN HER POCKET AND ONE IN A FIST

DESMOND (continued)

If you noticed she had one hand in her

pocket which means they are hiding

something, and the other hand made a

fist which means they are going to be

belligerent.

ON LIL WALKING IN PLACE

DESMOND (continued)

Lil was walking in place which means

there's going to be a lot of legwork

involved.

WE SEE COLE PUTTING HIS FINGERS IN FRONT OF HIS FACE AND SAYING LIL

IS HIS SISTER'S GIRL.

DESMOND (continued)

Cole said Lil was "his mother's sister's

girl". What is missing in that sentence?

The Uncle.

STANLEY

Oh, the uncle is missing.

DESMOND

Not Cole's Uncle but probably the

sheriff's uncle in federal prison.

STANLEY

So the sheriff had got an Uncle who's

committed a serious crime.

ON LIL'S RED WIG

DESMOND

Right, which is probably why Lil was

wearing a red wig meaning we are

headed into a dangerous situation. Let

me ask you something, Stanley, did you

notice anything about the dress?

STANLEY

The dress she was wearing had been

altered to fit her. I noticed a different

colored thread where the dress had been

taken in. It wasn't her dress or she

must have lost some weight.

DESMOND

Gordon said you were good. The tailored

dress is our code for drugs. Did you

notice what was pinned to it?

STANLEY

A blue rose.

DESMOND

Very good, but I can't tell you about

that.

Stanley rides along quietly for a while.

STANLEY

What did Gordon's tie mean?

DESMOND

What? That's just Gordon's bad taste.

STANLEY

Why couldn't he have just told you all

these things?

DESMOND

He talks loud. And he loves his code.

STANLEY

I see. He does talk loud.

DESMOND

Gordon would not have sent us to Deer

Meadow without thinking it was a

high priority situation.

STANLEY

It must be a high priority situation.

12. EXT. HIGHWAY - SAME

Desmond's car drives off.

DISSOLVE TO:

13. EXT. DEER MEADOW SHERIFF'S STATION - AFTERNOON

Desmond and Stanley arrive. The Sheriff's Station is in a sorry

state outside... They walk up to the old steps and enter.

14. INT. DEER MEADOW SHERIFF'S STATION, RECEPTION AREA - DAY

Agent Desmond and Stanley walk into a very small reception area. At

the counter Desmond shows his badge to CLIFF HOWARD, the Deputy.

DESMOND

Good afternoon, Federal Bureau of

Investigation, Special Agent Chet

Desmond. I'd like to see Sheriff Cable.

Cliff just smiles for a long minute.

CLIFF

Why don't you folks have a seat. Make

yourself at home. It's gonna be a while.

Desmond stays standing and Stanley sits. After another long moment,

Cliff joins the SECRETARY in a conspiratorial giggle over the long

wait they are planning to give the FBI. In the middle of a giggle

Cliff smiles up at Desmond.

CLIFF (continued)

Why don't you have some of that coffee.

It was fresh two days ago.

Cliff has a good laugh over this and leans again over the secretary

pretending to look at some paper work. They both laugh.

DESMOND

Okay, that's it. I've had enough of the

waiting room now.

CLIFF

(still smiling)

Oh.

Desmond walks towards the door that obviously must go to Sheriff

Cable's office.

Cliff blocks his way with his arm across the doorway, daring him to

do something. While they stare eye to eye, Desmond's hand goes up

slowly towards Cliff's face in a slow mesmerizing way. Cliff tries

to knock Chet's hand away. Chet counters by grabbing Cliff's nose

and pinches a nerve to its side injecting Cliff with a great amount

of pain.

CLIFF (continued)

AAAHHHHHHHH...

Desmond spins the deputy 180 degrees placing himself on the inside of

the office and then still pressing the nerve guides Cliff down into a

chair.

While the Deputy's eyes tear copiously Desmond turns to the secretary.

DESMOND

You can start that FRESH pot of coffee

right now.

Desmond stalks to Sheriff Cable's office. Stanley remains behind

continuing to observe every detail.

15. INT. SHERIFF CABLE'S OFFICE - DAY

SHERIFF CABLE looks up from his work.

CABLE

How the hell did you...

Desmond shows his credentials.

DESMOND

Federal Bureau of Investigation, Special

Agent Chet Desmond.

Cliff, still holding his nose, appears just behind Desmond, who turns

to him.

DESMOND (continued)

That's all right, Deputy, Sheriff Cable

can take it from here

Cable signals Cliff to leave.

DESMOND (continued)

I'm here to investigate the murder of

Teresa Banks.

CABLE

Well, little fella, we don't need any

outside help here. I don't like you

people sniffin' around my neck of the

woods. In fact, when the state boys

called me about a "J. Edgar" coming up I

think I said, "So what?"

DESMOND

Your behavior is not funny and is

wasting the time of the Federal

Government.

CABLE

You're lucky I am not wasting you.

DESMOND

Well, little fella, let me put it this way.

The operative word here would be

"Federal". With or without the

semantics of all this, I am now ordering

you to release all pertinent information

concerning Teresa Banks, both while

living and deceased.

Cable retrieves a box with the paper work and some personal effects.

He throws it to Desmond.

CABLE

A basic kill. Banks was a drifter and

nobody knew her. My boys have been all

over this. It's a dead end.

DESMOND

That's why we're here, Sheriff Cable.

Where's the body?

CABLE

Out back in our morgue

Desmond starts to leave.

CABLE (continued)

It's 4:30. We close at five.

DESMOND

We've got our own clock. We'll lock up.

As Desmond turns to leave he notices on the wall a framed Newspaper

clipping with picture.

The caption reads:

"CABLE BENDS STEEL"

The newspaper shows a picture of Cable in a He-Man pose bending a

steel BAR into a U shape. He turns to leave and Stanley seems to

have appeared right on time. Desmond moves down the hall and Stanley

follows.

16. EXT. SHERIFF'S STATION - DAY

As Desmond and Stanley walk to the adjoining morgue they see a pile of

steel BARS similar to the one they saw Cable bending in the picture.

AT THE MORGUE DOOR

Stanley moves up to Desmond and speaks confidentially.

STANLEY

You know, Agent Desmond, I figure this

whole office, furniture included, is

worth 27,000 dollars.

Desmond doesn't know what to say to him. They enter the morgue.

17. INT. TINY MORGUE - DAY

Teresa's body is on the platform in the middle of the room, Stanley

hangs his recorder on the hooks at the end of the autopsy table and

puts on rubber gloves. Desmond opens Teresa Banks file.

DESMOND

(reading)

Teresa Banks lived at the Canyon

Trailer Park for a month. We'll check

that. And worked as a waitress at Hap's

Truck Stop. Worked the Night Shift.

Good place for dinner when we're thru

here, Sam.

(flips to another page)

No one came to claim the body and no

known next of kin.

As Desmond is doing this, Stanley takes out his SPECIAL MACHINE.

Desmond looks up from his work and notices.

STANLEY

Solved the Whiteman Case with this.

DESMOND

That's what I heard.

STANLEY

No one could find those splinters

without a machine like this. And no one

had a machine like this.

DESMOND

That's good.

STANLEY

Yes, it is good.

(looks around)

What do you think is in these other

drawers?

DESMOND

I don't know, Sam.

STANLEY

Maybe, later we could take a look.

DESMOND

Sure, but let's finish up with this first.

Getting to work, Stanley's face goes right over Teresa's.

STANLEY

(into his recorder)

Crushed skull. Probable cause repeated

blows to the back of the head with an

obtuse angled blunt object. Subject

looks to be between 16 and 18 years of

age.

DESMOND

Cole said she was 17.

Stanley's eyes drift to Teresa's left hand.

STANLEY

I wonder where her ring is?

esmond notices the mark on her hand as well.

DESMOND

Yeah.

(looking into the personal effects)

Personal effects include a watch, under

garments, and a blue waitress

uniform... the ring is missing. It says

the rest of her things haven't been

removed yet from the trailer. Let's

hope it's there.

Stanley picks up her left hand.

INSERT: BANKS LEFT HAND

In Stanley's hand.

ON THE SCENE

STANLEY

There appears to be a contusion under

the ring finger of her left hand.

DESMOND

Oh.

Stanley peers underneath the fingernail.

STANLEY

A laceration.

Stanley brings over his "Whiteman" instrument. Works the left hand

under it.

DESMOND

Accidental?

STANLEY

Agent Desmond, would you hold the

finger for me. There's something up

there.

He gets whatever it is with a long set of tweezers.

DESMOND

What is it?

STANLEY

It is a piece of paper with the letter "T"

imprinted on it. Take a look.

Desmond comes around and takes a look.

On a piece of paper.

CLOSEUP: DESMOND

Pondering what he has seen.

ON THE SCENE

We move across to a clock on the wall that reads: 5:04.

DISSOLVE TO:

THE SAME CLOCK

It now reads 3:33. Stanley zips up a regulation body bag around

Teresa.

DISSOLVE TO:

18. EXT. MORGUE - LATE NIGHT

Desmond and Stanley come out of the morgue.

STANLEY

Geez, Agent Desmond, it's three-thirty

in the morning. Where are we going to

sleep?

DESMOND

We're not. You and I are going to get

some food.

STANLEY

Yes, it's been several hours since we've

eaten. I didn't realize that so much

time had past, did you, Agent Desmond?

Desmond takes a long look at Stanley.

STANLEY (continued)

You've got your own M.O., don't you,

Agent Desmond?

Desmond gets in and starts the car.

19. EXT. HAP'S DINER - LATE NIGHT

Establish.

20. INT. HAP'S DINER, MANAGER'S OFFICE - LATE NIGHT

Desmond and Stanley talk with JACK, the manager who has black wavy

hair with a black full mustache to match, shiny silk shirt with silver

strands sown in and an Indian turquoise belt. He has a sign on his

shirt that says, "Say 'Goodbye' to JACK".

A GUY in the room is working on a light that keeps buzzing and

shorting out. He doesn't really know what he's doing so he is

poking at the wiring.

JACK

Had the FBI here once before. Back in

the fifties when Hap was running the

place.

DESMOND

Where's Hap?

JACK

He's dead - good and dead.

DESMOND

Sorry to hear it.

JACK

He didn't suffer.

DESMOND

I'd like to ask you a few questions about

Teresa Banks

JACK

Sheriff Cable's already asked me a few

questions about Teresa Banks. She

worked nights for a month. That's it.

DESMOND

Any friends?

JACK

No.

DESMOND

Ever see her with someone else?

JACK

No.

DESMOND

Did she ever mention any friends?

JACK

No.

(pointing)

Ask Irene over there.

He gestures thru a door that leads out to the diner, pointing out a

woman behind the counter.

JACK (continued)

Now, her name _is_ Irene and it _is_ night.

Don't take it any further than that.

There's nothin' good about it.

21. INT. HAP'S DINER - SAME

They sit at the counter and IRENE comes over to them. Behind her is

the coffee and she is working on a cigarette. Lipstick smeared on

the coffee cup.

IRENE

Take a good look around. There's nobody in

this place - you're meetin' the reason

why. What'll it be?

DESMOND

How come Jack let's you work here?

IRENE

Jack and I are united in holy matrimony.

DESMOND

Say no more.

Stanley is casing the restaurant as Irene pours them a couple of cups

of coffee.

DESMOND

(showing credentials)

Federal Bureau of Investigation, Special

Agent Chet Desmond. I'd like to ask you

a few questions about Teresa Banks.

Jack said you knew her. How well?

IRENEShe only worked here a month. Nice

girl. Never seemed to get here on time

though. Ask me she had a little problem

with --

She makes a sniff to indicate a "cocaine problem".

IRENE (continued)

Came looking for a job with a friend of

hers. Pretty girl. Could've been her

sister.

DESMOND

What happened to her?

IRENE

There was only one job. Teresa took the

job. Her friend took a hike. Never saw

her again.

DESMOND

Did you ever see Teresa take cocaine?

IRENE

No.

DESMOND

Do you take cocaine, Irene?

IRENE

No, I do not. I never took cocaine or any

other drugs. I don't take drugs.

STANLEY

Nicotine is a drug. Caffeine is a drug.

IRENE

Who's Shorty? Those drugs are legal.

DESMOND

He's with me.

(back on the track)

Anything you would like to tell us about

Teresa Banks that would help us out?

IRENE

I've thought about that. I think her

death is what you would call a "freak

accident".

DESMOND

Thanks.

An OLD GUY, long and skinny, smoking, gets Desmond's attention.

OLD GUY

You talking about that little girl that

was murdered?

DESMOND

You have something to tell us?

OLD GUY

Yeah.

DESMOND

What?

OLD GUY

I can tell shit from shinolah. Gets me

along way down that road.

Desmond moves away from him.

STANLEY

You think we ought to question him?

Desmond looks down at the coffee cup in Stanley's _left_hand_.

DESMOND

What time is it, Stanley?

Stanley checks his watch pouring hot coffee on himself.

STANLEY

Oh...

Desmond guides his laugh into a cough.

STANLEY

(looking at his watch while his

legs burn)

Agent Desmond, it's...

DESMOND

It's late, Sam.

STANLEY

(to himself as be dabs his pants

with napkins)

It's not late, it's early. Really early.

Irene comes up to them with her purse in her hand. She is going off

duty.

IRENE

You know, I never told anybody, but once

for about three days, just before her

time, Teresa's arm went completely

dead.

DESMOND

What do you mean?

IRENE

Her left arm. It was numb. She said she

couldn't use it. Said it had no feeling.

Probably from the drugs she was taking.

(after a beat)

I just thought I ought to tell you.

DESMOND

Thanks.

Stanley watches her leave.

STANLEY

I doubt it was drugs, more likely a

problem with a nerve. I could recheck

the arm for injuries, but for real nerve

work we are going to have to take the

body back to Portland.

DESMOND

I think that's a good idea.

22. EXT. HAP'S DINER - NEAR DAWN

As Desmond and Stanley head towards their car.

DESMOND

I think we should see the sun rise at the

Canyon Trailer Park.

STANLEY

Are you speaking to me in a code?

DESMOND

No, Sam, I'm speaking plainly and I mean

just exactly what I say.

STANLEY

In that case, we should go to the Canyon

Trailer Park.

Irene walks past them and towards the parking lot.

STANLEY AND DESMOND

Thanks, Irene. Good...

(catch themselves)

Good morning.

STANLEY

Thank god it is morning.

23. EXT. CANYON TRAILER COURT - DAWN

Desmond and Stanley drive thru to the manager's trailer which is

surrounded by a small white picket fence. They park and step to the

trailer. Desmond knocks twice on the door. From inside they hear a

voice that makes Cole's voice sound like a whisper.

VOICE

OH, GOD, WHAT... WHAT...

Just then Desmond and Stanley notice a sign on the door that reads.

"DO NOT EVER DISTURB BEFORE 9

A.M... EVER"

VOICE

CAN'T YOU READ!

STANLEY

Nine's really late. We are really early.

They both fumble for their badges as they hear the manager coming

closer to the door. They meet the manager, CARL RODD.

CARL

God damn, this better be

important.

He stops in the middle of this when he sees the badges.

DESMOND

Federal Bureau of Investigation, Special

Agent Chet Desmond and Agent Sam

Stanley. Sorry to disturb you, but we

would like to see Teresa Banks' trailer,

please.

CARL

More popular than Uncle's Day at a

whorehouse.

(takes one step out of his trailer)

GOD DAMN, THAT MORNING SUN IS

BRIGHT! BLUE BRIGHT.

Carl steps thru the little picket fence's gate and leads them towards

Teresa's Trailer.

CARL (continued)

Mrs. Simmons owns the trailer and she

lives in town. Teresa rented it about a

month ago.

DESMOND

Did she have someone with her?

CARL

Right. She had a friend with her. The

friend took off.

DESMOND

Was there an argument?

CARL

Not that I know of. But arguments do

happen, don't they?

DESMOND

Yes they do. Did she have visitors?

CARL

No, hey, I already told this whole damn

thing to Sheriff "Not-Quite-Able"...

Here's the trailer now.

He swings open the door.

CARL (continued)

And this is exactly the way she left it. I

never touched a GOD DAMN THING.

(frustration rising)

GOD!

Desmond and Stanley go in.

24. INT. TERESA'S TRAILER

Desmond smells the room. He and Stanley look around. Stanley leans

over to Desmond.

STANLEY

(whispers)

She lived alone.

DESMOND

She must have known someone.

Desmond notices her personal effects on the dresser, but no ring.

DESMOND (continued)

You better dust this place, Sam.

STANLEY

I'll get my kit.

25. EXT. CANYON TRAILER COURT

Stanley walks towards the car. He writes in his note book.

STANLEY

(to himself)

5,600 dollars.

26. INT. TERESA'S TRAILER

Desmond notices a picture hanging on the wall. Takes the picture

down and looks at it thru his magnifying glass.

(more)

INSERT - PICTURE

Teresa Banks is wearing a ring.

BACK ON THE SCENE

Stanley returns with his equipment. Desmond shows him the photograph.

DESMOND

Take a look at this.

STANLEY

She's wearing a ring.

Stanley studies it.

DESMOND

My guess is there isn't enough detail in

the photo to get an idea of the design on

the ring, but we should do a blowup of

this anyway.

STANLEY

(squinting at the picture)

May I see the magnifying glass, Agent

Desmond?

(takes a look, then looks at

Desmond)

There doesn't seem to be enough detail

in the photo to ascertain the design on

the ring.

Carl leans in from the outside.

CARL

I'm gonna make myself some Good

Morning America. You want some?

Both nod "yes".

DISSOLVE TO:

27. INT. TERESA'S TRAILER - LATER

Stanley is finishing up his work. Carl brings them their coffee.

Desmond tastes the coffee under Sam's watchful eye.

DESMOND

You weren't kiddin'. This stuff's got the

sting of the forty-eight hour blend.

CARL

That's right. That's the best coffee

you're gonna get around here.

STANLEY

(watching Desmond drink)

We really do need a good "wake me up",

don't we, Agent Desmond?

(after a long look from Desmond)

We really do need a good "wake me up",

don't we, Agent Desmond?

A WOMAN sticks her head into the trailer. She has an ice pack over

one eye and a load of idle curiosity. Desmond notices her.

DESMOND

Did you know Teresa Banks?

She just nods in the negative and leans back out. Behind her is

Deputy Cliff, who looks into the trailer.

CLIFF

Hey, how's J. Edgar doin'?

(to Carl)

Bet you appreciate them bustin' your

mornin' in half, eh, Carl? Bet they woke

you up.

CARL

They're only doing their job.

DESMOND

What are you doing here in the trailer

court, Deputy?

CLIFF

Maybe I just live here, what do you

think about that?

DESMOND

Can I ask you where you were the night

Teresa Banks was murdered?

CLIFF

You can tell J. Edgar that I was at a

party and I got fifteen fuckin'

witnesses.

CARL

Maybe if you did a little less partyin'

that little girl would still be alive.

CLIFF

Is that right, Mr. Jack Daniels?

DESMOND

Did you know Teresa Banks?

CLIFF

Got a couple of cups of coffee at Hap's

from her. That's it. By the way where

do you get off questioning a lawman? I

could ask you the same question.

DESMOND

No you couldn't.

Chet steps towards Cliff who looses his balance and has to step off

the trailer steps.

28. EXT. CANYON TRAILER COURT - SAME

Desmond stands in the doorway of the trailer and watches Cliff get

into his car and drive to work.

Stepping away from the trailer Desmond spots something underneath.

He bends down and retrieves a Titleist Golf Ball.

DESMOND

Is there a golf course around here?

CARL

Not a lot around here, no. Got some

clubs, but not very many fellas with

balls.

Desmond drops the ball in a plastic bag and gives it to Stanley who

puts it in his kit. Desmond turns to Carl.

DESMOND

Thanks for your help, Carl. Sorry we

woke you up.CARL

That's alright. I was having a bad

dream. I was dreamin' about a joke

with no punchline.

Desmond and Stanley nod to Carl and walk to their car.

STANLEY

I couldn't help but notice that you had a

suspicion that Deputy Cliff was the

murderer. You did think that, didn't you,

Agent Desmond?

DESMOND

He's not the murderer.

(after a beat)

But he's a bozo.

STANLEY

Yes, he is like a clown.

Desmond walks around the car to the drivers' side and gets in.

29. EXT. SHERIFF'S STATION - MIDDAY

The FBI MOBILE CRIME VAN sits outside as Desmond and Stanley pull up.

30. INT. WAITING ROOM, SHERIFF CABLE'S OFFICE - DAY

Cable and Cliff meet Desmond and Stanley as they come in the door.

The CRIME VAN DRIVER sits nearby. The secretary is behind her desk.

CABLE

What the hell is that thing doing out

there? You're not taking that body

anywhere.

DESMOND

We're taking the body back to Portland

and there's not a thing you can do about

it.

CABLE

Maybe not _a_ thing, but maybe _two_

things.

DESMOND

Teresa Banks had a ring. Any idea what

happened to it?

CABLE

We got a phone, here, that's got a little

ring.

DESMOND

(turning to Stanley)

Sam, get the body and put it in the van.

(to Cable)

Sheriff Cable, where were you the night

Teresa Banks was murdered?

CABLE

(flexing the muscles in his arm)

My alibi is as strong as these bands of

steel.

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