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其他范文/相聲小品劇本 [英文電影劇本]TITANIC(泰坦尼克號(hào))(JamesCa 　　 titanic 　　a screenplay by james cameron 　　cast: 　　kate winslet... rose dewitt bukater 　　leonardo dicaprio... jack dawson 　　kathy bates... the unsinkable molly brown 　　billy zane... caledon hockley 　　bill paxton... brock lovett 　　written and directed by: 　　james cameron 　　1 blackness 　　then two faint lights appear, close together... growing brighter. they 　　resolve into two deep submersibles, free-falling toward us like express 　　elevators. 　　one is ahead of the other, and passes close enough to fill frame, looking 　　like a spacecraft blazing with lights, bristling with insectile 　　manipulators. 　　tilting down to follow it as it descends away into the limitless blackness 　　below. soon they are fireflies, then stars. then gone. 　　 cut to: 　　2 ext./ int. mir one / north atlantic deep 　　pushing in on one of the falling submersibles, called mir one, right up to 　　its circular viewport to see the occupants. 　　inside, it is a cramped seven foot sphere, crammed with equipment. anatoly 　　mikailavich, the sub's pilot, sits hunched over his controls... singing 　　softly in russian. 　　next to him on one side is brock lovett. he's in his late forties, deeply 　　tanned, and likes to wear his nomex suit unzipped to show the gold from 　　famous shipwrecks covering his gray chest hair. he is a wiley, fast-talking 　　treasure hunter, a salvage superstar who is part historian, part adventurer 　　and part vacuum cleaner salesman. right now, he is propped against the co2 　　scrubber, fast asleep and snoring. 　　on the other side, crammed into the remaining space is a bearded wide-body 　　named lewis bodine, who is also asleep. lewis is an r.o.v. (remotely 　　operated vehicle) pilot and is the resident titanic expert. 　　anatoly glances at the bottom sonar and makes a ballast adjustment. 　　 cut to: 　　3 ext. the bottom of the sea 　　a pale, dead-flat lunar landscape. it gets brighter, lit from above, as mir 　　one enters frame and drops to the seafloor in a downblast from its 　　thrusters. it hits bottom after its two hour free-fall with a loud bonk. 　　 cut to: 　　4 int. mir one 　　lovett and bodine jerk awake at the landing. 　　 anatoly 　　 (heavy russian accent) 　　we are here. 　　ext. / int. mir one and two 　　5 minutes later: the two subs skim over the seafloor to the sound of 　　sidescan 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 display, where the outline of a huge 　　pointed object is visible. anatoly lies prone, driving the sub, his face 　　pressed to the center port. 　　 bodine 　　come left a little. she's right in front of us, eighteen meters. fifteen. 　　thirteen... you should see it. 　　 anatoly 　　do you see it? i don't see it... there! 　　out of 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 bottom 　　sediment like ocean waves. it towers above the seafloor, standing just as it 　　landed 84 years ago. 　　the titanic. or what is left of her. mir one goes up and over the bow 　　railing, intact except for an overgrowth of 'rusticles' draping it like 　　mutated spanish moss. 　　tight on the eyepiece monitor of a video camcorder. brock lovett's face 　　fills the black and white frame. 　　 lovett 　　it still gets me every time. 　　the image pans to the front viewport, looking over anatoly's shoulder, to 　　the bow railing visible in the lights beyond. anatoly turns. 　　 anatoly 　　is just your guilt because of stealing from the dead. 　　cut wider, to show that brock is operating the camera himself, turning it in 　　his hand so it points at his own face. 　　 lovett 　　thanks, tolya. work with me, here. 　　brock resumes his serious, pensive gaze out the front port, with the camera 　　aimed at himself at arm's length. 　　 lovett 　　it still gets me every time... to see the sad ruin of the great ship sitting 　　long fall from the world above. 　　anatoly rolls his eyes and mutters in russian. bodine chuckles and watches 　　the sonar. 　　 bodine 　　you are so full of shit, boss. 　　7 mir two drives aft down the starboard side, past the huge anchor while mir 　　one passes over the seemingly endless forecastle deck, with its massive 　　anchor chains still laid out in two neat rows, its bronze windlass caps 　　gleaming. the 22 foot long subs are like white bugs next to the enormous 　　wreck. 　　 lovett (v.o.) 　　dive nine. here we are again on the deck of titanic... two and a half miles 　　down. the pressure is three tons per square inch, enough to crush us like a 　　freight train going over an ant if our hull fails. these windows are nine 　　inches thick and if they go, it's sayonara in two microseconds. 　　8 mir two lands on the boat deck, next to the ruins of the officer's 　　quarters. mir one lands on the roof of the deck house nearby. 　　 lovett 　　right. let's go to work. 　　bodine slips on a pair of 3-d electronic goggles, and grabs the joystick 　　controls of the 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 behind 　　it like a robot yo-yo. its twin stereo-video cameras swivel like insect 　　eyes. the rov descends through an open shaft that once was the beautiful 　　first class grand staircase. 　　snoop dog goes down several decks, then moves laterally into the first class 　　reception room. 　　snoop's video pov, moving through the cavernous interior. the remains of the 　　ornate handcarved woodwork which gave the ship its elegance move through the 　　floodlights, the lines blurred by slow dissolution and descending rusticle 　　formations. stalactites of rust hang down so that at times it looks like a 　　natural grotto, then the scene shifts and the lines of a ghostly undersea 　　mansion can be seen again. 　　montage style, as snoop passes the ghostly images of titanic's opulence: 　　10 a grand piano in amazingly good shape, crashed on its side against a 　　wall. the keys gleam black and white in the lights. 　　11 a chandelier, still hanging from the ceiling by its wire... glinting as 　　snoop moves around it. 　　12 its lights play across the floor, revealing a champagne bottle, then some 　　white star line china... a woman's high-top 'granny shoe'. then something 　　eerie: what looks like a child's skull resolves into the porcelain head of a 　　doll. 　　snoop enters a corridor which is much better preserved. here and there a 　　door still hangs on its rusted hinges. an ornate piece of moulding, a wall 　　sconce... hint at the grandeur of the past. 　　13 the rov turns and goes through a black doorway, entering room b-52, the 　　sitting room of a 'promenade suite', one of the most luxurious staterooms on 　　titanic. 　　 bodine 　　i'm in the sitting room. heading for bedroom b-54. 　　 lovett 　　stay off the floor. don't stir it up like you did yesterday. 　　 bodine 　　i'm tryin' boss. 　　glinting in the lights are the brass fixtures of the near-perfectly 　　preserved fireplace. an albino galathea crab crawls over it. nearby are the 　　remains of a divan and a writing desk. the dog crosses the ruins of the once 　　elegant room toward another door. it squeezes through the doorframe, 　　scraping rust and wood chunks loose on both sides. it moves out of a cloud 　　of rust and keeps on going. 　　 bodine 　　i'm crossing the bedroom. 　　the remains of a pillared canopy bed. broken chairs, a dresser. through the 　　collapsed wall of the bathroom, the porcelain commode and bathtub took 　　almost new, gleaming in the dark. 　　 lovett 　　okay, i want to see what's under that wardrobe door. 　　several angles as the rov deploys its manipulator arms and starts moving 　　debris aside. a lamp is lifted, its ceramic colors as bright as they were in 　　1912. 　　 lovett 　　easy, lewis. take it slow. 　　lewis grips a wardrobe door, lying at an angle in a corner, and pulls it 　　with snoop's gripper. it moves reluctantly in a cloud of silt. under it is a 　　dark object. the silt clears and snoop's cameras show them what was under 　　the door... 　　 bodine 　　ooohh daddy-oh, are you seein' what i'm seein'? 　　close on lovett, watching his monitors. by his expression it is like he is 　　seeing the holy grail. 　　 lovett 　　oh baby baby baby. 　　 (grabs the mike) 　　it's payday, boys. 　　on the screen, in the glare of the lights, is the object of their quest: a 　　small steel combination safe. 　　 cut to: 　　14 ext. stern of deck of kedysh - day 　　the safe, dripping wet in the afternoon sun, is lowered onto the deck of a 　　ship by a winch cable. 　　we are on the russian research vessel akademik mistislav keldysh. a crowd 　　has gathered, including most of the crew of keldysh, the sub crews, and a 　　hand-wringing money guy named bobby buell who represents the limited 　　partners. there is also a documentary video crew, hired by lovett to cover 　　his moment of glory. 　　everyone crowds around the safe. in the background mir two is being lowered 　　into its cradle on deck by a massive hydraulic arm. mir one is already 　　recovered with lewis bodine following brock lovett as he bounds over to the 　　safe like a kid on christmas morning. 　　 bodine 　　who's the best? say it. 　　 lovett 　　you are, lewis. 　　 (to the video crew) 　　you rolling? 　　 cameraman 　　rolling. 　　brock nods to his technicians, and they set about drilling the safe's 　　hinges. during this operation, brock amps the suspense, working the lens to 　　fill the time. 　　 lovett 　　well, 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 out 　　here to the middle of the north atlantic... were worth it. if what we think 　　is in that same... is in that safe... it will be. 　　lovett grins wolfishly in anticipation of his greatest find yet. the door is 　　pried loose. it clangs onto the deck. lovett moves closer, peering into the 　　safe's wet interior. a long moment then... his face says it all. 　　 lovett 　　shit. 　　 bodine 　　you 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 - day 　　technicians are carefully removing some papers from the safe and placing 　　them in a tray of water to separate them safely. nearby, other artifacts 　　from the stateroom are being washed and preserved. 　　buell is on the satellite phone with the investors. lovett is yelling at the 　　video crew. 　　 lovett 　　you send out what i tell you when i tell you. i'm signing your paychecks, 　　not 60 minutes. now get set up for the uplink. 　　buell covers the phone and turns to lovett. 　　 buell 　　the partners want to know how it's going? 　　 lovett 　　how it's going? it's going like a first date in prison, whattaya think?! 　　lovett grabs the phone from buell and goes instantly smooth. 　　 lovett 　　hi, dave? barry? look, it wasn't in the safe... no, look, don't worry about 　　it, there're still plenty of places it could be... in the floor debris in 　　the 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 one 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 its 　　edges have partially disintegrated. the woman is beautiful, and beautifully 　　rendered. in her late teens or early twenties, she is nude, though posed 　　with a kind of casual modesty. she is on an empire divan, in a pool of light 　　that seems to radiate outward from her eyes. scrawled in the lower right 　　the girl is not entirely nude. at her throat is a diamond necklace with one 　　large stone hanging in the center. 　　lovett grabs a reference photo from the clutter on the lab table. it is a 　　period black-and-white photo of a diamond necklace on a black velvet 　　jeller's display stand. he holds it next to the drawing. it is clearly the 　　same piece... a complex setting with a massive central stone which is almost 　　heart-shaped. 　　 lovett 　　i'll be god damned. 　　 cut to: 　　16 insert 　　a cnn news story: a live satellite feed from the deck of the keldysh, 　　intercut with the cnn studio. 　　 announcer 　　treasure hunter brock lovett is best known for finding spanish gold in 　　sunken galleons in the caribbean. now he is using deep submergence 　　technology to work two and a half miles down at another famous wreck... the 　　titanic. he is with us live via satellite from a russian research ship in 　　the middle of the atlantic... hello brock? 　　 lovett 　　yes, hi, tracy. you know, titanic is not just a shipwreck, titanic is the 　　shipwreck. it's the mount everest of shipwrecks. 　　 cut to: 　　17 int. house / ceramics studio 　　pull back from the screen, showing the cnn report playing on a tv set in the 　　living room of a small rustic house. it is full of ceramics, figurines, folk 　　art, the walls crammed with drawings and paintings... things collected over 　　a lifetime. 　　panning to show a glassed-in studio attached to the house. outside it is a 　　quiet 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 clay 　　covers her hands... hands that are gnarled and age-spotted, but still 　　surprisingly strong and supple. a woman in her early forties assists her. 　　 lovett (v.o.) 　　i've planned this expedition for three years, and we're out here recovering 　　some amazing things... things that will have enormous historical and 　　educational value. 　　 cnn reporter (v.o.) 　　but it's no secret that education is not your main purpose. you're a 　　treasure hunter. 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 doing 　　just that. 　　the old woman's name is rose calvert. her face is a wrinkled mass, her body 　　shapeless and shrunken under a one-piece african-print dress. 　　but her eyes 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 her 　　hands with a rag. a pomeranian dog gets up and comes in with her. 　　the younger woman, lizzy calvert, rushes to help her. 　　 rose 　　turn that up please, dear. 　　 reporter (v.o.) 　　your expedition is at the center of a storm of controversy over salvage 　　rights and even ethics. many are calling you a grave robber. 　　tight on the screen. 　　 lovett 　　nobody called the recovery of the artifacts from king tut's tomb grave 　　robbing. i have museum-trained experts here, making sure this stuff is 　　preserved and catalogued properly. look at this drawing, which was found 　　today... 　　the video camera pans off brock to the drawing, in a tray of water. the 　　image of the woman with the necklace fills frame. 　　 lovett 　　...a piece of paper that's been underwater for 84 years... and my team are 　　able to preserve it intact. should this have remained unseen at the bottom 　　of the ocean for eternity, when we can see it and enjoy it now...? 　　rose is galvanized by this image. her mouth hangs open in amazement. 　　 rose 　　i'll be god damned. 　　 cut to: 　　18 ext. keldysh deck - night 　　cut to keldysh. the mir subs are being launched. mir two is already in the 　　water, and lovett is getting ready to climb into mir one when bobby buell 　　runs up to him. 　　 buell 　　there's a satellite call for you. 　　 lovett 　　bobby, we're launching. see these submersibles here, going in the water? 　　take a message. 　　 buell 　　no, trust me, you want to take this call. 　　 cut to: 　　19 int. lab deck / keldysh - night 　　buell hands lovett the phone, pushing down the blinking line. the call is 　　from rose and we see both ends of the conversation. she is in her kitchen 　　with a mystified lizzy. 　　 lovett 　　this is brock lovett. what can i do for you, mrs... ? 　　 buell 　　rose calvert. 　　 lovett 　　... mrs. calvert? 　　 rose 　　i was just wondering if you had found the 'heart of the ocean' yet, mr. 　　lovett. 　　brock almost drops the phone. bobby sees his shocked expression... 　　 buell 　　i told you you wanted to take this call. 　　 lovett 　　 (to rose) 　　alright. you have my attention, rose. can you tell me who the woman in the 　　picture is? 　　 rose 　　oh yes. the woman in the picture is me. 　　 cut to: 　　20 ext. ocean - day 　　smash cut to an enormous sea stallion helicopter thundering across the 　　ocean. pan 180 degrees as it roars past. there is no land at either horizon. 　　the keldysh is visible in the distance. 　　close on a window of the monster helicopter. rose's face is visible, looking 　　out calmly. 　　 cut to: 　　21 ext. keldysh - day 　　brock and bodine are watching mir 2 being swung over the side to start a 　　dive. 　　 bodine 　　she's a goddamned liar! a nutcase. like that... what's her name? that 　　anastasia babe. 　　 buell 　　they're inbound. 　　brock nods and the three of them head forward to meet the approaching helm. 　　 bodine 　　she says she's rose dewitt bukater, right? rose dewitt bukater died on the 　　titanic. at the age of 17. if she'd have lived, she'd be over a hundred now. 　　 lovett 　　a hundred and one next month. 　　 bodine 　　okay, so she's a very old goddamned liar. i traced her as far back as the 　　20's... she was working as an actress in l.a. an actress. her name was rose 　　dawson. then she married a guy named calvert, moved to cedar rapids, had two 　　kids. now calvert's dead, and from what i've heard cedar rapids is dead. 　　the sea stallion approaches the ship, bg, forcing brock to yell over the 　　rotors. 　　 lovett 　　and everybody who knows about the diamond is supposed to be dead... or on 　　this ship. but she knows about it. and i want to hear what she has to say. 　　got it? 　　 cut to: 　　22 ext. keldysh helipad 　　in a thundering downblast the helicopter's wheels bounce down on the 　　helipad. 　　lovett, buell and bodine watch as the helicopter crew chief hands out about 　　ten suitcases, and then rose is lowered to the deck in a wheelchair by 　　keldysh crewmen. lizzy, ducking unnecessarily under the rotor, follows her 　　out, carrying freddy the pomeranian. the crew chief hands a puzzled keldysh 　　crewmember a goldfish bowl with several fish in it. rose does not travel 　　light. 　　hold on the incongruous image of this little old lady, looking impossibly 　　fragile amongst all the high tech gear, grungy deck crew and gigantic 　　equipment. 　　 bodine 　　s'cuse me, i have to go check our supply of depends. 　　 cut to: 　　23 int. rose's stateroom / keldysh - day 　　lizzy is unpacking rose's things in the small utilitarian room. rose is 　　placing a number of framed photos on the bureau, arranging them carefully 　　next to the fishbowl. brock and bodine are in the doorway. 　　 lovett 　　is your stateroom alright? 　　 rose 　　yes. very nice. have you met my granddaughter, lizzy? she takes care of me. 　　 lizzy 　　yes. we met just a few minutes ago, grandma. remember, up on deck? 　　 rose 　　oh, yes. 　　brock glances at bodine... oh oh. bodine rolls his eyes. rose finishes 　　arranging her photographs. we get a general glimpse of them: the usual 　　snapshots... children and grandchildren, her late husband. 　　 rose 　　there, that's nice. i have to have my pictures when i travel. and freddy of 　　course. 　　 (to the pomeranian) 　　isn't that right, sweetie. 　　 lovett 　　would you like anything? 　　 rose 　　i should like to see my drawing. 　　 cut to: 　　24 int. lab deck, preservation area 　　rose