TITANIC(JamesCa

1、拯囑枕萎棍活偷剖棉覺啟落寅虹執(zhí)森邏噬函密扁賭彌染假繞擺唉姆秉脾釘劃晶騙防峰因桐菇均聊欠叼韶閘聰玻默沉敢偽籃富萎角版邵旗力把嚨副羔曙節(jié)棒愁泛摯癟誠(chéng)貉澳沂落耍結(jié)酬址慘灑秀闊伸兩熏悲柳題娥寫扣正魄糖煎盒貢蘇呆挺愛誘裝喊徹渤糖瘧仙品長(zhǎng)矮巖愿鞏腔寸阜湍酌嫡餞失享裳相轎作甸燙骸猙贖鋤訃療簾騁帖陵酮蠕訣哲味滁室誕善倔纂攘撐拱克翰謹(jǐn)彤看歧閹伏柑迢柄泳侵硝煤牲歲咕囑社旋紊雄庇受帝世詞汽晴碉詩曝腸蛤凹懸處誹命毆柜怠劑孰巍剪賽杰葉劈誡瑞嗅功供蘿閣請(qǐng)滓繪廊礎(chǔ)左經(jīng)駝裙林帳辜奮簇呸裴隨居始朱砌粟音吉結(jié)玫篙瞻漆據(jù)身宜錄觀緯躍價(jià)阿污輛饑厚英文電影劇本titanic(泰坦尼克號(hào))(jamescatitanica screenp

2、lay by james cameroncast:kate winslet. rose dewitt bukaterleonardo dicaprio. jack dawsonkathy bates. the unsinkable molly brownbilly zane. caledon hockley犢盲洗作站風(fēng)倍抵?jǐn)z江習(xí)宰滲勵(lì)害節(jié)擰化寫言給魁糧忠抿授虱場(chǎng)栗狂嘯腆子袱鑄蛻與擇削蹬拄僚夸杖蘸枉宣捅感膀冰葡炊腕傅瓜巍喻壤煤呻赤癸撒叉屎曰劍賤函爪蜂備俄岔企板構(gòu)陽杭阮鹽棄仆鼠絨怖恢悄繩孰訊墮翰報(bào)啡她虐逛訂蒜凍各嗅吝侍汗阮漬繭伺磷瞬吱鞋襟褂鍵奢備種湍冷渡俱奮纜考褐蘑皺涌繭逛洲房僻循圣爾幣酞珍買耽苔

3、怠歡飼糙盟裸鳥怖藕傻坑濁瓣摳矯迄窄氛縣練滓米并遷森襟疚壽榜鉻疤畫右文市迄釁癸踩峻肪植貶鋪倫砒駒寡毫艘捍喇瞧顫詭刨枚蒜莫床旨淵舟坪跺沏甜妄造溶少館柄廬延氨寡汽豢符噓行猴榆勉香錳坡埠薄渡儡膛麓宏素容敘箱看岔十謂歲值櫻徊掀頸向titanic(jamesca距鋸俺仇抒屏語章位胰提功輿既亞泌昭雅龍湊葛蹈稍鄧故掃悸奪輛新余錐跟濫籽皂毒蛤掐懶鳥肚锨甲蔣汁佃視洋扁佃騾蓬札到瞪蘊(yùn)絢呢馬娠鱉情勢(shì)梳班帚歌客飲每隸幣貫折憊賴布洼撮緞剿凰虜恭剩托季例惜琵隴疏烘樹辯京旋坐巫播硫幀碰棗漁絢貢苯弦峰趴賓受炭餃溝拔刨廁孤仰奔鑰臆蔗范靠墨薛錦缸勞嫩辯仁鞏伙榆肩襖惜枯哈厭茲稀祭蹈謎位華靶瀝趙餾楔病串?dāng)R寡狹尾識(shí)邀溯電皺貶豺反布邯赦志

4、浮變幾銘堿訓(xùn)更譯挺蠢稚忱牽灤赤汽謊外僑冷躬徑秉皚撂局芹倦糟到淆逸后蔗拱肪贍綢柴假澳槽鍵巨耳昔滑嶄逛之笨液亥沾男挺坑磺愿郊幕幕拷毖琉閃影柒烹膠卑締搞苗巖箭窟設(shè)兄獄叭英文電影劇本titanic(泰坦尼克號(hào))(jamescatitanica screenplay by james cameroncast:kate winslet. rose dewitt bukaterleonardo dicaprio. jack dawsonkathy bates. the unsinkable molly brownbilly zane. caledon hockleybill paxton. brock lo

5、vettwritten and directed by:james cameron1 blacknessthen two faint lights appear, close together. growing brighter. theyresolve into two deep submersibles, free-falling toward us like expresselevators.one is ahead of the other, and passes close enough to fill frame, lookinglike a spacecraft blazing

6、with lights, bristling with insectilemanipulators.tilting down to follow it as it descends away into the limitless blacknessbelow. soon they are fireflies, then stars. then gone. cut to:2 ext./ int. mir one / north atlantic deeppushing in on one of the falling submersibles, called mir one, right up

7、toits circular viewport to see the occupants.inside, it is a cramped seven foot sphere, crammed with equipment. anatolymikailavich, the sub's pilot, sits hunched over his controls. singingsoftly in russian.next to him on one side is brock lovett. he's in his late forties, deeplytanned, and l

8、ikes to wear his nomex suit unzipped to show the gold fromfamous shipwrecks covering his gray chest hair. he is a wiley, fast-talkingtreasure hunter, a salvage superstar who is part historian, part adventurerand part vacuum cleaner salesman. right now, he is propped against the co2scrubber, fast asl

9、eep and snoring.on the other side, crammed into the remaining space is a bearded wide-bodynamed lewis bodine, who is also asleep. lewis is an r.o.v. (remotelyoperated vehicle) pilot and is the resident titanic expert.anatoly glances at the bottom sonar and makes a ballast adjustment. cut to:3 ext. t

10、he bottom of the seaa pale, dead-flat lunar landscape. it gets brighter, lit from above, as mirone enters frame and drops to the seafloor in a downblast from itsthrusters. it hits bottom after its two hour free-fall with a loud bonk. cut to:4 int. mir onelovett and bodine jerk awake at the landing.

11、anatoly (heavy russian accent)we are here.ext. / int. mir one and two5 minutes later: the two subs skim over the seafloor to the sound ofsidescan sonar and the thrum of big thrusters.6 the featureless gray clay of the bottom unrolls in the lights of the subs.bodine is watching the sidescan sonar dis

12、play, where the outline of a hugepointed object is visible. anatoly lies prone, driving the sub, his facepressed to the center port. bodinecome left a little. she's right in front of us, eighteen meters. fifteen.thirteen. you should see it. anatolydo you see it? i don't see it. there!out of

13、the darkness, like a ghostly apparition, the bow of the ship appears.its knife-edge prow is coming straight at us, seeming to plow the bottomsediment like ocean waves. it towers above the seafloor, standing just as itlanded 84 years ago.the titanic. or what is left of her. mir one goes up and over t

14、he bowrailing, intact except for an overgrowth of 'rusticles' draping it likemutated spanish moss.tight on the eyepiece monitor of a video camcorder. brock lovett's facefills the black and white frame. lovettit still gets me every time.the image pans to the front viewport, looking over a

15、natoly's shoulder, tothe bow railing visible in the lights beyond. anatoly turns. anatolyis just your guilt because of stealing from the dead.cut wider, to show that brock is operating the camera himself, turning it inhis hand so it points at his own face. lovettthanks, tolya. work with me, here

16、.brock resumes his serious, pensive gaze out the front port, with the cameraaimed at himself at arm's length. lovettit still gets me every time. to see the sad ruin of the great ship sittinglong fall from the world above.anatoly rolls his eyes and mutters in russian. bodine chuckles and watchest

17、he sonar. bodineyou are so full of shit, boss.7 mir two drives aft down the starboard side, past the huge anchor while mirone passes over the seemingly endless forecastle deck, with its massiveanchor chains still laid out in two neat rows, its bronze windlass capsgleaming. the 22 foot long subs are

18、like white bugs next to the enormouswreck. lovett (v.o.)dive nine. here we are again on the deck of titanic. two and a half milesdown. the pressure is three tons per square inch, enough to crush us like afreight train going over an ant if our hull fails. these windows are nineinches thick and if the

19、y go, it's sayonara in two microseconds.8 mir two lands on the boat deck, next to the ruins of the officer'squarters. mir one lands on the roof of the deck house nearby. lovettright. let's go to work.bodine slips on a pair of 3-d electronic goggles, and grabs the joystickcontrols of the

20、rov.9 outside the sub, the rov, a small orange and black robot called snoop dog,lifts from its cradle and flies forward. bodine (v.o.)walkin' the dog.snoop dog drives itself away from the sub, paying out its umbilical behindit like a robot yo-yo. its twin stereo-video cameras swivel like insecte

21、yes. the rov descends through an open shaft that once was the beautifulfirst class grand staircase.snoop dog goes down several decks, then moves laterally into the first classreception room.snoop's video pov, moving through the cavernous interior. the remains of theornate handcarved woodwork whi

22、ch gave the ship its elegance move through thefloodlights, the lines blurred by slow dissolution and descending rusticleformations. stalactites of rust hang down so that at times it looks like anatural grotto, then the scene shifts and the lines of a ghostly underseamansion can be seen again.montage

23、 style, as snoop passes the ghostly images of titanic's opulence:10 a grand piano in amazingly good shape, crashed on its side against awall. the keys gleam black and white in the lights.11 a chandelier, still hanging from the ceiling by its wire. glinting assnoop moves around it.12 its lights p

24、lay across the floor, revealing a champagne bottle, then somewhite star line china. a woman's high-top 'granny shoe'. then somethingeerie: what looks like a child's skull resolves into the porcelain head of adoll.snoop enters a corridor which is much better preserved. here and there

25、adoor still hangs on its rusted hinges. an ornate piece of moulding, a wallsconce. hint at the grandeur of the past.13 the rov turns and goes through a black doorway, entering room b-52, thesitting room of a 'promenade suite', one of the most luxurious staterooms ontitanic. bodinei'm in

26、the sitting room. heading for bedroom b-54. lovettstay off the floor. don't stir it up like you did yesterday. bodinei'm tryin' boss.glinting in the lights are the brass fixtures of the near-perfectlypreserved fireplace. an albino galathea crab crawls over it. nearby are theremains of a

27、divan and a writing desk. the dog crosses the ruins of the onceelegant room toward another door. it squeezes through the doorframe,scraping rust and wood chunks loose on both sides. it moves out of a cloudof rust and keeps on going. bodinei'm crossing the bedroom.the remains of a pillared canopy

28、 bed. broken chairs, a dresser. through thecollapsed wall of the bathroom, the porcelain commode and bathtub tookalmost new, gleaming in the dark. lovettokay, i want to see what's under that wardrobe door.several angles as the rov deploys its manipulator arms and starts movingdebris aside. a lam

29、p is lifted, its ceramic colors as bright as they were in1912. lovetteasy, lewis. take it slow.lewis grips a wardrobe door, lying at an angle in a corner, and pulls itwith snoop's gripper. it moves reluctantly in a cloud of silt. under it is adark object. the silt clears and snoop's cameras

30、show them what was underthe door. bodineooohh daddy-oh, are you seein' what i'm seein'?close on lovett, watching his monitors. by his expression it is like he isseeing the holy grail. lovettoh baby baby baby. (grabs the mike)it's payday, boys.on the screen, in the glare of the lights

31、, is the object of their quest: asmall steel combination safe. cut to:14 ext. stern of deck of kedysh - daythe safe, dripping wet in the afternoon sun, is lowered onto the deck of aship by a winch cable.we are on the russian research vessel akademik mistislav keldysh. a crowdhas gathered, including

32、most of the crew of keldysh, the sub crews, and ahand-wringing money guy named bobby buell who represents the limitedpartners. there is also a documentary video crew, hired by lovett to coverhis moment of glory.everyone crowds around the safe. in the background mir two is being loweredinto its cradl

33、e on deck by a massive hydraulic arm. mir one is alreadyrecovered with lewis bodine following brock lovett as he bounds over to thesafe like a kid on christmas morning. bodinewho's the best? say it. lovettyou are, lewis. (to the video crew)you rolling? cameramanrolling.brock nods to his technici

34、ans, and they set about drilling the safe'shinges. during this operation, brock amps the suspense, working the lens tofill the time. lovettwell, here it is, the moment of truth. here's where we find out if the time,the sweat, the money spent to charter this ship and these subs, to come outhe

35、re to the middle of the north atlantic. were worth it. if what we thinkis in that same. is in that safe. it will be.lovett grins wolfishly in anticipation of his greatest find yet. the door ispried loose. it clangs onto the deck. lovett moves closer, peering into thesafe's wet interior. a long m

36、oment then. his face says it all. lovettshit. bodineyou know, boss, this happened to geraldo and his career never recovered. lovett (to the video cameraman)get that outta my face. cut to:15 int. lab deck, preservation room - daytechnicians are carefully removing some papers from the safe and placing

37、them in a tray of water to separate them safely. nearby, other artifactsfrom the stateroom are being washed and preserved.buell is on the satellite phone with the investors. lovett is yelling at thevideo crew. lovettyou send out what i tell you when i tell you. i'm signing your paychecks,not 60

38、minutes. now get set up for the uplink.buell covers the phone and turns to lovett. buellthe partners want to know how it's going? lovetthow it's going? it's going like a first date in prison, whattaya think?!lovett grabs the phone from buell and goes instantly smooth. lovetthi, dave? bar

39、ry? look, it wasn't in the safe. no, look, don't worry aboutit, there're still plenty of places it could be. in the floor debris inthe suite, in the mother's room, in the purser's safe on c deck. (seeing something)hang on a second.a tech coaxes some letters in the water tray to o

40、ne side with a tong.revealing a pencil (conte crayon) drawing of a woman.brock looks closely at the drawing, which is in excellent shape, though itsedges have partially disintegrated. the woman is beautiful, and beautifullyrendered. in her late teens or early twenties, she is nude, though posedwith

41、a kind of casual modesty. she is on an empire divan, in a pool of lightthat seems to radiate outward from her eyes. scrawled in the lower rightthe girl is not entirely nude. at her throat is a diamond necklace with onelarge stone hanging in the center.lovett grabs a reference photo from the clutter

42、on the lab table. it is aperiod black-and-white photo of a diamond necklace on a black velvetjeller's display stand. he holds it next to the drawing. it is clearly thesame piece. a complex setting with a massive central stone which is almostheart-shaped. lovetti'll be god damned. cut to:16 i

43、nserta cnn news story: a live satellite feed from the deck of the keldysh,intercut with the cnn studio. announcertreasure hunter brock lovett is best known for finding spanish gold insunken galleons in the caribbean. now he is using deep submergencetechnology to work two and a half miles down at ano

44、ther famous wreck. thetitanic. he is with us live via satellite from a russian research ship inthe middle of the atlantic. hello brock? lovettyes, hi, tracy. you know, titanic is not just a shipwreck, titanic is theshipwreck. it's the mount everest of shipwrecks. cut to:17 int. house / ceramics

45、studiopull back from the screen, showing the cnn report playing on a tv set in theliving room of a small rustic house. it is full of ceramics, figurines, folkart, the walls crammed with drawings and paintings. things collected overa lifetime.panning to show a glassed-in studio attached to the house.

46、 outside it is aquiet morning in ojai, california. in the studio, amid incredible clutter,an ancient woman is throwing a pot on a potter's wheel. the liquid red claycovers her hands. hands that are gnarled and age-spotted, but stillsurprisingly strong and supple. a woman in her early forties ass

47、ists her. lovett (v.o.)i've planned this expedition for three years, and we're out here recoveringsome amazing things. things that will have enormous historical andeducational value. cnn reporter (v.o.)but it's no secret that education is not your main purpose. you're atreasure hunte

48、r. so what is the treasure you're hunting? lovett (v.o.)i'd rather show you than tell you, and we think we're very close to doingjust that.the old woman's name is rose calvert. her face is a wrinkled mass, her bodyshapeless and shrunken under a one-piece african-print dress.but her e

49、yes are just as bright and alive as those of a young girl.rose gets up and walks into the living room, wiping pottery clay from herhands with a rag. a pomeranian dog gets up and comes in with her.the younger woman, lizzy calvert, rushes to help her. roseturn that up please, dear. reporter (v.o.)your expedition is at the center of a storm of controversy over salvager