To Have and Have Not [Howard Hawks, 1944]

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To Have and Have Not [Versión doblada en español]

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Aquí está la botella de nuevo

[Transcripción del diálogo mantenido en la secuencia extraído del guión original]:

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MARIE
Hello.

HARRY
Come on in.

MARIE
You’re sore, aren’t you?

HARRY
Why should I be?

MARIE
I didn’t behave well, did I?

HARRY
You did all right. You got the bottle, didn’t you?

MARIE
You’re sore, aren’t you?

HARRY
Now, look. Get this straight. I don’t care-

MARIE
I know, I know you don’t give a hoop what I do but when I do it
you get sore. after all, you told me to, you know.

HARRY
I told you?

MARIE
You said, «Go ahead», didn’t you?

HARRY
Well, that’s right. I guess I did. You were pretty good at it,
too.

MARIE
Thanks. Do you rather I wouldn’t?

HARRY
Wouldn’t what?

MARIE
Do things like that?

HARRY
Why ask me?

MARIE
I’d like to know.

HARRY
Well, of all the screwy things.

MARIE
All right. All right. I won’t do it anymore.

HARRY
Look, I didn’t ask-

MARIE
I know you didn’t. Don’t worry. I’m not giving up anything I care
about. It’s like shooting fish in a barrel anyway. With men like
that. They are all a bunch of- I’m a fine one to talk.The pot
calling the kettle.

HARRY
How long you been away from home?

MARIE
This is about the time for it, isn’t it?

HARRY
The time for what?

MARIE
The story of my life. Where do you want me to begin?

HARRY
I got a pretty fair idea already.

MARIE
Who told you?

HARRY
You did. That slap in the face you took.

MARIE
Yeah. What about it?

HARRY
Well, you hardly blinked an eye. It takes a lot of practice to be
able to do that. I know a lot about you, Slim.

MARIE
Well, the next time I get slapped I better do something about it.

HARRY
You forgot your drink.

MARIE
I don’t want it.

HARRY
Who’s sore now?

MARIE
I am. Who is it?

HARRY
It’s me.

MARIE
The door’s unlocked.

HARRY
You forgot your bottle.

MARIE
I said I didn’t want it.

HARRY
You are sore, aren’t you? I asked you a question. You didn’t
answer me. I said, «You’re sore, aren’t you»?

MARIE
Look. I’m tired and I want to get some sleep.

HARRY
That’s not a bad idea. What made you so mad?

MARIE
I’ve been mad ever since I met you.

HARRY
Most people are.

MARIE
One look and you made up you mind just what you wanted to think
about me. You were- Oh, what’s the use.

HARRY
Go ahead. Keep on going.

MARIE
You don’t know me, Steve. It doesn’t work. I brought that bottle
up here to make you feel cheap. That didn’t work either. Instead
I’m the one who feels cheap. I’ve never felt that way before. I
wanted- I thought that maybe- Go on. Get out of here before I
make a complete fool of myself.

HARRY
How long have you been away from home, Slim?

MARIE
It’s none of your- about six months.

HARRY
Going back?

MARIE
How?

HARRY
What are you gonna do here?

**

MARIE
I don’t know. Get a job, maybe.

HARRY
Jobs are hard to get. I don’t think you’d like it here anyway.

MARIE
Remind you of somebody, Steve?

HARRY
It’s brand new to me. I like it. Would you go back if you could?

MARIE
I’d walk, if it wasn’t for all that water.

HARRY
Yeah. Quit worrying kid. You’ll get back all right.

**

HARRY
What the-.

MARIE
Here’s that bottle again.

HARRY
It’s getting to be quite a problem, isn’t it? Do you want a
drink?

MARIE
No.

HARRY
I thought you were tired and going to bed.

MARIE
I thought so too. You gave me something to think about. You said
you might be able to help me.

HARRY
That’s right.

MARIE
But how can you do that- Steve, you’re going to take that job
with those men who were up here with Frenchy.

HARRY
Yeah, if I can find what’s left of ‘em.

MARIE
I flew over Devil’s island. It doesn’t look like such a high
class resort.

HARRY
Yeah. That’s what I heard.

MARIE
I don’t want to be the cause.

HARRY
Don’t you get the idea I ‘m doing this just to help you. I need
money too.

MARIE
Won’t Frenchy help you out with out without you having to do
that?

HARRY
I don’t want his help.

MARIE
Don’t do it,Steve.

HARRY
Look, didn’t you ask me-

MARIE
Don’t do it.

HARRY
Why don’t you take this bottle and go to bed.

MARIE
Here, can you use this?

HARRY
I thought you said you were broke. You’re good. You’re awful
good. I’d walk home if it wasn’t for all that water.

MARIE
Who was the girl, Steve?

HARRY
Who was what girl?

MARIE
The one who left you with such a high opinion of women. She must
have been quite a gal. You think I lied to you, don’t you. Well,
it just happens there’s thirty odd dollars here. Not enough for
boat fare or any other kind of fare. Just enough to be able to
say «no» if I feel like it. And you can have it, if you want it.

HARRY
I’m sorry, Slim. But I still say you’re awful good and I
wouldn’t-

MARIE
You would take anything from anybody, would you?

HARRY
That’s right.

MARIE
You know, Steve. You’re not very hard to figure. Only at times.
Sometimes I know exactly what you’re going to say. Most of the
time. The other times, the other times, you’re just a stinker.

HARRY
What’d you do that for?

MARIE
I was wondering whether I’d like it.

HARRY
What’s the decision?

MARIE
I don’t know yet. It’s even better when you help. Uh, sure you
won’t change you mind about this?

HARRY
Uhuh.

MARIE
This belongs to me and so do my lips. I don’t see any difference.

HARRY
I do.

MARIE
Okay. You know you don’t have to act with me. You don’t have to
say anything and you don’t have to do anything. Not a thing. Oh,
maybe just whistle. You know how to whistle, don’t ya Steve. You
just put you lips together and blow.

*

‟La voz de Howard gritando «Corten, a positivar» había dado por terminadas las once semanas más memorables e importantes de mi vida. Bogie se despidió de todo el mundo. Yo aquella noche iba a cenar con Howard y con Slim para «celebrarlo». Salí del plató con Bogie, me detuve junto a mi coche y levanté la mano hacia el cielo, sonriendo mientras Bogie se alejaba en el suyo. Fue horrible y sufrí mucho, pero estaba decidida a ser valiente, a parecer despreocupada, a tomar la situación como si todo fuera a salir bien al final, como si en cualquier momento fuéramos a volver a vernos. ¡Pero qué vacío sentí cuando se marchó! Me quedé como si me arrebataran todo lo que me había dado, su cariño y su apoyo. ¿Cuándo volvería a verle? ¿Cuándo me llamaría? […] Preguntas y más preguntas, una vez más hablaba sola.ˮ (1)

To Have and Have Not, dirigida por Howard Hawks, con guión de Jules Furthman y William Faulkner, es una libre adaptación de la novela homónima de Ernest Hemingway, publicada en 1937. Faulkner y Furthman mantienen en el guión la típica agudeza de los diálogos de Hemingway, lo que permite a Bogart y Bacall realizar uno de los intercambios más recordados de la historia del cine, aunque no sólo por las frases utilizadas, sino, además, por su magnífica interpretación, manifestada a través de los gestos, los silencios y las miradas. La secuencia elegida es un clara muestra de todo ello.

To Have and Have Not ( Tener y no tener) supuso el debut cinematográfico de Betty Joan Perske, que contaba tan sólo con 19 años de edad, más conocida a partir de entonces como ‟Lauren Bacallˮ (el nombre, elegido por Howard Hawks, y el apellido, por el apellido materno modificado, de Bacal en Bacall). Supuso, también, como es bien sabido, la ocasión para el encuentro con Humphrey Bogart, encuentro definitivo en la vida de ambos, quienes contraerían matrimonio en 1945, apenas un año después del estreno de la película. Dicho matrimonio sería el primero de Bacall y el cuarto (y último) de Bogart. No hace falta decir que la pareja formada por Lauren Bacall y Humphrey Bogart ha sido una de las más sólidas y memorables de la época dorada de Hollywood, y de la historia del cine en general. Juntos harían aún tres películas más: The Big Sleep (El sueño eterno) en 1946, Dark Passage (La senda tenebrosa) en 1947 y Key Largo (Cayo Largo) en 1948.

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Tom Galway

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Nota

[1] Lauren Bacall. Por mí misma y un par de cosas más, p. 189. RBA Editores.