【正文】 s a goddamned liar! A nutcase. Like that.。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. Rose39。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 There39。s tomb grave robbing. I have museumtrained 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 that39。re very close to doing just that. The old woman39。re hunting? LOVETT (.) I39。s no secret that education is not your main purpose. You39。ve planned this expedition for three years, and we39。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 glassedin 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 potter39。s display stand. He holds it next to the drawing. It is clearly the same piece... a plex setting with a massive central stone which is almost heartshaped. LOVETT I39。s room, in the purser39。t worry about it, there39。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 wasn39。s going? LOVETT How it39。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. I39。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. Here39。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 handwringing 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 Who39。m seein39。s cameras show them what was under the door... BODINE Ooohh daddyoh, are you seein39。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 Snoop39。 boss. Glinting in the lights are the brass fixtures of the nearperfectly 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 I39。t stir it up like you did yesterday. BODINE I39。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 B52, the sitting room of a promenade suite, one of the most lux