英語電影劇本大全(中英對照)
目 錄react
《泰坦尼克號》所有英文劇本shell
TV REPORTER: Treasure hunter Brock Lovett is best known for finding Spanish gold off islands in the best Caribbean.
LIZZY: It’s OK, I’ll get you in a minutes. Come on.
TV REPORTER: Now he is using Russian subs to reach the most famous shipwreck of all, the Titanic. He is with us live via satellite from the research ship Keldysh in the North Atlantic. Hello, Brock.
BROCK: Hello, Tracy. Of course everyone knows the familiar stories of Titanic. You know, the nobility, the band playing at the very end and all that. But what I’m interested in are the untold stories, the secrets locked deep inside the hull of Titanic. We’re out here using robot technology to go further into the wreck that anybody has done before.
TV REPORTER: Your expedition is at the center of a storm of controversy over salvage rights, and even ethics. Media are calling you a grave robber.
BROCK: Well, nobody ever called the recovery of the artifacts…
LIZZY: What is it?
OLD ROSE: Turn that up, dear.
BROCK: I have museum-trained experts out here making sure that these relics are preserved and catalogued properly. Take a look at this drawing that we found just today, a piece of paper that has been under water for 84 years, and my team were 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?
OLD ROSE: Well, I’ll be goddamned!
BUELL: There is a satellite call for you!
BROCK: Buell, we are launching! Can’t you see these submersibles going in the water?
BUELL：Trust me, buddy! You want to take this call!
BROCK: Great! This is Brock Lovett. How can I help you, Mrs.....
BRULL: Calvert. Rose Calvert.
BROCK: Mrs. Calvert.
OLD ROSE: I was just wondering if you had found the Heart of the Ocean yet, Mr. Lovett?
BUELL: I told you wanted to take the call.
BROCK: All right. You have my attention, Rose. Can you tell us who the woman in the picture is?
OLD ROSE: Oh, yes. The woman in the picture is me.
OLD ROSE: Yes?
BROCK: Are your state rooms all right?
OLD ROSE: Oh, yes. Very nice. Oh, have you met my granddaughter, Lizzy? She takes care of me.
LIZZY: We met just a few minutes ago, remember Nanna, up on deck? OK.
OLD ROSE: There. That’s nice. I have to have my pictures with me when I travel.
BROCK: Can I get you anything? Is there anything you would like?
OLD ROSE: Yes. I would like to see my drawing.
BROCK: Louis the Sixteenth wore a fabulous stone that was called the Blue Diamond of the Crown, which disappeared in 1792, About the same time old Louis lost everything from the neck up. The theory goes that the Crown Diamond was chopped too, to be cut into a heart-like shape that became known as the Heart of the Ocean. Today it would be worth more than the Hope Diamond.
OLD ROSE: It was a dreadful heavy thing. I only wore it this once.
LIZZY: You actually think this is you, Nanna?
OLD ROSE: It is me, dear. Wasn’t I a dish?
BROCK: I tracked it down through insurance records, an old claim that was settled under terms of absolute secrecy. Can you tell me who the claimant was, Rose?
OLD ROSE: I should imagine it was someone named Hockley.
BROCK: Nathan Hockley. That’s right. Pittsburgh steel tycoon. The claim was for a diamond necklace his son Caledon had bought his fiancée-you-a week before he sailed on Titanic. It was filed right after the sinking. So the diamond had to have gone down with the ship. Do you see the date?
LIZZY: April 14, 1912.
BUELL: Which means if your grandmother is who she says she is, she was wearing the diamond the day the Titanic sank.
BROCK: And that makes you my new best friend.
BUELL: There are some of the things we recovered from your state room.
OLD ROSE: This was mine. How extraordinary. And it looks the same as it did the last time I saw it. The reflection has change a bit.
BROCK: Are you ready to go back to Titanic?
BODINE: OK. Here we go! She hits the berg on the starboard side, right? She kind of bumps along, punching holes like Morse code, Dit, dit,dit along the side, below the water line. Then the forward compartments start to flood. Now as the water level rises, it spills over the watertight bulkhead, which unfortunately don’t go any higher than E-deck, so now as the bow goes down, the stern rise up, slow at first, then faster and faster, until finally she’s got her whole ass sticking up in the air. And that’s a big ass. We’re talking 20,30 thousand tons. OK. And the hull’s not designed to deal with that pressure, so what happens? Schkee-she splits right down to the keel and the stern section just kind of bobs there like a cork for a couple of minutes, floods, then finally goes under about 2:20am, 2 hours and 40 minutes after the collision. The bow section planes away, ending about half a mile away, going 20 or 30 knots when it hits the ocean floor. Brrrroo! Brrooo! Pretty cool, huh?
OLD ROSE: Thank you for that fine forensic analysis, Mr. Bodine. Of course, the experience of it was somewhat different.
BROCK: Will you share it with us?
LIZZY: I’m taking her to rest.
OLD ROSE: No!
LIZZY: Come on, Nanna.
OLD ROSE: No!
BROCK: Tell us. Rose.
OLD ROSE: It’s been 84 years.
BROCK: It’s OK. Just try and remember anything. Anything at all.
OLD ROSE: Do you want to hear or not, Mr. Lovett? It’s been 84 years, and I can smell the fresh paint. The china had never been used. The sheets had never been slept in. Titanic was called 「The Ship of Dreams」, and it was. It really was. It was the ship of dream to everyone. To me, it was a slave ship, taking me back to America in chains. Outwardly, I was everything a well-brought up girl should be. Inside, I was screaming.
JACK: All right. The moment of truth. Somebody’s life is about to change. Fabrizzio.
FABRIZZIO: Niente.
ANOTHER: Niente.
JACK: Olaf?
OLAF: Nothing.
JACK: Sven?
JACK: Uh, oh..Two pairs. I’m sorry, Fabrizio.
FABRIZIO: Who’s sorry?
JACK: I’m sorry you’re not going to see your mom again for a long time, cause we’re going to America! Full house, boys!
JACK: Yeah!
JACK: Come on! I’m going home! I’m going home!
FABRIZIO: I go to America!
PUB KEEPER: No mate! Titanic go to America. In five minutes!
JACK: Shit! Come on! What’s here! What’s here….
JACK: We’re riding it high style now! We’re a couple o’regular swells! We’re practically goddamn royalty, ragazzomio!
FABRIZIO: You see, like I tell you, I go to America to be a millionaire. You ‘re fozzo!
JACK: I may be crazy, but I got the tickets! Come on, I thought you were fast!
FABRIZIO: Faster!
JACK: Hey, wait! Wait! Wait! Wait! Wait! Wait! Hey, wait! We’re passengers! We’re passengers!
MAN: Have you been though the inspection cue?
JACK: Of course. Anyway, we don’t have any lice. We’re Americans. Both of us.
MAN: Right. Come on board.
JACK: We’re the luckiest sons-of –bitches in the world, you know that!
STEWARD: Upper deck. We’re boarding please.
OLD ROSE: At Cherbourg, a woman came aboard named Margaret Brown. We all called her Molly. History would call her the 「Unsinkable Molly Brown.」
Molly: Well, I wasn’t about to wait all day for you, sonny. Here. Do you think you can manage?
PORTER: Yes.
OLD ROSE: Her husband had struck gold someplace out west, and she was what mother called, 「new money.」 By the next afternoon, we were steaming west from the coast of Ireland, with nothing out ahead of us but ocean.
CAPTAIN SMITH: Take it to sea, Mr. Murdoch. Let’s stretch her legs.
MURDOCH: Yes, sir. Full ahead, Mr. Moody.
MOODY: All ahead full!
SAILOR: All ahead full!
SAILOR: Come on lads, look lively!
ISMAY: She is the largest moving object ever made by the hand of man in all history. And our master shipbuilder Mr. Andrews, here, designed her from the keel plates up.
ANDREWS: Well, I may have knocked her together, but the idea was Mt. Ismay’s. He envisioned a steamer so grand in scale and so luxurious in its appointments that its supremacy would never be challenged. And here she is, willed into solid reality.
ALL：Here, here!
RUTH: You know I don’t like that Rose.
CAL: She knows. We’ll both have the lamb. Rare, with very little mint sauce. You like lamb, right, sweet pea?
MOLLY: You gonna cut her meat for her too there, Call? Hey, who thought of the name Titanic? Was it you, Bruce?
ISMAY: Well, yes, actually. I wanted to convey sheer size, and size means stability, luxury, and above all, strength.
ROSE: Do you know of Dr. Freud, Mr. Ismay? His ideas about the male preoccupation with size might be of particular interest you.
RUTH: What’s gotten into you?
ROSE: Excuse me.
RUTH: I do apologize.
MOLLY: She is a pistol, Cal. I hope you can handle her.
CAL: Well, I may have to start minding what she reads from now on, won’t I, Mrs. Brown?
ISMAY: Freud. Who is he? Is he a passenger?
JACK: Don’t do it!
ROSE: Stay back! Don’t come any closer!
JACK: Come on! Just give me your hand and I’ll pull you back over.
ROSE: No! stay where you are! I mean it! I’ll let go!
JACK: No you won’t!
ROSE : What do you mean, No I won’t? Don’t presume to tell me what I will and will not do. You don’t know me.
JACK: Well, you would have done it already.
ROSE: You’re distracting me. Go away!
JACK: I can’t. I’m involved now. You let go, and I’m gonna have to jump in there after you.
ROSE: Don’t be absurd. You’d be killed.
JACK: I’m a good swimmer.
ROSE: The fall alone would kill you.
JACK: It would be hurt, I’m not saying it wouldn’t. To tell you the truth, I’m a lot more concerned about that water being so cold.
ROSE: How cold?
JACK: Freezing. Maybe a couple of degrees over. Have you ever , uh, ever been to Wisconsin?
ROSE: What?
JACK: Well, they have some of the coldest winters around. I grew up there, near Chippewa Falls. I remember when I was a kid, me and my father, we went ice-fishing out on Lake Wisota. Ice-fishing is, you know, when you…
ROSE: I know what ice-fishing is!
JACK: Sorry. You just seemed like, you know, kind of an indoor girl. Anyway, I, uh, I fell through some thin ice, and I’m telling you ya, water that cold, like right down there, it hits you like a thousand knives stabbing you all over your body. You can’t breathe, you can’t think, at last not about anything but the pain. Which is why I’m not looking for ward to jumping in there after you. Like I said, I don’t have a choice. I guess I’m kind of hoping that you’ll come back over the railing and get me off the hook here.
ROSE: You’re crazy!
JACK: That’s what everybody says, but with all due respect, miss, I’m not the one hanging off the back of a ship here. Come on! Come on, give me your hand. You don’t want to do this.
JACK: Whew. I’m Jack Dawson.
ROSE: Rose Dewitt Buchater.
JACK: I’m going to have to get you to write that one down. Come on.
JACK: I’ve got you! Come on! Come on!
ROSE: Help me, please!
JACK: Listen. Listen to me. I’ve got you and I won’t let go. Now pull yourself up. Come on! Come on! Try! You can do it!
JACK: I got you!
SAILOR: What’s all this?
SAILOR: Stand back and don’t move an inch! Fetch the master-at-arms!
CAL: This is completely unacceptable! What make you think that you could put your hands on my fiancée! Look at me, you filth!
ROSE: Cal.
CAL: What did you think you were doing?
ROSE: Cal! Stop! It was an accident!
CAL: An accident?
ROSE: It was. Stupid, really. I was leaning over and I slipped. I was leaning far over to see the ah, ah, ah, um…
CAL: Propellers?
ROSE: Propellers. And I, um, slipped, and I would have gone overboard, but Mr. Dawson here saved me, and almost went over himself.
CAL: You wanted to see the… She wanted to see the propellers.
GRACIE: Like I said, women and machinery do not mix.
MASTER AT ARMS: Was that the way of it?
JACK: Yeah. Yeah, that was pretty much it.
GRACIE: Well, the boy’s a hero then. Good for you, son. Well done. So, it’s all’s well and back to our brandy, eh?
CAL: You must be freezing, let’s get you inside.
GRACIE: Um, perhaps a little something for the boy?
CAL: Of course. Uh, Mr. Lovejoy, I think a twenty should do it.
ROSE: Oh, is that the going rate for saving the woman you love?
CAL: Rose is displeased. What to do? I know. Perhaps you could join us for dinner tomorrow evening, to regale our group with your heroic tale.
JACK: Sure. Count me in.
CAL: Good. It’s settled then. This should be interesting.
JACK: Can I, uh, bum a smoke?
LOVEJOY: You ought to tie those. It is interesting that the young lady slipped so suddenly, but you still had time to remove your jacket and your shoes.
Titanic (1997)
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, sho 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 unrols 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 estealing 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 hous 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 molding, 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 moniteors. 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 Christman 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,
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 shipwrick, 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 soman, 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 intanct. 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
Beull 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 sweng 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 helo.
BODINE
She says she's Rose DeWitt Bukater, right? Rose DeWitt Bukater died on the
Titanic. At the age of 17. If she'd've 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 everyobody 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 looks at the drawing in its tray of water, confronting herself across
a span of 84 years. Until they can figure out the best way to preserve it,
they have to keep it immersed. It sways and ripples, almost as if alive.
TIGHT ON Rose's ancient eyes, gazing at the drawing.
25 FLASHCUT of a man's hand, holding a conte crayon deftly creating a
shoulder and the shape of her hair with two efficient lines.
26 THE WOMAN'S FACE IN THE DRAWING, dancing under the water.
27 A FLASHCUT of a man's eyes, just visible over the top of a sketching
pad. They look up suddenly right into the LENS. Soft eyes, but fearlessly
direct.
28 Rose smiles, remembering. Brock has the reference photo of the necklace
in his hand.
LOVETT
Louis the Sixteenth wore a fabulous stone, called the Blue Diamond of the
Crown, which disappeared in 1792, about the time Louis lost everything from
the neck up. The theory goes that the crown diamond was chopped too...
recut into a heart-like shape... and it became Le Coeur de la Mer. The
Heart of the Ocean. Today it would be worth more than the Hope Diamond.
ROSE
It was a dreadful, heavy thing.
(she points at the drawing)
I only wore it this once.
LIZZY
You actually believe this is you, grandma?
ROSE
It is me, dear. Wasn't I a hot number?
LOVETT
I tracked it down through insurance records... and old claim that was
settled under terms of absolute secrecy. Do you know who the claiment was,
Rost?
ROSE
Someone named Hockley, I should imagine.
LOVETT
Nathan Hockley, right. Pittsburgh steel tycoon. For a diamond necklace his
son Caledon Hockley bought in France for his fiancee... you... a week
before he sailed on Titanic. And the claim was filed right after the
sinking. So the diamond had to've gone down with the ship.
(to Lizzy)
See the date?
LIZZY
April 14, 1912.
LOVETT
If your grandma is who she says she is, she was wearing the diamond the day
Titanic sank.
(MORE)
LOVETT (CONT'D)
(to Rose)
And that makes you my new best friend. I will happily compensate you for
anything you can tell us that will lead to its recovery.
ROSE
I don't want your money, Mr. Lovett. I know how hard it is for people who
care greatly for money to give some away.
BODINE
(skeptical)
You don't want anything?
ROSE
(indicating the drawing)
You may give me this, if anything I tell you is of value.
LOVETT
Deal.
(crossing the room)
Over here are a few things we've recovered from your staterooms.
Laid out on a worktable are fifty or so objects, from mundane to valuable.
Rose, shrunken in her chair, can barely see over the table top. With a
trembling hand she lifts a tortoise shell hand mirror, inlaid with mother
of pearl. She caresses it wonderingly.
ROSE
This was mine. How extraordinary! It looks the same as the last time I saw
it.
She turns the mirror over and looks at her ancient face in the cracked
glass.
ROSE
The reflection has changed a bit.
She spies something else, a silver and moonstone art-nouveau brooch.
ROSE
My mother's brooch. She wanted to go back for it. Caused quite a fuss.
Rose picks up an ornate art-nouveau HAIR COMB. A jade butterfly takes
flight on the ebony handle of the comb. She turns it slowly, remembering.
We can see that Rose is experiencing a rush of images and emotions that
have lain dormant for eight decades as she handles the butterfly comb.
LOVETT
Are you ready to go back to Titanic?
CUT TO:
29 INT. IMAGING SHACK / KELDYSH
It is a darkened room lined with TV monitors. IMAGES OF THE WRECK fill the
screens, fed from Mir One and Two, and the two ROVs, Snoop Dog and DUNCAN.
BODINE
Live from 12,000 feet.
ROSE stares raptly at the screens. She is enthraled by one in particular,
an image of the bow railing. It obviously means something to her. Brock is
studying her reactions carefully.
BODINE
The bow's struck in the bottom like an axe, from the impact. Here... I can
run a simulation we worked up on this monitor over here.
Lizzy turns the chair so Rose can see the screen of Bodine's computer. As
he is calling up the file, he keeps talking.
BODINE
We've put together the world's largest database on the Titanic. Okay,
here...
LOVETT
Rose might not want to see this, Lewis.
ROSE
No, no. It's fine. I'm curious.
Bodine starts a COMPUTER ANIMATED GRAPHIC on the screen, which parallels
his rapid-fire narration.
BODINE
She hits the berg on the starboard side and it sort of bumps along...
punching holes like a morse code... dit dit dit, down the side. Now she's
flooding in the
BODINE (cont'd)
forward compartments... and the water spills over the tops of the
bulkheads, going aft. As her bow is going down, her stern is coming up...
slow at first... and then faster and faster until it's lifting all that
weight, maybe 20 or 30 thousand tons... out of the water and the hull can't
deal... so SKRTTT!!
(making a sound in time with the animation)
... it splits! Right down to the keel, which acts like a big hinge. Now the
bow swings down and the stern falls back level... but the weight of the bow
pulls the stern up vertical, and then the bow section detaches, heading for
the bottom. The stern bobs like a cork, floods and goes under about 2:20
a.m. Two hours and forty minutes after the collision.
The animation then follows the bow section as it sinks. Rose watches this
clinical dissection of the disaster without emotion.
BODINE
The bow pulls out of its dive and planes away, almost a half a mile, before
it hits the bottom going maybe 12 miles an hour. KABOOM!
The bow impacts, digging deeply into the bottom, the animation now follows
the stern.
BODINE
The stern implodes as it sinks, from the pressure, and rips apart from the
force of the current as it falls, landing like a big pile of junk.
(indicating the simulation)
Cool huh?
ROSE
Thank you for that fine forensic analysis, Mr. Bodine. Of course the
experience of it was somewhat less clinical.
LOVETT
Will you share it with us?
Her eyes go back to the screens, showing the sad ruins far below them.
A VIEW from one of the subs TRACKING SLOWLY over the boat deck. Rose
recognizes one of the Wellin davits, still in place. She hears ghostly
waltz music. The faint and echoing sound of an officer's voice, English
accented, calling "Women and children only".
30 FLASH CUTS of screaming faces in a running crowd. Pandemonium and
terror. People crying, praying, kneeling on the deck. Just impressions...
flashes in the dark.
31 Rose Looks at another monitor. SNOOP DOG moving down a rusted,
debris-filled corridor. Rose watches the endless row of doorways sliding
past, like dark mouths.
32 IMAGE OF A CHILD, three years old, standing ankle deep in water in the
middle of an endless corridor. The child is lost alone, crying.
33 Rose is shaken by the flood of memories and emotions. Her eyes well up
and she puts her head down, sobbing quietly.
LIZZY
(taking the wheelchair)
I'm taking her to rest.
ROSE
No!
Her voice is surprisingly strong. The sweet little old lady is gone,
replaced by a woman with eyes of steel. Lovett signals everyone to stay
quiet.
LOVETT
Tell us, Rose.
She looks from screen to screen, the images of the ruined ship.
ROSE
It's been 84 years...
LOVETT
Just tell us what you can--
ROSE
(holds up her hand for silence)
It's been 84 years... and I can still smell the fresh paint. The china had
never been used. The sheets had never been slept in.
He switches on the minirecorder and sets it near her.
ROSE
Titanic was called the Ship of Dreams. And it was. It really was...
As the underwater camera rises past the rusted bow rail, WE DISSOLVE /
MATCH MOVE to that same railing in 1912...
MATCH DISSOLVE:
34 EXT. SOUTHAMPTON DOCK - DAY
SHOT CONTINUES IN A FLORIOUS REVEAL as the gleaming white superstructure of
Titanic rises mountainously beyond the rail, and above that the
buff-colored funnels stand against the sky like the pillars of a great
temple. Crewmen move across the deck, dwarfed by the awesome scale of the
steamer.
Southanmpton, England, April 10, 1912. It is almost nnon on ailing day. A
crowd of hundreds blackens the pier next to Titanic like ants on a jelly
sandwich.
IN FG a gorgeous burgundy RENAULT TOURING CAR swings into frame, hanging
from a loading crane. It is lowered toward HATCH #2.
On the pier horsedrawn vehicles, motorcars and lorries move slowly through
the dense throng. The atmosphere is one of excitement and general
giddiness. People embrace in tearful farewells, or wave and shout bon
voyage wishes to friends and relatives on the decks above.
A white RENAULT, leading a silver-gray DAIMLER-BENZ, pushes through the
crowd leaving a wake in the press of people. Around the handsome cars
people are streaming to board the ship, jostling with hustling seamen and
stokers, porters, and barking WHITE STAR LINE officials.
The Renault stops and the LIVERIED DRIVER scurries to open the door for a
YOUNG WOMAN dressed in a stunning white and purple outfit, with an enormous
feathered hat. She is 17 years old and beautiful, regal of bearing, with
piercing eyes.
It is the girl in the drawing. ROSE. She looks up at the ship, taking it in
with cool appraisal.
ROSE
I don't see what all the fuss is about. It doesn't look any bigger than the
Mauretania.
A PERSONAL VALET opens the door on the other side of the car for CALEDON
HOCKLEY, the 30 year old heir to the elder Hockley's fortune. "Cal" is
handsome, arrogant and rich beyond meaning.
CAL
You can be blase about some things, Rose, but not about Titanic. It's over
a hundred feet longer than Mauretania, and far more luxurious. It has
squash courts, a Parisian cafe... even Turkish baths.
Cal turns and fives his hand to Rose's mother, RUTH DEWITT BUKATER, who
descends from the touring car being him. Ruth is a 40ish society empress,
from one of the most prominent Philadelphia families. She is a widow, and
rules her household with iron will.
CAL
Your daughter is much too hard to impress, Ruth.
(indicating a puddle)
Mind your step.
RUTH
(gazing at the leviathan)
So this is the ship they say is unsinkable.
CAL
It is unsinkable. God himself couldn't sink this ship.
Cal speaks with the pride of a host providing a special experience.
This entire entourage of rich Americans is impeccably turned out, a
quintessential example of the Edwardian upper class, complete with
servants. Cal's VALET, SPICER LOVEJOY, is a tall and impassive, dour as an
undertaker. Behind him emerge TWO MAIDS, personal servants to Ruth and
Rose.
A WHITE STAR LINE PORTER scurries toward them, harried by last minute
loading.
PORTER
Sir, you'll have to check your baggage through the main terminal, round
that way--
Cal nonchalantly hands the man a fiver. The porter's eyes dilate. Five
pounds was a monster tip in those days.
CAL
I put my faith in you, good sir.
(MORE)
CAL (CONT'D)
(curtly, indicating Lovejoy)
See my man.
PORTER
Yes, sir. My pleasure, sir.
Cal never tires of the effect of money on the unwashed masses.
LOVEJOY
(to the porter)
These trunks here, and 12 more in the Daimler. We'll have all this lot up
in the rooms.
The White Star man looks stricken when he sees the enormous pile of steamer
trunks and suitcases loading down the second car, including wooden crates
and steel safe. He whistles frantically for some cargo-handlers nearby who
come running.
Cal breezes on, leaving the minions to scramble. He quickly checks his
pocket watch.
CAL
We'd better hurry. This way, ladies.
He indicates the way toward the first class gangway. They move into the
crowd. TRUDY BOLT, Rose's maid, hustles behind them, laden with bags of her
mistress's most recent purchases... things too delicate for the baggage
handlers.
Cal leads, weaving between vehicles and handcarts, hurrying passengers
(mostly second class and steerage) and well-wishers. Most of the first
class passengers are avoiding the smelly press of the dockside crowd by
using an elevated boarding bridge, twenty feet above.
They pass a line of steerage passengers in their coarse wool and tweeds,
queued up inside movable barriers like cattle in a chute. A HEALTH OFFICER
examines their heads one by one, checking scalp and eyelashes for lice.
They pass a well-dressed young man cranking the handle of a wooden Biograph
"cinematograph" camera mounted on a tripod. NANIEL MARVIN (whose father
founded the Biograph Film Studio) is filming his young bride in front of
the Titanic. MARY MARVIN stands stiffly and smiles, self conscious.
DANIEL
Look up at the ship, darling, that's it. You're amazed! You can't believe
how big it is! Like a mountain. That's great.
Mary Marvin, without an acting fiber in her body, does a bad Clara Bow
pantomime of awe, hands raised.
Cal is jostled by two yelling steerage boys who shove past him. And he is
bumped again a second later by the boys' father.
CAL
Steady!!
MAN
Sorry squire!
The Cockney father pushes on, after his kids, shouting.
CAL
Steerage swine. Apparently missed his annual bath.
RUTH
Honestly, Cal, if you weren't forever booking everything at the last
instant, we could have gone through the terminal instead of running along
the dock like some squalid immigrant family.
CAL
All part of my charm, Ruth. At any rate, it was my darling fiancee's beauty
rituals which made us late.
ROSE
You told me to change.
CAL
I couldn't let you wear black on sailing day, sweetpea. It's bad luck.
ROSE
I felt like black.
Cal guides them out of the path of a horse-drawn wagon loaded down with two
tons of OXFORD MARMALADE, in wooden cases, for Titanic's Victualling
Department.
CAL
Here I've pulled every string I could to book us on the grandest ship in
history, in her most luxurious suites... and you act as if you're going to
your execution.
Rose looks up as the hull of Titanic looms over them...a great iron wall,
Bible black and sever. Cal motions her forward, and she enters the gangway
to the D Deck doors with a sense of overwhelming dread.
OLD ROSE (V.O.)
It was the ship of dreams... to everyone else. To me it was a slave ship,
taking me back to America in chains.
CLOSE ON CAL'S HAND IN SLOW-MOTION as it closes possessively over Rose's
arm. He escorts her up the gangway and the black hull of Titanic swallows
them.
OLD ROSE (V.O.)
Outwardly I was everything a well brought up girl should be. Inside, I was
screaming.
35 CUT TO a SCREAMING BLAST from the mighty triple steam horns on Titanic's
funnels, bellowing their departure warning.
CUT TO:
36 EXT. SOUTHAMPTON DOCKS / TITANIC - DAY
A VIEW OF TITANIC from several blocks away, towering above the terminal
buildings like the skyline of a city. The steamer's whistle echoes across
Southampton.
PULL BACK, revealing that we were looking through a window, and back
further to show the smoky inside of a pub. It is crowded with dockworkers
and ship;s crew.
Just inside the window, a poker game is in progress. FOUR MEN, in working
class clothes, play a very serious hand.
JACK DAWSON and FABRIZIO DE ROSSI, both about 20, exchange a glance as the
other two players argue in Swedish. Jack is American, a lanky drifter with
his hair a little long for the standards of the times. He is also unshaven,
and his clothes are rumpled from sleeping in them. He is an artist, and has
adopted the bohemian style of art scene in Paris. He is also very
self-possessed and sure-footed for 20, having lived on his own since 15.
The TWO SWEDES continue their sullen argument, in Swedish.
OLAF
(subtitled)
You stupid fishhead. I can't believe you bet our tickets.
SVEN
(subtitled)
You lost our money. I'm just trying to get it back. Now shutup and take a
card.
JACK
(jaunty)
Hit me again, Sven.
Jack takes the card and slips it into his hand.
ECU JACK'S EYES. They betray nothing.
CLOSE ON FABRIZIO licking his lips nervously as he refuses a card.
ECU STACK in the middle of the table. Bills and coins from four counrties.
This has been going on for a while. Sitting on top of the money are two 3RD
CLASS TICKETS for RMS TITANIC.
The Titanic's whistle blows again. Final warning.
JACK
The moment of truth boys. Somebody's life's about to change.
Fabrizio puts his cards down. So do the Swedes. Jack holds his close.
JACK
Let's see... Fabrizio's got niente. Olaf, you've got squat. Sven, uh oh...
two pair... mmm.
(turns to his friend)
Sorry Fabrizio.
FABRIZIO
What sorry? What you got? You lose my money?? Ma va fa'n culo testa di
cazzo--
JACK
Sorry, you're not gonna see your mama again for a long time...
He slaps a full house down on the table.
JACK
(grinning)
'Cause you're goin' to America!! Full house boys!
FABRIZIO
Porca Madonna!! YEEAAAAA!!!
The table explodes into shouting in several languages. Jack rakes in the
money and the tickets.
JACK
(to the Swedes)
Sorry boys. Three of a kind and a pair. I'm high and you're dry and...
(to Fabrizio)
... we're going to--
FABRIZIO/JACK
L'AMERICA!!!
Olaf balls up one huge farmer's fist. We think he's going to clobber Jack,
but he swings round and punches Sven, who flops backward onto the floor and
sits there, looking depressed. Olaf forgets about Jack and Fabrizio, who
are dancing around, and goes into a rapid harangue of his stupid cousin.
Jack kisses the tickets, then jumps on Fabrizio's back and rides him around
the pub. It's like they won the lottery.
JACK
Goin' home... to the land o' the free and the home of the real hot-dogs! On
the TITANIC!! We're ridin' in high style now! We're practically goddamned
royalty, ragazzo mio!!
FABRIZIO
You see? Is my destinio!! Like I told you. I go to l'America!! To be a
millionaire!!
(MORE)
FABRIZIO (CONT'D)
(to pubkeeper)
Capito?? I go to America!!
PUBKEEPER
No, mate. Titanic go to America. In five minutes.
JACK
Shit!! Come on, Fabri!
(grabbing their stuff)
Come on!!
(to all, grinning)
It's been grand.
They run for the door.
PUBKEEPER
'Course I'm sure if they knew it was you lot comin', they'd be pleased to
wait!
CUT TO:
37 OMITTED
38 EXT. TERMINAL - TITANIC
Jack and Fabrizio, carrying everything they own in the world in the kit
bags on their shoulders, sprint toward the pier. They tear through milling
crowds next to the terminal. Shouts go up behind them as they jostle
slow-moving gentlemen. They dodge piles of luggage, and weave through
groups of people. They burst out onto the pier and Jack comes to a dead
stop... staring at the cast wall of the ship's hull, towering seven stories
above the wharf and over an eighth of a mile long. The Titanic is
monstrous.
Fabrizio runs back and grabs Jack, and they sprint toward the third class
gangway aft, at E deck. They reach the bottom of the ramp just as SIXTH
OFFICER MOODY detaches it at the top. It starts to swing down from the
gangway doors.
JACK
Wait!! We're passengers!
Flushed and panting, he waves the tickets.
MOODY
Have you been through the inspection queue?
JACK
(lying cheerfully)
Of course! Anyway, we don't have lice, we're Americans.
(glances at Fabrizio)
Both of us.
MOODY
(testy)
Right, come aboard.
Moody has QUARTERMASTER ROWE reattach the gangway. Jack and Fabrizio come
aboard. Moody glances at the tickets, then passes Jack and Fabrizio through
to Rowe. Rowe looks at the names on the tickets to enter them in the
passenger list.
ROWE
Gundersen. And...
(reading Fabrizio's)
Gundersen.
He hands the tickets back, eyeing Fabrizio's Mediterranean looks
suspiciously.
JACK
(grabbing Fabrizio's arm)
Come on, Sven.
Jack and Fabrizio whoop with victory as they run down the white-painted
corridero... grinning from ear to ear.
JACK
We are the luckiest sons of *****es in the world!
CUT TO:
39 OMITTED
40 EXT. TITANIC AND DOCK - DAY
The mooring lines, as big around as a man's arm, are dropped into the
water. A cheer goes up on the pier as SEVEN TUGS pull the Titanic away from
the quay.
CUT TO:
41 EXT. AFT WELL DECK / POOP DECK - DAY
JACK AND FABRIZIO burst through a door onto the aft well deck. TRACKING
WITH THEM as they run across the deck and up the steel stairs to the poop
deck. They get to the rail and Jack starts to yell and wave to the crowd on
the dock.
FABRIZIO
You know somebody?
JACK
Of course not. That's not the point.
(to the crowd)
Goodbye! Goodbye!! I'll miss you!
Grinning, Fabrixio joins in, adding his voice to the swell of voices,
feeling the exhilaration of the moment.
FABRIZIO
Goodbye! I will never forget you!!
CUT TO:
42 OMITTED
EXT. SOUTHAMPTON DOCK - DAY
The crowd of cheering well-wishers waves heartily as a black wall of metal
moves past them. Impossibly tiny figues wave back from the ship's rails.
Titanic gathers speed.
CUT TO:
44 EXT. RIVER TEST - DAY
IN A LONG LENS SHOT the prow of Titanic FILLS FRAME behind the lead tug,
which is dwarfed. The bow wave spreads before the mighty plow of the
liner's hull as it moves down the River Test toward the English Channel.
CUT TO:
45 INT. THIRD CLASS BERTHING / G-DECK FORWARD - DAY
Jack and Fabrizio walk down a narrow corridor with doors lining both sides
like a college dorm. Total confusion as people argue over luggage in
several languages, or wander in confusion in the labyrinth. They pass
emigrants studying the signs over the doors, and looking up the words in
phrase books.
They find their berth. It is a modest cubicle, painted enamel white, with
four bunks. Exposed pipes overhead. The other two guys are already there.
OLAUS and BJORN GUNDERSEN.
Jack throws his kit on one open bunk, while Fabrizio takes the other.
BJORN
(in Swedish/ subtitled)
Where is Sven?
CUT TO:
46 INT. SUITE B-52-56 - DAY
By contrast, the so-called "Millionaire Suite" is in the Empire style, and
comprises two bedrooms, a bath, WC, wardrobe room, and a large sitting
room. In addition there is a private 50 foot promenade deck outside.
A room service waiter pours champagne into a tulip glass of orange juice
and hands the Bucks Fizz to Rose. She is looking through her new paintings.
There is a Monet of water lilies, a Degas of dancers, and a few abstract
works. They are all unknown paintings... lost works.
Cal is out on the covered deck, which has potted trees and vines on
trellises, talking through the doorway to Rose in the sitting room.
CAL
Those mud puddles were certainly a waste of money.
ROSE
(looking at a cubist portrait)
You're wrong. They're fascinating. Like in a dream... there's truth without
logic. What's his name again... ?
(reading off the canvas)
Picasso.
CAL
(coming into the sitting room)
He'll never amount to a thing, trust me. At least they were cheap.
A porter wheels Cal's private safe (which we recognize) into the room on a
handtruck.
CAL
Put that in the wardrobe.
47 IN THE BEDROOM Rose enters with the large Degas of the dancers. She sets
it on the dresser, near the canopy bed. Trudy is already in there, hanging
up some of Rose's clothes.
TRUDY
It smells so brand new. Like they built it all just for us. I mean... just
to think that tonight, when I crawl between the sheets, Iill be the first--
Cal appears in the doorway of the bedroom.
CAL
(looking at Rose)
And when I crawl between the sheets tonight, I'll still be the first.
TRUDY
(blushing at the innuendo)
S'cuse me, Miss.
She edges around Cal and makes a quick exit. Cal comes up behind Rose and
puts his hands on her shoulders. An act of possession, not intimacy.
CAL
The first and only. Forever.
Rose's expression shows how bleak a prospect this is for her, now.
CUT TO:
48 EXT. CHERBOURG HARBOR, FRANCE - LATE DUSK
Titanic stands silhouetted against a purple post-sunset sky. She is lit up
like a floating palace, and her thousand portholes reflect in the calm
harbor waters. The 150 foot tender Nomadic lies-to alongside, looking like
a rowboat. The lights of a Cherbourg harbor complete the postcard image.
CUT TO:
49 INT. FIRST CLASS RECEPTION/ D-DECK
Entering the first class reception room from the tender are a number of
prominent passengers. A BROAD-SHOULDERED WOMAN in an enormous feathered hat
comes up the gangway, carrying a suitcase in each hand, a spindly porter
running to catch up with her to take the bags.
WOMAN
Well, I wasn't about to wait all day for you, sonny. Take 'em the rest of
the way if you think you can manage.
OLD ROSE (V.O.)
At Cherbourg a woman came aboard named Margaret Brown, but we all called
her Molly. History would call her the Unsinkable Molly Brown. Her husband
had struck gold someplace out west, and she was what mother called "new
money".
At 45, MOLLY BROWN is a tough talking straightshooter who dresses in the
finery of her genteel peers but will never be one of them.
OLD ROSE (V.O.)
By the next afternoon we had made our final stop and we were steaming west
from the coast of Ireland, with nothing out ahead of us but ocean...
CUT TO:
50 OMITTED
51 EXT. BOW - DAY
The ship glows with the warm creamy light of late afternoon. Jack and
Fabrizio stand right at the bow gripping the curving railing so familiar
from images of the wreck. Jack leans over, looking down fifty feet to where
the prow cuts the surface like a knife, sending up two glassy sheets of
water.
CUT TO:
52 INT. / EXT. TITANIC - SERIES OF SCENES - DAY
ON THE BRIDGE, CAPTAIN SMITH turns from the binnacle to FIRST OFFICER
WILLIAM MURDOCH.
CAPTAIN SMITH
Take her to sea Mister Murdoch. Let's stretch her legs.
Murdoch moves the engine telegraph lever to ALL AHEAD FULL.
53 NOW BEGINS a kind of musical/visual setpiece... an ode to the great
ship. The music is rhythmic, surging forward, with a soaring melody that
addresses the majesty and optimism of the ship of dreams.
IN THE ENGINE ROOM the telegraph clangs and moves to "All Ahead Full".
CHIEF ENGINEER BELL
All ahead full!
On the catwalk THOMAS ANDREWS, the shipbuilder, watches carefully as the
engineers and greasers scramble to adjust valves. Towering above them are
the twin RECIPROCATING engines, four stories tall, their ten-foot-long
connecting rods surging up and down with the turning of the massive
crankshafts. The engines thunder like the footfalls of marching giants.
54 IN THE BOILER ROOMS the STOKERS chant a song as they hurl coal into the
roaring furnaces. The "black gang" are covered with sweat and coal dust,
their muscles working like part of the machinery as they toil in the
hellish glow.
55 UNDERWATER the enormous bronze screws chop through the water, hurling
the steamer forward and churning up a vortex of foam that lingers for miles
behind the juggernaut ship. Smoke pours from the funnels as--
56 The riven water flares higher at the bow as the ship's speeds builds.
THE CAMERA SWEEPS UP the prow to find Jack, the wind streaming through his
hair and--
57 Captain Smith steps out of the enclosed bridge onto the wing. He stands
with his hands on the rail, looking every bit the storybook picture of a
Captain... a great patriarch of the sea.
FIRST OFFICER MURDOCH
Twenty one knots, sir!
SMITH
She's got a bone in her teeth now, eh, Mr. Murdoch.
Smith accepts a cup of tea from FIFTH OFFICER LOWE. He contentedly watches
the white V of water hurled outward from the bows like an expression of his
own personal power. They are invulnerable, towering over the sea.
58 AT THE BOW Jack and Fabrizio lean far over, looking down.
In the glassy bow-wave two dolphins appear, under the water, running fast
just in front of the steel blade of the prow. They do it for the sheer joy
and exultation of motion. Jack watches the dolphins and grins. They breach,
jumping clear of the water and then dive back, crisscrossing in front of
the bow, dancing ahead of the juggernaut.
FABRIZIO looks forward across the Atlantic, staring into the sunsparkles.
FABRIZIO
I can see the Statue of Liberty already.
(grinning at Jack)
Very small... of course.
THE CAMERA ARCS around them, until they are framed against the sea.
NOW WE PULL BACK, across the forecastle deck. Rising, as we continue back,
and the ships rolls endlessly forward underneath. Over the bridge wing,
along the boat deck until her funnels come INTO FRAME besides us and march
past like the pillars of heaven, one by one. We pull back and up, until we
are looking down the funnels, and the people strolling on the decks and
standing at the rail become antlike.
And still we pull back until the great lady is seen whole in a gorgeous
aerial portrait, black and severe in her majesty.
ISMAY (V.O.)
She is the largest moving object ever made by the hand of man in all
history...
CUT TO:
59 INT. PALM COURT RESTAURANT - DAY
CLOSE ON J. BRUCE ISMAY, Managing Director of White Star Line.
ISMAY
...and our master shipbuilder, Mr. Andrews here, designed her from the keel
plates up.
He indicates a handsome 39 year old Irish gentlemen to his right, THOMAS
ANDREWS, of Harland and Wolf Shipbuilders.
WIDER, showing the group assembled for lunch the next day. Ismay seated
with Cal, Rose, Ruth, Molly Brown and Thomas Andrews in the Palm Court, a
beautiful sunny spot enclosed by high arched windows.
ANDREWS
(disliking the attention)
Well, I may have knocked her together, but the idea was Mr. Ismay's. He
envisioned a steamer so grand in scale, and so luxurious in its
appointments, that its supremacy would never be challenged. And here she
is...
(he slaps the table)
...willed into solid reality.
MOLLY
Why're ships always bein' called "she"? Is it because men think half the
women around have big sterns and should be weighed in tonnage?
(they all laugh)
Just another example of the men settin' the rules their way.
The waiter arrives to take orders. Rose lights a cigarette.
RUTH
You know I don't like that, Rose.
CAL
She knows.
Cal takes the cigarette from her and stubs it out.
CAL
(to the waiter)
We'll both have the lamb. Rare, with a little mint sauce.
(to Rose, after the waiter moves away)
You like lamb, don't you sweetpea?
Molly is watching the dynamic between Rose, Cal and Ruth.
MOLLY
So, you gonna cut her meat for her too there, Cal?
(turning to Ismay)
Hey, who came up with the name Titanic? You, Bruce?
ISMAY
Yes, actually. I wanted to convey sheer size. And size means stability,
luxury... and safety--
ROSE
Do you know of Dr. Freud? His ideas about the male preoccupation with size
might be of particular interest to you, Mr. Ismay.
Andrews chockes on his breadstick, suppressing laughter.
RUTH
My God, Rose, what's gotten into--
ROSE
Excuse me.
She stalks away.
RUTH
(mortified)
I do apologize.
MOLLY
She's a pistol, Cal. You sure you can handle her?
CAL
(tense but feigning unconcern)
Well, I may have to start minding what she reads from now on.
CUT TO:
60 EXT. POOP DECK / AFTER DECKS - DAY
Jack sits on a bench in the sun. Titanic's wake spreads out behind him to
the horizon. He has his knees pulled up, supporting a leather bound
sketching pad, his only valuable possession. With conte crayon he draws
rapidly, using sure strokes. An emigrant from Manchester named CARTMELL has
his 3 year old daughter CORA standing on the lower rung of the rail. She is
leaned back against his beer barrel of a stomach, watching the seagulls.
THE SKETCH captures them perfectly, with a great sense of the humanity of
the moment. Jack is good. Really good. Fabrizio looks over Jack's shoulder.
He nods appreciatively.
TOMMY RYAN, a scowling young Irish emigrant, watches as a crewmember comes
by, walking three small dogs around the deck. One of them, a BLACK FRENCH
BULLDOG, is among the ugliest creatures on the planet.
TOMMY
That's typical. First class dogs come down here to take a shit.
Jack looks up from his sketch.
JACK
That's so we know where we rank in the scheme of things.
TOMMY
Like we could forget.
Jack glances across the well deck. At the aft railing of B deck promenade
stands ROSE, in a long yellow dress and white gloves.
CLOSE ON JACK, unable to take his eyes off of her. They are across from
each other, about 60 feet apart, with the well deck like a valley between
them. She on her promontory, he on his much lower one. She stares down at
the water.
He watches her unpin her elaborate hat and take it off. She looks at the
frilly absurd thing, then tosses it over the rail. It sails far down to the
water and is carried away, astern. A spot of yellow in the vast ocean. He
is riveted by her. She looks like a figure in a romantic novel, sad and
isolated.
Fabrizio taps Tommy and they both look at Jack gazin at Rose. Fabrizio and
Tommy grin at each other.
Rose turns suddenly and looks right at Jack. He is caught staring, but he
doesn't look away. She does, but then looks back. Their eyes meet across
the space of the well deck, across the gulf between worlds.
Jack sees a man (Cal) come up behind her and take her arm. She jerks her
arm away. They argue in pantomime. She storms away, and he goes after her,
disappearing along the A-deck promenade. Jack stares after her.
TOMMY
Forget it, boyo. You'd as like have angels fly out o' yer arse as get next
to the likes o' her.
CUT TO:
61 INT. FIRST CLASS DINING SALOON - NIGHT
SLOWLY PUSHING IN ON ROSE as she sits, flanked by people in heated
conversation. Cal and Ruth are laughing together, while on the other side
LADY DUFF-GORDON is holding forth animatedly. We don't hear what they are
saying. Rose is staring at her plate, barely listening to the
inconsequential babble around her.
OLD ROSE (V.O.)
I saw my whole life as if I'd already lived it... an endless parade of
parties and cotillions, yachts and polo matches... always the same narrow
people, the same mindless chatter. I felt like I was standing at a great
precipice, with no one to pull me back, no one who cared... or even
noticed.
ANGLE BENEATH TABLE showing Rose's hand, holding a tiny fork from her crab
salad. She pokes the crab-fork into the skin of her arm, harder and harder
until it draws blood.
CUT TO:
62 INT. CORRIDOR / B DECK - NIGHT
Rose walks along the corridor. A steward coming the other way greets her,
and she nods with a slight smile. She is perfectly composed.
CUT TO:
63 INT. ROSE'S BEDROOM - NIGHT
She enters the room. Stands in the middle, staring at her reflection in the
large vanity mirror. Just stands there, then--
With a primal, anguished cry she claws at her throat, ripping off her pearl
necklace, which explodes across the room. In a frenzy she tears at herself,
her clothes, her hair... then attacks the room. She flings everything off
the dresser and it flies clattering against the wall. She hurls a
handmirror against the vanity, cracking it.
CUT TO:
64 EXT. A DECK PROMENADE, AFT - NIGHT
Rose runs along the B deck promenade. She is dishevelled, her hair flying.
She is crying, her cheeks streaked with tears. But also angry, furious!
Shaking with emotions she doesn't understand... hatred, self-hatred,
desperation. A strolling couple watch her pass. Shocked at the emotional
display in public.
CUT TO:
65 EXT. POOP DECK - NIGHT
Jack is kicked back on one of the benches gazing at the stars blazing
gloriously overhead. Thinking artist thoughts and smoking a cigarette.
Hearing something, he turns as Rose runs up the stairs from the well deck.
They are the only two on the stern deck, except for QUARTERMASTER ROWE,
twenty feet above them on the docking bridge catwalk. She doesn't see Jack
in the shadows, and runs right past him.
TRACKING WITH ROSE as she runs across the deserted fantail. Her breath
hitches in an occasional sob, which she suppresses. Rose slams against the
base of the stern flagpole and clings there, panting. She stares out at the
black water.
Then starts to climb over the railing. She has to hitch her long dress way
up, and climbing is clumsy. Moving methodically she turns her body and gets
her heels on the white-painted gunwale, her back to the railing, facing out
toward blackness. 60 feet below her, the massive propellers are churning
the atlantin into white foam, and a ghostly wake trails off toward the
horizon.
IN A LOW ANGLE, we see Rose standing like a figurehead in reverse. Below
her are the huge letters of the name "TITANIC".
She leans out, her arms straightening... looking down hypnotized, into the
vortex below her. Her dress and hair are lifted by the wind of the ship's
movement. The only sound, above the rush of water below, is the flutter and
snap of the big Union Jack right above her.
JACK
Don't do it.
She whips her head around at the sound of his voice. It takes a second for
her eyes to focus.
ROSE
Stay back! Don't come any closer!
Jack sees the tear tracks on her cheeks in the faint glow from the stern
running lights.
JACK
Take my hand. I'll pull you back in.
ROSE
No! Stay where you are. I mean it. I'll let go.
JACK
No you won't.
ROSE
What do you mean no I won't? Don't presume to tell me what I will and will
not do. You don't know me.
JACK
You would have done it already. Now come on, take my hand.
Rose is confused now. She can't see him very well through the tears, so she
wipes them with one hand, almost losing her balance.
ROSE
You're distracting me. Go away.
JACK
I can't. I'm involved now. If you let go I have to jump in after you.
ROSE
Don't be absurd. You'll be killed.
He takes off his jacket.
JACK
I'm a good swimmer.
He starts unlacing his left shoe.
ROSE
The fall alone would kill you.
JACK
It would hurt. I'm not saying it wouldn't. To be honest I'm a lot more
concerned about the water being so cold.
She looks down. The reality factor of what she is doing is sinking in.
ROSE
How cold?
JACK
(taking off his left shoe)
Freezing. Maybe a couple degrees over.
He starts unlacing his right shoe.
JACK
Ever been to Wisconsin?
ROSE
(perplexed)
No.
JACK
Well they have some of the coldest winters around, and I grew up there,
near Chippewa Falls. Once when I was a kid me and my father were
ice-fishing out on Lake Wissota... ice-fishing's where you chop a hole in
the--
ROSE
I know what ice fishing is!
JACK
Sorry. Just... you look like kind of an indoor girl. Anyway, I went through
some thin ice and I'm tellin' ya, water that cold... like that right down
there... it hits you like a thousand knives all over your body. You can't
breath, you can't think... least not about anything but the pain.
(takes off his other shoe)
Which is why I'm not looking forward to jumping in after you. But like I
said, I don't see a choice. I guess I'm kinda hoping you'll come back over
the rail and get me off the hook here.
ROSE
You're crazy.
JACK
That's what everybody says. But with all due respect, I'm not the one
hanging off the back of a ship.
He slides one step closer, like moving up on a spooked horse.
JACK
Come on. You don't want to do this. Give me your hand.
Rose stares at this madman for a long time. She looks at his eyes and they
somehow suddenly seem to fill her universe.
ROSE
Alright.
She unfastens one hand from the rail and reaches it around toward him. He
reaches out to take it, firmly.
JACK
I'm Jack Dawson.
ROSE
(voice quavering)
Pleased to meet you, Mr. Dawson.
Rose starts to turn. Now that she has decided to live, the height is
terrifying. She is overcome by vertigo as she shifts her footing, turning
to face the ship. As she starts to climb, her dress gets in the way, and
one foot slips off the edge of the deck.
She plunges, letting out a piercing SHRIEK. Jack, gripping her hand, is
jerked toward the rail. Rose barely grabs a lower rail with her free hand.
QUARTERMASTER ROWE, up on the docking bridge hears the scream and heads for
the ladder.
ROSE
HELP! HELP!!
JACK
I've got you. I won't let go.
Jack holds her hand with all his strength, bracing himself on the railing
with his other hand. Rose tries to get some kind of foothold on the smooth
hull. Jack tries to lift her bodily over the railing. She can't get any
footing in her dress and evening shoes, and she slips back. Rose SCREAMS
again.
Jack, awkwardly clutching Rose by whatever he can get a grip on as she
flails, gets her over the railing. They fall together onto the deck in a
tangled heap, spinning in such a way that Jack winds up slightly on top of
her.
Rowe slides down the ladder from the docking bridge like it's a fire drill
and sprints across the fantail.
ROWE
Here, what's all this?!
Rowe runs up and pulls Jack off of Rose, revealing her dishevelled and
sobbing on the deck. Her dress is torn, and the hem is pushing up above her
knees, showing one ripped stocking. He looks at Jack, the shaggy steerage
man with his jacket off, and the first class lady clearly in distress, and
starts drawing conclusions. Two seamen chug across the deck to join them.
ROWE
(to Jack)
Here you, stand back! Don't move an inch!
(to the seamen)
Fetch the Master at Arms.
CUT TO:
66 EXT. POOP DECK - NIGHT
A few minutes later. Jack is being detained by the burly MASTER AT ARMS,
the closest thing to a cop on board. He is handcuffing Jack. Cal is right
in front of Jack, and furious. He has obviously just rushed out here with
Lovejoy and another man, and none of them have coats over their black tie
evening dress. The other man is COLONEL ARCHIBALD GRACIE, a mustachioed
blowhard who still has his brandy snifter. He offers it to Rose, who is
hunched over crying on a bench nearby, but she waves it away. Cal is more
concerned with Jack. He grabs him by the lapels.
CAL
What made you think you could put your hands on my fiancee?! Look at me,
you filth! What did you think you were doing?!
ROSE
Cal, stop! It was an accident.
CAL
An accident?!
ROSE
It was... stupid really. I was leaning over and I slipped.
Rose looks at Jack, getting eye contact.
ROSE
I was leaning way over, to see the... ah... propellers. And I slipped and I
would have gone overboard... and Mr. Dawson here saved me and he almost
went over himself.
CAL
You wanted to see the propellers?
GRACIE
(shaking his head)
Women and machinery do not mix.
MASTER AT ARMS
(to Jack)
Was that the way of it?
Rose is begging him with her eyes not to say what really happened.
JACK
Uh huh. That was pretty much it.
He looks at Rose a moment longer. Now they have a secret together.
COLONEL GRACIE
Well! The boy's a hero then. Good for you son, well done!
(to Cal)
So it's all's well and back to our brandy, eh?
Jack is uncuffed. Cal gets Rose to her feet and moving.
CAL
(rubbing her arms)
Let's get you in. You're freezing.
Cal is leaving without a second thought for Jack.
GRACIE
(low)
Ah... perhaps a little something for the boy?
CAL
Oh, right. Mr. Lovejoy. A twenty should do it.
ROSE
Is that the going rate for saving the woman you love?
CAL
Rose is displeased. Mmm... what to do?
Cal turns back to Jack. He appraises him condescendingly... a steerage
ruffian, unwashed and ill-mannered.
CAL
I know.
(to Jack)
Perhaps you could join us for dinner tomorrow, to regale our group with
your heroic tale?
JACK
(looking straight at Rose)
Sure. Count me in.
CAL
Good. Settled then.
Cal turns to go, putting a protective arm around Rose. he leans close to
Gracie as they walk away.
CAL
This should be amusing.
JACK
(as Lovejoy passes)
Can I bum a cigarette?
Lovejoy smoothly draws a silver cigarette case from his jacket and snaps it
open. Jack takes a cigarette, then another, popping it behind his ear for
later. Lovejoy lights Jack's cigarette.
LOVEJOY
You'll want to tie those.
(Jack looks at his shoes)
Interesting that the young lady slipped so mighty all of a sudden and you
still had time to take of your jacket and shoes. Mmmm?
Lovejoy's expression is bland, but the eyes are cold. He turns away to join
his group.
CUT TO:
67 INT. ROSE'S BEDROOM - NIGHT
As she undresses for bed Rose sees Cal standing in her doorway, reflected
in the cracked mirror of her vanity. He comes toward her.
CAL
(unexpectedly tender)
I know you've een melancholy, and I don't pretent to know why.
From behind his back he hands her a large black velvet jewel case. She
takes it, numbly.
CAL
I intended to save this till the engagement gals next week. But I thought
tonight, perhaps a reminder of my feeling for you...
Rose slowly opens the box. Inside is the necklace... "HEART OF THE OCEAN"
in all its glory. It is huge... a malevolent blue stone glittering with an
infinity of scalpel-like inner reflections.
ROSE
My God... Cal. Is it a--
CAL
Daimond. Yexpress
67 INT. ROSE'S BEDROOM - NIGHT
As she undresses for bed Rose sees Cal standing in her doorway, reflected in
the cracked mirror of her vanity. He comes toward her.
CAL
(unexpectedly tender)
I know you've been melancholy, and I don't pretend to know why.
From behind his back he hands her a large black velvet jewel case. She takes
it, numbly.
CAL
I intended to save this till the engagement gals next week. But I thought
tonight, perhaps a reminder of my feeling for you...
Rose slowly opens the box. Inside is the necklace... "HEART OF THE OCEAN" in
all its glory. It is huge... a malevolent blue stone glittering with an
infinity of scalpel-like inner reflections.
ROSE
My God... Cal. Is it a--
CAL
Diamond. Yes it is. 56 carats.
He takes the necklace and during the following places it around her throat.
He turns her to the mirror, staring behind her.
CAL
It was once worn by Louis the Sixteenth. They call it Le Coeur de la Mer,
the--
ROSE
The Heart of the Ocean. Cal, it's... it's overwhelming.
He gazes at the image of the two of them in the mirror.
CAL
It's for royalty. And we are royalty.
His fingers caress her neck and throat. He seems himself to be disarmed by
Rose's elegance and beauty. His emotion is, for the first time, unguarded.
CAL
There's nothing I couldn't give you. There's nothing I'd deny you if you
would deny me. Open your heart to me, Rose.
CAMERA begins to TRACK IN ON ROSE. Closer and closer, during the following:
OLD ROSE (V.O.)
Of course his gift was only to reflect light back onto himself, to
illuminate the greatness that was Caledon Hockley. It was a cold stone... a
heart of ice.
Finally, when Rose's eyes FILL FRAME, we MORPH SLOWLY to her eyes as the are
now... transforming through 84 years of life...
TRANSITION
68 INT. KELDYSH IMAGING SHACK
Without a cut the wrinkled, weathered landscape of age has appeared around
her eyes. But the eyes themselves are the same.
OLD ROSE
After all these years, feel it closing around my throat like a dog collar.
THE CAMERA PULLS BACK to show her whole face.
ROSE
I can still feel its weight. If you could have felt it, not just seen it...
LOVETT
Well, that's the general idea, my dear.
BODINE
So let me get this right. You were gonna kill yourself by jumping off the
Titanic?
(he guffaws)
That's great!
LOVETT
(warningly)
Lewis...
But Rose laughs with Bodine.
BODINE
(still laughing)
All you had to do was wait two days!
Lovett, standing out of Rose's sightline, checks his watch. Hours have
passed. This process is taking too long.
LOVETT
Rose, tell us more about the diamond. What did Hockley do with it after
that?
ROSE
I'm afraid I'm feeling a little tired, Mr. Lovett.
Lizzy picks up the cue and starts to wheel her out.
LOVETT
Wait! Can you give us something go on, here. Like who had access to the
safe. What about this Lovejoy guy? The valet. Did he have the combination?
LIZZY
That's enough.
Lizzy takes her out. Rose's old hand reappears at the doorway in a frail wave
goodbye.
CUT TO:
69 EXT. LAUNCH AREA/KELDYSH DECK - DAY
As the big hydraulic jib swings one of the Mir subs out over the water.
Lovett walks as he talks with Bobby Buell, the partners' rep. They weave
among deck cranes, launch crew, sub maintenance guys.
BUELL
The partners are pissed.
BROCK
Bobby, buy me time. I need time.
BUELL
We're running thirty thousand a day, and we're six days over. I'm telling
you what they're telling me. The hand is on the plug. It's starting to pull.
BROCK
Well you tell the hand I need another two days! Bobby, Bobby, Bobby... we're
close! I smell it. I smell ice. She had the diamond on... now we just have
to find out where it wound up. I just gotta work her a bit more. Okay?
Brock turns and sees Lizzy standing behind him. She has overheard the past
part of his dialogue with Buell. He goes to her and hustles her away from
Buell, toward a quite spot on the deck.
BROCK
Hey, Lizzy. I need to talk to you for a second.
LIZZY
Don't you mean work me?
BROCK
Look, I'm running out of time. I need your help.
LIZZY
I'm not going to help you browbeat my hundred and
(MORE)
LIZZY (CONT'D)
one year old grandmother. I came down here to tell you to back off.
BROCK
(with undisguised desperation)
Lizzy... you gotta understand something. I've bet it all to find the Heart
of the Ocean. I've got all my dough tied up in this thing. My wife even
divorced me over this hunt. I need what's locked inside your grandma's
memory.
(he holds out his hand)
You see this? Right here?
She looks at his hand, palm up. Empty. Cupped, as if around an imaginary
shape.
LIZZY
What?
BROCK
That's the shape my hand's gonna be when I hold that thing. You understand?
I'm not leaving here without it.
LIZZY
Look, Brock, she's going to do this her way, in her own time. Don't forget,
she contacted you. She's out here for her own reasons, God knows what they
are.
LOVETT
Maybe she wants to make peace with the past.
LIZZY
What past? She has never once, not once, ever said a word about being on the
Titanic until two days ago.
LOVETT
Then we're all meeting your grandmother for the first time.
LIZZY
(looks at him hard)
You think she was really there?
LOVETT
Oh, yeah. Yeah, I'm a believer. She was there.
CUT TO:
70 INT. IMAGING SHACK
Bodine starts the tape recorder. Rose is gazing at the screen seeing THE
LIVE FEED FROM THE WRECK--SNOOP DOG is moving along the starboard side of
the hull, heading aft. The rectangular windows of A deck (forward) march
past on the right.
ROSE
The next day, Saturday, I remember thinking how the sunlight felt.
DISSOLVE TO:
71 EXT. B DECK TITANIC - DAY
MATCH DISSOLVE from the rusting hulk to the gleaming new Titanic in 1912,
passing the end of the enclosed promenade just as Rose walks into the
sunlight right in front of us. She is stunningly dressed and walking with
purpose.
OLD ROSE (V.O.)
As if I hadn't felt the sun in years.
IT IS SATURDAY APRIL 13, 1912. Rose unlatches the gate to go down into third
class. The steerage men on the deck stop what they're doing and stare at
her.
CUT TO:
72 INT. THIRD CLASS GENERAL ROOM
The social center of steerage life. It is stark by comparison to the
opulence of first class, but is a loud, boisterous place. There are mothers
with babies, kids running between the benches yelling in several languages
and being scolded in several more. There are old women yelling, men playing
chess, girls doing needlepoint and reading dime novels. There is even an
upright piano and Tommy Ryan is noodling around it.
Three boys, shrieking and shouting, are scrambling around chasing a rat
under the benches, trying to whomp it with a shoe and causing general havoc.
Jack is playing with 5 year old CORA CARTMELL, drawing funny faces together
in his sketchbook.
Fabrizio is struggling to get a conversation going with an attractive
Norwegian girl, HELGA DAHL, sitting with her family at a table across the
room.
FABRIZIO
No Italian? Some little English?
HELGA
No, no. Norwegian. Only.
Helga's eye is caught by something. Fabrizio looks, does a take... and Jack,
curious, follows their gaze to see...
Rose, coming toward them. The activity in the room stops... a hush falls.
Rose feels suddenly self-conscious as the steerage passengers stare openly
at this princess, some with resentment, others with awe. She spots Jack and
gives a little smile, walking straight to him. He rises to meet her,
smiling.
ROSE
Hello Jack.
Fabrizio and Tommy are floored. Its like the slipper fitting Cinderella.
JACK
Hello again.
ROSE
Could I speak to you in private?
JACK
Uh, yes. Of course. After you.
He motions her ahead and follows. Jack glances over his shoulder, one
eyebrow raised, as he walks out with her leaving a stunned silence.
CUT TO:
73 EXT. BOAT DECK - DAY
Jack and Rose walk side by side. They pass people reading and talking in
steamer chairs, some of whom glance curiously at the mismatched couple. He
feels out of place in his rough clothes. They are both awkward, for
different reasons.
JACK
So, you got a name by the way?
ROSE
Rose. Rose DeWitt Bukater.
JACK
That's quite a moniker. I may hafta get you to write that down.
There is an awkward pause.
ROSE
Mr. Dawson, I--
JACK
Jack.
ROSE
Jack... I feel like such an idiot. It took me all morning to get up the
nerve to face you.
JACK
Well, here you are.
ROSE
Here I am. I... I want to thank you for what you did. Not just for... for
pulling me back. But for your discretion.
JACK
You're welcome. Rose.
ROSE
Look, I know what you must be thinking! Poor little rich girl. What does she
know about misery?
JACK
That's not what I was thinking. What I was thinking was... what could have
happened to hurt this girl so much she though she had no way out.
ROSE
I don't... it wasn't just one thing. It was everything. It was them, it was
their whole world. And I was trapped in it, like an insect in amber.
(in a rush)
I just had to get away... just run and run and run... and then I was at the
back rail and there was no more ship... even the Titanic wasn't big enough.
Not enough to get away from them. And before I'd really though about it, I
was over the rail. I was so furious. I'll show them. They'll be sorry!
JACK
Uh huh. They'll be sorry. 'Course you'll be dead.
ROSE
(she lowers her head)
Oh God, I am such an utter fool.
JACK
That penguin last night, is he one of them?
ROSE
Penguin? Oh, Cal! He is them.
JACK
Is he your boyfriend?
ROSE
Worse I'm afraid.
She shows him her engagement ring. A sizable diamond.
JACK
Gawd look at that thing! You would have gone straight to the bottom.
They laugh together. A passing steward scowls at Jack, who is clearly not a
first class passenger, but Rose just glares at him away.
JACK
So you feel like you're stuck on a train you can't get off 'cause you're
marryin' this fella.
ROSE
Yes, exactly!
JACK
So don't marry him.
ROSE
If only it were that simple.
JACK
It is that simple.
ROSE
Oh, Jack... please don't judge me until you've seen my world.
JACK
Well, I guess I will tonight.
Looking for another topic, any other topic, she indicates his sketchbook.
ROSE
What's this?
JACK
Just some sketches.
ROSE
May I?
The question is rhetorical because she has already grabbed the book. She
sits on a deck chair and opens the sketchbook. ON JACK'S sketches... each
one an expressive little bit of humanity: an old woman's hands, a sleeping
man, a father and daughter at the rail. The faces are luminous and alive.
His book is a celebration of the human condition.
ROSE
Jack, these are quite good! Really, they are.
JACK
Well, they didn't think too much of 'em in Paree.
Some loose sketches fall out and are taken by the wind. Jack scrambles after
them... catching two, but the rest are gone, over the rail.
ROSE
Oh no! Oh, I'm so sorry. Truly!
JACK
Well, they didn't think too much of 'em in Paree.
He snaps his wrist, shaking his drawing hand in a flourish.
JACK
I just seem to spew 'em out. Besides, they're not worth a damn anyway.
For emphasis he throws away the two he caught. They sail off.
ROSE
(laughing)
You're deranged!
She goes back to the book, turning a page.
ROSE
Well, well...
She has come upon a series of nudes. Rose is transfixed by the languid
beauty he has created. His nudes are soulful, real, with expressive hands
and eyes. They feel more like portraits than studies of the human form...
almost uncomfortably intimate. Rose blushes, raising the book as some
strollers go by.
ROSE
(trying to be very adult)
And these were drawn from life?
JACK
Yup. That's one of the great things about Paris. Lots of girls willing take
their clothes off.
She studies one drawing in particular, the girl posed half in sunlight, half
in shadow. Her hands lie at her chin, one furled and one open like a flower,
languid and graceful. The drawing is like an Alfred Steiglitz print of
Georgia O'Keefe.
ROSE
You liked this woman. You used her several times.
JACK
She had beautiful hands.
ROSE
(smiling)
I think you must have had a love affair with her...
JACK
(laughing)
No, no! Just with her hands.
ROSE
(looking up from the drawings)
You have a gift, Jack. You do. You see people.
JACK
I see you.
There it is. That piercing gaze again.
ROSE
And...?
JACK
You wouldn'ta jumped.
CUT TO:
74 INT. RECEPTION ROOM / D-DECK - DAY
Ruth is having tea with NOEL LUCY MARTHA DYER-EDWARDES, the COUNTESS OF
ROTHES, a 35ish English blue-blood with patrician features. Ruth sees
someone coming across the room and lowers her voice.
RUTH
Oh no, that vulgar Brown woman is coming this way. Get up, quickly before
she sits with us.
Molly Brown walks up, greeting them cheerfully as they are rising.
MOLLY
Hello girls, I was hoping I'd catch you at tea.
RUTH
We're awfully sorry you missed it. The Countess and I are just off to take
the air on the boat deck.
MOLLY
That sounds great. Let's go. I need to catch up on the gossip.
Ruth grits her teeth as the three of them head for the Grand Staircase to go
up. TRACKING WITH THEM, as they cross the room, the SHOT HANDS OFF to Bruce
Ismay and Captain Smith at another table.
ISMAY
So you've not lit the last four boilers then?
SMITH
No, but we're making excellent time.
ISMAY
(impatiently)
Captain, the press knows the size of Titanic, let them marvel at her speed
too. We must give them something new to print. And the maiden voyage of
Titanic must make headlines!
SMITH
I prefer not to push the engines until they've been properly run in.
ISMAY
Of course I leave it to your good offices to decide what's best, but what a
glorious end to your last crossing if we get into New York Tuesday night and
surprise them all.
(Ismay slaps his hand on the table)
Retire with a bang, eh, E.J?
A beat. Then Smith nods, stiffly.
CUT TO:
75 EXT. A DECK PROMENADE - DAY
Rose and Jack stroll aft, past people lounging on deck chairs in the
slanting late-afternoon light. Stewards scurry to serve tea or hot cocoa.
ROSE
(girlish and excited)
You know, my dream has always been to just chuck it all and become an
artist... living in a garret, poor but free!
JACK
(laughing)
You wouldn't last two days. There's no hot water, and hardly ever any
caviar.
ROSE
(angry in a flash)
Listen, buster... I hate caviar! And I'm tired of people dismissing my
dreams with a chuckle and a pat on the head.
JACK
I'm sorry. Really... I am.
ROSE
Well, alright. There's something in me, Jack. I feel it. I don't know what
it is, whether I should be an artist, or, I don't know... a dancer. Like
Isadora Duncan.... a wild pagan spirit...
She leaps forward, lands deftly and whirls like a dervish. Then she sees
something ahead and her face lights up.
ROSE
...or a moving picture actress!
She takes his hand and runs, pulling him along the deck toward--
DANIEL AND MARY MARVIN. Daniel is cranking the big wooden movie camera as
she poses stiffly at the rail.
MARVIN
You're sad. Sad, sad, sad. You've left your lover on the shore. You may
never see him again. Try to be sadder, darling.
SUDDENLY Rose shoots into the shot and strikes a theatrical pose at the rail
next to Mary. Mary bursts out laughing. Rose pulls Jack into the picture and
makes him pose.
Marvin grins and starts yelling and gesturing. We see this in CUTS, with
music and no dialogue.
SERIES OF CUTS:
Rose posing tragically at the rail, the back of her hand to her forehead.
Jack on a deck chair, pretending to be a Pasha, the two girls pantomiming
fanning him like slave girls.
Jack, on his knees, pleading with his hands clasped while Rose, standing,
turns her head in bored disdain.
Rose cranking the camera, while Daniel and Jack have a western shoot-out.
Jack wins and leers into the lens, twirling an air moustache like Snidely
Whiplash.
CUT TO:
76 EXT. A DECK PROMENADE / AFT - SUNSET
Painted with orange light, Jack and Rose lean on the A-deck rail aft,
shoulder to shoulder. The ship's lights come on.
It is a magical moment... perfect.
ROSE
So then what, Mr. Wandering Jack?
JACK
Well, then logging got to be too much like work, so I went down to Los
Angeles to the pier in Santa Monica. That's a swell place, they even have a
rollercoaster. I sketched portraits there for ten cents a piece.
ROSE
A whole ten cents?!
JACK
(not getting it)
Yeah; it was great money... I could make a dollar a day, sometimes. But only
in summer. When it got cold, I decided to go to Paris and see what the real
artists were doing.
ROSE
(looks at the dusk sky)
Why can't I be like you Jack? Just head out for the horizon whenever I feel
like it.
(turning to him)
Say we'll go there, sometime... to that pier... even if we only ever just
talk about it.
JACK
Alright, we're going. We'll drink cheap beer and go on the rollercoaster
until we throw up and we'll ride horses on the beach... right in the surf...
but you have to ride like a cowboy, none of that side-saddle stuff.
ROSE
You mean one leg on each side? Scandalous! Can you show me?
JACK
Sure. If you like.
ROSE
(smiling at him)
I think I would.
(she looks at the horizon)
And teach me to spit too. Like a man. Why should only men be able to spit.
It's unfair.
JACK
They didn't teach you that in finishing school? Here, it's easy. Watch
closely.
He spits. It arcs out over the water.
JACK
Your turn.
Rose screws up her mouth and spits. A pathetic little bit of foamy spittle
which mostly runs down her chin before falling off into the water.
JACK
Nope, that was pitiful. Here, like this... you hawk it down... HHHNNNK!...
then roll it on your tongue, up to the front, like thith, then a big breath
and PLOOOW!! You see the range on that thing?
She goes through the steps. Hawks it down, etc. He coaches her through it
(ad lib) while doing the steps himself. She lets fly. So does he. Two comets
of gob fly out over the water.
JACK
That was great!
Rose turns to him, her face alight. Suddenly she blanches. He sees her
expression and turns.
RUTH, the Countess of Rothes, and Molly Brown have been watching them
hawking lugees. Rose becomes instantly composed.
ROSE
Mother, may I introduce Jack Dawson.
RUTH
Charmed, I'm sure.
Jack has a little spit running down his chin. He doesn't know it. Molly
Brown is grinning. As Rose proceeds with the introductions, we hear...
OLD ROSE (V.O.)
The others were gracious and curious about the man who'd saved my life. But
my mother looked at him like an insect. A dangerous insect which must be
squashed quickly.
MOLLY
Well, Jack, it sounds like you're a good man to have around in a sticky
spot--
They all jump as a BUGLER sounds the meal call right behind them.
MOLLY
Why do they insist on always announcing dinner like a damn cavalry charge?
ROSE
Shall we go dress, mother?
(over her shoulder)
See you at dinner, Jack.
RUTH
(as they walk away)
Rose, look at you... out in the sun with no hat. Honestly!
The Countess exits with Ruth and Rose, leaving Jack and Molly alone on deck.
MOLLY
Son, do you have the slightest comprehension of what you're doing?
JACK
Not really.
MOLLY
Well, you're about to go into the snakepit. I hope you're ready. What are
you planning to wear?
Jack looks down at his clothes. Back up at her. He hadn't thought about
that.
MOLLY
I figured.
CUT TO:
77 INT. MOLLY BROWN'S STATEROOM
Men's suits and jackets and formal wear are strewn all over the place. Molly
is having a fine time. Jack is dressed, except for his jacket, and Molly is
tying his bow tie.
MOLLY
Don't feel bad about it. My husband still can't tie one of these damn things
after 20 years. There you go.
She picks up a jacket off the bed and hands it to him. Jack goes into the
bathroom to put it on. Molly starts picking up the stuff off the bed.
MOLLY
I gotta buy everything in three sizes 'cause I never know how much he's been
eating while I'm away.
She turns and sees him, though we don't.
MOLLY
My, my, my... you shine up like a new penny.
CUT TO:
78 EXT. BOAT DECK / FIRST CLASS ENTRANCE - DUSK
A purple sky, shot with orange, in the west. Drifting strains of classic
music. We TRACK WITH JACK along the deck. By Edwardian standards he looks
badass. Dashing in his borrowed white-tie outfit, right down to his pearl
studs.
A steward bows and smartly opens the door to the First Class Entrance.
STEWARD
Good evening, sir.
Jack plays the role smoothly. Nods with just the right degree of disdain.
CUT TO:
79 INT. UPPER LANDING / GRAND STAIRCASE AND A-DECK
Jack steps in and his breath is taken away by the splendor spread out before
him. Overhead is the enormous glass dome, with a crystal chandelier at its
center. Sweeping down six stories is the First Class Grand Staircase, the
epitome of the opulent naval architecture of the time.
And the people: the women in their floor length dresses, elaborate
hairstyles and abundant jewelry... the gentlemen in evening dress, standing
with one hand at the small of the back, talking quietly.
Jack descends to A deck. Several men nod a perfunctory greeting. He nods
back, keeping it simple. He feels like a spy.
Cal comes down the stairs, with Ruth on his arm, covered in jewelry. They
both walk right past Jack, neither one recognizing him. Cal nods at him,
one gent to another. But Jack barely has time to be amused. Because just
behind Cal and Ruth on the stairs is Rose, a vision in red and black, her
low-cut dress showing off her neck and shoulders, her arms sheathed in white
gloves that come well above above the elbow. Jack is hypnotized by her
beauty.
CLOSE ON ROSE as she approaches Jack. He imitates the gentlemen's stance,
hand behind his back. She extends her gloved hand and he takes it, kissing
the back of her fingers. Rose flushes, beaming noticeably. She can't take
her eyes off him.
JACK
I saw that in a nickelodeon once, and I always wanted to do it.
ROSE
Cal, surely you remember Mr. Dawson.
CAL
(caught off guard)
Dawson! I didn't recognize you.
(studies him)
Amazing! You could almost pass for a gentlemen.
CUT TO:
80 INT. D-DECK RECEPTION ROOM
CUT TO THE RECEPTION ROOM ON D DECK, as the party descends to dinner. They
encounter Molly Brown, looking good in a beaded dress, in her own busty
broad-shouldered way. Molly grins when she sees Jack. As they are going into
the dining saloon she walks next to him, speaking low:
MOLLY
Ain't nothin' to it, is there, Jack?
JACK
Yeah, you just dress like a pallbearer and keep your nose up.
MOLLY
Remember, the only thing they respect is money, so just act like you've got
a lot of it and you're in the club.
As they enter the swirling throng, Rose leans close to him, pointing out
several notables.
ROSE
There's the Countess Rothes. And that's John Jacob Astor... the richest man
on the ship. His little wifey there, Madeleine, is my age and in a delicate
condition. See how she's trying to hide it. Quite the scandal.
(nodding toward a couple)
And over there, that's Sir Cosmo and Lucile, Lady Duff-Gordon. She designs
naughty lingerie, among her many talents. Very popular with the royals.
Cal becomes engrossed in a conversations with Cosmo Duff-Gordon and Colonel
Gracie, while Ruth, the Countess and Lucille discuss fashion. Rose picots
Jack smoothly, to show him another couple, dressed impeccably.
ROSE
And that's Benjamin Guggenheim and his mistress, Madame Aubert. Mrs.
Guggenheim is at home with the children, of course.
Cal, meanwhile, is accepting the praise of his male counterparts, who are
looking at Rose like a prize show horse.
SIR COSMO
Hockley, she is splendid.
CAL
Thank you.
GRACIE
Cal's a lucky man. I know him well, and it can only be luck.
Ruth steps over, hearing the last. She takes Cal's arm, somewhat
coquettishly.
RUTH
How can you say that Colonel? Caledon Hockley is a great catch.
The entourage strolls toward the dining saloon, where they run into the
Astor's going through the ornate double doors.
ROSE
J.J., Madeleine, I'd like you to meet Jack Dawson.
ASTOR
(shaking his hand)
Good to meet you Jack. Are you of the Boston Dawsons?
JACK
No, the Chippewa Falls Dawsons, actually.
J.J. nods as if he's heard of them, then looks puzzled. Madeleine Astor
appraises Jack and whispers girlishly to Rose:
MADELEINE
It's a pity we're both spoken for, isn't it?
CUT TO:
81 INT. DINING SALOON
Like a ballroom at the palace, alive and lit by a constellation of
chandeliers, full of elegantly dressed people and beautiful music from
BANDLEADER WALLACE HARTLEY'S small orchestra. As Rose and Jack enter and
move across the room to their table, Cal and Ruth beside them, we hear...
OLD ROSE (V.O.)
He must have been nervous but he never faltered. They assumed he was one of
them... a young captain of industry perhaps... new money, obviously, but
still a member of the club. Mother of course, could always be counted
upon...
CUT TO:
82 INT. DINING SALOON
CLOSE ON RUTH.
RUTH
Tell us of the accommodations in steerage, Mr. Dawson. I hear they're quite
good on this ship.
WIDER: THE TABLE. Jack is seated opposite Rose, who is flanked by Cal and
Thomas Andrews. Also at the table are Molly Brown, Ismay, Colonel Gracie,
the Countess, Guggenheim, Madame Aubert, and the Astors.
JACK
The best I've seen, ma'am. Hardly any rats.
Rose motions surreptitiously for Jack to take his napkin off his plate.
CAL
Mr. Dawson is joining us from third class. He was of some assistance to my
fiancee last night.
(to Jack, as if to a child)
This is foie gras. It's goose liver.
We see whispers exchanged. Jack becomes the subject of furtive glances. Now
they're all feeling terribly liberal and dangerous.
GUGGENHEIM
(low to Madame Aubert)
What is Hockley hoping to prove, bringing this... bohemian... up here?
WAITER
(to Jack)
How do you take your caviar, sir?
CAL
(answering for him)
Just a soupcon of lemon...
(to Jack, smiling)
...it improves the flavor with champagne.
JACK
(to the waiter)
No caviar for me, thanks.
(to Cal)
Never did like it much.
He looks at Rose, pokerfaced, and she smiles.
RUTH
And where exactly do you live, Mr. Dawson?
JACK
Well, right now my address is the RMS Titanic. After that, I'm on God's good
humor.
Salad is served. Jack reaches for the fish fork. Rose gives him a look and
picks up the salad fork, prompting him with her eyes. He changes forks.
RUTH
You find that sort of rootless existence appealing, do you?
JACK
Well... it's a big world, and I want to see it all before I go. My father
was always talkin' about goin' to see the ocean. He died in the town he was
born in, and never did see it. You can't wait around, because you never know
what hand you're going to get dealt next. See, my folks died in a fire when
I was fifteen, and I've been on the road since. Somethin' like that teaches
you to take life as it comes at you. To make each day count.
Molly Brown raises her glass in a salute.
MOLLY
Well said, Jack.
COLONEL GRACIE
(raising his glass)
Here, here.
Rose raises her glass, looking at Jack.
ROSE
To making it count.
Ruth, annoyed that Jack has scored a point, presses him further.
RUTH
How is it you have the means to travel, Mr. Dawson?
JACK
I work my way from place to place. Tramp steamers and such. I won my ticket
on Titanic here in a lucky hand at poker.
(he glances at Rose)
A very lucky hand.
GRACIE
All life is a game of luck.
CAL
A real man makes his own luck, Archie.
Rose notices that Thomas Andrews, sitting next to her, is writing in his
notebook, completely ignoring the conversation.
ROSE
Mr. Andrews, what are you doing? I see you everywhere writing in this little
book.
(grabs it and reads)
Increase number of screws in hat hooks from 2 to 3. You build the biggest
ship in the world and this preoccupies you?!
Andrews smiles sheepishly.
ISMAY
He knows every rivet in her, don't you Thomas?
ANDREWS
All three million of them.
ISMAY
His blood and soul are in the ship. She may be mine on paper, but in the
eyes of God she belongs to Thomas Andrews.
ROSE
Your ship is a wonder, Mr. Andrews. Truly.
ANDREWS
Thank you, Rose.
We see that Andrews has come under Rose's spell.
83 TIME TRANSITION: Dessert has been served and a waiter arrives with cigars
in a humidor on a wheeled cart. The men start clipping ends and lighting.
ROSE
(low, to Jack)
Nest it'll be brandies in the Smoking Room.
GRACIE
(rising)
Well, join me for a brandy, gentlemen?
ROSE
(low)
Now they retreat into a cloud of smoke and congratulate each other on being
masters of the universe.
GRACIE
Joining us, Dawson? You don't want to stay out here with the women, do you?
Actually he does, but...
JACK
No thanks. I'm heading back.
CAL
Probably best. It'll be all business and politics, that sort of thing.
Wouldn't interest you. Good of you to come.
Cal and the other gentlemen exit.
ROSE
Jack, must you go?
JACK
Time for my coach to turn back into a pumpkin.
He leans over to take her hand.
INSERT: We see him slip a tiny folded not into her palm.
Ruth, scowling, watches him walk away across the enormous room. Rose
surreptitiously opens the note below table level. It reads: "Make it count.
Meet me at the clock".
CUT TO:
84 INT. A-DECK FOYER-NIGHT
Rose crosses the A-Deck foyer, sighting Jack at the landing above. Overhead
is the crystal dome. Jack has his back to her, studying the ornate clock
with its carved figures of Honor and Glory. It softly strikes the hour.
MOVING WITH ROSE as she goes up the sweeping staircase toward him. He turns,
sees her... smiles.
JACK
Want to go to a real party?
CUT TO:
85 INT. THIRD CLASS GENERAL ROOM
Crow led and alive with music, laughter and raucous carrying on. An ad hoc
band is gathered near the upright piano, honking out lively stomping music
on fiddle, accordion and tambourine. People of all ages are dancing,
drinking beer and wine, smoking, laughing, even brawling.
Tommy hands Rose a pint of stout and she hoists it. Jack meanwhile dances
with 5 year old Cora Cartmell, or tries to, with her standing on his feet.
As the tune ends, Rose leans down to the little girl.
ROSE
May I cut in, miss?
JACK
You're still my best girl, Cora.
Cora scampers off. Rose and Jack face each other. She is trembling as he
takes her right hand in his left. His other hand slides to the small of her
back. It is an electrifying moment.
ROSE
I don't know the steps.
JACK
Just move with me. Don't think.
The music starts and they are off. A little awkward at first, she starts to
get into it. She grins at Jack as she starts to get the rhythm of the
steps.
ROSE
Wait... stop!
She bends down, pulling off her high heeled shoes, and flings them to Tommy.
Then she grabs Jack and they plunge back into the fray, dancing faster as
the music speeds up.
CUT TO:
86 OMITTED
87 INT. THIRD CLASS GENERAL ROOM
The scene is rowdy and rollicking. A table gets knocked over as a drunk
crashes into it. And in the middle of it... Rose dancing with Jack in her
stocking feet. The steps are fast and she shines with sweat. A space opens
around them, and people watch them, clapping as the band plays faster and
faster.
FABRIZIO AND HELGA. Dancing has obviated the need for a common language. He
whirls her, then she responds by whirling him... Fabrizio's eyes go wide
when he realizes she's stronger than he is.
The tune ends in a mad rush. Jack steps away from Rose with a flourish,
allowing her to take a bow. Exhilarated and slightly tipsy, she does a
graceful ballet plier, feet turned out perfectly. Everyone laughs and
applauds. Rose is a hit with the steerage folks, who've never had a lady
party with them.
They move to a table, flushed and sweaty. Rose grabs Fabrizio's cigarette
and takes a big drag. She's feeling cocky. Fabrizio is grinning, holding
hands with Helga.
JACK
How you two doin'?
FABRIZIO
I don't know what she's say, she don't know what I say, so we get along
fine.
Tommy walks up with a pint for each of them. Rose chugs hers, showing off.
ROSE
You think a first class girl can't drink?
Everybody else is dancing again, and Bjorn Gundersen crashes into Tommy, who
sloshes his beer over Rose's dress. She laughs, not caring. But Tommy
lunges, grabbing Bjorn and wheeling him around.
TOMMY
You stupid bastard!!
Bjorn comes around, his fists coming up... and Jack leaps into the middle of
it, pushing them apart.
JACK
Boys, boys! Did I ever tell you the one about the Swede and the Irishman
goin' to the whorehouse?
Tommy stands there, all piss and vinegar, chest puffed up. Then he grins and
claps Bjorn on the shoulder.
ROSE
So, you think you're big tough men? Let's see you do this.
In her stocking feet she assumes a ballet stance, arms raised, and goes up
on point, taking her entire weight on the tips of her toes. The guys gape at
her incredible muscle control. She comes back down, then her face screws up
in pain. She grabs one foot, hopping around.
ROSE
Oooowww! I haven't done that in years.
Jack catches her as she loses her balance, and everyone cracks up.
THE DOOR to the well deck is open a few inches as Lovejoy watches through
the gap. He sees Jack holding Rose, both of them laughing.
LOVEJOY closes the door.
CUT TO:
88 EXT. BOAT DECK - NIGHT
The stars blaze overhead, so bright and clear you can see the Milky Way.
Rose and Jack walk along the row of lifeboats. Still giddy from the party,
they are singing a popular song "Come Josephine in My Flying Machine".
JACK/ROSE
Come Josephine in my flying machine
And it's up she goes! Up she goes!
In the air she goes. Where? There she goes!
They fumble the words and break down laughing. They have reached the First
Class Entrance, but don't go straight in, not wanting the evening to end.
Through the doors the sound of the ship's orchestra wafts gently. Rose grabs
a davit and leans back, staring at the cosmos.
ROSE
Isn't it magnificent? So grand and endless.
She goes to the rail and leans on it.
ROSE
They're such small people, Jack... my crowd. They think they're giants on
the earth, but they're not even dust in God's eye. They live inside this
little tiny champagne bubble... and someday the bubble's going to burst.
He leans at the rail next to her, his hand just touching hers. It is the
slightest contact imaginable, and all either one of them can feel is that
square inch of skin where their hands are touching.
JACK
You're not one of them. There's been a mistake.
ROSE
A mistake?
JACK
Uh huh. You got mailed to the wrong address.
ROSE
(laughing)
I did, didn't I?
(MORE)
ROSE (CONT'D)
(pointing suddenly)
Look! A shooting star.
JACK
That was a long one. My father used to say that whenever you saw one, it was
a soul going to heaven.
ROSE
I like that. Aren't we supposed to wish on it?
Jack looks at her, and finds that they are suddenly very close together. It
would be so easy to move another couple of inches, to kiss her. Rose seems
to be thinking the same thing.
JACK
What would you wish for?
After a beat, Rose pulls back.
ROSE
Something I can't have.
(she smiles sadly)
Goodnight, Jack. And thank you.
She leaves the rail and hurries through the First Class Entrance.
JACK
Rose!!
But the door bangs shut, and she is gone. Back to her world.
CUT TO:
89 INT. ROSE AND CAL'S SUITE / PRIVATE PROMENADE - DAY
SUNDAY APRIL 14, 1912. A bright clear day. Sunlight splashing across the
promenade. Rose and Cal are having breakfast in silence. The tension is
palpable. Trudy Bolt, in her maid's uniform, pours the coffee and goes
inside.
CAL
I had hoped you would come to me last night.
ROSE
I was tired.
CAL
Yes. Your exertions below decks were no doubt exhausting.
ROSE
(stiffening)
I see you had that undertaker of a manservant follow me.
CAL
You will never behave like that again! Do you understand?
ROSE
I'm not some foreman in your mills than you can command! I am your fiancee--
Cal explodes, sweeping the breakfast china off the table with a crash. He
moves to her in one shocking moment, glowering over her and gripping the
sides of her chair, so she is trapped between his arms.
CAL
Yes! You are! And my wife... in practice, if not yet by law. So you will
honor me, as a wife is required to honor her husband! I will not be made out
a fool! Is this in any way unclear?
Rose shrinks into the chair. She sees Trudy, frozen, partway through the
door bringing the orange juice. Cal follows Rose's glance and straightens
up. He stalks past the maid, entering the stateroom.
ROSE
We... had a little accident. I'm sorry, Trudy.
CUT TO:
90 INT. RUTH'S SUITE - DAY
Rose is dressed for the day, and is in the middle of helping Ruth with her
corset. The tight bindings do not inhibit Ruth's fury at all.
RUTH
You are not to see that boy again, do you understand me Rose? I forbid it!
Rose has her knee at the base of her mother's back and is pulling the corset
strings with both hands.
ROSE
Oh, stop it, Mother. You'll give yourself a nosebleed.
Ruth pulls away from her, and crosses to the door, locking it. CLACK!
RUTH
(wheeling on her)
Rose, this is not a game! Our situation is precarious. You know the money's
gone!
ROSE
Of course I know it's gone. You remind me every day!
RUTH
Your father left us nothing but a legacy of bad debts hidden by a good name.
And that name is the only card we have to play.
Rose turns her around and grabs the corset strings again. Ruth sucks in her
waist and Rose pulls.
RUTH
I don't understand you. It is a fine match with Hockley, and it will insure
our survival.
ROSE
(hurt and lost)
How can you put this on my shoulders?
Rose turns to her, and we see what Rose sees-- the naked fear in her
mother's eyes.
RUTH
Do you want to see me working as a seamstress? Is that what you want? Do you
want to see our fine things sold at an auction, our memories scattered to
the winds? My God, Rose, how can you be so selfish?
ROSE
It's so unfair.
RUTH
Of course it's unfair! We're women. Our choices are never easy.
Rose pulls the corset tighter.
CUT TO:
91 INT. FIRST CLASS DINING SALOON
At the divine service, Captain Smith is leading a group in the hymn
"Almighty Father Strong To Save." Rose and Ruth sing in the middle of the
group.
Lovejoy stands well back, keeping an eye on Rose. He notices a commotion at
the entry doors. Jack has been halted there by two stewards. He is dressed
in his third class clothes, and stands there, hat in hand, looking out of
place.
STEWARD
Look, you, you're not supposed to be in here.
JACK
I was just here last night... don't you remember?
(seeing Lovejoy coming toward him)
He'll tell you.
LOVEJOY
Mr. Hockley and Mrs. DeWitt Bukater continue to be most appreciative of your
assistance. They asked me to give you this in gratitude--
He holds out two twenty dollar bills, which Jack refuses to take.
JACK
I don't want money, I--
LOVEJOY
--and also to remind you that you hold a third class ticket and your
presence here is no longer appropriate.
Jack spots Rose but she doesn't see him.
JACK
I just need to talk to Rose for a--
LOVEJOY
Gentlemen, please see that Mr. Dawson gets back where he belongs.
(giving the twenties to the stewards)
And that he stays there.
STEWARD
Yes sir!
(to Jack)
Come along you.
END ON ROSE, not seeing Jack hustled out.
ROSE
(singing)
O hear us when we cry to thee for those in peril on the sea.
CUT TO:
92 INT. GYMNASIUM - DAY
An Edwardian nautilus room. There are machines we recognize, and some don't.
A woman pedals a stationary bicycle in a long dress, looking ridiculous.
Thomas Andrews is leading a small tour group, including Rose, Ruth and Cal.
Cal is working the oars of a stationary rowing machine with a well trained
stroke.
CAL
Reminds me of my Harvard days.
T.W. MCCAULEY, the gym instructor, is a bouncy little man in white flannels,
eager to show off his modern equipment, like his present-day counterpart on
an "Abflex" infomercial. He hits a switch and a machine with a saddle on it
starts to undulate. Rose puts her hand on it, curious.
MCCAULEY
The electric horse is very popular. We even have an electric camel.
(to Ruth)
Care to try your hand at the rowing, ma'am?
RUTH
Don't be absurd. I can't think of a skill I should likely need less.
ANDREWS
The next stop on our tour will be bridge. This way, please.
CUT TO:
93 EXT. AFT WELL DECK, B-DECK AND A-DECK - DAY
Jack, walking with determination, is followed closely by Tommy and Fabrizio.
He quickly climbs the steps to B-Deck and steps over the gate separating 3rd
from 2nd class.
TOMMY
She's a goddess amongst mortal men, there's no denyin'. But she's in another
world, Jackie, forget her. She's closed the door.
Jack moves furtively to the wall below the A-Deck promenade, aft.
JACK
It was them, not her.
(glancing around the deck)
Ready... go.
Tommy shakes his head resignedly and puts his hands together, crouching
down. Jack steps into Tommy's hands and gets boosted up to the next deck,
where he scrambles nimbly over the railing, onto the First Class deck.
TOMMY
He's not bein' logical, I tell ya.
FABRIZIO
Amore is'a not logical.
CUT TO:
94 EXT. A-DECK / AFT - DAY
A man is playing with his son, who is spinning a top with a string. The
man's overcoat and hat are sitting on a deck chair nearby. Jack emerges from
behind one of the huge deck cranes and calmly picks up the coat and bowler
hat. He walks away, slipping into the coat, and slicks his hair back with
spit. Then puts the hat on at a jaunty angle. At a distance he could pass
for a gentlemen.
CUT TO:
95 INT. BRIDGE / CHARTROOM - DAY
HAROLD BRIDE, the 21 year old Junior Wireless Operator, hustles in and
skirts around Andrews' tour group to hand a Marconigram to Captain Smith.
BRIDE
Another ice warning, sir. This one from the "Baltic".
SMITH
Thank you, Sparks.
Smith glances at the message then nonchalantly puts it in his pocket. He
nods reassuringly to Rose and the group.
SMITH
Not to worry, it's quite normal for this time of year. In fact, we're
speeding up. I've just ordered the last boilers lit.
Andrews scowls slightly before motioning the group toward the door. They
exit just as SECOND OFFICER CHARLES HERBERT LIGHTOLLER comes out of the
chartroom, stopping next to First Officer Murdoch.
LIGHTOLLER
Did we ever find those binoculars for the lookouts?
FIRST OFFICER MURDOCH
Haven't seen them since Southampton.
CUT TO:
96 EXT. BOAT DECK / STARBOARD SIDE - DAY
Andrews leads the group back from the bridge along the boat deck.
ROSE
Mr. Andrews, I did the sum in my head, and with the number of lifeboats
times the capacity you mentioned... forgive me, but it seems that there are
not enough for everyone aboard.
ANDREWS
About half, actually. Rose, you miss nothing, do you? In fact, I put in
these new type davits, which can take an extra row of boats here.
(he gestures along the deck)
But it was thought... by some... that the deck would look too cluttered. So
I was over-ruled.
CAL
(slapping the side of a boat)
Waste of deck space as it is, on an unsinkable ship!
ANDREWS
Sleep soundly, young Rose. I have built you a good ship, strong and true.
She's all the lifeboat you need.
As they are passing Boat 7, a gentlemen turns from the rail and walks up
behind the group. It is Jack. He taps Rose on the arm and she turns,
gasping. He motions and she cuts away from the group toward a door which
Jack holds open. They duck into the--
CUT TO:
97 INT. GYMNASIUM - DAY
Jack closes the door behind her, and glances out through the ripple-glass
window to the starboard rail, where the gym instructor is chatting up the
woman who was riding the bike. Rose and Jack are alone in the room.
ROSE
Jack, this is impossible. I can't see you.
He takes her by the shoulders.
JACK
Rose, you're no picnic... you're a spoiled little brat even, but under that
you're a strong, pure heart, and you're the most amazingly astounding girl
I've ever known and--
ROSE
Jack, I--
JACK
No wait. Let me try to get this out. You're amazing... and I know I have
nothing to offer you, Rose. I know that. But I'm involved now. You jump, I
jump, remember? I can't turn away without knowin' that you're goin' to be
alright.
Rose feels the tears coming to her eyes. Jack is so open and real... not
like anyone she has ever known.
ROSE
You're making this very hard. I'll be fine. Really.
JACK
I don't think so. They've got you in a glass jar like some butterfly, and
you're goin' to die if you don't break out. Maybe not right away, 'cause
you're strong. But sooner or later the fire in you is goin' to go out.
ROSE
It's not up to you to save me, Jack.
JACK
You're right. Only you can do that.
ROSE
I have to get back, they'll miss me. Please, Jack, for both our sakes, leave
me alone.
CUT TO:
98 INT. FIRST CLASS LOUNGE - DAY
The most elegant room on the ship, done in Louis Quinze Versailles style.
Rose sits on a divan, with a group of other women arrayed around her. Ruth,
the Countess Rothes and Lady Duff-Gordon are taking tea. Rose is silent and
still as a porcelain figurine as the conversation washes around her.
RUTH
Of course the invitations had to be sent back to the printers twice. And the
bridesmaids dresses! Let me tell you what an odyssey that has been...
TRACKING SLOWLY IN on Rose as Ruth goes on.
REVERSE, ROSE'S POV: A tableau of MOTHER and DAUGHTER having tea. The four
year old girl, wearing white gloves, daintily picking up a cookie. The
mother correcting her on her posture, and the way she holds the teacup. The
little girl is trying so hard to please, her expression serious. A glimpse
of Rose at that age, and we see the relentless conditioning... the pain to
becoming an Edwardian geisha.
ON ROSE. She calmly and deliberately turns her teacup over, spilling tea all
over her dress.
ROSE
Oh, look what I've done.
CUT TO:
99 EXT. TITANIC - DAY
TITANIC STEAMS TOWARD US, in the dusk light, as if lit by the embers of a
giant fire. As the ship looms, FILLING FRAME, we push in on the bow. Jack is
there, right at the apex of the bow railing, his favorite spot. He closes
his eyes, letting the chill wind clear his head.
Jack hears her voice, behind him...
ROSE
Hello, Jack.
He turns and she is standing there.
ROSE
I changed my mind.
He smiles at her, his eyes drinking her in. Her cheeks are red with the
chill wind, and her eyes sparkle. Her hair blows wildly about her face.
ROSE
Fabrizio said you might be up--
JACK
Sssshh. Come here.
He puts his hands on her waist. As if he is going to kiss her.
JACK
Close your eyes.
She does, and he turns her to face forward, the way the ship is going. He
presses her gently to the rail, standing right behind her. Then he takes her
two hands and raises them until she is standing with her arms outstretched on
each side. Rose is going along with him. When he lowers his hands, her arms
stay up... like wings.
JACK
Okay. Open them.
Rose gasps. There is nothing in her field of vision but water. It's like
there is no ship under them at all, just the two of them soaring. The
Atlantic unrolls toward her, a hammered copper shield under a dusk sky.
There is only the wind, and the hiss of the water 50 feel below.
ROSE
I'm flying!
She leans forward, arching her back. He puts his hands on her waist to
steady her.
JACK
(singing softly)
Come Josephine in my flying machine...
Rose closes her eyes, feeling herself floating weightless far above the sea.
She smiles dreamily, then leans back, gently pressing her back against his
chest. He pushes forward slightly against her.
Slowly he raises his hands, arms outstretched, and they meet hers...
fingertips gently touching. Then their fingers intertwine. Moving slowly,
their fingers caress through and around each other like the bodies of two
lovers.
Jack tips his face forward into her blowing hair, letting the scent of her
wash over him, until his cheek is against her ear.
Rose turns her head until her lips are near his. She lowers her arms,
turning further, until she finds his mouth with hers. He wraps his arms
around her from behind, and they kiss like this with her head turned and
tilted back, surrendering to him, to the emotion, to the inevitable. They
kiss, slowly and tremulously, and then with building passion.
Jack and the ship seem to merge into one force of power and optimism,
lifting her, buoying her forward on a magical journey, soaring onward into a
night without fear.
100 IN THE CROW'S NEST, high above and behind them, lookout FREDERICK FLEET
nudges his mate, REGINALD LEE, pointing down at the figures in the bow.
FLEET
Wish I had those bleedin' binoculars.
101 JACK AND ROSE, embracing at the bow rail, DISSOLVE SLOWLY AWAY, leaving
the ruined bow of the WRECK--
CUT TO:
102 INT. KELDYSH IMAGING SHACK
OLD ROSE blinks, seeming to come back to the present. She sees the wreck on
the screen, the sad ghost ship deep in the abyss.
ROSE
That was the last time Titanic ever saw daylight.
Brock Lovett changes the tape in the mini cassette recorder.
BROCK
So we're up to dusk on the night of thecanvas
Mamma mia! 《媽媽咪呀》windows
1.perch: 這個詞的本意是（鳥類的）棲息地，棲木。這裏指歇腳處，小憩處。影片中妙語連珠的Rosie對船上的乘客說：「我母親要個座兒。」 來看例句：
We found a perch on the ruins of a low stone wall. 咱們找到一處矮石牆的殘垣，歇了歇腳。
而口語中Come off your perch 的意思是：放下你的臭架子，別那麼神氣的意思。
2.give away: 這裏的意思是，在婚禮上將（新娘）交給新郎。影片中即將出嫁的Sophie對她的閨蜜們說：
「I want the perfect wedding, and I want my father to give me away.」 意思就是：「我想要個完美的婚禮，我但願我父親把我交給新郎。」
Give away 還有透露，泄露的意思。 好比：Do not give away my secret. 不要泄露個人祕密。
3. wash down：吞下，嚥下。影片中Sophie對她的未婚夫Sky 說：「要是依你的話，那就會是三分鐘的婚禮，穿着牛仔褲和T恤，灌下一整瓶啤酒。」來看例句：
Wash the dry cake down with tea. 借茶水嚥下這塊幹餅。
4. prop：這裏指道具。Sky 匆忙離開，對女孩們說：「我只是在爲今天晚上的道具作準備。」
a stage prop 一件舞臺道具
the props used in a television commercial 用於電視廣告片的道具。
5. bachelor party：單身男子派對。影片中Sophie接着Sky的話說：「爲他的單身漢聚會作準備。」
He also looked very hungover from his bachelor party the night before. 他看上去好像酒喝多了正難受，由於昨晚他參加了單身舞會。
6. fall into place：變得清楚，明朗，正和其位。影片中Sophie說：「當我見到我爸爸，一切都會迴歸正軌的。」
It all begins to fall into place. 一切開始明朗了。api
7.1.out of the blue:忽然地。影片中Bill納悶的說：「我有20年沒跟她聯繫了，而後這張請帖就來了，徹底沒有徵兆。」 來看例句：
She arrived out of the blue. 她沒有事先告知就來了。
her brother showed up at the wedding out of the blue. 她的哥哥忽然在婚禮上出現了。
8.go about:（船）搶風行駛，改變方向。影片中Bill對Harry說：「船偏向了，快抓穩。」
go about 還有（消息等）流傳，（疾病）蔓延的意思。好比：
There's a lot of flu going about just now.目前流感猖獗。
9.iron lung：人工呼吸器。妙語連珠的Rosie對氣喘吁吁打趣道：「你應該帶我的工呼吸器來的。」
10.a chip off the old block：相貌（脾氣）和父母同樣的孩子。Rosie看着伶牙俐齒的Sophie感概的對Donna說：「有其母必有其女啊。」來看例句：
He is a great guy, a chip off the old block. 他是一位好人，就像他父親同樣。
12.make the bed：這個短語可不要望文生義理解成「作牀」的意思，它的正確解釋是「鋪牀」。
Shall I help you make the bed? 我幫你鋪牀，好嗎？
13.flood in: 大量地涌到。Sky躊躇滿志的說：「若是我宣傳工做作得足夠好的話，人們會潮水般涌來。」來看例句：
14.Aphrodite:阿芙羅狄蒂(愛與美的女神, 至關於羅馬的 Venus)。一臉興奮的Sophie對你們說：「這裏曾經是是傳說中阿佛洛狄特的噴泉所在的位置。」
15..boatload：船的載客或載貨量。Tanya聽了Sophie對小島的美好設想後，不無擔心的對Donna說：「我想你不想看到一滿船一滿船的遊客吧。」
He imported wine by the boatload.他進口了一滿船酒。promise
16.1.eject：驅逐，趕走。影片中瀟灑的Sam一臉無奈的對Sophie說：「你媽媽把咱們從羊舍裏趕出來了。」來看例句：
The police ejected them. 警察把他們趕走了。
17.get out of her hair：這裏指中止糾纏某人，使擺脫煩惱。面對着一臉嗔怒的Sophie，Bill解釋到：「她但願咱們不要去煩她。」
My God, how can I get her out of my hair!個人天哪，我如何才能擺脫她對個人煩擾!
18.freak out：焦慮不安，使某人崩潰。Bill：「Donna看到咱們嚇壞了。」
I freak out every time I see a bug.我每次看到蟲子都會嚇得發瘋。
Don't freak out until you know the facts. 在你瞭解真相之前別胡思亂想。
19.think straight:正確思考,清醒地思考。影片中焦急萬分的Sophie對她的三個疑似父親說：「她犯糊塗了，婚禮讓她承受太大的壓力。」來看例句：
He could not think straight.他頭腦不夠清醒。
That boy is so crazy about Rosaline that he can't think straight!那個男孩深深爲羅莎琳瘋狂，已經沒法清楚地思考了！
20.quite a：至關...的。影片中Harry的意思是：「認識你媽媽時，我可真是個叛逆少年。」來看例句：
He's quite a philosopher. 他很愛動腦筋。
That's quite a picture. 那真是一部了不得的影片。
21.hop on：跳上。回憶起往事，Harry無限留戀的唱到：「碰見她時我在巴黎求學，我跳上了火車，跟她去了希臘，不由自主。」
I saw him hop on a bus.我看見他上了公車。
22.took a chance:冒一冒險, 碰碰運氣。影片中Sam唱到：「咱們冒險一搏，舞這最後一曲。」
You take a chance when you let her drive. 讓她駕車，這是冒險。
No, let's take a chance and go. 不，咱們碰碰運氣仍是去吧。
23.Notre Dame：<法>聖母瑪利亞, 巴黎聖母院(法國著名教堂,建於1163-1257年,全稱爲Notre Dame de Paris)。安全
24.get something off one's chest:說內心話；一吐爲快。影片中Harry對Bill說：「我想跟你說說內心話。」來看例句：
If something's bothering you, get if off your chest. 假如你有什麼不通快的事，把它說出來吧。
25.hush-hush：祕密的，祕而不宣的，暗中進行的。Harry對Bill說：「這一直都是個祕密。」
Their engagement was kept hush-hush.他們的婚約是謹慎保密的。
a hush-hush report 祕密報告
26.clap eyes on：看見, 注視。影片中Harry說：「這太明顯了，大家看對方的眼神出賣了一切。」來看例句：
I hope I shall never clap eyes on her again. 我但願我永遠再也不看到她。
27.level with：對...說實話。影片中Bill說：「我跟你說實話吧。」來看例句：
I have to level with you. 我得跟你坦城地交談一下。
Why don't you level with your girlfriend? 你爲何不和你女友好好談呢？
28.serve up：端出(飯菜等)。談話中的Bill對忽然駕到的Rosie說：「正是吃早餐的時間，咱們作了一些。」
Are you ready to serve up? 大家能夠上菜了嗎？
29.Sunny-side: 這裏指食物煎的那一面。Bill對Rosie說：「單面煎的荷包蛋，薰鮭魚，火腿？」
Would you like your eggs sunny-side up? 您要一面煎黃的荷包蛋嗎？bash
How to Lose a Guy in 10 Days《十日拍拖手冊》精講筆記cookie
1. bust one's butt:十分賣力。影片中Andie指她在大學裏用功讀書，不是爲了寫這種無聊的文章的。看一下例子：He busted his butt for you.(他一直替你賣命。)
2. pick-up lines:與異性偶然結識時的臺詞/說的話。pick up在口語中有「與……偶然結識(常指與異性調情)」的意思。例如：He picked up a girl in the movies.(他在電影院結識了一個姑娘。)
3. exhilarating:使人振奮的，令人高興的。影片中Andie顯然是一個瘋狂的NBA球迷。請看例子：an exhilarating experience (一次使人愉快的經歷)。
4. put out:使出(力量等)。影片中Jeannie是指她可不想太麻煩，換言之，就是她不帶吃的去。請看例子：He is criticized for not putting out.(他由於不努力而受到批評。)
put out還有「使不方便，麻煩，打擾」的意思。
例如：Don't put yourself out for my sake!(不要爲我忙啦！)
5. jumbo dog:即jumbo hotdog,熱狗的一種，有的餐廳將其翻成「生菜熱狗」。
6. ten to one:十之八九，極可能。請看例子：
Ten to one you'll miss your train.(你極可能要趕不上火車了。)
7. wallow:沉湎，縱樂。Jeannie是指Michelle必定是由於玩得太瘋了，因此早上沒有來上班。例如：wallow in luxury (沉湎於奢侈生活之中)；wallow in details (糾纏於細節)
8. mystified:困惑。動詞形式爲mystify,意思是「把……難住，使困惑不解，使大爲驚奇」。影片中Michelle指她實在不明白爲何會被甩。
例如：The banker's disappearance mystified the police.
銀行家的失蹤使警方大惑不解。
9. emotional:情緒激動的。若是想表達一我的十分情緒化，咱們就能夠用emotional。例如：get emotional over a piece of costume jewellery (對一件服飾珠寶感到十分激動)
emotional也能夠解釋爲「催人淚下的，表現強烈情感的」，例如：
an emotional scene in a play (劇中使人感動的一場戲)
10. My number's blocked:我隱藏了電話號碼。如今許多人的電話都設置了來電顯示功能，若是不想讓本身的號碼顯示在對方電話上，就能夠用blocked number。
11. dump sb.:甩掉某人。dump不只能夠用於男女戀愛關係中的「甩」或「被甩」，咱們也能夠說dump a friend,由於dump還有「拋棄，放棄」的意思。例如：dump a plan (放棄計劃)。
12. barf: <美口>嘔吐。飛機上供乘客用的嘔吐袋就是barf bag。
13. categorically:絕對地，無條件地。在影片中categorically untrue至關於absolutely untrue。形容詞形式categorical的意思是「明確的，無條件的」。例如：a categorical answer (明確的答覆)。
cook up: <口>想出，策劃。影片中指的是策劃廣告。看一下例子：cook up sb.'s murder (策劃謀殺某人)。cook up還有「編造、製造」的意思。例如：cook up an excuse (編造藉口)。
14. tie-in: <美>搭賣，搭賣廣告，搭配銷售的商品。在影片中指的是「搭賣廣告」，Andie的老闆請了Warren廣告公司的Judy Spears和Judy Green來爲她的雜誌設計搭賣的廣告。搭賣通常指緊俏商品與滯銷商品搭配着出售，目的就是爲了促銷。
15. pull off: <口>(成功地或艱苦地)完成，作成，贏得。影片中Michelle認爲Andie要在十天以內甩掉一個男人很難。看一下例子：pull off a million-pound deal (好不容易作成一筆百萬英鎊的生意)。
16. hook:引(人)上鉤，用計謀把……弄到手。影片中Andie信心滿滿地說她今晚就能釣到一個男朋友。請看例子：They hooked him into paying for everybody's lunch.(他們耍花招，讓他爲你們付午飯錢。)
17. for one's life:逃命(似)地。例如：He was running for his life toward town.(他逃命似地向城裏飛跑。) forone's life也能夠用for dear life來替代，它還有「拼命地」的意思。例如：He held on to the ledgefor dear life/for his life.(他死命抓牢岩石的突出部。)
18. clingy: (人)在情感上過於依賴他人的。若是要表達「依賴男子的婦女」或「離不開母親的孩子」咱們能夠用clinging vine來表示。
19. touchy-feely: <口><貶>感情外露的，煽情的，舉止親暱的。影片中Jeannie的意思是說若是一個女人太過膩歪了，男人也會厭煩。touchy-feely也能夠用來形容男子，touchy-feely guys的意思是「女人氣的男子」。
20. tip:指點，忠告。
21. pitch: <美口>商品廣告。
22. put one's best foot forward:盡心盡力。例如：Put your best foot forward and you will succeed.(只要盡心盡力你會成功。)
put one's best foot forward還有「給人留下好印象」的意思。請看例子：
Better get a haircut before you go to that job interview tomorrow. You want to put your best foot forward because there are twenty otherpeople after the same job.
你明天去那個公司面談前最好去理一下發。你得給他們一個好印象才行，由於有二十多我的都在爭奪這個工做。
23. bring home: (向……)以強調形式清楚地顯示或證明。Ben極力向老闆證實他可以把這支鑽石廣告作好。看一下例子：The point is broughthome in yesterday's detailed statistics.(昨天公佈的詳盡統計資料清楚地說明了這一點。)
24. giddy:暈眩的，眼花的。影片中Green是指戀愛會讓一個女人失去理智，頭腦不清。giddy也能夠指身體感受到的暈眩。例如：It makes megiddy to go on a merry-go-round.(我騎旋轉木馬要頭暈。) giddy也能夠指「輕率的，輕佻的，輕浮的」，例如：agiddy young girl (輕佻的年輕姑娘)。
25. lust: (強烈的)性慾。影片中Spears認爲充滿性慾的女人想要的是巧克力，可是墜入愛河的女人想要的倒是鑽石。lust還有「渴望，慾望」的意思。例如：an insatiable lust for personal power (對我的權利貪得無厭的慾望)。
26. head-over-heels:是詞組head over heels的形容詞形式。
head over heels: <口>徹底地，深深地，很是。例如：be head over heels in debt (債臺高築)。也能夠說成heels over head。影片中Ben強調他所談論的是深深的愛情，而非性慾。
head over heels還有「頭朝下的，顛倒的」的意思。例如：He fell head over heels into the gully.(他一個跟斗跌進了溝裏。)
此外，head over heels還能夠表示「紛亂地，魯莽地，匆促地」。看一下例子：
The children all tried to come in the door at once, head over heels.
孩子們推搡着，想一會兒擁進屋來。
27. cocky:驕傲自大的，過於自信的。
28. print:印花布服裝。
29. on the prowl:躁狂地尋求性伴侶。影片中Green看到一個女人正在酒吧裏來回穿梭，尋找男性伴侶。on the prowl還有「潛行，四處巡覓，徘徊」的意思。例如：an investor on the prowl for profits (四處尋求利潤的投資者)。
prowl一詞做爲動詞既有「潛行，搜尋」的意思，也有「徘徊，閒逛」的意思。請看例子：
Many wild animals prowl at night.(許多野獸夜出潛行覓食。)
I prowled around a farmer's field admiring the bridge.
我在一片農田裏流連徘徊，對那座橋讚揚不已。
30. sprint:短距離賽跑。影片中Ben把十天的戀愛比做一場馬拉松，而非短跑。可見Ben以前的戀愛經歷都很短。
31. on the ropes: (拳擊時)被擠到拳擊臺的圍繩上。在這裏Ben又把談戀愛比做拳擊賽，他認爲他的對手Andie已經被他逼到了「拳擊臺的圍繩上」，即沒有還手的餘地。例如：
have one's opponent on the ropes (把對手逼到拳擊臺的圍繩上)
on the ropes還能夠表示「瀕於失敗，即將完蛋，處於困境」。看一下例子：
The right political forces seemed to be on the ropes.右派政治力量看上去要垮了。
32. rifle through: (尤指抱有不良意圖)迅速翻查。影片中一開始Ben對於翻看女士的包仍是有顧慮的。請看例子：
Someone's been rifling through my drawers, there's some money missing.
有人翻過個人抽屜，我丟了些錢。
33. clutch:即clutch bag,手握袋。
34. secure:弄到，得到。影片中Tony慫恿Ben去翻看Andie的包，並說Andie有可能故意把包留下，這樣次日才能接到Ben的電話。請看例子：
I have at last secured a house. (我終於弄到一所房子了。)
35. minx:冒失(或輕佻的)的少女。
36. catchy:容易記住的。Jeannie指白玫瑰裏的字條上的話很順口，很好記。例如：a catchytune (容易上口的調子)。catchy還能夠指「引發注意(或興趣)的」，例如：a catchytitle (引人注目的標題)。此外，catchy還能夠表示「欺騙性的，難以對付的」，例如：a catchy question (引人上當的問題)。
37. peek:偷看，窺視。請看例子：
They caught him peeking through the hole at what was going on in the room.
他正從孔眼偷看房內發生的事情的時候被他們抓了個正着。
38. oaf:粗笨的人。看一下例子：
The oaf stumbled over the bucket, spilling all the water.
那個笨手笨腳的人絆到了木桶，把水全給潑了。
39. psycho-babble: <口>心理囈語(指膚淺地濫用心理學和精神病學概念和術語的言語或寫做)。
40. chick flick: <口><貶>(迎合年輕女性口味的)年輕女性影片。chick在俚語中指「少女、少婦、小妞」。例如：That chick is really cute.(那個小妞真俏。)
flick是口語，指「電影，影片」，例如：an action flick (動做片)。The flicks則是指「電影院」。看一下例子：
What's on at the flicks tonight?(今晚電影院放映什麼影片？)
41. Florence Nightingale syndrome:在影片中Thayer指的是弗洛倫斯·南丁格爾情結。它能夠指護士對她所照顧的病人產生的愛意或病人對照顧本身的護士萌生的感情。Thayer的意思是Ben由於受傷時受到照顧而感受很好。
42. tape:把……錄於錄音(或錄像)磁帶。例如：tape a conversation (用磁帶把談話錄下來)
43. How'd you swing that:你是怎麼辦到的？swing在這裏的意思是「決定性地影響；成功地處置，對付」，用在口語中。影片中Thayer很驚訝Ben怎麼能又看球賽，又陪女朋友。請看例子：How are they going to swing the high cost of highereducation?(他們打算怎樣解決高等教育昂貴的費用問題？)
44. grill: (在烤架等上面)烤炙。
45. heavyweight:特別有份量的人或物，影片中指的是Andie。
46. Voilà: <法>瞧，那就是。用於在完成某過後吸引他人的注意，或表達展現完某物或作完某過後的知足之情。
47. big gun: <口>大人物，有影響的人物。
48. knock out:擊昏。例如：He was knocked out in the accident.(他在那次事故中被撞昏了。) knock out還能夠表示「使精疲力盡」，看一下例子：
They knocked themselves out with work.(工做把他們累垮了。)
此外，knock out還有「使震驚；給……留下深入印象」的意思。請看例子：
Her performance completely knocked me out.(她的表演徹底令我傾倒了。)
49. I hope you brought your appetite:我但願你今天有好胃口。這是宴請賓客時經常使用的一句話。
50. tip-off: (籃球比賽開始時的)跳球。也用來指「告發，泄密」。
YES MAN 精講筆記
1. Bonjour: 法語，「你好」。
2. Did you block your number: 你把來電號碼屏蔽了？Peter故意這樣作，由於他知道若是Carl看見是本身的手機號，他確定不會接電話。
3. hang out: 閒蕩，閒呆着。例如：
do a lot of hanging out in barrooms（常上酒吧泡着）
hang out還有「居住，住宿，常常出沒」 的意思。例如：
Do you know where he hangs out?（你知道他住在什麼地方？）
4. jammed up: 表示由於壓力而感到焦慮和緊張。請看例子：
The stress of this golf tournament has Keith all jammed up.
此次高爾夫聯賽讓基斯感到壓力很大。
5. off the grid: 沒有上社交網（例如facebook之類）。影片中Carl指他忙得都沒時間和朋友交流了。
6. Darn it to heck: 真見鬼，該死！darn的意思是「該死」，是damn一詞的委婉表達。heck則是hell的委婉表達，在感嘆句中增強語氣，表示詛咒、惱怒、厭煩等，可翻譯爲「真見鬼」。
7. in exact sync with: 與……徹底同步。in sync表示「同步的，協調的」。反之，out of sync就是「不一樣步的，不協調的」。看一下例子：
There was something out of sync with him.（他有點兒彆扭。）
8. hung up the spurs: 罷手不幹，引退。Rooney由於已經好久沒在酒吧看見Carl了，還覺得他戒了酒，在家修身養性。
9. pending: 懸而未決的。例如：a pending lawsuit（未判決訴訟案件）。pending還表示「行將發生的，迫近的」。例如：a pending civil strife（即將發生的內亂）。
10. open bar: （婚禮、招待會等的）免費酒櫃、酒吧間。
11. fall for: 受……的騙，上……的當，對……信覺得真。Peter還覺得Carl爲了避開當前話題而編謊言。看一下例子：We must not fall for such nonsense.（咱們決不能聽信這種胡言亂語。）
fall for還有「對……傾心，迷戀」的意思。請看例子：
Dick fell for baseball when he was a little boy. 當迪克仍是小孩時就迷上棒球了。
She fell for him at first sight. 她對他一見傾心。
1. feel like doing sth.: 想要作某事。請看例句：
I don't feel like taking a tour. （我不想去旅行。）
當feel like後面接的是名詞時，它的意思是「摸上去如同」或「感到好似」。例如：
This feels like silk. （這東西摸上去像絲綢。）
It feels like years. （感受中好像已有不少年了。）
2.. You're so full of shit: 你真是滿口鬼話。影片中Peter對Carl一再地編瞎話找藉口已經忍無可忍。shit有「胡說八道，謊話」的意思。
例如：He's talking shit!（他在胡說八道！）
3. shoot: <美口>呸，什麼（表示不耐煩、厭惡、激怒、驚奇等）。影片中Carl對本身錯過了Peter的訂婚派對僞裝表示驚訝，由於他原本就沒打算去。
4. gap: （因爲懶惰、粗心而）徹底忘記（某事）。請看例子：
I totally gapped that exam.（我徹底忘記了要考試。）
5. make it up to sb.: （爲某事）對某人作補償。看一下例子：
Thank you for buying me the ticket, I'll make it up to you later.
謝謝你爲我買票，之後我要還你情的。
6. swash buckle: 像swashbuckler那樣痛快淋漓。swashbuckler能夠指「虛張聲勢、神氣活現的冒險家」，也能夠指「魯莽的、不顧後果、不負責任的人」。Carl的意思是他之後會補償Peter，和Peter一塊兒出去一醉方休。
7. issues: （複數形式）<口>我的問題（或困難）。
8. tie down: 約束，束縛。例如：tie the enemy down with gunfire（用炮火牽制敵人）；be tied down to a schedule（受時間表的限制）。
9. end up: （以某種狀態）結束，了結。Peter的意思是Carl若是再這樣自閉下去，結局將是孤孤單單一我的。請看例子：
Wasteful people usually end up in debt.（揮霍浪費者最後每每負債。）
audit: 旁聽。請看例子：
On her lunch hour she audited classes.（她利用午餐時間去旁聽課程。）
I'm cool: 我很好。Carl的意思是他不須要Terrence的「特別關照」。cool在平常生活中是很常見的口語，意思是「好的」，用於表示接受或贊成某事。
molehill: 鼴鼠丘，鼴鼠洞；小障礙。make a mountain out of a molehill就是「小題大作」。Terrence把Carl稱爲molehill，是由於Carl在他眼中就是阻礙他宣揚Yes哲學的一個微不足道的小障礙物。
talk sb. into doing sth.: 說服某人作某事。看一下例子：
They talked me into going swimming with them.（他們說服我和他們一塊兒去游泳。）
5. dead-end job: 沒有發展前景的工做。dead-end還能夠表示「不會有結果的，行不通的」，例如：a dead-end conference（毫無結果的會談）；a dead-end plan（行不通的計劃）。此外，dead-end還有「盡頭的」和「貧民窟的」的意思。看一下例子：a dead-end street（死衚衕）；a dead-end kid（貧民窟的小流氓）。
6. ennui: 厭倦，無聊。請看例子：
The endless lecture produced an unbearable ennui.
那沒完沒了的演講令人產生難以忍受的厭倦之感。
7. summon: 在影片中是「喚起，使呈現出來」的意思。此外，summon還表示「鼓起（勇氣），使出，振做（精神）」等意思。例如：summon (up) the nerve to do sth.（鼓起勇氣作某事）；summon (up) all one's strength（使出全身力氣）。
8. covenant: 契約。請看例子：
They have made their covenant with death.（他們已難逃一死。）
9. dicey: 危險的，不可預知的。例如：a dicey peace（朝不保夕的和平）。Terrence的意思是Carl若是不遵照諾言，狀況就會變得不妙。
1. burnout one's phone battery: 把電話電池用光。burn out有「耗盡，使耗盡」的意思。例如：
The soil burns out under constant heavy cropping.
不間歇的大量種植會把土壤肥力耗盡。
burnout也有「（使）精疲力竭」的意思。請看例子：
You must not burn yourself out in a blaze of energy.
你可別一個勁兒地幹，把本身累垮。
2. AAA: American Automobile Association 美國汽車協會
Take a stroll: 散步，溜達，閒逛。stroll能夠做名詞用，例如：a short stroll before supper（晚飯前的短暫散步），也能夠做動詞用，例如：stroll along the beach（沿海灘漫步）。
Out of one's way: 不在預期的路線（或軌道）上。影片中Carl指他特意開車送乞丐去他的目的地，而不是順路搭載。
4. wear out: （使）耗盡。burn out/wear out battery都是「把電池用光」的意思。看一下例子：My patience wore out/was worn out at last.（我最後失去了耐心。）
5. Wear out還有「（使）疲乏，（使）厭倦；慢慢毀掉」的意思。請看例子：
6. He is worn out with domestic worry.（他被家裏的煩惱事弄得疲憊不堪。）
What with his drinking and what with his jealousy, he wore himself out.
一半由於酗酒，一半由於嫉妒，他把本身給毀了。
7. Wear out也能夠表示「消磨，打發（時間）」，例如：wear out idle days（閒度時日）。
Be kept alive artificially: Carl的意思是說若是出車禍的話，他寧願當場死亡，也不肯意落得個半死不活。
8. I'm more of four-wheel kind of guy: 我更習慣坐汽車出行。more of的意思是「更大程度上的……」，看一下例子：He is more of a poet than a musician.（與其說他是個音樂家還不如說他是個詩人。）
9. at ease: 自在，不拘束。請看例子：
He was never at his ease with Frank.（他跟弗蘭克在一塊兒老是感到很不自在。）
10. Stick around: 逗留，留下。看一下例子：
11.I ought to stick around if you are going to be out.
若是你要出去，我就得留下。
Stick around還有「呆在附近，等在旁邊」的意思。例如：
Stick around for a while, he will soon be back.（請等一下子，他立刻就會回來。）
12. make out: <俚> 親吻愛撫。影片中Carl一不當心脫口說出了他下意識的想法。
1. He's really into it: 他對此十分癡迷。be into是口語，在這裏的意思是「對……頗有興趣」，例如：People are into extreme sports now.（如今人們對極限運動頗感興趣。）
2. be into還有「從事，捲入」的意思，例如：I was into love.（我墮入情網了。）
另外，be into還能夠表示「欠……債」，例如：He is into the bank for ten grand.（他欠銀行一萬塊錢。）
3. figure: <美口>認爲，覺得；估計，判斷。Allison覺得Carl會像成年人同樣通過慎重的思考和衡量再作出判斷，可是沒想到Carl竟然是由於一個契約而被動地接受
一切。請看例子：They figure themselves quite well-off.（他們自覺得至關富裕。）
Figure在口語中還有「明白，理解」的意思。例如：No one can figure him.（沒有人能猜得透他。）
4. weigh: 認真考慮，權衡，比較，斟酌。例如：weigh the risks（認真考慮所冒的風險）；weigh a plan against another（權衡一計劃與另外一計劃的優劣）。
5. screw up: <口> 弄糟，搞亂。例如：screw things up（把事情弄糟）。Carl覺得是由於本身沒有立刻答應和Allison同居、沒有遵照契約才把他們的關係搞砸的。
6. a.k.a.: also known as亦稱爲，又叫做
1. come down on sb.: 懲罰某人。影片中Carl說那個「契約」狠狠地懲罰了他。come down on/upon還有「申斥，責罵」的意思。請看例子：
The teacher came down on her for talking in class.
因爲上課時講話，老師嚴厲地批評了她。
2. riffing: <美俚>（尤指誇張的）即興談話。Terrence對Carl坦言，那天關於契約的談話不過是胡扯。riff有「即興編造」的意思。例如：
I riffed up an excuse as to why I didn't show up.
我隨口編造了一個理由來解釋我爲何沒露面。
3. difficult: 難對付的，難說服的。看一下例子：
Peter was very difficult about going to school when he first started.
剛開始讀書時，彼得很不情願去上學。
4. bullshit: 胡說，廢話，大話。這一粗話在美國口語中很常見。bullshit也能夠做動詞用，意思是「對……胡說（或吹牛）」。例如：
You're just bullshitting me. （你是在哄我。）
5. grasp: 理解，領會。請看例子：He could not grasp what was happening.（他不能理解正在發生的事。）
6. open you up to it: 讓你對它敞開心扉。
7.make perfect sense: 頗有道理。
8. hop: 跳。影片中Rooney準備跳到牀上裝成病人，這樣纔不會引發護士的懷疑。看一下例子：hop on a bus（跳上公共汽車）；hop out of bed（一躍起牀）。
此外，hop還能夠表示「彷彿跳躍着行進」，例如：hop from job to job（頻繁地更換職業）。
《哈利·波特與混血王子》精講筆記
1. reckless 不計後果的。在這裏，鄧不利可能是在批評哈利•波特整個夏天行事魯莽，無所顧忌。
例如：He's quite reckless of his own safety.（他徹底不顧及本身的安全。）
2. take one's mind off: 使某人不去想。哈利•波特的意思是，這樣我就能夠「什麼都不去想。」
這個短語的常見表達爲take one's mind off someone/something，例如「我不去想那些麻煩事」，就能夠說take my mind off the troubles。
3. apparate: 幻影移行。在《哈利•波特》系列中特指一種魔法，只要揮動魔杖，念出「幻影移行」四字，就可讓本身瞬間轉移位置。
To apparate is to transport oneself from one place to another by disapparating and reapparating, coined from the Latin "appareo", meaning to appear.
4. vomit: 嘔吐。
例如：Too much beer makes me vomit.（喝太多啤酒會使我嘔吐。）此外，vomit還能夠表示「令人噁心」，或「令人口吐惡語」。例如：You make me vomit.（你讓我噁心。）
5. sort of: 能夠說，有幾分地。
例如：It's sort of embarrassing.（這有點叫人難爲情。）
6. disfigure: 毀容，破壞。
例如：The accident disfigured him for life.（那次事故使他毀容, 終生沒法恢復。）
7. upholstery: 室內裝潢，內飾。這裏是指Horace變成了一個扶手椅把本身掩藏了起來。
8. come by: 設法獲得，取得。
例如：I hope that money was honestly come by.（我但願那筆錢來得正當。）
9. give away: 出賣，泄露。Horace在這裏的意思是「我哪裏露餡了？」
例如：He was given away by one of his accomplices.（他被他的一個同謀者出賣了。）
10. by any chance: 或許，萬一。用於問句，詢問是否真實、可能等。
例如：If by any chance we could reach there before you, we would wait for you.（萬一咱們比你先到達那兒, 咱們會等你的。）
11. loo: 廁所，洗手間。英式俚語。
12. unequivocally: 絕不含糊地。在這裏，Horace是說本身知道Albus此行的目的，但毫不會答應他。
13. Muggle: 麻瓜。在《哈利•波特》系列中，泛指沒有魔法的通常人。哈利波特和巫術學院的學生和老師們屬於魔法世界，而波特的阿姨一家人就是所謂的麻瓜。
14. take the owl: 發火，生氣。俚語用法。
1. nosy: 愛管閒事的人，包打聽。也稱爲nosy parker。
例如：Do not get nosy, or you'll get into trouble!（別好管閒事，否則你會惹麻煩的！）
2. wander about: 徘徊，閒逛。
例如：Don't wander about the room like that. Get something to do.（不要那樣在房間裏亂走，找點事情作。）
3. for a while: 一時，暫時。
例如：Could youplease keep silent for a while?（你能不能清靜一下子?）
4. have no business doing: 無權作某事，或表示某人水平不好，不適合幹某件事或者某一行。
例如：I have no business teaching Chinese because I don't speak it very well.（個人中文太差，因此不能教中文。）
5. step in: 插手幫助，介入。
例如：I asked him why he didn't step in and help stop the argument.（我問他, 爲何他不進行干預, 制止這場爭論。）
6. barmy: 傻乎乎的，瘋瘋癲癲的。
例如：The kid must be barmy on the crumpet; he’s brought us soy sauce for wine.（這孩子腦子必定不正常，他把醬油當成酒拿給了咱們。）
7. talk: 謠言，流言蜚語。
例如：He was too certain of her love to be deceived by such talk.（他確信她的愛, 於是不會被這種謠言所欺騙。）
8. give or take: 相差不到，出入至多。羅恩在這裏的意思是說，鄧不利多「差很少」有150歲了。
而give and take則表示「妥協讓步，平等交換」。例如雙方negotiate with much give and take.（就平等交換進行談判。）
9. Cissy：這裏是對Narcissa的愛稱。
此外，cissy還能夠表示「有娘娘腔的，柔弱膽小的」，在美國俚語中它能夠直接做名詞，用來表示「脂粉氣的男子」。
10. pfft: 至關於「啐」，表示忽然終止或終於失敗。
11. run along: 走開。
例如：Run along now; I'm busy.（如今請你走開，我很忙。）
12. as it happens: 剛好出現，碰巧來到。
例如：As it happens, I have left the book at home.（我碰巧把書忘在家裏了。）
13. play my part: 盡本身職責，盡本身本分。
14． empty words: 空談。
相似的說法還有empty talk，例如：He is a practical man and doesn't like empty talk （他是一個注重實幹的人，不喜歡空談。）
15. coward: 懦夫。
例如：Coward as he is (=though he is a coward), he can't bear such an insult.（雖然他是懦夫, 卻沒法忍受這樣的侮辱。）
1. Quibbler: 原意指「吹毛求疵的人、詭辯者」，在本劇中指雜誌《捕風捉影》，也譯爲《唱唱反調》，主編是盧娜之父。
2. Boxing Day: 聖誕節後的第一個工做日，節禮日。商家常在這一天打折，服務行業人員則會獲得小費或者老闆的獎勵。
3. wrack spurt: 騷擾虻。哈里•波特系列中的一種生物。
4. under the impression: 認爲，以爲。意思是原覺得是這樣的，結果證實想法是錯的。
例如：I am under the impression that you are coming tomorrow.（我覺得你明天才來呢。）
5. bark: 厲聲質問，說話態度不友好。羅恩在這裏的意思是說，哈利在胡言亂語，誣告了德拉科。
5. creepy: 怪異的，使人不寒而慄的。
例如：There is something creepy about him.（他有些鬼鬼祟祟。）
7. bloke：英國俚語，小子，傢伙。
8. need some air：想透透氣，想喘口氣。哈利打着出去透透氣的幌子，去德拉科的車箱一探究竟。
9. phantom: 幻影。
例如：It is thesort of night when phantom may walk.（這種夜晚正是幽靈出沒的時候。）
10. mess around: 胡鬧，閒蕩。
例如：Come on, you guys, start doing some work; don't just mess around all day!（得啦, 大家這些傢伙, 開始乾點事吧, 別成天閒混了。）
11. pitch: 投擲，重跌。德拉科的意思是：「要是再讓我呆上兩年，還不如讓我從天文塔上跳下去。
12. laugh in the end: 笑到最後。
13. eavesdrop: 偷聽。德拉科發現了哈利藏在車箱裏偷聽，因此他先支走了同伴，質問哈利爲何在本身的車箱裏偷聽。
14. Petrificus Totalus：通通石化。是哈利•波特系列中一種咒語的名字。
15. Ennervate：快快復甦。咒語。
1. lunatic: 荒唐好笑的，極其愚蠢的。例如：You're driving on the wrong side of the road, you lunatic!（你如今是逆行開車, 你這個蠢材！）而lunatic asylum則是指「精神病院」。
2. easy for it to say: 說得容易。這句話也能夠說成是easy for you to say。
3. first off: 首先，馬上。例如：First off, let's see how much it'll cost.（首先, 讓咱們看看要花多少錢。）
4. all the world: 全部的人。例如：All the world knows their secret.（人人都知道他們的祕密。）
5. look out: 檢查，留神。在此處指「搜查」。爲了防止出現意外，鄧不利多下令在學生們進入魔法學校時對他們進行了搜查。例如：FBI is on the look out for the agent these days.（這些天聯邦調查局正在監視那個特工。）
6. sobering: 使清醒的，使冷靜的。例如：The bad news had a sobering effect on all of us.（對咱們你們來講, 這個壞消息是發人深省的。）
7. dark force: 黑暗勢力。
8.free period: 自習課，空課時。Period在此處指「課時」。例如：What’s the next period?（下節課是什麼課？）
9. straight away: 立刻，馬上。例如：She guessed the answer straight away.（她立刻就猜中了答案。）
10.Quidditch trial: 魁地奇比賽。 「魁地奇」是隻存在於魔法世界中的由巫師參加的球類比賽。跟普通比賽同樣，它在被看臺包圍的球場上進行，參賽者分兩隊騎着飛天掃帚在空中飛行對抗，每隊七人，各有一名守門員、三名追球手、兩個擊球手和一名找球手。
11.dead: 徹底地，絕對地。例如：He was dead asleep.（他酣然大睡。）
12.love potion: 春藥，媚藥。
13.infatuation: 癡迷，醉心。例如：This is only a passing infatuation, not to be taken too seriously. 這僅僅是一時的戀情，沒必要過於認真。
1. take it too hard: 太在乎，過於不快。赫敏的意思是「希望考邁克可別太難過」，而其實正是她在比賽快結束時念了咒語，才害考邁克輸掉了魁地奇比賽。
2. vile: 可惡的，可恥的。羅恩說考邁克對赫敏「有點兒意思」，因此赫敏回敬道：「別噁心我」。例如：Murder is a vile and loathsome crime.（謀殺是邪惡而使人髮指的罪行。）
3. spell: 咒語，魔法。而「下咒語」或「施魔法」則用cast a spell來表示。例如：The heartless witch cast a spell on the poor little girl.（狠心的女巫對孤苦無助的小女孩施發妖術。）
4. Not bloody likely: 根本不可能，你別作夢了。Bloody在這裏用來增強語氣，有冒犯之意。例如：Lend you $5? Not bloody likely!（借給你5美圓？沒門兒！）
5. binding: 書籍的封皮，裝訂。例如：The latest edition is binding.（最新版本的書正在裝訂。）
6. There we go: 好了，這樣就對了。
7. That settles it: 這就解決了。
8. fancy: 想要。哈利的意思是「有人想來點兒黃油啤酒嗎？」
9. chum: 密友。例如：She's chum up with the girl in the next room（她和鄰室的姑娘成了好朋友。）
10.snog: （英國俚語）接吻，愛撫。
11.You can't be serious: 你必定是在開玩笑。相似說法還有you gotta be kidding。
12.throw together: 匆匆拼湊。例如：The boy just throw together a composition and hand it in.（男孩匆匆拼湊了一篇做文就交上去了。）
1. get knickers in a twist：驚慌，惱火。非正式用語。羅恩以爲赫敏由於他和別人親熱而發火是本身和本身賭氣。
Twist在此處表示面對困境時的煩悶，慌 亂。例如： I promise I won't spend more than a hundred pounds in the sales so don't get your knickers in a twist. 我答應去逛賤賣場時花費不會超出100英鎊，所以你沒必要神經兮兮地嘮叨個不停。
2. free agent: 自由人，自由球員。
3. at liberty: 自由，不受限制或支配。
此處at perfect liberty是指「徹底有自由」。例如：You are at liberty to use my bicycle.（個人自行車你能夠隨便用。）
4. cannot care less: 徹底不在意。
相似的用法還有：I couldn't agree more.=I totally agree.（我徹底贊成） I couldn't please you more.=I did my best to please you.（我儘可能使你高興） I couldn't be more right.=I am totally right.
5. given the circumstances：鑑於這種狀況。
例如：Given the circumstances, you've done well.（鑑於這種狀況，你已經作的不錯了。）
6. love potion: 春藥，媚藥。
7. Chosen One: 救世之星，救世者。
8. sleep-walk: 夢遊。例如：Some children who sleepwalk are also affected by night terrors.（一些夢遊症兒童同時患有夜驚。）
9. bad breath: 難聞的氣味，口臭。
例如：He is fairly good looking but his bad breath turns me off him.（他長得至關帥，但是他嘴裏的口臭使我對他失去了興趣。）
10.on second thoughts: 進一步考慮後。
例如：On second thoughts , I will accept the offer.（經再三考慮，我將接受這個報價。）
11.minx：輕佻女子。
例如：She can be a proper little minx when she wants to get her own way!（她有時隨心所欲, 要發起壞來可真是個十足的小壞蛋！）
12.gate-crash: 擅自入場，闖入。
例如：They couldn’t get any tickets for the volleyball game, so they tried to crash the gate.（他們沒有弄到一張排球賽的票，所以試圖闖入場內。）
Just My Luck《倒黴愛神》精講筆記
1. chipper: 高興的，得意的。Maggie看見Ashley滿面春風地走進門，因此問她：「你美什麼呢？」
2. sample sale: 樣本特賣。後面的Fifty percent off則是指「打五折」。
3. One door closes, and two doors open. 一扇門關上，就有兩扇門打開，相似於咱們常說的「天無絕人之路」。Dana的新歌收到了唱片公司的rejection letter（拒絕信），因此她這樣樂觀地打趣本身。相似的說法是When one door closes, another door opens.
4. hang up: 掛斷電話。Do not hang up, please.就是「請不要掛斷」的意思。
5. I.M.: 即時訊息，instant message的縮寫。
6. touch: 修改，潤色。Ashley謊稱從Miss. Braden那裏收到I.M.，說Miss. Braden正在進行final touches（最後的潤色）。Touch在這裏意爲「修改，潤色」，平時咱們也經常使用finishing touches來表示這種意思。
7. underpaid: 所得報酬太低。例如： He complained of being underpaid.（他抱怨報酬太低。）
1.home or away?: 主場仍是客場? 在比賽中，咱們經常使用home和away來表示主客場。
2.dragon lady: 「龍夫人」。Ashley將Miss.Braden稱爲「dragon lady" 是形容她很是嚴厲。
3.bash: 美國俚語中，bash用來指「舞會，大型派對」，而bash的本意是指「猛擊，重敲」，例如：He bashed the door in and entered the room. 他破門進入房間。
4.caliber: 才幹，水準。在這裏，Ashley所說的men of Peggy's caliber意思是「能對上Peggy胃口的人。」
5.drool: 流口水，胡說八道。Ashley說「大家把口水都流到地毯上了」，是來形容姑娘們見到帥哥Antonio時激動的心情。
6.dry cleaning: 乾洗。若是你家附近有dry cleaning shop（乾洗店）的話，你就能夠很方便地把標有Dry Clean Only（只能乾洗）的衣服拿去dry cleaning。
7.big date: 重要的約會。 Michael Jackson is a big name in the music business. 邁克爾·傑克遜在音樂界是個響噹噹的名字，但在演唱會以前這個big moment（重要的時刻），他卻去世了。
8.blind date: 相親，經由第三方安排的約會。
9.hit it off：和得來。在這裏，Antonio的意思是「若是你以爲咱們會來電的話」。
10.What are the odds？：Dana說這句話的意思是，莎拉·傑西卡·帕克（《慾望都市》女主角扮演者）的衣服錯送到你這裏，還剛好是你的尺寸，「你還期望什麼呢？」咱們平時還用What are the odds so long as you are happy?來表示「滿足者常樂」。
1. carnival-like: 像嘉年華同樣的。Ashley計劃把這個masquerade（化妝舞會）辦成相似於嘉年華的飲宴狂歡。
2. upscale: 高端的，高消費階層的。這類upscale（迎合高層次消費者的）商品針對的顧客一般住在upscale neighborhood（高檔社區），在upscale market（高檔商品市場）購買upscale fashions（高級時裝）。
3. deejay: 播放音樂的人，一般簡稱爲DJ。
4. fortune-teller: 算命者。Teller做爲後綴，用來表示「……的人」，例如：story-teller（講故事的人）。而teller單獨使用，則還能夠用來指「出納」。
5. on stilts: 踩着高蹺。在Ashley設計的這場masquerade（化妝舞會）中，waiters都是踩着高蹺（on stilts)來爲人們服務的。而若是說一我的talk on stilts，可不是說他在踩着高蹺講話，而是說他「誇誇其談，誇張作做」。
6. alcove: 單間，在這裏指舞會上爲人們約會提供的私密隔間。家裏裝修的時候，還常隔出一件coat alcove（衣帽間）。
7. I owe you big time: 我欠你一個大人情。owe someone a big time的意思就是「欠某人情，十分感激某人」，而big time單獨使用，則是指「愉快的時光」。好比，在此次the big time（成功的商業演出）事後，Jim和他的同伴外出度假，They had a big time there.
8. high-strung: 高度緊張的, 容易興奮的.He is a high-strung artist.（他是個容易激動的藝術家。）有時候咱們也用這個詞來形容某人「十分敏感」。
9. doll: 美男子。美國俚語。若是咱們稱某個美女爲doll，則是說她漂亮但沒有頭腦。
10. freeloader: 不速之客，揩油的人。也就是咱們口語中常說的「吃白食」。
1. home theater: 家庭影院。而home theater personal computer（HTPC)就是咱們常說的能播放高清視頻的「家庭影院電腦」。
2. mind-blowing: 引發幻覺的，使興奮的。這位女助手說，這裏會讓人「意亂神迷」，以及下文中提到她要去上erotic massage class（色情按摩班），顯然是在勾引Jake。
3.hang-up: 顧慮，煩惱。女助手的意思是「有些男人就是介意女性付帳，這真奇怪」。
4. blackball: 投票反對，排斥。Ashley讓老闆Miss Braden丟了醜，因此她的老闆「通知全城全部的企業都不要僱傭我」。
5. convertible: 摺疊牀。Convertible的原意是指可折起的，可改變的，在此處指Dana睡的是一張摺疊牀。家裏常見的「摺疊沙發」就能夠說成是convertible sofa bed。
6. futon: 蒲團，源自日語，指鋪在地板上的褥子。在這裏，Dana展現給Ashley的，實際上是一個像futon同樣溫馨的長沙發。
7. keep out of your way：keep out of the way意思是「避開」。Ashley以爲住在Dana和Maggie家裏給她們添了麻煩，因此說「那我就不麻煩大家啦」，但她緊接着就闖了大禍。
8. zit: 小疙瘩，小丘疹。我長了丘疹，就能夠說成是I have a zit。
9. anti-Midas: 掃帚星。Midas（彌達斯）是希臘神話中的神，傳說能夠點石成金。Ashley在這裏用anti-Midas來形容本身是個「掃帚星」。
10. lousy: 污穢的，噁心的；差勁兒。Dana安慰Ashley說：「從某種程度上說，你只是有點倒黴而已」。
1. Don't break my heart：別讓我失望。Break one's heart的意思是「使某人很傷心」，例如：It almost broke my heart.(這差點讓我傷透了心）。
2. black cat：黑貓，西方的文化裏黑貓是不吉利的，尤爲是中世紀的歐洲，把黑貓看做邪惡的女巫的化身，會給人帶來厄運。因此Ashley以爲Maggie's black cat從她面前走過，會給本身帶來厄運。
3. scope：(算命用的)星佔圖, 天宮圖。Ashley此處的意思是讓Dana幫本身看看星座運勢，由於她最近實在是黴運連連。
4. bogus：假的，僞造的。例如：The company was bogus, the prospectus was all got up.（那公司全屬子虛烏有，所謂的創辦計劃是胡編亂造出來的。）
5. ask out：約會，邀請外出。請某人出去吃午飯，就能夠說成是ask someone out to lunch。
6. turn over a new leaf：翻開新的一頁，從新開始。They decided to give him a last opportunity to turn over a new leaf.（他們決定給他最後一次機會，讓他從新作人。）
7. gross：使人噁心的，使人不快的。Dana的意思是，Ashley把隱形眼睛從髒東西裏撿起來戴上，這很讓人噁心。
8. rear end：臀部。Ashley沒有料到這是David的母親的做品，因此說它像是從「大象的屁股里拉出來的東西」，這可惹惱了David的母親。
9. in person： 外貌上。You look so much younger in person意思就是「您本人看上去更年輕些」，這句話再次激怒了David的母親。此外，in person還有「親自」的意思，例如：You must come in person.（你必須親自來）。
Nanny Diaries 《保姆日記》精講筆記
1．gig: （昔日的 ）雙輪馬車。在影片中taking a nanny gig指Annie又走Lynette祖母的老路，去作保姆。gig還指「(爵士樂、搖滾樂等)演奏,公演」。
例如：The band played a final gig before splitting up. 樂隊散夥前做了最後一次演出。
2．get one’s head together: 冷靜下來，想清楚，想明白。影片中Annie對本身的人生定位以及將來要走的路感到迷茫，她想借作保姆這段時間好好考慮一下本身究竟適合作什麼。
I need to have a chance to get my head together and think through everything. 我須要一個機會讓本身的頭腦冷靜下來，把事情完全地想清楚。
3.hook up with: 接洽穩當。影片中Annie指她參加了銀行的項目，銀行安排她和一個培訓生搭對。hook up在生活中是很經常使用的口語，意思是「介紹（與……認識）」。
例如：Yo Wilber, can you hook me up with that girl over there? 嘿，瑋柏，你能夠介紹那個女孩給我認識嗎？
4．trainee: 培訓生，受訓人員。
All the expenses of the trainee will be supported by the bidder. 受訓人員的所有費用都由投標人支付。
5．dork: 呆子，笨蛋。
6. ticket: （給違反交通規則者等的）傳票，罰單。影片中Lynette指若是Annie再繼續這麼在車裏手舞足蹈的話，警察就要給她開罰單了。
7．a shrink degree: 心理學學位。shrink在口語中有「心理醫生」的意思。影片中Lynette說還好她讀的是心理學的學位，不然她會不知道拿（由於步入新生活而激動得）「發瘋」的Annie怎麼辦。
1. Manolo: 即Manolo Blahnik，著名女鞋品牌，價格昂貴。影片中Annie一邊讀着Mrs. X給她的規則清單，一邊偷偷試穿Mrs. X的名貴鞋子。
2. master bedroom: 主臥室。相對地，客房就是guest room。
3. refrain from doing sth.: 避免作某事。影片中Mrs. X讓Annie也儘可能不要進主臥室。
請看例句：Refrain from using such coarse language. 別使用這樣的粗俗的語言。
4. throw off: 使慌亂，使出錯。影片中Mrs. X指午睡會打亂Grayer的睡眠規律。
看一下例句：The jeers threw the performers off. 喝倒彩使演員們惶恐不安。
5. germ: 細菌，病菌。由於地鐵上細菌比較多，因此Mrs. X一家不乘坐地鐵。germ還有「起源，萌芽」的意思。請看例句：
It's just the germ of an idea, but something may come out of it.
這只是個初步的想法，可是也許能有所成就。
6. stroller: 手推童車
7. waitlist: 把……列入等候者（或申請人等）名單。影片中Mr.X但願讓他的兒子受到最好的教育，因此早早地就把他列入了大學申請人的名單。
例句：All they could do was to waitlist us for the afternoon flight.
他們所能作的僅僅是把咱們列入下午航班的候機者名單。
8. holy merde: <法>至關於英語中的holy shit。
9. Mon Dieu: <法>至關於英語中的My God。
1. blue blood: 貴族血統，貴族出身的人。Annie的意思是Harvard一看就是出身高貴的人。
2. out of one’s league: 配不上，比不上。league有「才能水平、質量等級」的意思。影片中Annie指她和Harvard Hottie不是同一個社會階層的人，她配不上他。
You’ll find you’re out of your league if you challenge him to a game—he’s the chess club champion.
你若是向他挑戰比賽下棋，便會發現你的水準過低——他是國際象棋俱樂部的冠軍。
3. turn on: （常指在性的方面）刺激，使產生快感。影片中Annie指對Mr.X來講，bloomberg電訊（bloomberg是全球領先的金融專業媒體）比漂亮的保姆更能引發他的性趣。
4. redeem oneself: 使免咎。影片中Harvard但願能經過約會Annie來挽回先前本身的朋友對Annie形成的傷害和對本身形象的破壞。
例如：redeem oneself for one's earlier failure 以行動挽回先前失敗的影響
5. ramble: 漫無邊際地閒扯。
She rambled on about her children. 她沒完沒了地談她孩子的事。
ramble經常使用的意思還有「閒逛，漫遊，漫步」。例如：
She rambled out of the room without saying a word.
她一聲不響漫步走出房間去。
6. screwed: 酒醉的。在影片中指「暈頭轉向」。screwed還有「受騙的，上當的」的意思。
例如：He was easily screwed. 他容易受騙。
screw常見於screw up的用法中，意思是「把……弄的一團糟，毀壞，搞亂」。
例如：She had screwed up and had to do it all over again.
她把事情搞壞了，只得從新作過。
1. Stockholm Syndrome: 斯德哥爾摩綜合症（被劫持人質對劫持者產生好感並同情、寬容他）
2. getup: 衣服，穿戴（常指離譜者）。影片中Harvard Hottie指的是Annie在國慶節那天的女僕打扮。請看例子：a circus-clown getup（馬戲團小丑的穿戴）。
getup還能夠指「（書籍、雜誌、服裝等製做的）式樣」。
3. kinky: <口>異乎尋常的，奇形怪狀的。Annie指她那天穿的服裝就是奇裝異服（kinky clothes）。另外，kinky還有「別出心裁的，巧妙的」的意思。
例如：That's a marvelous, kinky idea. 這是個別出心裁的好主意。
4. field work: 實地工做。影片中Annie的專業是Anthropology（人類學），她把本身的保姆經歷看做是人類學家的實地體驗。field work還能夠指「田間耕種工做」。請看例子：
During busy seasons they help with field work. 農忙季節他們就幫着幹農活。
相應地，fieldworker就是「實地考察工做者，現場調查工做者，田間工做者」。
5. go native: 過土人生活，爲當地人同化。例如：
After living in South Africa for 20 years, he has gone completely native.
他在南非住了二十年，已徹底適應當地人的生活方式。
在影片中，go native指的是人類學家在實地考察中，經過和本身的考察對象的交往，逐漸認同他們的文化，或被他們所同化。
6. ASAP: 即As soon as possible，儘快，越快越好。看一下例子：
We will arrange the payment ASAP. 咱們會盡快安排付款。
1. slam the door in sb.'s face: 拒絕見某人；拒絕同某人談話。在影片中Annie指Mrs. X不多花時間與兒子相處，幾乎不和兒子交流。請看例子：
The workers asked for only a small increase in pay, but the boss just slammed the door in their faces.
工人只要求增長少許工資，但老闆就是拒絕同他們談判。
slam the door in sb.'s face還有「讓某人吃閉門羹，把某人拒之門外」的意思。
例如：He backed away and in that split second she slammed the door in his face.
他日後退去，就在這一剎那，她砰地把他關在門外了。
2. spa: （提供蒸汽浴、按摩等的）健康美容中心。Annie認爲Mrs. X是個不稱職的母親，由於在Grayer發高燒的時候她還有心情去享受蒸汽浴。spa還有「礦泉療養地」的意思。
3. disgruntled: 不滿的，不高興的。例如：disgruntled spectators（不滿的觀衆）；an disgruntled expression（慍色）。
4. Watsu massage: 漂浮指壓按摩。把水中飄浮與節奏相結合的伸展四肢的治療方法。目的是增長身體的柔韌度和放鬆身心。
5. every once in a blue moon: 至關於every now and then，不時，間或，偶爾。影片中Annie讓Mrs. X偶爾和Grayer一塊兒吃吃飯。
例如：John comes to visit me every once in a blue moon.約翰不時地會來看我。
once in a blue moon是「偶爾、罕見」，例如：
This is a chance once in a blue moon. 這但是個可貴的機會。
6. accessory: 附屬品，附加物。Annie但願X夫婦可以多關注一下Grayer，不要把他看成多餘的東西。accessory在生活中很常見，例如：
A cigar-lighter is an accessory to a car.點菸器是汽車的一種附件。
accessory還能夠指婦女的裝飾品，在這種用法中多用複數形式，例如：
She often wears accessories such as a diamond bracelet, a necklace and earings.
她經常戴鑽石手鐲、項鍊、耳環等一類首飾。
Twilight《暮光之城》精講筆記
1. the eyes and ears of this place: 這個地方的萬事通。Eric指他對學校裏的大小事務都很熟悉。
例如：Louis called himself eyes and ears of the school.
路易斯自稱爲學院裏的萬事通。
2. chillax: chill和relax的結合，意思是讓某人放鬆冷靜。
例如：Dude, just chillax, just because it's not your birthday doesn't mean that you won't have fun.
老兄，別急，今天不是你的生日，但這也不等於說你就不能開心地玩啊。
3. high five: 舉手擊掌（用來招呼，表示狂喜或慶祝勝利）。請看例子：
He always gives me a high-five when I win the game.
我比賽獲勝時，他一貫爲我雀躍。
4. burrito: 墨西哥料理的一種（以肉、乳酪、豆泥作餡的麪餅卷）
5. home girl: 同鄉的女孩。Eric的老家也在亞利桑那州。
6. mess up: 弄糟。影片中Bella由於把球打到Mike的頭以爲很抱歉。請看例子：
He got another chance and didn't want to mess up again.
他又獲一次機會，此次他不再願把事情弄糟了。
7. candid: 乘人不備時拍下的照片，快照。影片中Angela趁Bella沒注意時給她拍了一張照片，想做爲這期校報的特寫照片，可是被Eric阻止了。candid 也能夠做形容詞用，candid camera是「（用來拍快照和偷拍照片的）快拍照相機」，candidphoto是「快照，（乘人不備時攝下的）照片」。
8. bring up: 提起，談到。影片中Eric知道Bella不喜歡上校報，因此叫Angela別再提上報的事了。請看例子：bring up old scores again（翻老賬）。
9. got one's back：支持某人，挺某人。
10. head down to: 南下。down指「向南方」，相對地，up指「向北方」。head在這裏的意思是「朝特定方向行進」。例如：head toward town（朝城裏去）。
又如：He changed his mind and headed back to Nanjing.（他改變主意回南京去了。）
11. lend a hand: 助一臂之力。影片中Bella的父親是一名警察，由於發生了神祕血案，因此他要趕往相助。請看例子：
Please lend a hand with my book. 請幫我拿一下書。
12. chick thing: 女孩子們的事情。chick有「少女、小妞」的意思。
13. cover: 採訪，報導。影片中Eric想追Bella，因此借報導班級舞會委員會爲藉口和Bella搭訕，但願她能作他的舞伴，可是話還沒說完就被Mike打斷了。
14. game: 獵物。在這裏Eric把Bella比喻成獵物，而Mike打斷Eric就像把他覬覦的獵物給打落同樣。
15. playa: 交過不少女友的人。
16. T-Ball: 兒童（簡易）棒球（運動）。影片中Mike聽懂了Eric的話，可是他很不覺得然，因此就小小地嘲笑了他一下。
17. mitosis: 細胞有絲分裂
18. prophase: （細胞核分裂的）前期；初期
19. anaphase: （細胞核分裂之）第三期，後期
20. keep up: 跟得上。請看例子：keep up in a race （在賽跑中不落後）
21. metaphase: （細胞分裂）中期
22. contact: 即contact lens（隱形眼鏡）。
23. fluorescent: 熒光。fluorescent還能夠做形容詞用，如fluorescent lamp是「熒光燈，日光燈」，fluorescent screen是「熒光屏」。影片中Edward是指他的眼睛變色是由於熒光燈的關係。fluorescent還有「容光煥發」的意思，例如a fluorescent youth是「一個容光煥發的青年」。
24. sure as hell: 也能夠說成as sure as hell，意思是「確定無疑」。請看例子：
He sure as hell did it. 確定是他乾的。
表示「確定無疑」的詞組在口語中還有不少，如as sure as a gun。看一下例子：
As sure as a gun, this is he. 沒錯，準是他。
as hell起到增強語氣的做用。咱們在口語中也能夠用as+adj.+as hell來增強語氣。例如：I'll be as normal as hell.（我會盡可能表現得很是正常。）
25. kiss your license goodbye: 和你的駕照說再見。kiss sth. goodbye不是和某物吻別，而是指將不會獲得某物了。請看例子：
Since you did not pass the test, I guess you have to kiss the bike goodbye.
由於你沒有經過測試，我想你也別期望獲得那輛自行車了。
26. spill: <口> 摔下，跌下。Cullen醫生說Bella「took quite a spill」是指她摔得不輕。看一下例子：He had a spill getting off the bus.（他下公共汽車時摔了一跤。）
27. disorientation: 定向力障礙，迷失方向感。
28. vitals: （心、腦、肝、肺、腎等）維持生命的重要器官。strike at sb.'s vitals就是「打某人的要害部位」。
29. trauma: 外傷，傷口，損傷。trauma還常常指「（心理上、精神上的）創傷」。例如：heal emotional trauma（醫治感情上的創傷）。
30. freak out: 擾亂，使躁動不安。Bella不想讓父親告訴母親這個事故是怕母親會擔憂。看一下例子：She will freak out every time she is disappointed.（每次沒有如她所願時她都會抓狂。）
40. lot: 指parking lot（停車場）。
41. moat: 深溝。從影片的對白咱們能夠知道，Bella雖然沒有把Edward的家想象成深溝，可是在她的想象裏，吸血鬼的居所與棺材和土牢也差很少。
42. non-stick saute pan: 不沾炒鍋。non-stick pan就是咱們所熟知的「不粘鍋」。saute的意思是「炒的，煸的，嫩煎的」，saute也能夠做名詞用，意思是「嫩煎的菜餚」。
43. get a whiff of that: 聞一下那個氣味。影片中Rosalie指的是Bella散發出的活人的氣味。whiff的意思是「一陣（微弱的）氣味」。請看例子：
Something good must be cooking; I got a whiff of it.
必定在作什麼好菜，我已聞到味道了。
whiff也能夠用來修飾氣味以外的東西，意思是「一點點」，例如：
There is a whiff of sarcasm in it. 這裏面帶有一點點譏諷的味道。
44. Italiano: 意大利語，意思是「意大利的」，在文中是「意大利菜」的意思。
45. go public: 曝光，把祕密公開。影片中Emmett指Edward和Bella已經公開在一塊兒了。看一下例子：
Before he goes public, he's got to convince everybody that he's telling the truth.
在公開祕密以前，他必須使你們相信他是準備說實話的。
46. implicate: 牽連；連累。影片中Rosalie擔憂若是Edward和Bella未來情感破裂的話，這個吸血鬼家族的祕密就會被世人知道，從而遭到牽連。請看例子：
His enemies tried to implicate him in the murder.
他的仇人竭力想把他牽扯進謀殺案中.
47. graduation cap: 畢業帽。美國高中畢業時也有畢業帽。
48. matriculate: 被錄取入學。影片中Edward上了不少次高中，參加了不少次高考，並屢次被大學錄取。請看例子：
Every fall hundreds of thousands of young people matriculate in colleges and universities. 每一年秋季成千上萬的青年考入高等院校。
matriculate還能夠做及物動詞用，意思是「錄取……入大學；准許……註冊入學」。例如：
He had been matriculated in the university. 他已考上這所大學。
49. spinach: 菠菜。Bella認爲父親應該也給本身點一盤菠菜沙拉，這樣對他的身體比較有好處，牛排的脂肪高，多吃對中年人的健康不利。
50. cut back on: 減小，削減，縮減。Bella讓她父親少吃點牛排。請看例子：
We shall have to cut back on our spending.（咱們將不得不削減咱們的經費。）
51. as healthy as a horse:英語中 經常使用的比喻詞組，像馬同樣健康，也能夠說as strong as a horse（像馬同樣強壯）。相似的和動物相關的比喻詞組還有：freeas a bird；gentle as a lamb；mute as a fish；stupid as a donkey；proud as apeacock等。
52. Chief: 長官。影片中是用來稱呼警察，也就是Bella的父親。Chief也能夠用來稱呼主任、酋長和其餘首領。
53.take over: 接管。例如：The new department head took over yesterday.（新的系主任昨天接任。）
54. flag:引 起注意。影片中Bella的同窗在窗外作動做，設法引發Bella的注意。此外，flag也指打旗號或用其餘信號令人或車等停下或過來，例如：flaga waitress（招呼女服務員），又如：He flagged me a taxi.（他爲我招來一輛出租汽車。）
55. turn in: <口>上牀睡覺。看一下例子：
I usually turn in at about 11 o'clock. 我一般11點左右睡覺。
56. got a big smile for you: Bella的父親是指他以爲Mike Newton對Bella頗有意思。
57.yahoo: 鄉下人。這裏Bella的父親是用調侃的語氣，由於他居住的地方是個小鎮。
58. grow on: 愈來愈被……喜好。例如：Modern music starts to grow on people.（現代音樂已愈來愈被人喜歡。）在影片中Bella告訴母親說她喜歡上了福克斯這個小鎮。
59. Jock: <口>賽馬的騎師。
60. Indie: （唱片、電影的）獨立製片人。
61. unparalleled:無比的；無雙的。例如：an unparalleled success（空前的勝利）；unparalleleddifficulty（無比的困難）。在影片中吸血鬼男孩是指James具備無以倫比的感官能力，即視覺、聽覺、觸覺、味覺、嗅覺能力都是他人沒法匹敵的。
unparalleled還有「獨特的，獨一無二的」的意思。例如：Our library is unparalleled.（咱們的圖書館是獨一無二的。）
62. lethal: 危險的，毀滅性的，致命的。例如：a lethal injury（致死的損傷）；a lethal attack on sb.'s reputation（完全詆譭某人名譽的攻擊）。lethal還能夠用來形容足球運動員射門的精準。
63. relish: 從……中獲得樂趣，喜好。Carlisle是指他不肯意殺害生靈，儘管是要殺像James這麼邪惡的一個吸血鬼。看一下例子：relish the challenge of competition（從競爭的挑戰中得到樂趣）。
relish常見的意思還有「津津有味地吃（或喝）；欣賞，品味」。例如：
He is so hungry that he will relish plain food.
他餓極了，素淡飯食也會吃得津津有味。
又如：She relishes the memory of that adventure.
她常在記憶中回味那次奇遇。
64. sadistic: 殘酷成性的。sadistic還常表示「施虐狂的」。例如：sadistic pleasure（施虐快感）。
65. keep one's thought to oneself: 不把本身的想法講出來。keep sth. to oneself就是「對某事祕而不宣」的意思。例如：
Don't keep it to yourself, we need your knowledge and experience.
別保守了，咱們須要你的知識和經驗。
keep to oneself則是「不與人交往」的意思。例如：
She kept to herself in the ship and would speak to no one.
她在船上一人獨處，不與任何人交談。
Up 《飛屋環遊記》精講筆記
1. do sb a favor: 幫助某人。經常使用的句型有： Would you do me a favor please? 請你幫我個忙，好嗎?
此外，咱們還經常使用in favor of來表示「同意，支持，有利於」，而curry favor with則表示「巴結，拍馬屁」。
2. so long: 再見，非正式用語，至關於see you later。
例如：See you tonight. So long.（今晚見，再見了。）
3. snipe: 鷸，沙錐鳥。
聽說snipe是一種身體嬌小、動做十分靈活的小鳥，要獵獲這種鳥並不容易，須要至關不錯的射擊和潛行的技術，所以，snipe作動詞也能夠表示「狙擊」。
此外，snipe還能夠表示「冷言冷語地指摘；抨擊」，而「抨擊某人」，就能夠用snipe at someone來表示。
4. goggle: 護目鏡。
此外，goggle作動詞還能夠表示「（尤指因爲驚恐而）瞪大眼睛看」，經常使用goggle at sb/sth來表達。
5. soil: 弄髒。
例如：She soiled her dress with ink. 她的衣服被墨水弄髒了。
6. steer：駕駛，掌舵。
例如：Steer the boat for that island.（把船駛向那個島。）
7. jerk: 急拉，猛推。
而jerk sb around則表示「（尤指經過不誠實的手段）給某人出難題，爲某人設置障礙，爲難某人」。
8. cumulonimbus：積雨雲。
積雨雲臃腫龐大，雲頂有絲縷狀冰晶結構，頂部常擴展成砧狀或馬鬃狀。積雨雲幾乎都會造成降水，包括雷電、陣雨、陣性大風及冰雹等天氣現象，甚至發生龍捲風，在特殊地區，還會產生強烈的外旋氣流---下擊暴流。這是一種能夠使飛機遭遇墜毀災難的氣流。
9. stay up: 不睡覺，熬夜。
例如：I am going to stay up late to finish my paper.（爲了完成報告我打算熬夜不睡。）
10.blow up: 使充氣，放大。
這裏的blow up balloons則是指「吹氣球」。
11. make it: 達到既定目標，走徹底程。
Make it是一種口語表達，尤爲指在困難狀況下得到成功，常譯爲「咱們作到了！」
例如： If you try your best, you'll make it.（若是你盡力，就能成功。）
12. hoist: 把……吊起，升起。
在這裏，弗萊德里克的意思是讓拉塞爾爬到飛屋上去以後，把本身拉起來。
13. come all this way: 一路走來，也寫做come all the way.
All the way在這裏作副詞，意思是「從遠道，一路上」。
14. get stuck: 被困住，卡住。也寫做be stuck。
此外，get stuck還能夠表示「卡殼兒了」，例如：I get / am stuck with this maths problem. Can you help me with it?（我被這道數學題卡住了。你能幫我一下嗎？）
而get stuck-up意思則是「翹尾巴」。
15. walk: 牽着走。咱們平時說的「遛狗」，就能夠用這個詞表示。
例如：The trainer is walking his dogs.（那位馴獸人正在遛他的狗。）
16. weigh down: 壓低，壓得難以移動。
例如：The presents weigh down the branches of the Christmas tree.（禮物把聖誕樹枝墜彎了。）
此外，weigh down還能夠表示「使頹廢，受壓抑」。某件事把某人壓垮了，就能夠用Sth weigh down sb來表示。
17. rap music: 說唱音樂，饒舌音樂，節奏快而強，配有快速唸白的現代音樂。
而take the rap for sb可不是指爲某人唱rap，它實際上是指「無辜受罰；背黑鍋」。
18. flash dancing: 閃電舞，勁舞的一種，也寫做flash dance。
19. at best: 最多。
例如：At best a few hundred people attended the meeting.（充其量只有幾百人出席會議。）
20.darn thing: 見鬼，真糟糕，至關於darn it。
此外在口語中，咱們還經常使用I'll be darned!來表示「真沒想到，真叫我吃驚」。
21.for the love of Pete: 看在老天的份兒上，至關於for Pete's sake。Saint Peter是耶穌基督的門徒之一，聽說死後上天堂，他掌管天堂的大門，因此說「看在老天的份上」。
22. pick up the scent: 發現蹤影，察出氣味，也能夠用pick up a trail來表示。
例如：The dogs easily picked up the scent of the murderer.（狗絕不費力地嗅出了謀殺者的氣味。）
23. soon enough: 很是快地。
在這裏，Alfa的意思是說，咱們很快就能捉住那隻鳥了。
例如：He got what he wanted soon enough.（他很快便如願以償。）
24. compadre: a friend, companion, or close associate（密友，夥伴）。這種說法在美國西南部較常見。
25. toil: 辛苦，辛勤勞動。
例如：The joy overpays the toil.（所得的快樂超過付出的辛勞。）
此外，toil還能夠表示「艱難緩慢地移動；跋涉」。If you toil somewhere, you move there slowly and with difficulty, usually because you are very tired.
26. cunning: 狡猾的，狡詐的。
要記住，Wisdom differs from cunning.（聰明和狡猾不一樣），但cunning也能夠用來形容「可愛的，機靈的」，見到逗人喜好的小貓，你就能夠說What a cunning kitten!
此外，cunning還能夠表示「精巧的；熟練的」。例如：It takes cunning workmen to make such elaborate furniture.（能工巧匠才能製做如此精緻的傢俱。）
27. fool's errand: 徒勞無功的工做。也寫做gawk's errand。
在這裏，Alfa是在抱怨Dug沒能儘快把Kevin捉住。白跑了一趟，咱們就能夠說是on a fool's errand。
28. lieutenant: 副職官員；助理官員。Alfa在這裏這樣稱呼Delta，有諷刺意味。
29. mailman: 郵差。
30. jump on: 撲向，猛撲。 此外，jump on sb/sth還能夠表示「批評某事，責備某人」，例如：But why is it doctor that I am always so nervy, tense and ready to jump on anybody...（但是大夫,爲何我老是感到神經質、緊張、愛發脾氣……） 31. at this rate: 照此情形；如此下去。 例如：At this rate we will not be able to afford a holiday.（照這種情形看來, 咱們就沒法度假了。） 32. be stuck with: 沒法擺脫，陷入困境。弗雷德裏克森的意思是，他被這幾個傢伙纏住，脫不開身了。 例如：I'm stuck with my sister for the whole day.（我一成天都讓妹妹給纏住了。） 33. clear out: 離開。弗雷德裏克森的意思是：我數到三，你倆必須離開這裏。 此外，clear out還能夠表示「清除」，例如：Our old stock has been entirely cleared out.（咱們舊的存貨已所有出清。） 34. pretty: 很是，很。例如a pretty penny就是指「一大筆錢」。 35. do the trick: 奏效，得到成功。 例如：This medicine ought to do the trick.（這藥應該能有效的。） 36. GPS: 全球定位系統，Global Positioning System的縮寫，是一種空間衛星導航定位系統。 37. a lot: 拉塞爾的意思是「爸爸老是很忙」。 平時咱們經常使用have a lot on來表示「很忙」，例如：They will have a lot on tomorrow.（他們明天會很忙。） 38. bug: 打擾。 例如：Don't bug me please.（請不要打擾我。） 而咱們平時說的系統有bug，是指這個系統存在漏洞、缺陷。 39.pin on: 佩戴。 拉塞爾的意思是，爸爸會來參加儀式，爲我佩戴勳章。 此外，pin on還經常使用來表示「歸罪於」，pin sth on sb就是指「把某事歸罪於某人」。 40.flea circus:（狂歡節雜耍中受過訓練的）跳蚤雜技表演，跳蚤馬戲團。 A flea circus refers to a circus sideshow attraction in which fleas are attached (orappear to be attached) to miniature carts and other items, and encouraged to perform circus acts within a small housing. 41.cross one's heart: 發誓。在西方，教徒祈禱、發誓、祝福等時會在空中或額頭、胸前等劃十字，以示本身的真誠。 例如：Billy, cross my heart, it wasn't me who broke your bicycle.（比利，不是我把你的自行車弄壞的，我發誓。）
- 1. 計算機經常使用英語大全 （中英文對照）
- 2. 加減乘除等符號大全中英對照，在英語中的用法
- 3. 查莉成長日記GoodLuckCharlie第二季中英對照劇本
- 4. 影視廣告專業術語中英文對照(整理中）
- 5. C/C++術語中英文對照
- 6. Python術語 中英對照表
- 7. SAP 術語中英文對照字典
- 8. 中英日術語對照表（權威！）
- 9. 雲計算術語（中英文對照）
- 10. 開發術語 中英文對照
- 更多相關文章...
- • Docker 命令大全 - Docker教程
- • PHP PDO 大對象 (LOBs) - PHP參考手冊
- • Kotlin學習（一）基本語法
- • JDK13 GA發佈：5大特性解讀
-
每一个你不满意的现在，都有一个你没有努力的曾经。