英语标语大全中英对照：商品买卖
Purchases and Sales 商品买卖
15% off with this flyer 凭此宣传品优惠15%
50% off on selected lines 部分商品降半价
Accessories & spares delivered to your door 配件送货上门。
All the range of … available. 各种……有货
As many repairs as you need, free of charge 随时免费维修
Ask at the counter for details 详情问柜台
Ask inside for details 详情里面询问
Best choice and best discounts 最佳选择，最大优惠
Big sale 大甩卖
Brighter shopping, brighter prices 明智的购物，透明的价格
Buy any two together and save 10% off both products 一次性买俩，每个优惠10％ Buy one and get anyone free 买一赠一
Buy two get one free 买二赠一
Children's wear 童装
Closing sale 关门大甩卖
Computers in stock 电脑有货
Customer care is our top priority 顾客至上
Customer services 顾客服务处
Easy to use and great value too. 好用实惠，物美价廉
Fill in your selection here and take to a pay point. 在此选购商品填单，然后到收款台付款。
Final clear out 清仓大甩卖
For more information，contact our customer service desk 详情请和顾客服务处联系。
Free delivery to your door 免费送货上门
Furniture sale now on 家具现降价销售
Half price sale 半价甩卖
Hours of opening： 营业时间
Massive stock, clear out 大量库存，清仓甩卖
Offer is subject to availability. 现货优惠，卖完为止
Open for business as usual 照常营业
Opening soon 即将开业
Opening times (hours): 营业时间:
We can provide the complete hospitality service. 我们提供热情周到的服务。 Out of hours, delivery at … 下班时，送货到……
Peace of mind from the minute you buy 买着放心
Please ask for assistance 需帮助请询问
Please check your change before leaving the checkout area 请当面点清。
Please retain this receipt as proof of your purchase and your guarantee.请保存好收据，作为交款凭证，并享受保修。
Please leave bags at the counter 请把包放到柜台
Price crash 削价
Sale 50% off original price按原价的50%销售
Sale at breakdown price 跳楼价甩卖
Sale continues in store 商品继续销价
Save up to 50% off 50％大降价
Save up to 40% 6折优惠
Save your money 贱卖
Savings and discounts all around the store 店内所有商品均削价处理 Services as usual 照常营业
Special offer 特价
50% discount on selected items 部分商品五折
Summer price cuts.夏季大削价
Thank you for your custom. 感谢您惠顾光临
Try before you buy 先试后买
We will not be beaten on price 我们的价格最低。
第二篇：英语电影剧本大全(中英对照)
目 录
《泰坦尼克号》全部英文剧本 .............................................................. 1 Mamma mia! 《妈妈咪呀》 .............................................................. 248 How to Lose a Guy in 10 Days《十日拍拖手册》精讲笔记 ................ 254 YES MAN 精讲笔记............................................................................. 263 《哈利·波特与混血王子》精讲笔记 ................................................. 271 Just My Luck《倒霉爱神》精讲笔记 .................................................. 281 Nanny Diaries 《保姆日记》精讲笔记 .............................................. 287 Twilight《暮光之城》精讲笔记 ......................................................... 293 Up 《飞屋环游记》精讲笔记 ........................................................... 301
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《泰坦尼克号》全部英文剧本
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
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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
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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.
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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
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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?
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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.
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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
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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.
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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!
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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!
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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
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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.
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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
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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
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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
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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.
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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.
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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
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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
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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
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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.
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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
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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
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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
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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
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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)
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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
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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
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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?!
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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.
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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.
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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
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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?
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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.)
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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
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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.
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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... ?
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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
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(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.
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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
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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
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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.
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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?
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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.
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(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.
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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
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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
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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
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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
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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.
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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
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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
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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
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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
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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!
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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?
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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
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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.
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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...
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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.
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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
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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,
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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.
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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.
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(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.
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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
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(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
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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
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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.
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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
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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.
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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
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(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.
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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)
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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
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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
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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)
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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.
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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.
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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.
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(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)
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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
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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?
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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
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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
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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
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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... ?
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(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
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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
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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:
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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".
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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
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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".
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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
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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
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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)
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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...
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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.
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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.
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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?
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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.
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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?
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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
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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.
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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
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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
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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
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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.
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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
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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
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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
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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
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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.
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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
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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
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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
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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)
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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.
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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
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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
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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.
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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?
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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
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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?
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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
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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)
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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:
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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
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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. Y
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)
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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
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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.
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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
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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
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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!
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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
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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
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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
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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
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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
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(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?
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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
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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
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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,
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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
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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.
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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
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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?
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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.
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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.
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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
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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
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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?
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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.
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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.
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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?
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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.
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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
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(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
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(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
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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)
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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
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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
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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.
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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
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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
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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.
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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.
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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.
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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,
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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
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(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)
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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
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(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.
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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
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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
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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
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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
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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:
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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
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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
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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
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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
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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.
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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
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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.
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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
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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.
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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
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(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
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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
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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.
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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)
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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)
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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.
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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.
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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
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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
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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?
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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
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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
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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.
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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
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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
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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.
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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
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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
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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.
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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
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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
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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.
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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".
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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.
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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
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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
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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.
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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
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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)
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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
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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
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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
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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
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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?
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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.
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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.
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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
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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
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(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.
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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?
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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
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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,
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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
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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.
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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?
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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
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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.
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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
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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
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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.
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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,
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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
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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
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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
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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
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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!
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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
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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
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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
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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 the
Mamma mia! 《妈妈咪呀》
1.perch: 这个词的本意是（鸟类的）栖息地，栖木。这里指歇脚处，小憩处。影片中妙语连珠的Rosie对船上的乘客说：“我母亲要个座儿。” 来看例句：
We found a perch on the ruins of a low stone wall. 我们找到一处矮石墙的残垣，歇了歇脚。
而口语中Come off your perch 的意思是：放下你的臭架子，别那么神气的意思。
2.give away: 这里的意思是，在婚礼上将（新娘）交给新郎。影片中
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即将出嫁的Sophie对她的闺蜜们说：
“I want the perfect wedding, and I want my father to give me away.” 意思就是：“我想要个完美的婚礼，我希望我父亲把我交给新郎。” Give away 还有透露，泄露的意思。 比如：Do not give away my secret. 不要泄露我的秘密。
3. wash down：吞下，咽下。影片中Sophie对她的未婚夫Sky 说：“要是依你的话，那就会是三分钟的婚礼，穿着牛仔裤和T恤，灌下一整瓶啤酒。”来看例句：
Wash the dry cake down with tea. 借茶水咽下这块干饼。
4. prop：这里指道具。Sky 匆忙离开，对女孩们说：“我只是在为今天晚上的道具做准备。”
a stage prop 一件舞台道具
the props used in a television commercial 用于电视广告片的道具。
5. bachelor party：单身男子派对。影片中Sophie接着Sky的话说：“为他的单身汉聚会做准备。”
He also looked very hungover from his bachelor party the night before. 他看上去好像酒喝多了正难受，因为昨晚他参加了单身舞会。
6. fall into place：变得清楚，明朗，正和其位。影片中Sophie说：“当我见到我爸爸，一切都会回归正轨的。”
It all begins to fall into place. 一切开始明朗了。
7.1.out of the blue:突然地。影片中Bill纳闷的说：“我有20年没跟她联系了，然后这张请帖就来了，完全没有征兆。” 来看例句：
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She arrived out of the blue. 她没有事先告知就来了。
her brother showed up at the wedding out of the blue. 她的哥哥突然在婚礼上出现了。
8.go about:（船）抢风行驶，改变方向。影片中Bill对Harry说：“船偏向了，快抓稳。”
go about 还有（消息等）流传，（疾病）蔓延的意思。比如： There's a lot of flu going about just now.目前流感猖獗。
9.iron lung：人工呼吸器。妙语连珠的Rosie对气喘吁吁打趣道：“你应该带个人工呼吸器来的。”
10.a chip off the old block：相貌（脾气）和父母一样的孩子。Rosie看着伶牙俐齿的Sophie感概的对Donna说：“有其母必有其女啊。”来看例句：
He is a great guy, a chip off the old block. 他是一位好人，就像他父亲一样。
12.make the bed：这个短语可不要望文生义理解成“做床”的意思，它的正确解释是“铺床”。
Shall I help you make the bed? 我帮你铺床，好吗？
13.flood in: 大量地涌到。Sky踌躇满志的说：“如果我宣传工作做得足够好的话，人们会潮水般涌来。”来看例句：
14.Aphrodite:阿芙罗狄蒂(爱与美的女神, 相当于罗马的 Venus)。一脸兴奋的Sophie对大家说：“这里曾经是是传说中阿佛洛狄特的喷泉所在的位置。”
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15..boatload：船的载客或载货量。Tanya听了Sophie对小岛的美好设想后，不无担忧的对Donna说：“我想你不想看到一满船一满船的游客吧。”
He imported wine by the boatload.他进口了一满船酒。
16.1.eject：驱逐，赶走。影片中潇洒的Sam一脸无奈的对Sophie说：“你妈妈把我们从羊舍里赶出来了。”来看例句：
The police ejected them. 警察把他们赶走了。
17.get out of her hair：这里指停止纠缠某人，使摆脱烦恼。面对着一脸嗔怒的Sophie，Bill解释到：“她希望我们不要去烦她。”
My God, how can I get her out of my hair!我的天哪，我如何才能摆脱她对我的烦扰!
18.freak out：焦虑不安，使某人崩溃。Bill：“Donna看到我们吓坏了。” I freak out every time I see a bug.我每次看到虫子都会吓得发疯。 Don't freak out until you know the facts. 在你了解真相以前别胡思乱想。
19.think straight:正确思考,清醒地思考。影片中焦急万分的Sophie对她的三个疑似父亲说：“她犯糊涂了，婚礼让她承受太大的压力。”来看例句：
He could not think straight.他头脑不够清醒。
That boy is so crazy about Rosaline that he can't think straight!那个男孩深深为罗莎琳疯狂，已经无法清楚地思考了！
20.quite a：相当...的。影片中Harry的意思是：“认识你妈妈时，我可
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真是个叛逆少年。”来看例句：
He's quite a philosopher. 他很爱动脑筋。
That's quite a picture. 那真是一部了不起的影片。
21.hop on：跳上。回忆起往事，Harry无限留恋的唱到：“遇见她时我在巴黎求学，我跳上了火车，跟她去了希腊，情不自禁。” I saw him hop on a bus.我看见他上了公车。
22.took a chance:冒一冒险, 碰碰运气。影片中Sam唱到：“我们冒险一搏，舞这最后一曲。”
You take a chance when you let her drive. 让她驾车，这是冒险。 No, let's take a chance and go. 不，我们碰碰运气还是去吧。
23.Notre Dame：<法>圣母玛利亚, 巴黎圣母院(法国著名教堂,建于1163-1257年,全称为Notre Dame de Paris)。
24.get something off one's chest:说心里话；一吐为快。影片中Harry对Bill说：“我想跟你说说心里话。”来看例句：
If something's bothering you, get if off your chest. 假如你有什么不通快的事，把它说出来吧。
25.hush-hush：秘密的，秘而不宣的，暗中进行的。Harry对Bill说：“这一直都是个秘密。”
Their engagement was kept hush-hush.他们的婚约是谨慎保密的。 a hush-hush report 秘密报告
26.clap eyes on：看见, 注视。影片中Harry说：“这太明显了，你们看对方的眼神出卖了一切。”来看例句：
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I hope I shall never clap eyes on her again. 我希望我永远不再看到她。
27.level with：对...说实话。影片中Bill说：“我跟你说实话吧。”来看例句：
I have to level with you. 我得跟你坦城地交谈一下。
Why don't you level with your girlfriend? 你为什么不和你女朋友好好谈呢？
28.serve up：端出(饭菜等)。谈话中的Bill对突然驾到的Rosie说：“正是吃早餐的时间，我们做了一些。”
Are you ready to serve up? 你们可以上菜了吗？
29.Sunny-side: 这里指食物煎的那一面。Bill对Rosie说：“单面煎的荷包蛋，熏鲑鱼，火腿？”
Would you like your eggs sunny-side up? 您要一面煎黄的荷包蛋吗？
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How to Lose a Guy in 10 Days《十日拍拖手册》精讲笔记
1. bust one's butt:十分卖力。影片中Andie指她在大学里用功读书，不是为了写这种无聊的文章的。看一下例子：He busted his butt for you.(他一直替你卖命。)
2. pick-up lines:与异性偶然结识时的台词/说的话。pick up在口语中有“与……偶然结识(常指与异性调情)”的意思。例如：He picked up a girl in the movies.(他在电影院结识了一个姑娘。)
3. exhilarating:令人振奋的，使人高兴的。影片中Andie显然是一个疯狂的NBA球迷。请看例子：an exhilarating experience (一次令人愉快的经历)。
4. put out:使出(力量等)。影片中Jeannie是指她可不想太麻烦，换言之，就是她不带吃的去。请看例子：He is criticized for not putting out.(他因为不努力而受到批评。)
put out还有“使不方便，麻烦，打扰”的意思。
例如：Don't put yourself out for my sake!(不要为我忙啦！)
5. jumbo dog:即jumbo hotdog,热狗的一种，有的餐厅将其翻成“生菜热狗”。
6. ten to one:十之八九，很可能。请看例子：
Ten to one you'll miss your train.(你很可能要赶不上火车了。)
7. wallow:沉湎，纵乐。Jeannie是指Michelle一定是因为玩得太疯了，所以早上没有来上班。例如：wallow in luxury (沉湎于奢侈生活之中)；
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wallow in details (纠缠于细节)
8. mystified:困惑。动词形式为mystify,意思是“把……难住，使困惑不解，使大为惊奇”。影片中Michelle指她实在不明白为什么会被甩。 例如：The banker's disappearance mystified the police.
银行家的失踪使警方大惑不解。
9. emotional:情绪激动的。如果想表达一个人十分情绪化，我们就可以用emotional。例如：get emotional over a piece of costume jewellery (对一件服饰珠宝感到十分激动)
emotional也可以解释为“催人泪下的，表现强烈情感的”，例如： an emotional scene in a play (剧中令人感动的一场戏)
10. My number's blocked:我隐藏了电话号码。现在许多人的电话都设置了来电显示功能，如果不想让自己的号码显示在对方电话上，就可以用blocked number。
11. dump sb.:甩掉某人。dump不仅可以用于男女恋爱关系中的“甩”或“被甩”，我们也可以说dump a friend,因为dump还有“抛弃，放弃”的意思。例如：dump a plan (放弃计划)。
12. barf: <美口>呕吐。飞机上供乘客用的呕吐袋就是barf bag。
13. categorically:绝对地，无条件地。在影片中categorically untrue相当于absolutely untrue。形容词形式categorical的意思是“明确的，无条件的”。例如：a categorical answer (明确的答复)。
cook up: <口>想出，策划。影片中指的是策划广告。看一下例子：cook up sb.'s murder (策划谋杀某人)。cook up还有“编造、制造”的意思。
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例如：cook up an excuse (编造借口)。
14. tie-in: <美>搭卖，搭卖广告，搭配销售的商品。在影片中指的是“搭卖广告”，Andie的老板请了Warren广告公司的Judy Spears和Judy Green来为她的杂志设计搭卖的广告。搭卖一般指紧俏商品与滞销商品搭配着出售，目的就是为了促销。
15. pull off: <口>(成功地或艰苦地)完成，做成，赢得。影片中Michelle认为Andie要在十天之内甩掉一个男人很难。看一下例子：pull off a million-pound deal (好不容易做成一笔百万英镑的生意)。
16. hook:引(人)上钩，用计谋把……弄到手。影片中Andie信心满满地说她今晚就能钓到一个男友。请看例子：They hooked him into paying for everybody's lunch.(他们耍花招，让他为大家付午餐钱。)
17. for one's life:逃命(似)地。例如：He was running for his life toward town.(他逃命似地向城里飞跑。) forone's life也可以用for dear life来替代，它还有“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)在情感上过于依赖他人的。如果要表达“依赖男子的妇女”或“离不开母亲的孩子”我们可以用clinging vine来表示。
19. touchy-feely: <口><贬>感情外露的，煽情的，举止亲昵的。影片中Jeannie的意思是说如果一个女人太过腻歪了，男人也会厌烦。touchy-feely也可以用来形容男子，touchy-feely guys的意思是“女人气的男子”。
20. tip:指点，忠告。
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21. pitch: <美口>商品广告。
22. put one's best foot forward:全力以赴。例如：Put your best foot forward and you will succeed.(只要全力以赴你会成功。)
put one's best foot forward还有“给人留下好印象”的意思。请看例子： 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.
你明天去那个公司面谈前最好去理一下发。你得给他们一个好印象才行，因为有二十多个人都在争夺这个工作。
23. bring home: (向……)以强调形式清楚地显示或证实。Ben极力向老板证明他能够把这支钻石广告做好。看一下例子：The point is broughthome in yesterday's detailed statistics.(昨天公布的详尽统计资料清楚地说明了这一点。)
24. giddy:晕眩的，眼花的。影片中Green是指恋爱会让一个女人失去理智，头脑不清。giddy也可以指身体感觉到的晕眩。例如：It makes megiddy to go on a merry-go-round.(我骑旋转木马要头晕。) giddy也可以指“轻率的，轻佻的，轻浮的”，例如：agiddy young girl (轻佻的年轻姑娘)。
25. lust: (强烈的)性欲。影片中Spears认为充满性欲的女人想要的是巧克力，但是坠入爱河的女人想要的却是钻石。lust还有“渴望，欲望”的意思。例如：an insatiable lust for personal power (对个人权利贪得无厌的欲望)。
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26. head-over-heels:是词组head over heels的形容词形式。
head over heels: <口>完全地，深深地，非常。例如：be head over heels in debt (债台高筑)。也可以说成heels over head。影片中Ben强调他所谈论的是深深的爱情，而非性欲。
head over heels还有“头朝下的，颠倒的”的意思。例如：He fell head over heels into the gully.(他一个跟斗跌进了沟里。)
此外，head over heels还可以表示“纷乱地，鲁莽地，匆促地”。看一下例子：
The children all tried to come in the door at once, head over heels. 孩子们推搡着，想一下子拥进屋来。
27. cocky:骄傲自大的，过于自信的。
28. print:印花布服装。
29. on the prowl:躁狂地寻求性伴侣。影片中Green看到一个女人正在酒吧里来回穿梭，寻找男性伴侣。on the prowl还有“潜行，四处巡觅，徘徊”的意思。例如：an investor on the prowl for profits (四处寻求利润的投资者)。
prowl一词作为动词既有“潜行，搜寻”的意思，也有“徘徊，闲逛”的意思。请看例子：
Many wild animals prowl at night.(许多野兽夜出潜行觅食。) I prowled around a farmer's field admiring the bridge.
我在一片农田里流连徘徊，对那座桥赞赏不已。
30. sprint:短距离赛跑。影片中Ben把十天的恋爱比作一场马拉松，
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而非短跑。可见Ben之前的恋爱经历都很短。
31. on the ropes: (拳击时)被挤到拳击台的围绳上。在这里Ben又把谈恋爱比作拳击赛，他认为他的对手Andie已经被他逼到了“拳击台的围绳上”，即没有还手的余地。例如：
have one's opponent on the ropes (把对手逼到拳击台的围绳上)
on the ropes还可以表示“濒于失败，即将完蛋，处于困境”。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: (尤指抱有不良意图)迅速翻查。影片中一开始Ben对于翻看女士的包还是有顾虑的。请看例子：
Someone's been rifling through my drawers, there's some money missing.
有人翻过我的抽屉，我丢了些钱。
33. clutch:即clutch bag,手握袋。
34. secure:弄到，获得。影片中Tony怂恿Ben去翻看Andie的包，并说Andie有可能故意把包留下，这样第二天才能接到Ben的电话。请看例子：
I have at last secured a house. (我终于弄到一所房子了。)
35. minx:冒失(或轻佻的)的少女。
36. catchy:容易记住的。Jeannie指白玫瑰里的字条上的话很顺口，很好记。例如：a catchytune (容易上口的调子)。catchy还可以指“引起
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注意(或兴趣)的”，例如：a catchytitle (引人注目的标题)。此外，catchy还可以表示“欺骗性的，难以对付的”，例如：a catchy question (引人上当的问题)。
37. peek:偷看，窥视。请看例子：
They caught him peeking through the hole at what was going on in the room.
他正从孔眼偷看房内发生的事情的时候被他们抓了个正着。
38. oaf:粗笨的人。看一下例子：
The oaf stumbled over the bucket, spilling all the water.
那个笨手笨脚的人绊到了木桶，把水全给泼了。
39. psycho-babble: <口>心理呓语(指肤浅地滥用心理学和精神病学概念和术语的言语或写作)。
40. chick flick: <口><贬>(迎合年轻女性口味的)年轻女性影片。chick在俚语中指“少女、少妇、小妞”。例如：That chick is really cute.(那个小妞真俏。)
flick是口语，指“电影，影片”，例如：an action flick (动作片)。The flicks则是指“电影院”。看一下例子：
What's on at the flicks tonight?(今晚电影院放映什么影片？)
41. Florence Nightingale syndrome:在影片中Thayer指的是弗洛伦斯·南丁格尔情结。它可以指护士对她所照顾的病人产生的爱意或病人对照顾自己的护士萌生的感情。Thayer的意思是Ben因为受伤时受到照顾而感觉很好。
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42. tape:把……录于录音(或录像)磁带。例如：tape a conversation (用磁带把谈话录下来)
43. How'd you swing that:你是怎么办到的？swing在这里的意思是“决定性地影响；成功地处置，对付”，用在口语中。影片中Thayer很惊讶Ben怎么能又看球赛，又陪女友。请看例子：How are they going to swing the high cost of highereducation?(他们打算怎样解决高等教育昂贵的费用问题？)
44. grill: (在烤架等上面)烤炙。
45. heavyweight:特别有分量的人或物，影片中指的是Andie。
46. Voilà: <法>瞧，那就是。用于在完成某事后吸引他人的注意，或表达展示完某物或做完某事后的满足之情。
47. big gun: <口>大人物，有影响的人物。
48. knock out:击昏。例如：He was knocked out in the accident.(他在那次事故中被撞昏了。) knock out还可以表示“使精疲力尽”，看一下例子：
They knocked themselves out with work.(工作把他们累垮了。)
此外，knock out还有“使震惊；给……留下深刻印象”的意思。请看例子：
Her performance completely knocked me out.(她的表演完全令我倾倒了。)
49. I hope you brought your appetite:我希望你今天有好胃口。这是宴请宾客时常用的一句话。
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50. tip-off: (篮球比赛开始时的)跳球。也用来指“告发，泄密”。
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YES MAN 精讲笔记
1. Bonjour: 法语，“你好”。
2. Did you block your number: 你把来电号码屏蔽了？Peter故意这样做，因为他知道如果Carl看见是自己的手机号，他肯定不会接电话。
3. hang out: 闲荡，闲呆着。例如：
do a lot of hanging out in barrooms（常上酒吧泡着） hang out还有“居住，住宿，经常出没” 的意思。例如： Do you know where he hangs out?（你知道他住在什么地方？）
4. jammed up: 表示因为压力而感到焦虑和紧张。请看例子： The stress of this golf tournament has Keith all jammed up. 这次高尔夫联赛让基斯感到压力很大。
5. off the grid: 没有上社交网（例如facebook之类）。影片中Carl指他忙得都没时间和朋友交流了。
6. Darn it to heck: 真见鬼，该死！darn的意思是“该死”，是damn一词的委婉表达。heck则是hell的委婉表达，在感叹句中加强语气，表示诅咒、恼怒、厌烦等，可翻译为“真见鬼”。
7. in exact sync with: 与……完全同步。in sync表示“同步的，协调的”。反之，out of sync就是“不同步的，不协调的”。看一下例子： There was something out of sync with him.（他有点儿别扭。）
8. hung up the spurs: 罢手不干，引退。Rooney因为已经很久没在酒吧看见Carl了，还以为他戒了酒，在家修身养性。
9. pending: 悬而未决的。例如：a pending lawsuit（未判决诉讼案件）。
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pending还表示“行将发生的，迫近的”。例如：a pending civil strife（即将发生的内乱）。
10. open bar: （婚礼、招待会等的）免费酒柜、酒吧间。
11. fall for: 受……的骗，上……的当，对……信以为真。Peter还以为Carl为了避开当前话题而编谎话。看一下例子：We must not fall for such nonsense.（我们决不能听信这种胡言乱语。）
fall for还有“对……倾心，迷恋”的意思。请看例子：
Dick fell for baseball when he was a little boy. 当迪克还是小孩时就迷上棒球了。
She fell for him at first sight. 她对他一见钟情。
1. feel like doing sth.: 想要做某事。请看例句：
I don't feel like taking a tour. （我不想去旅行。）
当feel like后面接的是名词时，它的意思是“摸上去如同”或“感到好似”。例如：
This feels like silk. （这东西摸上去像丝绸。）
It feels like years. （感觉中好像已有很多年了。）
2.. You're so full of shit: 你真是满口鬼话。影片中Peter对Carl一再地编瞎话找借口已经忍无可忍。shit有“胡说八道，谎言”的意思。 例如：He's talking shit!（他在胡说八道！）
3. shoot: <美口>呸，什么（表示不耐烦、厌恶、激怒、惊奇等）。影片中Carl对自己错过了Peter的订婚派对假装表示惊讶，因为他本来
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就没打算去。
4. gap: （由于懒惰、粗心而）完全忘记（某事）。请看例子： I totally gapped that exam.（我完全忘记了要考试。）
5. make it up to sb.: （为某事）对某人做补偿。看一下例子： Thank you for buying me the ticket, I'll make it up to you later. 谢谢你为我买票，以后我要还你情的。
6. swash buckle: 像swashbuckler那样痛快淋漓。swashbuckler可以指“虚张声势、神气活现的冒险家”，也可以指“鲁莽的、不顾后果、不负责任的人”。Carl的意思是他以后会补偿Peter，和Peter一起出去一醉方休。
7. issues: （复数形式）<口>个人问题（或困难）。
8. tie down: 约束，束缚。例如：tie the enemy down with gunfire（用炮火牵制敌人）；be tied down to a schedule（受时间表的限制）。
9. end up: （以某种状态）结束，告终。Peter的意思是Carl如果再这样自闭下去，结局将是孤孤单单一个人。请看例子：
Wasteful people usually end up in debt.（挥霍浪费者最后往往负债。）
audit: 旁听。请看例子：
On her lunch hour she audited classes.（她利用午饭时间去旁听课程。） I'm cool: 我很好。Carl的意思是他不需要Terrence的“特别关照”。cool在日常生活中是很常见的口语，意思是“好的”，用于表示接受或同意
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某事。
molehill: 鼹鼠丘，鼹鼠洞；小障碍。make a mountain out of a molehill就是“小题大做”。Terrence把Carl称为molehill，是因为Carl在他眼中就是阻碍他宣扬Yes哲学的一个微不足道的小障碍物。 talk sb. into doing sth.: 说服某人做某事。看一下例子：
They talked me into going swimming with them.（他们说服我和他们一起去游泳。）
5. dead-end job: 没有发展前景的工作。dead-end还可以表示“不会有结果的，行不通的”，例如：a dead-end conference（毫无结果的会谈）；a dead-end plan（行不通的计划）。此外，dead-end还有“尽头的”和“贫民窟的”的意思。看一下例子：a dead-end street（死胡同）；a dead-end kid（贫民窟的小流氓）。
6. ennui: 厌倦，无聊。请看例子：
The endless lecture produced an unbearable ennui.
那没完没了的演讲使人产生难以忍受的厌倦之感。
7. summon: 在影片中是“唤起，使呈现出来”的意思。此外，summon还表示“鼓起（勇气），使出，振作（精神）”等意思。例如：summon (up) the nerve to do sth.（鼓起勇气做某事）；summon (up) all one's strength（使出全身力气）。
8. covenant: 契约。请看例子：
They have made their covenant with death.（他们已难逃一死。）
9. dicey: 危险的，不可预知的。例如：a dicey peace（岌岌可危的和
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平）。Terrence的意思是Carl如果不遵守诺言，情况就会变得不妙。
1. burnout one's phone battery: 把电话电池用光。burn out有“耗尽，使耗尽”的意思。例如：
The soil burns out under constant heavy cropping.
不间歇的大量种植会把土壤肥力耗尽。
burnout也有“（使）精疲力竭”的意思。请看例子：
You must not burn yourself out in a blaze of energy.
你可别一个劲儿地干，把自己累垮。
2. AAA: American Automobile Association 美国汽车协会
Take a stroll: 散步，溜达，闲逛。stroll可以作名词用，例如：a short stroll before supper（晚饭前的短暂散步），也可以作动词用，例如：stroll along the beach（沿海滩漫步）。
Out of one's way: 不在预期的路线（或轨道）上。影片中Carl指他特地开车送乞丐去他的目的地，而不是顺路搭载。
4. wear out: （使）耗尽。burn out/wear out battery都是“把电池用光”的意思。看一下例子：My patience wore out/was worn out at last.（我最后失去了耐心。）
5. Wear out还有“（使）疲乏，（使）厌倦；慢慢毁掉”的意思。请看例子：
6. He is worn out with domestic worry.（他被家里的烦恼事弄得疲惫不堪。）
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What with his drinking and what with his jealousy, he wore himself out. 一半因为酗酒，一半因为嫉妒，他把自己给毁了。
7. Wear out也可以表示“消磨，打发（时间）”，例如：wear out idle days（闲度时日）。
Be kept alive artificially: Carl的意思是说如果出车祸的话，他宁愿当场死亡，也不愿意落得个半死不活。
8. I'm more of four-wheel kind of guy: 我更习惯坐汽车出行。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.（与其说他是个音乐家还不如说他是个诗人。）
9. at ease: 自在，不拘束。请看例子：
He was never at his ease with Frank.（他跟弗兰克在一起总是感到很不自在。）
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.
如果你要出去，我就得留下。
Stick around还有“呆在附近，等在旁边”的意思。例如：
Stick around for a while, he will soon be back.（请等一会儿，他马上就会回来。）
12. make out: <俚> 亲吻爱抚。影片中Carl一不小心脱口说出了他下意识的想法。
1. He's really into it: 他对此十分痴迷。be into是口语，在这里的意思
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是“对……很有兴趣”，例如：People are into extreme sports now.（现在人们对极限运动颇感兴趣。）
2. be into还有“从事，卷入”的意思，例如：I was into love.（我堕入情网了。）
另外，be into还可以表示“欠……债”，例如：He is into the bank for ten grand.（他欠银行一万块钱。）
3. figure: <美口>认为，以为；估计，判断。Allison以为Carl会像成年人一样经过慎重的思考和衡量再做出判断，但是没想到Carl居然是因为一个契约而被动地接受
一切。请看例子：They figure themselves quite well-off.（他们自以为相当富裕。）
Figure在口语中还有“明白，理解”的意思。例如：No one can figure him.（没有人能猜得透他。）
4. weigh: 认真考虑，权衡，比较，斟酌。例如：weigh the risks（认真考虑所冒的风险）；weigh a plan against another（权衡一计划与另一计划的优劣）。
5. screw up: <口> 弄糟，搞乱。例如：screw things up（把事情弄糟）。Carl以为是因为自己没有马上答应和Allison同居、没有遵守契约才把他们的关系搞砸的。
6. a.k.a.: also known as亦称为，又叫作
1. come down on sb.: 惩罚某人。影片中Carl说那个“契约”狠狠地惩罚
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了他。come down on/upon还有“申斥，责骂”的意思。请看例子： The teacher came down on her for talking in class.
由于上课时讲话，老师严厉地批评了她。
2. riffing: <美俚>（尤指夸张的）即兴谈话。Terrence对Carl坦言，那天关于契约的谈话不过是胡扯。riff有“即兴编造”的意思。例如： I riffed up an excuse as to why I didn't show up.
我随口编造了一个理由来解释我为什么没露面。
3. difficult: 难对付的，难说服的。看一下例子：
Peter was very difficult about going to school when he first started. 刚开始读书时，彼得很不情愿去上学。
4. bullshit: 胡说，废话，大话。这一粗话在美国口语中很常见。bullshit也可以作动词用，意思是“对……胡说（或吹牛）”。例如： You're just bullshitting me. （你是在哄我。）
5. grasp: 理解，领会。请看例子：He could not grasp what was happening.（他不能理解正在发生的事。）
6. open you up to it: 让你对它敞开心扉。
7.make perfect sense: 很有道理。
8. hop: 跳。影片中Rooney准备跳到床上装成病人，这样才不会引起护士的怀疑。看一下例子：hop on a bus（跳上公共汽车）；hop out of bed（一跃起床）。
此外，hop还可以表示“仿佛跳跃着行进”，例如：hop from job to job（频繁地更换职业）。
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《哈利·波特与混血王子》精讲笔记
1. reckless 不计后果的。在这里，邓不利多是在批评哈利?波特整个夏天行事鲁莽，无所顾忌。
例如：He's quite reckless of his own safety.（他完全不顾及自己的安全。）
2. take one's mind off: 使某人不去想。哈利?波特的意思是，这样我就可以“什么都不去想。”
这个短语的常见表达为take one's mind off someone/something，例如“我不去想那些麻烦事”，就可以说take my mind off the troubles。
3. apparate: 幻影移行。在《哈利?波特》系列中特指一种魔法，只要挥动魔杖，念出“幻影移行”四字，就可以让自己瞬间转移位置。 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: 呕吐。
例如：Too much beer makes me vomit.（喝太多啤酒会使我呕吐。）此外，vomit还可以表示“使人恶心”，或“使人口吐恶语”。例如：You make me vomit.（你让我恶心。）
5. sort of: 可以说，有几分地。
例如：It's sort of embarrassing.（这有点叫人难为情。）
6. disfigure: 毁容，破坏。
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例如：The accident disfigured him for life.（那次事故使他毁容, 终生无法恢复。）
7. upholstery: 室内装潢，内饰。这里是指Horace变成了一个扶手椅把自己掩藏了起来。
8. come by: 设法得到，取得。
例如：I hope that money was honestly come by.（我希望那笔钱来得正当。）
9. give away: 出卖，泄露。Horace在这里的意思是“我哪里露馅了？” 例如：He was given away by one of his accomplices.（他被他的一个同谋者出卖了。）
10. by any chance: 或许，万一。用于问句，询问是否真实、可能等。 例如：If by any chance we could reach there before you, we would wait for you.（万一我们比你先到达那儿, 我们会等你的。）
11. loo: 厕所，洗手间。英式俚语。
12. unequivocally: 毫不含糊地。在这里，Horace是说自己知道Albus此行的目的，但绝不会答应他。
13. Muggle: 麻瓜。在《哈利?波特》系列中，泛指没有魔法的一般人。哈利波特和巫术学院的学生和老师们属于魔法世界，而波特的阿姨一家人就是所谓的麻瓜。
14. take the owl: 发火，生气。俚语用法。
1. nosy: 爱管闲事的人，包打听。也称为nosy parker。
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例如：Do not get nosy, or you'll get into trouble!（别好管闲事，不然你会惹麻烦的！）
2. wander about: 徘徊，闲逛。
例如：Don't wander about the room like that. Get something to do.（不要那样在房间里乱走，找点事情做。）
3. for a while: 一时，暂时。
例如：Could youplease keep silent for a while?（你能不能清静一会儿?）
4. have no business doing: 无权做某事，或表示某人水平很差，不适合干某件事或者某一行。
例如：I have no business teaching Chinese because I don't speak it very well.（我的中文太差，所以不能教中文。）
5. step in: 插手帮助，介入。
例如：I asked him why he didn't step in and help stop the argument.（我问他, 为什么他不进行干预, 制止这场争论。）
6. barmy: 傻乎乎的，疯疯癫癫的。
例如：The kid must be barmy on the crumpet; he’s brought us soy sauce for wine.（这孩子脑子一定不正常，他把酱油当成酒拿给了我们。）
7. talk: 谣言，流言蜚语。
例如：He was too certain of her love to be deceived by such talk.（他确信她的爱, 因而不会被这种谣言所欺骗。）
8. give or take: 相差不到，出入至多。罗恩在这里的意思是说，邓不利多“差不多”有150岁了。
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而give and take则表示“妥协让步，平等交换”。例如双方negotiate with much give and take.（就平等交换进行谈判。）
9. Cissy：这里是对Narcissa的爱称。
此外，cissy还可以表示“有娘娘腔的，柔弱胆小的”，在美国俚语中它可以直接作名词，用来表示“脂粉气的男子”。
10. pfft: 相当于“啐”，表示突然终止或终于失败。
11. run along: 走开。
例如：Run along now; I'm busy.（现在请你走开，我很忙。）
12. as it happens: 恰好出现，碰巧来到。
例如：As it happens, I have left the book at home.（我碰巧把书忘在家里了。）
13. play my part: 尽自己职责，尽自己本分。
14． empty words: 空谈。
类似的说法还有empty talk，例如：He is a practical man and doesn't like empty talk （他是一个注重实干的人，不喜欢空谈。）
15. coward: 懦夫。
例如：Coward as he is (=though he is a coward), he can't bear such an insult.（虽然他是懦夫, 却无法忍受这样的侮辱。）
1. Quibbler: 原意指“吹毛求疵的人、诡辩者”，在本剧中指杂志《捕风捉影》，也译为《唱唱反调》，主编是卢娜之父。
2. Boxing Day: 圣诞节后的第一个工作日，节礼日。商家常在这一天
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打折，服务行业人员则会得到小费或者老板的奖励。
3. wrack spurt: 骚扰虻。哈里?波特系列中的一种生物。
4. under the impression: 认为，觉得。意思是原以为是这样的，结果证明想法是错的。
例如：I am under the impression that you are coming tomorrow.（我以为你明天才来呢。）
5. bark: 厉声质问，说话态度不友好。罗恩在这里的意思是说，哈利在胡言乱语，诬陷了德拉科。
5. creepy: 怪异的，令人毛骨悚然的。
例如：There is something creepy about him.（他有些鬼鬼祟祟。）
7. bloke：英国俚语，小子，家伙。
8. need some air：想透透气，想喘口气。哈利打着出去透透气的幌子，去德拉科的车厢一探究竟。
9. phantom: 幻影。
例如：It is thesort of night when phantom may walk.（这种夜晚正是幽灵出没的时候。）
10. mess around: 胡闹，闲荡。
例如：Come on, you guys, start doing some work; don't just mess around all day!（得啦, 你们这些家伙, 开始干点事吧, 别整天闲混了。）
11. pitch: 投掷，重跌。德拉科的意思是：“要是再让我呆上两年，还不如让我从天文塔上跳下去。
12. laugh in the end: 笑到最后。
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13. eavesdrop: 偷听。德拉科发现了哈利藏在车厢里偷听，所以他先支走了同伴，质问哈利为什么在自己的车厢里偷听。
14. Petrificus Totalus：统统石化。是哈利?波特系列中一种咒语的名字。
15. Ennervate：快快复苏。咒语。
1. lunatic: 荒唐可笑的，极其愚蠢的。例如：You're driving on the wrong side of the road, you lunatic!（你现在是逆行开车, 你这个蠢材！）而lunatic asylum则是指“精神病院”。
2. easy for it to say: 说得容易。这句话也可以说成是easy for you to say。
3. first off: 首先，立刻。例如：First off, let's see how much it'll cost.（首先, 让我们看看要花多少钱。）
4. all the world: 所有的人。例如：All the world knows their secret.（人人都知道他们的秘密。）
5. look out: 检查，留神。在此处指“搜查”。为了防止出现意外，邓不利多下令在学生们进入魔法学校时对他们进行了搜查。例如：FBI is on the look out for the agent these days.（这些天联邦调查局正在监视那个特工。）
6. sobering: 使清醒的，使冷静的。例如：The bad news had a sobering effect on all of us.（对我们大家来说, 这个坏消息是发人深省的。）
7. dark force: 黑暗势力。
8.free period: 自习课，空课时。Period在此处指“课时”。例如：What’s the next period?（下节课是什么课？）
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9. straight away: 马上，立刻。例如：She guessed the answer straight away.（她马上就猜中了答案。）
10.Quidditch trial: 魁地奇比赛。 “魁地奇”是只存在于魔法世界中的由巫师参加的球类比赛。跟普通比赛一样，它在被看台包围的球场上进行，参赛者分两队骑着飞天扫帚在空中飞行对抗，每队七人，各有一名守门员、三名追球手、两个击球手和一名找球手。
11.dead: 完全地，绝对地。例如：He was dead asleep.（他酣然大睡。）
12.love potion: 春药，媚药。
13.infatuation: 痴迷，醉心。例如：This is only a passing infatuation, not to be taken too seriously. 这仅仅是一时的恋情，不必过于认真。
1. take it too hard: 太在意，过于不快。赫敏的意思是“但愿考迈克可别太难过”，而其实正是她在比赛快结束时念了咒语，才害考迈克输掉了魁地奇比赛。
2. vile: 可恶的，可耻的。罗恩说考迈克对赫敏“有点儿意思”，所以赫敏回敬道：“别恶心我”。例如：Murder is a vile and loathsome crime.（谋杀是邪恶而令人发指的罪行。）
3. spell: 咒语，魔法。而“下咒语”或“施魔法”则用cast a spell来表示。例如：The heartless witch cast a spell on the poor little girl.（狠心的女巫对孤苦无助的小女孩施发妖术。）
4. Not bloody likely: 根本不可能，你别做梦了。Bloody在这里用来加强语气，有冒犯之意。例如：Lend you $5? Not bloody likely!（借给你
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5美元？没门儿！）
5. binding: 书籍的封皮，装订。例如：The latest edition is binding.（最新版本的书正在装订。）
6. There we go: 好了，这样就对了。
7. That settles it: 这就解决了。
8. fancy: 想要。哈利的意思是“有人想来点儿黄油啤酒吗？”
9. chum: 密友。例如：She's chum up with the girl in the next room（她和邻室的姑娘成了好朋友。）
10.snog: （英国俚语）接吻，爱抚。
11.You can't be serious: 你一定是在开玩笑。类似说法还有you gotta be kidding。
12.throw together: 匆匆拼凑。例如：The boy just throw together a composition and hand it in.（男孩匆匆拼凑了一篇作文就交上去了。）
1. get knickers in a twist：惊慌，恼火。非正式用语。罗恩觉得赫敏因为他和别人亲热而发火是自己和自己赌气。
Twist在此处表示面对困境时的烦闷，慌 乱。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. 我答应去逛贱卖场时花费不会超出100英镑，因此你不必神经兮兮地唠叨个不停。
2. free agent: 自由人，自由球员。
3. at liberty: 自由，不受限制或支配。
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此处at perfect liberty是指“完全有自由”。例如：You are at liberty to use my bicycle.（我的自行车你可以随便用。）
4. cannot care less: 完全不在乎。
类似的用法还有：I couldn't agree more.=I totally agree.（我完全同意） I couldn't please you more.=I did my best to please you.（我尽量使你高兴） I couldn't be more right.=I am totally right.
5. given the circumstances：鉴于这种情况。
例如：Given the circumstances, you've done well.（鉴于这种情况，你已经做的不错了。）
6. love potion: 春药，媚药。
7. Chosen One: 救世之星，救世者。
8. sleep-walk: 梦游。例如：Some children who sleepwalk are also affected by night terrors.（一些梦游症儿童同时患有夜惊。）
9. bad breath: 难闻的气味，口臭。
例如：He is fairly good looking but his bad breath turns me off him.（他长得相当帅，可是他嘴里的口臭使我对他失去了兴趣。）
10.on second thoughts: 进一步考虑后。
例如：On second thoughts , I will accept the offer.（经再三考虑，我将接受这个报价。）
11.minx：轻佻女子。
例如：She can be a proper little minx when she wants to get her own way!（她有时为所欲为, 要发起坏来可真是个十足的小坏蛋！）
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12.gate-crash: 擅自入场，闯入。
例如：They couldn’t get any tickets for the volleyball game, so they tried to crash the gate.（他们没有弄到一张排球赛的票，因此试图闯入场内。）
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Just My Luck《倒霉爱神》精讲笔记
1. chipper: 高兴的，得意的。Maggie看见Ashley满面春风地走进门，所以问她：“你美什么呢？”
2. sample sale: 样本特卖。后面的Fifty percent off则是指“打五折”。
3. One door closes, and two doors open. 一扇门关上，就有两扇门打开，类似于我们常说的“天无绝人之路”。Dana的新歌收到了唱片公司的rejection letter（拒绝信），所以她这样乐观地打趣自己。类似的说法是When one door closes, another door opens.
4. hang up: 挂断电话。Do not hang up, please.就是“请不要挂断”的意思。
5. I.M.: 即时讯息，instant message的缩写。
6. touch: 修改，润色。Ashley谎称从Miss. Braden那里收到I.M.，说Miss. Braden正在进行final touches（最后的润色）。Touch在这里意为“修改，润色”，平时我们也常用finishing touches来表示这种意思。
7. underpaid: 所得报酬过低。例如： He complained of being underpaid.（他抱怨报酬过低。）
1.home or away?: 主场还是客场? 在比赛中，我们常用home和away来表示主客场。
2.dragon lady: “龙夫人”。Ashley将Miss.Braden称为“dragon lady" 是形容她非常严厉。
3.bash: 美国俚语中，bash用来指“舞会，大型派对”，而bash的本意
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是指“猛击，重敲”，例如：He bashed the door in and entered the room. 他破门进入房间。
4.caliber: 才干，水准。在这里，Ashley所说的men of Peggy's caliber意思是“能对上Peggy胃口的人。”
5.drool: 流口水，胡说八道。Ashley说“你们把口水都流到地毯上了”，是来形容姑娘们见到帅哥Antonio时激动的心情。
6.dry cleaning: 干洗。如果你家附近有dry cleaning shop（干洗店）的话，你就可以很方便地把标有Dry Clean Only（只能干洗）的衣服拿去dry cleaning。
7.big date: 重要的约会。 Michael Jackson is a big name in the music business. 迈克尔·杰克逊在音乐界是个响当当的名字，但在演唱会之前这个big moment（重要的时刻），他却去世了。
8.blind date: 相亲，经由第三方安排的约会。
9.hit it off：和得来。在这里，Antonio的意思是“如果你觉得我们会来电的话”。
10.What are the odds？：Dana说这句话的意思是，莎拉·杰西卡·帕克（《欲望都市》女主角扮演者）的衣服错送到你这里，还恰好是你的尺寸，“你还指望什么呢？”我们平时还用What are the odds so long as you are happy?来表示“知足者常乐”。
1. carnival-like: 像嘉年华一样的。Ashley计划把这个masquerade（化妆舞会）办成类似于嘉年华的饮宴狂欢。
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2. upscale: 高端的，高消费阶层的。这类upscale（迎合高层次消费者的）商品针对的顾客通常住在upscale neighborhood（高档社区），在upscale market（高档商品市场）购买upscale fashions（高级时装）。
3. deejay: 播放音乐的人，通常简称为DJ。
4. fortune-teller: 算命者。Teller作为后缀，用来表示“……的人”，例如：story-teller（讲故事的人）。而teller单独使用，则还可以用来指“出纳”。
5. on stilts: 踩着高跷。在Ashley设计的这场masquerade（化妆舞会）中，waiters都是踩着高跷（on stilts)来为人们服务的。而如果说一个人talk on stilts，可不是说他在踩着高跷讲话，而是说他“夸夸其谈，夸张做作”。
6. alcove: 单间，在这里指舞会上为人们约会提供的私密隔间。家里装修的时候，还常隔出一件coat alcove（衣帽间）。
7. I owe you big time: 我欠你一个大人情。owe someone a big time的意思就是“欠某人情，十分感激某人”，而big time单独使用，则是指“愉快的时光”。比如，在这次the big time（成功的商业演出）过后，Jim和他的同伴外出度假，They had a big time there.
8. high-strung: 高度紧张的, 容易兴奋的.He is a high-strung artist.（他是个容易激动的艺术家。）有时候我们也用这个词来形容某人“十分敏感”。
9. doll: 美男子。美国俚语。如果我们称某个美女为doll，则是说她漂亮但没有头脑。
10. freeloader: 不速之客，揩油的人。也就是我们口语中常说的“吃白
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食”。
1. home theater: 家庭影院。而home theater personal computer（HTPC)就是我们常说的能播放高清视频的“家庭影院电脑”。
2. mind-blowing: 引起幻觉的，使兴奋的。这位女助手说，这里会让人“意乱神迷”，以及下文中提到她要去上erotic massage class（色情按摩班），显然是在勾引Jake。
3.hang-up: 顾虑，烦恼。女助手的意思是“有些男人就是介意女性付账，这真奇怪”。
4. blackball: 投票反对，排斥。Ashley让老板Miss Braden丢了丑，所以她的老板“通知全城所有的企业都不要雇佣我”。
5. convertible: 折叠床。Convertible的原意是指可折起的，可改变的，在此处指Dana睡的是一张折叠床。家里常见的“折叠沙发”就可以说成是convertible sofa bed。
6. futon: 蒲团，源自日语，指铺在地板上的褥子。在这里，Dana展示给Ashley的，其实是一个像futon一样舒适的长沙发。
7. keep out of your way：keep out of the way意思是“避开”。Ashley觉得住在Dana和Maggie家里给她们添了麻烦，所以说“那我就不麻烦你们啦”，但她紧接着就闯了大祸。
8. zit: 小疙瘩，小丘疹。我长了丘疹，就可以说成是I have a zit。
9. anti-Midas: 扫帚星。Midas（弥达斯）是希腊神话中的神，传说可以点石成金。Ashley在这里用anti-Midas来形容自己是个“扫帚星”。
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10. lousy: 污秽的，恶心的；差劲儿。Dana安慰Ashley说：“从某种程度上说，你只是有点倒霉而已”。
1. Don't break my heart：别让我失望。Break one's heart的意思是“使某人很伤心”，例如：It almost broke my heart.(这差点让我伤透了心）。
2. black cat：黑猫，西方的文化里黑猫是不吉利的，尤其是中世纪的欧洲，把黑猫看作邪恶的女巫的化身，会给人带来厄运。所以Ashley觉得Maggie's black cat从她面前走过，会给自己带来厄运。
3. scope：(算命用的)星占图, 天宫图。Ashley此处的意思是让Dana帮自己看看星座运势，因为她最近实在是霉运连连。
4. bogus：假的，伪造的。例如：The company was bogus, the prospectus was all got up.（那公司全属子虚乌有，所谓的创办计划是胡编乱造出来的。）
5. ask out：约会，邀请外出。请某人出去吃午餐，就可以说成是ask someone out to lunch。
6. turn over a new leaf：翻开新的一页，重新开始。They decided to give him a last opportunity to turn over a new leaf.（他们决定给他最后一次机会，让他重新做人。）
7. gross：令人恶心的，令人不快的。Dana的意思是，Ashley把隐形眼睛从脏东西里捡起来戴上，这很让人恶心。
8. rear end：臀部。Ashley没有料到这是David的母亲的作品，所以说它像是从“大象的屁股里拉出来的东西”，这可惹恼了David的母亲。
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9. in person： 外貌上。You look so much younger in person意思就是“您本人看上去更年轻些”，这句话再次激怒了David的母亲。此外，in person还有“亲自”的意思，例如：You must come in person.（你必须亲自来）。
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Nanny Diaries 《保姆日记》精讲笔记
1．gig: （昔日的 ）双轮马车。在影片中taking a nanny gig指Annie又走Lynette祖母的老路，去做保姆。gig还指“(爵士乐、摇滚乐等)演奏,公演”。
例如：The band played a final gig before splitting up. 乐队散伙前作了最后一次演出。
2．get one’s head together: 冷静下来，想清楚，想明白。影片中Annie对自己的人生定位以及未来要走的路感到迷茫，她想借做保姆这段时间好好考虑一下自己究竟适合做什么。
I need to have a chance to get my head together and think through everything. 我需要一个机会让自己的头脑冷静下来，把事情彻底地想清楚。
3.hook up with: 接洽妥当。影片中Annie指她参加了银行的项目，银行安排她和一个培训生搭对。hook up在生活中是很常用的口语，意思是“介绍（与……认识）”。
例如：Yo Wilber, can you hook me up with that girl over there? 嘿，玮柏，你可以介绍那个女孩给我认识吗？
4．trainee: 培训生，受训人员。
All the expenses of the trainee will be supported by the bidder. 受训人员的全部费用都由投标人支付。
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5．dork: 呆子，笨蛋。
6. ticket: （给违反交通规则者等的）传票，罚单。影片中Lynette指如果Annie再继续这么在车里手舞足蹈的话，警察就要给她开罚单了。
7．a shrink degree: 心理学学位。shrink在口语中有“心理医生”的意思。影片中Lynette说还好她读的是心理学的学位，否则她会不知道拿（因为步入新生活而激动得）“发疯”的Annie怎么办。
1. Manolo: 即Manolo Blahnik，著名女鞋品牌，价格昂贵。影片中Annie一边读着Mrs. X给她的规则清单，一边偷偷试穿Mrs. X的名贵鞋子。
2. master bedroom: 主卧室。相对地，客房就是guest room。
3. refrain from doing sth.: 避免做某事。影片中Mrs. X让Annie也尽量不要进主卧室。
请看例句：Refrain from using such coarse language. 别使用这样的粗俗的语言。
4. throw off: 使慌乱，使出错。影片中Mrs. X指午睡会打乱Grayer的睡眠规律。
看一下例句：The jeers threw the performers off. 喝倒彩使演员们惊慌失措。
5. germ: 细菌，病菌。因为地铁上细菌比较多，所以Mrs. X一家不乘坐地铁。germ还有“起源，萌芽”的意思。请看例句：
It's just the germ of an idea, but something may come out of it. 这只是个初步的想法，但是也许能有所成就。
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6. stroller: 手推童车
7. waitlist: 把……列入等候者（或申请人等）名单。影片中Mr.X希望让他的儿子受到最好的教育，所以早早地就把他列入了大学申请人的名单。
例句：All they could do was to waitlist us for the afternoon flight. 他们所能做的仅仅是把我们列入下午航班的候机者名单。
8. holy merde: <法>相当于英语中的holy shit。
9. Mon Dieu: <法>相当于英语中的My God。
1. blue blood: 贵族血统，贵族出身的人。Annie的意思是Harvard一看就是出身高贵的人。
2. out of one’s league: 配不上，比不上。league有“才能水平、质量等级”的意思。影片中Annie指她和Harvard Hottie不是同一个社会阶层的人，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.
你如果向他挑战比赛下棋，便会发现你的水准太低——他是国际象棋俱乐部的冠军。
3. turn on: （常指在性的方面）刺激，使产生快感。影片中Annie指对Mr.X来说，bloomberg电讯（bloomberg是全球领先的金融专业媒体）比漂亮的保姆更能引起他的性趣。
4. redeem oneself: 使免咎。影片中Harvard希望能通过约会Annie来
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挽回先前自己的朋友对Annie造成的伤害和对自己形象的破坏。 例如：redeem oneself for one's earlier failure 以行动挽回先前失败的影响
5. ramble: 漫无边际地闲扯。
She rambled on about her children. 她没完没了地谈她孩子的事。 ramble常用的意思还有“闲逛，漫游，漫步”。例如：
She rambled out of the room without saying a word.
她一言不发漫步走出房间去。
6. screwed: 酒醉的。在影片中指“晕头转向”。screwed还有“受骗的，上当的”的意思。
例如：He was easily screwed. 他容易受骗。
screw常见于screw up的用法中，意思是“把……弄的一团糟，毁坏，搞乱”。
例如：She had screwed up and had to do it all over again.
她把事情搞坏了，只得重新做过。
1. Stockholm Syndrome: 斯德哥尔摩综合症（被劫持人质对劫持者产生好感并同情、宽容他）
2. getup: 衣服，穿戴（常指离谱者）。影片中Harvard Hottie指的是Annie在国庆节那天的女仆打扮。请看例子：a circus-clown getup（马戏团小丑的穿戴）。
getup还可以指“（书籍、杂志、服装等制作的）式样”。
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3. kinky: <口>异乎寻常的，奇形怪状的。Annie指她那天穿的服装就是奇装异服（kinky clothes）。另外，kinky还有“别出心裁的，巧妙的”的意思。
例如：That's a marvelous, kinky idea. 这是个别出心裁的好主意。
4. field work: 实地工作。影片中Annie的专业是Anthropology（人类学），她把自己的保姆经历看作是人类学家的实地体验。field work还可以指“田间耕种工作”。请看例子：
During busy seasons they help with field work. 农忙季节他们就帮着干农活。
相应地，fieldworker就是“实地考察工作者，现场调查工作者，田间工作者”。
5. go native: 过土人生活，为当地人同化。例如：
After living in South Africa for 20 years, he has gone completely native. 他在南非住了二十年，已完全适应当地人的生活方式。
在影片中，go native指的是人类学家在实地考察中，通过和自己的考察对象的交往，逐渐认同他们的文化，或被他们所同化。
6. ASAP: 即As soon as possible，尽快，越快越好。看一下例子： We will arrange the payment ASAP. 我们会尽快安排付款。
1. slam the door in sb.'s face: 拒绝见某人；拒绝同某人谈话。在影片中Annie指Mrs. X很少花时间与儿子相处，几乎不和儿子交流。请看例子：
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The workers asked for only a small increase in pay, but the boss just slammed the door in their faces.
工人只要求增加少量工资，但老板就是拒绝同他们谈判。
slam the door in sb.'s face还有“让某人吃闭门羹，把某人拒之门外”的意思。
例如：He backed away and in that split second she slammed the door in his face.
他往后退去，就在这一刹那，她砰地把他关在门外了。
2. spa: （提供蒸汽浴、按摩等的）健康美容中心。Annie认为Mrs. X是个不称职的母亲，因为在Grayer发高烧的时候她还有心情去享受蒸汽浴。spa还有“矿泉疗养地”的意思。
3. disgruntled: 不满的，不高兴的。例如：disgruntled spectators（不满的观众）；an disgruntled expression（愠色）。
4. Watsu massage: 漂浮指压按摩。把水中飘浮与节奏相结合的伸展四肢的治疗方法。目的是增加身体的柔韧度和放松身心。
5. every once in a blue moon: 相当于every now and then，不时，间或，偶尔。影片中Annie让Mrs. X偶尔和Grayer一起吃吃饭。
例如：John comes to visit me every once in a blue moon.约翰不时地会来看我。
once in a blue moon是“偶尔、罕见”，例如：
This is a chance once in a blue moon. 这可是个难得的机会。
6. accessory: 附属品，附加物。Annie希望X夫妇能够多关注一下
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Grayer，不要把他当作多余的东西。accessory在生活中很常见，例如：
A cigar-lighter is an accessory to a car.点烟器是汽车的一种附件。
accessory还可以指妇女的装饰品，在这种用法中多用复数形式，例如：
She often wears accessories such as a diamond bracelet, a necklace and earings.
她常常戴钻石手镯、项链、耳环等一类首饰。
Twilight《暮光之城》精讲笔记
1. the eyes and ears of this place: 这个地方的万事通。Eric指他对学校里的大小事务都很熟悉。
例如：Louis called himself eyes and ears of the school.
路易斯自称为学院里的万事通。
2. chillax: chill和relax的结合，意思是让某人放松冷静。
例如：Dude, just chillax, just because it's not your birthday doesn't mean that you won't have fun.
老兄，别急，今天不是你的生日，但这也不等于说你就不能开心地玩啊。
3. high five: 举手击掌（用来招呼，表示狂喜或庆祝胜利）。请看例子： He always gives me a high-five when I win the game.
我比赛获胜时，他一向为我雀跃。
4. burrito: 墨西哥料理的一种（以肉、乳酪、豆泥做馅的面饼卷）
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5. home girl: 同乡的女孩。Eric的老家也在亚利桑那州。
6. mess up: 弄糟。影片中Bella因为把球打到Mike的头觉得很抱歉。请看例子：
He got another chance and didn't want to mess up again.
他又获一次机会，这次他再也不愿把事情弄糟了。
7. candid: 乘人不备时拍下的照片，快照。影片中Angela趁Bella没注意时给她拍了一张照片，想作为这期校报的特写照片，但是被Eric阻止了。candid 也可以作形容词用，candid camera是“（用来拍快照和偷拍照片的）快拍照相机”，candidphoto是“快照，（乘人不备时摄下的）照片”。
8. bring up: 提起，谈到。影片中Eric知道Bella不喜欢上校报，所以叫Angela别再提上报的事了。请看例子：bring up old scores again（翻老帐）。
9. got one's back：支持某人，挺某人。
10. head down to: 南下。down指“向南方”，相对地，up指“向北方”。head在这里的意思是“朝特定方向行进”。例如：head toward town（朝城里去）。
又如：He changed his mind and headed back to Nanjing.（他改变主意回南京去了。）
11. lend a hand: 助一臂之力。影片中Bella的父亲是一名警察，因为发生了神秘血案，所以他要赶往相助。请看例子：
Please lend a hand with my book. 请帮我拿一下书。
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12. chick thing: 女孩子们的事情。chick有“少女、小妞”的意思。
13. cover: 采访，报导。影片中Eric想追Bella，所以借报导班级舞会委员会为借口和Bella搭讪，希望她能做他的舞伴，但是话还没说完就被Mike打断了。
14. game: 猎物。在这里Eric把Bella比喻成猎物，而Mike打断Eric就像把他觊觎的猎物给打落一样。
15. playa: 交过很多女朋友的人。
16. T-Ball: 儿童（简易）棒球（运动）。影片中Mike听懂了Eric的话，但是他很不以为然，所以就小小地嘲笑了他一下。
17. mitosis: 细胞有丝分裂
18. prophase: （细胞核分裂的）前期；初期
19. anaphase: （细胞核分裂之）第三期，后期
20. keep up: 跟得上。请看例子：keep up in a race （在赛跑中不落后）
21. metaphase: （细胞分裂）中期
22. contact: 即contact lens（隐形眼镜）。
23. fluorescent: 荧光。fluorescent还可以作形容词用，如fluorescent lamp是“荧光灯，日光灯”，fluorescent screen是“荧光屏”。影片中Edward是指他的眼睛变色是因为荧光灯的关系。fluorescent还有“容光焕发”的意思，例如a fluorescent youth是“一个容光焕发的青年”。
24. sure as hell: 也可以说成as sure as hell，意思是“肯定无疑”。请看例子：
He sure as hell did it. 肯定是他干的。
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表示“肯定无疑”的词组在口语中还有很多，如as sure as a gun。看一下例子：
As sure as a gun, this is he. 没错，准是他。
as hell起到加强语气的作用。我们在口语中也可以用as+adj.+as hell来加强语气。例如：I'll be as normal as hell.（我会尽量表现得非常正常。）
25. kiss your license goodbye: 和你的驾照说再见。kiss sth. goodbye不是和某物吻别，而是指将不会得到某物了。请看例子：
Since you did not pass the test, I guess you have to kiss the bike goodbye. 因为你没有通过测试，我想你也别指望得到那辆自行车了。
26. spill: <口> 摔下，跌下。Cullen医生说Bella“took quite a spill”是指她摔得不轻。看一下例子：He had a spill getting off the bus.（他下公共汽车时摔了一跤。）
27. disorientation: 定向力障碍，迷失方向感。
28. vitals: （心、脑、肝、肺、肾等）维持生命的重要器官。strike at sb.'s vitals就是“打某人的要害部位”。
29. trauma: 外伤，伤口，损伤。trauma还经常指“（心理上、精神上的）创伤”。例如：heal emotional trauma（医治感情上的创伤）。
30. freak out: 扰乱，使躁动不安。Bella不想让父亲告诉母亲这个事故是怕母亲会担心。看一下例子：She will freak out every time she is disappointed.（每次没有如她所愿时她都会抓狂。）
40. lot: 指parking lot（停车场）。
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41. moat: 深沟。从影片的对白我们可以知道，Bella虽然没有把Edward的家想象成深沟，但是在她的想象里，吸血鬼的居所与棺材和土牢也差不多。
42. non-stick saute pan: 不沾炒锅。non-stick pan就是我们所熟知的“不粘锅”。saute的意思是“炒的，煸的，嫩煎的”，saute也可以作名词用，意思是“嫩煎的菜肴”。
43. get a whiff of that: 闻一下那个气味。影片中Rosalie指的是Bella散发出的活人的气味。whiff的意思是“一阵（微弱的）气味”。请看例子：
Something good must be cooking; I got a whiff of it.
一定在做什么好菜，我已闻到味道了。
whiff也可以用来修饰气味之外的东西，意思是“一点点”，例如： There is a whiff of sarcasm in it. 这里面带有一点点讥讽的味道。
44. Italiano: 意大利语，意思是“意大利的”，在文中是“意大利菜”的意思。
45. go public: 曝光，把秘密公开。影片中Emmett指Edward和Bella已经公开在一起了。看一下例子：
Before he goes public, he's got to convince everybody that he's telling the truth.
在公开秘密之前，他必须使大家相信他是准备说实话的。
46. implicate: 牵连；连累。影片中Rosalie担心如果Edward和Bella将来情感破裂的话，这个吸血鬼家族的秘密就会被世人知道，从而遭
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到牵连。请看例子：
His enemies tried to implicate him in the murder.
他的仇人竭力想把他牵扯进谋杀案中.
47. graduation cap: 毕业帽。美国高中毕业时也有毕业帽。
48. matriculate: 被录取入学。影片中Edward上了很多次高中，参加了很多次高考，并多次被大学录取。请看例子：
Every fall hundreds of thousands of young people matriculate in colleges and universities. 每年秋季成千上万的青年考入高等院校。
matriculate还可以作及物动词用，意思是“录取……入大学；准许……注册入学”。例如：
He had been matriculated in the university. 他已考上这所大学。
49. spinach: 菠菜。Bella认为父亲应该也给自己点一盘菠菜沙拉，这样对他的身体比较有好处，牛排的脂肪高，多吃对中年人的健康不利。
50. cut back on: 减少，削减，缩减。Bella让她父亲少吃点牛排。请看例子：
We shall have to cut back on our spending.（我们将不得不削减我们的经费。）
51. as healthy as a horse:英语中 常用的比喻词组，像马一样健康，也可以说as strong as a horse（像马一样强壮）。类似的和动物相关的比喻词组还有：freeas a bird；gentle as a lamb；mute as a fish；stupid as a donkey；proud as apeacock等。
52. Chief: 长官。影片中是用来称呼警察，也就是Bella的父亲。Chief
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也可以用来称呼主任、酋长和其他首领。
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的同学在窗外做动作，设法引起Bella的注意。此外，flag也指打旗号或用其他信号使人或车等停下或过来，例如：flaga waitress（招呼女服务员），又如：He flagged me a taxi.（他为我招来一辆出租汽车。）
55. turn in: <口>上床睡觉。看一下例子：
I usually turn in at about 11 o'clock. 我通常11点左右睡觉。
56. got a big smile for you: Bella的父亲是指他觉得Mike Newton对Bella很有意思。
57.yahoo: 乡下人。这里Bella的父亲是用调侃的语气，因为他居住的地方是个小镇。
58. grow on: 越来越被……喜爱。例如：Modern music starts to grow on people.（现代音乐已越来越被人喜欢。）在影片中Bella告诉母亲说她喜欢上了福克斯这个小镇。
59. Jock: <口>赛马的骑师。
60. Indie: （唱片、电影的）独立制片人。
61. unparalleled:无比的；无双的。例如：an unparalleled success（空前的胜利）；unparalleleddifficulty（无比的困难）。在影片中吸血鬼男孩是指James具有无以伦比的感官能力，即视觉、听觉、触觉、味觉、嗅觉能力都是他人无法匹敌的。
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unparalleled还有“独特的，独一无二的”的意思。例如：Our library is unparalleled.（我们的图书馆是独一无二的。）
62. lethal: 危险的，毁灭性的，致命的。例如：a lethal injury（致死的损伤）；a lethal attack on sb.'s reputation（彻底诋毁某人名誉的攻击）。lethal还可以用来形容足球运动员射门的精准。
63. relish: 从……中得到乐趣，喜爱。Carlisle是指他不愿意杀害生灵，尽管是要杀像James这么邪恶的一个吸血鬼。看一下例子：relish the challenge of competition（从竞争的挑战中获得乐趣）。
relish常见的意思还有“津津有味地吃（或喝）；欣赏，品味”。例如： He is so hungry that he will relish plain food.
他饿极了，素淡饭食也会吃得津津有味。
又如：She relishes the memory of that adventure.
她常在记忆中回味那次奇遇。
64. sadistic: 残酷成性的。sadistic还常表示“施虐狂的”。例如：sadistic pleasure（施虐快感）。
65. keep one's thought to oneself: 不把自己的想法讲出来。keep sth. to oneself就是“对某事秘而不宣”的意思。例如：
Don't keep it to yourself, we need your knowledge and experience. 别保守了，我们需要你的知识和经验。
keep to oneself则是“不与人交往”的意思。例如：
She kept to herself in the ship and would speak to no one.
她在船上一人独处，不与任何人交谈。
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Up 《飞屋环游记》精讲笔记
1. do sb a favor: 帮助某人。常用的句型有： Would you do me a favor please? 请你帮我个忙，好吗?
此外，我们还常用in favor of来表示“赞成，支持，有利于”，而curry favor with则表示“巴结，拍马屁”。
2. so long: 再见，非正式用语，相当于see you later。 例如：See you tonight. So long.（今晚见，再见了。）
3. snipe: 鹬，沙锥鸟。
据说snipe是一种身体娇小、动作十分灵活的小鸟，要猎获这种鸟并不容易，需要相当不错的射击和潜行的技术，因此，snipe做动词也可以表示“狙击”。
此外，snipe还可以表示“冷言冷语地指摘；抨击”，而“抨击某人”，就可以用snipe at someone来表示。
4. goggle: 护目镜。
此外，goggle做动词还可以表示“（尤指由于惊恐而）瞪大眼睛看”，常用goggle at sb/sth来表达。
5. soil: 弄脏。
例如：She soiled her dress with ink. 她的衣服被墨水弄脏了。
6. steer：驾驶，掌舵。
例如：Steer the boat for that island.（把船驶向那个岛。）
7. jerk: 急拉，猛推。
而jerk sb around则表示“（尤指通过不诚实的手段）给某人出难
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题，为某人设置障碍，为难某人”。
8. cumulonimbus：积雨云。
积雨云臃肿庞大，云顶有丝缕状冰晶结构，顶部常扩展成砧状或马鬃状。积雨云几乎都会形成降水，包括雷电、阵雨、阵性大风及冰雹等天气现象，甚至发生龙卷风，在特殊地区，还会产生强烈的外旋气流---下击暴流。这是一种可以使飞机遭遇坠毁灾难的气流。
9. stay up: 不睡觉，熬夜。
例如：I am going to stay up late to finish my paper.（为了完成报告我打算熬夜不睡。）
10.blow up: 使充气，放大。
这里的blow up balloons则是指“吹气球”。
11. make it: 达到既定目标，走完全程。
Make it是一种口语表达，尤其指在困难情况下获得成功，常译为“我们做到了！”
例如： If you try your best, you'll make it.（如果你尽力，就能成功。）
12. hoist: 把??吊起，升起。
在这里，弗莱德里克的意思是让拉塞尔爬到飞屋上去之后，把自己拉起来。
13. come all this way: 一路走来，也写作come all the way. All the way在这里做副词，意思是“从远道，一路上”。
14. get stuck: 被困住，卡住。也写作be stuck。
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此外，get stuck还可以表示“卡壳儿了”，例如：I get / am stuck with this maths problem. Can you help me with it?（我被这道数学题卡住了。你能帮我一下吗？）
而get stuck-up意思则是“翘尾巴”。
15. walk: 牵着走。我们平时说的“遛狗”，就可以用这个词表示。 例如：The trainer is walking his dogs.（那位驯兽人正在遛他的狗。）
16. weigh down: 压低，压得难以移动。
例如：The presents weigh down the branches of the Christmas tree.（礼物把圣诞树枝坠弯了。）
此外，weigh down还可以表示“使颓废，受压抑”。某件事把某人压垮了，就可以用Sth weigh down sb来表示。
17. rap music: 说唱音乐，饶舌音乐，节奏快而强，配有快速念白的现代音乐。
而take the rap for sb可不是指为某人唱rap，它其实是指“无辜受罚；背黑锅”。
18. flash dancing: 闪电舞，劲舞的一种，也写作flash dance。
19. at best: 最多。
例如：At best a few hundred people attended the meeting.（充其量只有几百人出席会议。）
20.darn thing: 见鬼，真糟糕，相当于darn it。
此外在口语中，我们还常用I'll be darned!来表示“真没想到，真
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叫我吃惊”。
21.for the love of Pete: 看在老天的份儿上，相当于for Pete's sake。Saint Peter是耶稣基督的门徒之一，据说死后上天堂，他掌管天堂的大门，所以说“看在老天的份上”。
22. pick up the scent: 发现踪迹，察出气味，也可以用pick up a trail来表示。
例如：The dogs easily picked up the scent of the murderer.（狗毫不费力地嗅出了谋杀者的气味。）
23. soon enough: 非常快地。
在这里，Alfa的意思是说，我们很快就能捉住那只鸟了。
例如：He got what he wanted soon enough.（他很快便如愿以偿。）
24. compadre: a friend, companion, or close associate（密友，伙伴）。这种说法在美国西南部较常见。
25. toil: 辛苦，辛勤劳动。
例如：The joy overpays the toil.（所得的快乐超过付出的辛劳。） 此外，toil还可以表示“艰难缓慢地移动；跋涉”。If you toil somewhere, you move there slowly and with difficulty, usually because you are very tired.
26. cunning: 狡猾的，狡诈的。
要记住，Wisdom differs from cunning.（聪明和狡猾不同），但cunning也可以用来形容“可爱的，机灵的”，见到逗人喜爱的小猫，你就可以说What a cunning kitten!
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此外，cunning还可以表示“精巧的；熟练的”。例如：It takes cunning workmen to make such elaborate furniture.（能工巧匠才能制作如此精致的家具。）
27. fool's errand: 徒劳无功的工作。也写作gawk's errand。 在这里，Alfa是在抱怨Dug没能尽快把Kevin捉住。白跑了一趟，我们就可以说是on a fool's errand。
28. lieutenant: 副职官员；助理官员。Alfa在这里这样称呼Delta，有讽刺意味。
29. mailman: 邮差。
30. jump on: 扑向，猛扑。
此外，jump on sb/sth还可以表示“批评某事，责备某人”，例如：But why is it doctor that I am always so nervy, tense and ready to jump on anybody...（可是大夫,为什么我总是感到神经质、紧张、爱发脾气??）
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.（照这种情形看来, 我们就无法度假了。）
32. be stuck with: 无法摆脱，陷入困境。弗雷德里克森的意思是，他被这几个家伙缠住，脱不开身了。
例如：I'm stuck with my sister for the whole day.（我一整天都让妹妹给缠住了。）
33. clear out: 离开。弗雷德里克森的意思是：我数到三，你俩必
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须离开这里。
此外，clear out还可以表示“清除”，例如：Our old stock has been entirely cleared out.（我们旧的存货已全部出清。）
34. pretty: 非常，很。例如a pretty penny就是指“一大笔钱”。
35. do the trick: 奏效，获得成功。
例如：This medicine ought to do the trick.（这药应该能有效的。）
36. GPS: 全球定位系统，Global Positioning System的缩写，是一种空间卫星导航定位系统。
37. a lot: 拉塞尔的意思是“爸爸总是很忙”。
平时我们常用have a lot on来表示“很忙”，例如：They will have a lot on tomorrow.（他们明天会很忙。）
38. bug: 打扰。
例如：Don't bug me please.（请不要打扰我。）
而我们平时说的系统有bug，是指这个系统存在漏洞、缺陷。
39.pin on: 佩戴。
拉塞尔的意思是，爸爸会来参加仪式，为我佩戴勋章。
此外，pin on还常用来表示“归罪于”，pin sth on sb就是指“把某事归罪于某人”。
40.flea circus:（狂欢节杂耍中受过训练的）跳蚤杂技表演，跳蚤马戏团。
A flea circus refers to a circus sideshow attraction in which fleas are attached (orappear to be attached) to miniature carts
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and other items, and encouraged to perform circus acts within a small housing.
41.cross one's heart: 发誓。在西方，教徒祈祷、发誓、祝福等时会在空中或额头、胸前等划十字，以示自己的真诚。
例如：Billy, cross my heart, it wasn't me who broke your bicycle.（比利，不是我把你的自行车弄坏的，我发誓。）
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