Excerpt 1--Dialogue between Harry and Sally on the Trip

(At the university, Harry and Amanda kissing goodbye.)

Amanda: I love you

Harry: I love you

Sally: (clears throat) kmm  kmm... Kmm Kmm

Amanda: Oh, hi Sally.  Sally, this is Harry Burns.  Harry, this is Sally
Allbright.

Harry: Nice to meet you.

Sally: You want to drive the first shift?

Harry: No, you're there already you can start.

Sally: Back's open.

Amanda: Call me.

Harry: I'll call you as soon as I get there.

Amanda: Oh, call me from the road.

Harry: I'll call you before that.

Amanda: I love you.

Harry: I love you.

Sally: (honks) Sorry.

Harry: I miss you already, huh, I miss you already.

Amanda: I miss you.

Harry: Bye.

Amanda: Bye.

(Harry and Sally in the car, on their whay to New York)

Sally: I have it all figured out.  It's an eighteen hour trip which breaks
down into six shifts of three hours each or alternatively we could break it
down by mileage.

(Harry climbs to reach for something at the back-seat)

Sally: There's a...there's a map on the huh... visor that I've marked to show
the locations so we can change shifts.

Harry: Grapes?

Sally: No, I don't like to eat between meals.

(Harry spits pits out but the window was shut)

Harry: I'll roll down the window.  Why don't you tell me the story of your
life.

Sally: Story of my life?

Harry: We've got eighteen hours to kill before we hit New York.

Sally: The story of my life isn't even going to get us out of Chicago I mean
nothing's happened to me yet.  That's why I'm going to New York.

Harry: So something can happen to you?

Sally: Yes.

Harry: Like what?

Sally: I can go into journalism school to become a reporter.

Harry: So you can write about things that happen to other people.

Sally: That's one way to look at it.

Harry: Suppose nothing happens to you.  Suppose you lived out your whole life
and nothing happens you never meet anybody you never become anything and
finally you die in one of those New York deaths which nobody notices for two
weeks until the smell drifts into the hallway.

Sally: Amanda mentioned you had a dark side.

Harry: That's what drew her to me.

Sally: Your dark side.

Harry: Sure.  Why don't you have a dark side?  No you're probably one of those
cheerful people who dots their eyes with little hearts.

Sally: I have just as much of a dark side as the next person.

Harry: Oh really.  When I buy a new book I always read the last page first
that way in case I die before I finish I know how it ends.  That my friend is
a dark side.

Sally: That doesn't mean you're deep or anything I mean... yes, basically I'm
a happy person...

Harry: So am I.

Sally: ...and I don't see that there's anything wrong with that.

Harry: Of course not you're too busy being happy.  Do you ever think about
death?

Sally: Yes.

Harry: Sure you do, a fleeting thought that jumps in and out of the transient
of your mind.  I spend hours, I spend days...

Sally: And you think that makes you a better person.

Harry: Look, when the shit comes down I'm gonna be prepared and you're not
that's all I'm saying.

Sally: And in the mean time you're gonna ruin your whole life waiting for it.

(a while later, still in the car)

Sally: You're wrong.

Harry: I'm not wrong, he wants...

Sally: You're wrong.

Harry: ...he wants her to leave that's why he puts her on the plane.

Sally: I don't think she wants to stay.

Harry: Of course she wants to stay.  Wouldn't you rather be with Humphrey
Bogart than the other guy?

Sally: I don't want to spend the rest of my life in Casablanca married to a
man who runs a bar.  I probably sound very snobbish to you but I don't.

Harry: You'd rather be in a passionless marriage.

Sally: And be the first lady of Czechoslovakia.

Harry: Than live with the man you've had the greatest sex of you life with,
and just because he owns a bar and that is all he does.

Sally: Yes.  And so had any woman in  her right mind, woman are very
practical, even Ingrid Bergman which is why she gets on the plane at the end
of the movie.

---

Excerpt 2--Dialogue between Harry and Sally after Dinner

Harry: You're a very attractive person.

Sally: Thank you.

Harry: Amanda never said how attractive you were.

Sally: Well may be she doesn't think I'm attractive.

Harry: I don't think it's a matter of opinion, empirically you are attractive.

Sally: Amanda is my friend.

Harry: So?

Sally: So you're going with her.

Harry: So?

Sally: So you're coming on to me!

Harry: No I wasn't.  What?

(Sally is not impressed, jaw drops, wide eyes)

Harry: Can't a man say a woman is attractive without it being a come-on?
Alright, alright, let's just say just for the sake of argument that it was a
come-on.  What do you want me to do about it?  I take it back, ok?  I take it
back.

Sally: You can't take it back.

Harry: Why not?

Sally: Because it's already out there.

Harry: Oh gees, what are we suppose to do, call the cops?  It's already out
there.

Sally: Just let it lie, ok?

Harry: Great!  Let it lie.  That's my policy.  That's what I always say, let
it lie.  Wanna spend the night at a motel?  See what I did?  I didn't let it
lie.

Sally: Harry.

Harry: I said I wouldn't and I didn't.

Sally: Harry.

Harry: I went the other way.

Sally: Harry.

Harry: What?

Sally: We are just going to be friends, ok?

Harry: Great!  Friends!  It's the best thing.

(On the road once more)

Harry: You realise of course that we can never be friends.

Sally: Why not?

Harry: What I'm saying is... and this is not a come-on in any way, shape or
form, is that men and women can't be friends because the sex part always gets
in the way.

Sally: That's not true, I have a number of men friends and there's is no sex
involved.

Harry: No you don't.

Sally: Yes I do.

Harry: No you don't.

Sally: Yes I do.

Harry: You only think you do.

Sally: You're saying I'm having sex with these men without my knowledge?

Harry: No, what I'm saying is they all want to have sex with you.

Sally: They do not.

Harry: Do too.

Sally: They do not.

Harry: Do too.

Sally: How do you know?

Harry: Because no man can be friends with a woman he finds attractive, he
always wants to have sex with her.

Sally: So you're saying that a man can be friends with a woman he finds
unattractive.

Harry: Nuh, you pretty much wanna nail'em too.

Sally: What if they don't want to have sex with you?

Harry: Doesn't matter, because the sex thing is already out there so the
friendship is ultimately doomed and that is the end of the story.

Sally: Well I guess we're not going to be friends then.

Harry: Guess not.

Sally: That's too bad.  You are the only person I knew in New York.

(Louis Armstrong breaks into "You say neither, I say....".  They've reached
the Big Apple and are unloading Harry's luggage)

Harry: Thanks for the ride.

Sally: Yeah, it was interesting.

Harry: It was nice knowing you.

Sally: Yeah.

(They shake hands)

Sally: Well have a nice life.

Harry: You too.
 

---

(Sally and Marie walking to a restaurant.  Harry and Jess doing the same
thing.  Harry is introducing Sally to Jess and Sally is introducing Marie to
Harry at a match-making dinner)

Sally: You sent flowers to yourself.

Marie: Sixty dollars I spent on this big stupid arrangement of flowers and I
wrote a card that I planned to leave on the front table Arthur would just
happen to see it.

Sally: What did the card say?

Marie: "Please say yes.  Love Jonathan."

Sally: Did it work?

Marie: He never even came over.  He forgot this charity thing that his wife
was a chairman of.  He's never going to leave her!

Sally: Of course he isn't.

Marie: You're right, you're right, I know you're right.  Where is this place?

Sally: Somewhere in the next block.

Marie: Uh... I can't believe I'm doing this.

Sally: Look, Harry is one of my best friends and you are one of my best
friends and if by some chance you two hit it off then we could all still be
friends in stead of drifting apart the way you do when you get involve with
someone who doesn't know your friends.

Marie: You and I haven't drifted apart since I started seeing Arthur.

(Sally stops walking, turns to Marie)

Sally: If Arthur ever left his wife and I actually met him I'm sure that you
and I would drift apart.

Marie: He's never going to leave her.

Sally: Of course he isn't.

Marie: You're right, you're right, I know you're right.

(Harry and Jess now)

Jess: I don't know about this.

Harry: It's just a dinner.

Jess: You know I've finally gone to a new place in my life where I'm
comfortable with the fact that it's just me and my work.  If she's so great
why aren't you taking her out?

Harry: How many times do I have to tell you, we're just friends.

Jess: So you're saying she's not that attractive.

Harry: No, I told you she *is* attractive.

Jess: Yeah but you also said she has a good personality.

Harry: She *has* a good personality.

(Jess stops walking, turns to Harry, raises his arms in the air)

Harry: What?

Jess: When someone is not that attractive, they're always described as having
a good personality.

Harry: Look, if you would ask me, "What does she look like?" and I said, "She
has a good personality."  That means she's not attractive.  But just because I
happened to mention that she has a good personality, she could be either.  She
could be attractive with a good personality, or not attractive with a good
personality.

Jess: So which one is she?

Harry: Attractive.

Jess: But not beautiful, right?

(Harry walks away.)

(They are now all at a table in the restaurant.  Jess is telling Sally about
writing.  Marie is talking with Harry about something to do with hostages.
Both group are not really happening at all.  (and I couldn't be bothered
transcripting all those cross-talk.))
(Eventually, they stopped.  Long silence.  All four looking uncomfortable.)

Sally: Harry, you and Marie are both from New Jersey.

Marie: Really.

Harry: Where are you from?

Marie: South Orange.

Harry: Haddenfield.

Marie: Ah!....

(Silence.  Harry and Marie are both holding a polite smile.  Then, nothing.
And both turn back to the table, looking blank.)

Harry: So, what are we going to order?

Sally: Well I'm going to start with the grilled riddichio.

Harry: Jess, Sally is a great orderer.  Not only does she always pick the best
thing in the menu but she orders it in a way that the chef didn't even know
how good it could be.

Jess: I think restaurants have become too important.

Marie: Mmm I agree.  Restaurants are to people in the eighties what theatre
was to people in the sixties.  I read that in magazine.

Jess: I wrote that.

Marie: Get outta here.

Jess: No, I did, I wrote that.

Marie: I've never quoted anything from a magazine in my life, that's amazing,
don't you think that's amazing?  And you wrote it!?

Jess: I also wrote "Pesto is the quiche of the eighties."

Marie: Get over yourself!

Jess: I did!

Marie: Where did I read that?

Jess: New York Magazine.

Harry: Sally writes for New York Magazine.

Marie: You know that piece had a real impact on me, I mean I, I don't know
that much about writing but...

Jess: Well, well, it spoke to you, and that pleases me.

Marie: I.. I mean I really.. have.. you have to admire people who can be as...
that articulate.

(Harry and Sally simultaneously looked at each other.  They each know what's
going on.)

Jess: Nobody has ever quoted me back to me before.

(The four are walking along the street.)

Marie: Oh!  I've been looking for a pair of red suede pumps.

(In saying so Marie and Sally are in a place where they can talk, privately.)

Marie: What do you think of Jess?

Sally: Well, eh.

Marie: Do you think you could go out with him?

Sally: I don't know, eh.

Marie: 'Cos I feel really comfortable with him.

(Sally nodding her head, may be subconsciously.)

Sally: You want to go out with Jess.

Marie: If it's alright with you.

Sally: Sure, sure.  I'm just worried about Harry.  He's very sensitive, he's
going through a rough period and I... I just don't want you to reject him
right now.

Marie: I wouldn't, I totally understand.

(Harry and Jess now.)

Jess: If you don't think you're going to call Marie, do you mind if I call
her?

Harry: No, no.

Jess: Good, good, good.

Harry: But for tonight you shouldn't.  I mean Sally's very vulnerable right
now.  I mean you can call Marie, that's fine.  But just wait for a week or so,
huh?  Don't make any moves tonight.

Jess: Fine, no problem, I wasn't even thinking about tonight.

(Sally and Marie walks over to the guys.)

Jess: Well I don't really feel much like walking anymore.  I think I'll get a
cab.

Marie: I'll go with you!

Jess: Great!  Taxi!

(Jess and Marie hurried into the cab and it drives off, leaving Harry and
Sally alone, again.  They turn and look at each a other, a little bewildered.)

---

(They reach Jess and Marie's place.  They are looking at a wagon-wheel coffee
table.)

Jess: I like it, it works.  It says home to me.

Marie: Alright, alright.  We'll let Harry and Sally be the judge.  (To Harry
and Sally)  What do you think?

Harry: It's nice.

Jess: Case closed.

Marie: Of course he likes it, he's a guy.  Sally?

(Sally shakes her head.)

Jess: What's so awful about it?

Marie: It's so awful there's no way even to begin to explain what's so awful
about it.

Jess: Honey, I don't object to any of your things.

Marie: If we had an extra room you could put all of your things including your
bar stools.

Jess: No, honey, wait, wait, wait, honey, honey, wait, wait, wait... you don't
like my bar stools?  (To Harry)  Harry, come on, someone has to be on my side.

Marie: I'm on your side, I'm just trying to help you have good taste.

Jess: I have good taste!

Marie: Everybody thinks they have good taste in a sense of humour but they
couldn't possibly all have good taste.

Harry: You know it's funny.  We started out like this, Helen and I.  We had
blank walls, we hung things, we picked out tiles together.  Then you know what
happens?  Six years later you find yourself singing "Surrey with a fringe on
top" in front of Ira!

Sally: Do we have to talk about this right now?

Harry: Yes, I think that right now actually is the perfect time to talk about
this because I want our friends to benefit from the wisdom of my experience.
Right now everything is great, everyone is happy, everyone is in love, but you
got to know, that sooner or later, you're going to be screaming at other about
who's going to get this dish.  This eight dollar dish will cost you a thousand
dollars in phone calls to the legal firm of that's-mine-this-is-yours.

Sally: Harry...

Harry: Please, Jess, Marie, do me a favour for your own good, put your name in
your books right now, before they get mixed up and you don't know who's is
who's.  Because one day, believe it or not, you'll go fifteen rounds over
who's going to get this coffee table.  This stupid, wagon wheel, Roy Rogers
garage sale coffee table!

Jess: I thought you liked it.

Harry: I WAS BEING NICE!

(Harry walks out.)

Sally: He just bumped into Helen.

(Sally follows.)

Marie: I want you to know, that I will never, want that wagon wheel coffee
table.

(Outside, with Sally trying to talk to Harry.)

Harry: I know I know I shouldn't have done it.

Sally: Harry, you're going to have to try and find a way of not expressing
every feeling that you have, every moment that you have them.

Harry: Oh really?

Sally: Yes, there are times and places for things.

Harry: Well the next time you're giving a lecture series on social graces
would you let me know, 'cos I'll sign up.

Sally: Hey!  You don't have to take your anger out on me.

Harry: Oh I think I'm entitled to throw a little anger your way, especially
when I'm told how to live my life, by Miss Hospital-Corners.

Sally: What's that supposed to mean?

Harry: I mean nothing bothers you!  You never get upset about anything!

Sally: Don't be ridiculous!

Harry: What?  You never get upset about Joe.  I never see that back up on you.
How is that possible?  Don't you experience any feelings of loss?

Sally: I don't have to take this crap from you!

Harry: If you're so over Joe, why aren't you seeing anyone?

Sally: I see people!

Harry: See people, have you slept with one person since you broke up with Joe?

Sally: What the hell does that have to do with anything?  That will prove that
I'm over Joe, because I fucked somebody?  Harry you're going to have to move
back to New Jersey because you've slept with everybody in New York and I don't
see that turning Helen into a faint memory for you!  Besides I will make love
to somebody when it is 'making love', not the way you do it like you're out
for revenge or something!

Harry: Are you finished now?

Sally: Yes.

Harry: Can I say something?

Sally: Yes.

Harry: I'm sorry.  I'm sorry.

劇情簡介：

曾被紐約郵報譽為“一個令人拍案叫絕的迷人愛情故事”，「當哈利遇見莎莉」充份演繹了伍迪愛倫式的幽默機智與導演Rob Reiner式的浪漫愛情喜劇。一位是強悍、好辯的賴塌鬼，一位是拘謹、金髮的甜姐兒，哈利與莎莉歷經十三年，由兩個不相容的個體到最後決定攜手共渡餘生，也為男人與女人到底能否成為朋友而不涉及「性」，替我們做了一次巧妙的檢驗。

時間是在大學畢業後，哈利與莎莉相偕去紐約打拼的路上，兩人對生死、男女、性愛所多對話卻每每找不到交集，莎莉肯定兩人絕對做不成朋友，但對哈利玩笑似的主動追求倒也留下深刻印象。五年之後，機場的短暫相遇，說明兩人當時的狀況：哈利已是政治諮詢員且將走入婚姻，而莎莉剪短了頭髮，任職傳播界，同時有個交往一個月左右的男友；然而，再過五年，兩人的愛情神話分別破滅，離婚、分手將彼此又拉回同一個起跑點上，只是這回，畏懼於新戀情的展開，兩人竟成了無話不談、相輔相成的好朋友。

衝突則是發生在哈利撞見前妻，痛苦之餘無法全心祝福好友Marie與Jess的結合開始，莎莉更在聽到前任男友結婚的消息當晚，一度歇廝底里而求救於哈利，緊接著是長久以來避免發生的性關係毀了一切完美營造，兩人終究逃不過一夜情的悲劇。經過時間的沈澱，哈利仍然發現自己心繫莎莉之深；同樣在除夕夜，身著牛仔褲狂奔過幾條陰溼的曼哈頓街道，只為來到莎莉面前親自對她說：「妳是唯一那個我想一起共渡餘生的人，而且，我希望這一切發生得愈快愈好。」
 

文句解釋：

Excerpt 1

I have it all figured out.  It's an eighteen hour trip which breaks down into six shifts of three hours each or alternatively we could break it down by mileage.	Sally說她都計算好了。提議把整個芝加哥到紐約的旅程分成六段可以換手開車（shifts），或者（alternatively）以英里程數來分。從這一段以及其他地方可以看出來Sally的個性是那種比較一絲不苟型的（什麼星座呢？），跟Harryd大而化之又有些cynical的性格截然相反。
visor	遮陽板
The story of my life isn't even going to get us out of Chicago	由於在芝加哥生活單調，因此Sally說她一生的故事都講完他們大概都還沒有開車離開芝加哥市。
Why don't you have a dark side?  No you're probably one of those cheerful people who dots their eyes with little hearts.	由於Harry思想怪異，因此Sally說他有黑暗面。Harry故意反問她是否就是（卡通裡）那種眼睛上有很多小心型圖樣的快樂人物。
Sure you do, a fleeting thought that jumps in and out of the transient of your mind.	Harry嘲諷Sally根本很少想到死亡，因此說她想到的死亡只是一種偶而進出於她思緒瞬間中的念頭。
Of course she wants to stay.  Wouldn't you rather be with Humphrey Bogart than the other guy?	這裡他們在爭辯《北非諜影》Casablanca影片的結尾英格麗•褒曼Ingrid Bergman選擇。影片描述第二次大戰期間，漢弗瑞•鮑加Humphrey Bogart在巴黎認識女主角褒曼，褒曼以為地下組織領袖的丈夫已死，因而與鮑加發生感情。濃情蜜意時，她發現丈夫仍在，因而不告而別。原來也是正義感十足的鮑加因而對人生完全失望，跑到戰亂中三不管的北非開了一間酒吧餐廳。孰料褒曼與先生竟然出現，祈求他的協助逃離納粹的追緝。鮑加掙扎不已，最後還是伸出援手，片末，褒曼在鮑加的堅持下選擇與先生離境，留下鮑加走入霧中。
coming on to me	追求我
Pesto is the quiche of the eighties.	Pesto是一種義大利抹醬，以橄欖油、紫蘇（有點像九層塔）、大蒜、松果打碎而成，塗在麵包上好吃得不得了。Quiche是一種鹹蛋糕，內含味道重的配料，如火腿、菠菜、香菇等。這句話的意思應該是指Pesto在八０年代受歡迎，如同之前Quiche受歡迎一樣。
a pair of red suede pumps	我不知道pump的意義（這裡不可能是幫浦）。從片中看來指的應該是紅色小羊皮的高跟鞋，但是無法確定pump是否有這種用法。片中說出來的對白是I am looking for a red suede pump.似乎又不一定是指一雙的東西。
Case closed.	就這樣。另外一種說法是，Period.
Six years later you find yourself singing "Surrey with a fringe on top" in front of Ira!	這裡Harry指的是婚姻開始總是美好，但是不到幾年難免勞燕分飛。就像之前Harry跟Sally在選禮物時跟著卡拉ＯＫ唱著歌舞劇《奧克拉荷馬！》Oklahoma！中的曲子時遇見前妻Helen與她的男友Ira。

學習指引：

１、描述現代生活的好萊塢電影是學習英語會話的最佳教材。這些影片通常又好看（所以可以看好幾次來練習英語），又提供生活中常用的英語會話實景（只是別忘了影片絕非現實生活的實錄）。

版權：本頁除劇本、圖片之外之著述版權為林文淇所有。歡迎一切為教學與其他非營利目的所作的翻印等使用。