【正文】 How to Lose a Guy in 10 Days《十日拍拖手冊(cè)》精講筆記 254YES MAN 精講筆記 263《哈利e! 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, freefalling 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 sub39。t see it... there! Out of the darkness, like a ghostly apparition, the bow of the ship appears. Its knifeedge prow is ing 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 Lovett39。s sayonara in two microseconds. 8 Mir Two lands on the boat deck, next to the ruins of the Officer39。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 Titanic39。m in the sitting room. Heading for bedroom B54. LOVETT Stay off the floor. Don39。m crossing the bedroom. The remains of a pillared canopy bed. Broken chairs, a dresser. Through the collapsed wall of the bathroom, the porcelain mode and bathtub took almost new, gleaming in the dark. LOVETT Okay, I want to see what39。 what I39。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 safe39。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 it39。t in the safe... no, look, don39。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 blackandwhite photo of a diamond necklace on a black velvet jeller39。s wheel. The liquid red clay covers her hands... hands that are gnarled and agespotted, but still surprisingly strong and supple. A woman in her early forties assists her. LOVETT (.) I39。re a treasure hunter. So what is the treasure you39。s name is ROSE CALVERT. Her face is a wrinkled mass, her body shapeless and shrunken under a onepiece Africanprint 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 es in with her. The younger soman, LIZZY CALVERT, rushes to help her. ROSE Turn that up please, dear. REPORTER (.) 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 Tut39。s a satellite call for you. LOVETT Bobby, we39