附：【本作品来自互联网,本人不做任何负责】内容版权归作者所有!
泰坦尼克 TITANIC 无错原版英文剧本
----------------------------------------------------------------------------
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
here, where she landed at 2:30 in the morning, April 15, 1912, after her
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
corner is the date: April 14 1912. And the initials JD.
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,
