泰坦尼克英文范文

　　泰坦尼克英文篇1

　　a screenplay by james cameron

　　cast:

　　kate winslet... rose dewitt bukater

　　leonardo dicaprio... jack dawson

　　kathy bates... the unsinkable molly brown

　　billy zane... caledon hockley

　　bill paxton... brock lovett

　　written and directed by:

　　james cameron

　　1 blackness

　　then two faint lights appear, close together... growing brighter. they

　　resolve into two deep submersibles, free-falling toward us like express

　　elevators.

　　one is ahead of the other, and passes close enough to fill frame, looking

　　like a spacecraft blazing with lights, bristling with insectile

　　manipulators.

　　tilting down to follow it as it descends away into the limitless blackness

　　below. soon they are fireflies, then stars. then gone.

　　cut to:

　　2 exthttps://www.wenmi.com/jinpin/ int. mir one / north atlantic deep

　　pushing in on one of the falling submersibles, called mir one, right up to

　　its circular viewport to see the occupants.

　　inside, it is a cramped seven foot sphere, crammed with equipment. anatoly

　　mikailavich, the sub's pilot, sits hunched over his controls... singing

　　softly in russian.

　　next to him on one side is brock lovett. he's in his late forties, deeply

　　tanned, and likes to wear his nomex suit unzipped to show the gold from

　　famous shipwrecks covering his gray chest hair. he is a wiley, fast-talking

　　treasure hunter, a salvage superstar who is part historian, part adventurer

　　and part vacuum cleaner salesman. right now, he is propped against the co2

　　scrubber, fast asleep and snoring.

　　on the other side, crammed into the remaining space is a bearded wide-body

　　named lewis bodine, who is also asleep. lewis is an r.o.v. (remotely

　　operated vehicle) pilot and is the resident titanic expert.

　　anatoly glances at the bottom sonar and makes a ballast adjustment.

　　cut to:

　　3 ext. the bottom of the sea

　　a pale, dead-flat lunar landscape. it gets brighter, lit from above, as mir

　　one enters frame and drops to the seafloor in a downblast from its

　　thrusters. it hits bottom after its two hour free-fall with a loud bonk.

　　cut to:

　　4 int. mir one

　　lovett and bodine jerk awake at the landing.

　　anatoly

　　(heavy russian accent)

　　we are here.

　　ext. / int. mir one and two

　　5 minutes later: the two subs skim over the seafloor to the sound of

　　sidescan sonar and the thrum of big thrusters.

　　6 the featureless gray clay of the bottom unrolls in the lights of the subs.

　　bodine is watching the sidescan sonar display, where the outline of a huge

　　pointed object is visible. anatoly lies prone, driving the sub, his face

　　pressed to the center port.

　　bodine

　　come left a little. she's right in front of us, eighteen meters. fifteen.

　　thirteen... you should see it.

　　anatoly

　　do you see it? i don't see it... there!

　　out of the darkness, like a ghostly apparition, the bow of the ship appears.

　　its knife-edge prow is coming straight at us, seeming to plow the bottom

　　sediment like ocean waves. it towers above the seafloor, standing just as it

　　landed 84 years ago.

　　the titanic. or what is left of her. mir one goes up and over the bow

　　railing, intact except for an overgrowth of 'rusticles' draping it like

　　mutated spanish moss.

　　tight on the eyepiece monitor of a video camcorder. brock lovett's face

　　fills the black and white frame.

　　lovett

　　it still gets me every time.

　　the image pans to the front viewport, looking over anatoly's shoulder, to

　　the bow railing visible in the lights beyond. anatoly turns.

　　anatoly

　　is just your guilt because of stealing from the dead.

　　cut wider, to show that brock is operating the camera himself, turning it in

　　his hand so it points at his own face.

　　lovett

　　thanks, tolya. work with me, here.

　　brock resumes his serious, pensive gaze out the front port, with the camera

　　aimed at himself at arm's length.

　　lovett

　　it still gets me every time... to see the sad ruin of the great ship sitting

　　long fall from the world above.

　　anatoly rolls his eyes and mutters in russian. bodine chuckles and watches

　　the sonar.

　　bodine

　　you are so full of shit, boss.

　　7 mir two drives aft down the starboard side, past the huge anchor while mir

　　one passes over the seemingly endless forecastle deck, with its massive

　　anchor chains still laid out in two neat rows, its bronze windlass caps

　　gleaming. the 22 foot long subs are like white bugs next to the enormous

　　wreck.

　　lovett (v.o.)

　　dive nine. here we are again on the deck of titanic... two and a half miles

　　down. the pressure is three tons per square inch, enough to crush us like a

　　freight train going over an ant if our hull fails. these windows are nine

　　inches thick and if they go, it's sayonara in two microseconds.

　　8 mir two lands on the boat deck, next to the ruins of the officer's

　　quarters. mir one lands on the roof of the deck house nearby.

　　lovett

　　right. let's go to work.

　　bodine slips on a pair of 3-d electronic goggles, and grabs the joystick

　　controls of the rov.

　　9 outside the sub, the rov, a small orange and black robot called snoop dog,

　　lifts from its cradle and flies forward.

　　bodine (v.o.)

　　walkin' the dog.

　　snoop dog drives itself away from the sub, paying out its umbilical behind

　　it like a robot yo-yo. its twin stereo-video cameras swivel like insect

　　eyes. the rov descends through an open shaft that once was the beautiful

　　first class grand staircase.

　　snoop dog goes down several decks, then moves laterally into the first class

　　reception room.

　　snoop's video pov, moving through the cavernous interior. the remains of the

　　ornate handcarved woodwork which gave the ship its elegance move through the

　　floodlights, the lines blurred by slow dissolution and descending rusticle

　　formations. stalactites of rust hang down so that at times it looks like a

　　natural grotto, then the scene shifts and the lines of a ghostly undersea

　　mansion can be seen again.

　　montage style, as snoop passes the ghostly images of titanic's opulence:

　　10 a grand piano in amazingly good shape, crashed on its side against a

　　wall. the keys gleam black and white in the lights.

　　11 a chandelier, still hanging from the ceiling by its wire... glinting as

　　snoop moves around it.

　　12 its lights play across the floor, revealing a champagne bottle, then some

　　white star line china... a woman's high-top 'granny shoe'. then something

　　eerie: what looks like a child's skull resolves into the porcelain head of a

　　doll.

　　snoop enters a corridor which is much better preserved. here and there a

　　door still hangs on its rusted hinges. an ornate piece of moulding, a wall

　　sconce... hint at the grandeur of the past.

　　13 the rov turns and goes through a black doorway, entering room b-52, the

　　sitting room of a 'promenade suite', one of the most luxurious staterooms on

　　titanic.

　　bodine

　　i'm in the sitting room. heading for bedroom b-54.

　　lovett

　　stay off the floor. don't stir it up like you did yesterday.

　　bodine

　　i'm tryin' boss.

　　glinting in the lights are the brass fixtures of the near-perfectly

　　preserved fireplace. an albino galathea crab crawls over it. nearby are the

　　remains of a divan and a writing desk. the dog crosses the ruins of the once

　　elegant room toward another door. it squeezes through the doorframe,

　　scraping rust and wood chunks loose on both sides. it moves out of a cloud

　　of rust and keeps on going.

　　bodine

　　i'm crossing the bedroom.

　　the remains of a pillared canopy bed. broken chairs, a dresser. through the

　　collapsed wall of the bathroom, the porcelain commode and bathtub took

　　almost new, gleaming in the dark.

　　lovett

　　okay, i want to see what's under that wardrobe door.

　　several angles as the rov deploys its manipulator arms and starts moving

　　debris aside. a lamp is lifted, its ceramic colors as bright as they were in

　　1912.

　　lovett

　　easy, lewis. take it slow.

　　lewis grips a wardrobe door, lying at an angle in a corner, and pulls it

　　with snoop's gripper. it moves reluctantly in a cloud of silt. under it is a

　　dark object. the silt clears and snoop's cameras show them what was under

　　the door...

　　bodine

　　ooohh daddy-oh, are you seein' what i'm seein'?

　　close on lovett, watching his monitors. by his expression it is like he is

　　seeing the holy grail.

　　lovett

　　oh baby baby baby.

　　(grabs the mike)

　　it's payday, boys.

　　on the screen, in the glare of the lights, is the object of their quest: a

　　small steel combination safe.

　　cut to:

　　14 ext. stern of deck of kedysh - day

　　the safe, dripping wet in the afternoon sun, is lowered onto the deck of a

　　ship by a winch cable.

　　we are on the russian research vessel akademik mistislav keldysh. a crowd

　　has gathered, including most of the crew of keldysh, the sub crews, and a

　　hand-wringing money guy named bobby buell who represents the limited

　　partners. there is also a documentary video crew, hired by lovett to cover

　　his moment of glory.

　　everyone crowds around the safe. in the background mir two is being lowered

　　into its cradle on deck by a massive hydraulic arm. mir one is already

　　recovered with lewis bodine following brock lovett as he bounds over to the

　　safe like a kid on christmas morning.

　　bodine

　　who's the best? say it.

　　lovett

　　you are, lewis.

　　(to the video crew)

　　you rolling?

　　cameraman

　　rolling.

　　brock nods to his technicians, and they set about drilling the safe's

　　hinges. during this operation, brock amps the suspense, working the lens to

　　fill the time.

　　lovett

　　well, here it is, the moment of truth. here's where we find out if the time,

　　the sweat, the money spent to charter this ship and these subs, to come out

　　here to the middle of the north atlantic... were worth it. if what we think

　　is in that same... is in that safe... it will be.

　　lovett grins wolfishly in anticipation of his greatest find yet. the door is

　　pried loose. it clangs onto the deck. lovett moves closer, peering into the

　　safe's wet interior. a long moment then... his face says it all.

　　lovett

　　shit.

　　bodine

　　you know, boss, this happened to geraldo and his career never recovered.

　　lovett

　　(to the video cameraman)

　　get that outta my face.

　　cut to:

　　15 int. lab deck, preservation room - day

　　technicians are carefully removing some papers from the safe and placing

　　them in a tray of water to separate them safely. nearby, other artifacts

　　from the stateroom are being washed and preserved.

　　buell is on the satellite phone with the investors. lovett is yelling at the

　　video crew.

　　lovett

　　you send out what i tell you when i tell you. i'm signing your paychecks,

　　not 60 minutes. now get set up for the uplink.

　　buell covers the phone and turns to lovett.

　　buell

　　the partners want to know how it's going?

　　lovett

　　how it's going? it's going like a first date in prison, whattaya think?!

　　lovett grabs the phone from buell and goes instantly smooth.

　　lovett

　　hi, dave? barry? look, it wasn't in the safe... no, look, don't worry about

　　it, there're still plenty of places it could be... in the floor debris in

　　the suite, in the mother's room, in the purser's safe on c deck...

　　(seeing something)

　　hang on a second.

　　a tech coaxes some letters in the water tray to one side with a tong...

　　revealing a pencil (conte crayon) drawing of a woman.

　　brock looks closely at the drawing, which is in excellent shape, though its

　　edges have partially disintegrated. the woman is beautiful, and beautifully

　　rendered. in her late teens or early twenties, she is nude, though posed

　　with a kind of casual modesty. she is on an empire divan, in a pool of light

　　that seems to radiate outward from her eyes. scrawled in the lower right

　　the girl is not entirely nude. at her throat is a diamond necklace with one

　　large stone hanging in the center.

　　lovett grabs a reference photo from the clutter on the lab table. it is a

　　period black-and-white photo of a diamond necklace on a black velvet

　　jeller's display stand. he holds it next to the drawing. it is clearly the

　　same piece... a complex setting with a massive central stone which is almost

　　heart-shaped.

　　lovett

　　i'll be god damned.

　　cut to:

　　16 insert

　　a cnn news story: a live satellite feed from the deck of the keldysh,

　　intercut with the cnn studio.

　　announcer

　　treasure hunter brock lovett is best known for finding spanish gold in

　　sunken galleons in the caribbean. now he is using deep submergence

　　technology to work two and a half miles down at another famous wreck... the

　　titanic. he is with us live via satellite from a russian research ship in

　　the middle of the atlantic... hello brock?

　　lovett

　　yes, hi, tracy. you know, titanic is not just a shipwreck, titanic is the

　　shipwreck. it's the mount everest of shipwrecks.

　　cut to:

　　17 int. house / ceramics studio

　　pull back from the screen, showing the cnn report playing on a tv set in the

　　living room of a small rustic house. it is full of ceramics, figurines, folk

　　art, the walls crammed with drawings and paintings... things collected over

　　a lifetime.

　　panning to show a glassed-in studio attached to the house. outside it is a

　　quiet morning in ojai, california. in the studio, amid incredible clutter,

　　an ancient woman is throwing a pot on a potter's wheel. the liquid red clay

　　covers her hands... hands that are gnarled and age-spotted, but still

　　surprisingly strong and supple. a woman in her early forties assists her.

　　lovett (v.o.)

　　i've planned this expedition for three years, and we're out here recovering

　　some amazing things... things that will have enormous historical and

　　educational value.

　　cnn reporter (v.o.)

　　but it's no secret that education is not your main purpose. you're a

　　treasure hunter. so what is the treasure you're hunting?

　　lovett (v.o.)

　　i'd rather show you than tell you, and we think we're very close to doing

　　just that.

　　the old woman's name is rose calvert. her face is a wrinkled mass, her body

　　shapeless and shrunken under a one-piece african-print dress.

　　but her eyes are just as bright and alive as those of a young girl.

　　rose gets up and walks into the living room, wiping pottery clay from her

　　hands with a rag. a pomeranian dog gets up and comes in with her.

　　the younger woman, lizzy calvert, rushes to help her.

　　rose

　　turn that up please, dear.

　　reporter (v.o.)

　　your expedition is at the center of a storm of controversy over salvage

　　rights and even ethics. many are calling you a grave robber.

　　tight on the screen.

　　lovett

　　nobody called the recovery of the artifacts from king tut's tomb grave

　　robbing. i have museum-trained experts here, making sure this stuff is

　　preserved and catalogued properly. look at this drawing, which was found

　　today...

　　the video camera pans off brock to the drawing, in a tray of water. the

　　image of the woman with the necklace fills frame.

　　lovett

　　...a piece of paper that's been underwater for 84 years... and my team are

　　able to preserve it intact. should this have remained unseen at the bottom

　　of the ocean for eternity, when we can see it and enjoy it now...?

　　rose is galvanized by this image. her mouth hangs open in amazement.

　　rose

　　i'll be god damned.

　　cut to:

　　18 ext. keldysh deck - night

　　cut to keldysh. the mir subs are being launched. mir two is already in the

　　water, and lovett is getting ready to climb into mir one when bobby buell

　　runs up to him.

　　buell

　　there's a satellite call for you.

　　lovett

　　bobby, we're launching. see these submersibles here, going in the water?

　　take a message.

　　buell

　　no, trust me, you want to take this call.

　　cut to:

　　19 int. lab deck / keldysh - night

　　buell hands lovett the phone, pushing down the blinking line. the call is

　　from rose and we see both ends of the conversation. she is in her kitchen

　　with a mystified lizzy.

　　lovett

　　this is brock lovett. what can i do for you, mrs... ?

　　buell

　　rose calvert.

　　lovett

　　... mrs. calvert?

　　rose

　　i was just wondering if you had found the 'heart of the ocean' yet, mr.

　　lovett.

　　brock almost drops the phone. bobby sees his shocked expression...

　　buell

　　i told you you wanted to take this call.

　　lovett

　　(to rose)

　　alright. you have my attention, rose. can you tell me who the woman in the

　　picture is?

　　rose

　　oh yes. the woman in the picture is me.

　　cut to:

　　20 ext. ocean - day

　　smash cut to an enormous sea stallion helicopter thundering across the

　　ocean. pan 180 degrees as it roars past. there is no land at either horizon.

　　the keldysh is visible in the distance.

　　close on a window of the monster helicopter. rose's face is visible, looking

　　out calmly.

　　cut to:

　　21 ext. keldysh - day

　　brock and bodine are watching mir 2 being swung 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 helm.

　　bodine

　　she says she's rose dewitt bukater, right? rose dewitt bukater died on the

　　titanic. at the age of 17. if she'd have lived, she'd be over a hundred now.

　　lovett

　　a hundred and one next month.

　　bodine

　　okay, so she's a very old goddamned liar. i traced her as far back as the

　　20's... she was working as an actress in l.a. an actress. her name was rose

　　dawson. then she married a guy named calvert, moved to cedar rapids, had two

　　kids. now calvert's dead, and from what i've heard cedar rapids is dead.

　　the sea stallion approaches the ship, bg, forcing brock to yell over the

　　rotors.

　　lovett

　　and everybody who knows about the diamond is supposed to be dead... or on

　　this ship. but she knows about it. and i want to hear what she has to say.

　　got it?

　　cut to:

　　22 ext. keldysh helipad

　　in a thundering downblast the helicopter's wheels bounce down on the

　　helipad.

　　lovett, buell and bodine watch as the helicopter crew chief hands out about

　　ten suitcases, and then rose is lowered to the deck in a wheelchair by

　　keldysh crewmen. lizzy, ducking unnecessarily under the rotor, follows her

　　out, carrying freddy the pomeranian. the crew chief hands a puzzled keldysh

　　crewmember a goldfish bowl with several fish in it. rose does not travel

　　light.

　　hold on the incongruous image of this little old lady, looking impossibly

　　fragile amongst all the high tech gear, grungy deck crew and gigantic

　　equipment.

　　bodine

　　s'cuse me, i have to go check our supply of depends.

　　cut to:

　　23 int. rose's stateroom / keldysh - day

　　lizzy is unpacking rose's things in the small utilitarian room. rose is

　　placing a number of framed photos on the bureau, arranging them carefully

　　next to the fishbowl. brock and bodine are in the doorway.

　　lovett

　　is your stateroom alright?

　　rose

　　yes. very nice. have you met my granddaughter, lizzy? she takes care of me.

　　lizzy

　　yes. we met just a few minutes ago, grandma. remember, up on deck?

　　rose

　　oh, yes.

　　brock glances at bodine... oh oh. bodine rolls his eyes. rose finishes

　　arranging her photographs. we get a general glimpse of them: the usual

　　snapshots... children and grandchildren, her late husband.

　　rose

　　there, that's nice. i have to have my pictures when i travel. and freddy of

　　course.

　　(to the pomeranian)

　　isn't that right, sweetie.

　　lovett

　　would you like anything?

　　rose

　　i should like to see my drawing.

　　cut to:

　　24 int. lab deck, preservation area

　　rose looks at the drawing in its tray of water, confronting herself across a

　　span of 84 years. until they can figure out the best way to preserve it,

　　they have to keep it immersed. it sways and ripples, almost as if alive.

　　tight on rose's ancient eyes, gazing at the drawing.

　　25 flashcut of a man's hand, holding a conte crayon deftly creating a

　　shoulder and the shape of her hair with two efficient lines.

　　26 the woman's face in the drawing, dancing under the water.

　　27 a flashcut of a man's eyes, just visible over the top of a sketching pad.

　　they look up suddenly right into the lens. soft eyes, but fearlessly direct.

　　28 rose smiles, remembering. brock has the reference photo of the necklace

　　in his hand.

　　lovett

　　louis the sixteenth wore a fabulous stone, called the blue diamond of the

　　the neck up. the theory goes that the crown diamond was chopped too... recut

　　into a heart-like shape... and it became le coeur de la mer. the heart of

　　the ocean. today it would be worth more than the hope diamond.

　　rose

　　it was a dreadful, heavy thing.

　　(she points at the drawing)

　　i only wore it this once.

　　lizzy

　　you actually believe this is you, grandma?

　　rose

　　it is me, dear. wasn't i a hot number?

　　lovett

　　i tracked it down through insurance records... and old claim that was

　　settled under terms of absolute secrecy. do you know who the claiment was,

　　rose?

　　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

　　lovett

　　if your grandma is who she says she is, she was wearing the diamond the day

　　titanic sank.

　　(more)

　　lovett (cont'd)

　　(to rose)

　　and that makes you my new best friend. i will happily compensate you for

　　anything you can tell us that will lead to its recovery.

　　rose

　　i don't want your money, mr. lovett. i know how hard it is for people who

　　care greatly for money to give some away.

　　bodine

　　(skeptical)

　　you don't want anything?

　　rose

　　(indicating the drawing)

　　you may give me this, if anything i tell you is of value.

　　lovett

　　deal.

　　(crossing the room)

　　over here are a few things we've recovered from your staterooms.

　　laid out on a worktable are fifty or so objects, from mundane to valuable.

　　rose, shrunken in her chair, can barely see over the table top. with a

　　trembling hand she lifts a tortoise shell hand mirror, inlaid with mother of

　　pearl. she caresses it wonderingly.

　　rose

　　this was mine. how extraordinary! it looks the same as the last time i saw

　　it.

　　she turns the mirror over and looks at her ancient face in the cracked

　　glass.

　　rose

　　the reflection has changed a bit.

　　she spies something else, a silver and moonstone art-nouveau brooch.

　　rose

　　my mother's brooch. she wanted to go back for it. caused quite a fuss.

　　rose picks up an ornate art-nouveau hair comb. a jade butterfly takes flight

　　on the ebony handle of the comb. she turns it slowly, remembering. we can

　　see that rose is experiencing a rush of images and emotions that have lain

　　dormant for eight decades as she handles the butterfly comb.

　　lovett

　　are you ready to go back to titanic?

　　cut to:

　　29 int. imaging shack / keldysh

　　it is a darkened room lined with tv monitors. images of the wreck fill the

　　screens, fed from mir one and two, and the two rovs, snoop dog and duncan.

　　bodine

　　live from 12,000 feet.

　　rose stares raptly at the screens. she is enthraled by one in particular, an

　　image of the bow railing. it obviously means something to her. brock is

　　studying her reactions carefully.

　　bodine

　　the bow's struck in the bottom like an axe, from the impact. here... i can

　　run a simulation we worked up on this monitor over here.

　　lizzy turns the chair so rose can see the screen of bodine's computer. as he

　　is calling up the file, he keeps talking.

　　bodine

　　we've put together the world's largest database on the titanic. okay,

　　here...

　　lovett

　　rose might not want to see this, lewis.

　　rose

　　no, no. it's fine. i'm curious.

　　bodine starts a computer animated graphic on the screen, which parallels his

　　rapid-fire narration.

　　bodine

　　she hits the berg on the starboard side and it sort of bumps along...

　　punching holes like a morse code... dit dit dit, down the side. now she's

　　flooding in the

　　bodine (cont'd)

　　forward compartments... and the water spills over the tops of the bulkheads,

　　going aft. as her bow is going down, her stern is coming up... slow at

　　first... and then faster and faster until it's lifting all that weight,

　　maybe 20 or 30 thousand tons... out of the water and the hull can't deal...

　　so skrttt!!

　　(making a sound in time with the animation)

　　... it splits! right down to the keel, which acts like a big hinge. now the

　　bow swings down and the stern falls back level... but the weight of the bow

　　pulls the stern up vertical, and then the bow section detaches, heading for

　　the bottom. the stern bobs like a cork, floods and goes under about 2:20

　　a.m. two hours and forty minutes after the collision.

　　the animation then follows the bow section as it sinks. rose watches this

　　clinical dissection of the disaster without emotion.

　　bodine

　　the bow pulls out of its dive and planes away, almost a half a mile, before

　　it hits the bottom going maybe 12 miles an hour. kaboom!

　　the bow impacts, digging deeply into the bottom, the animation now follows

　　the stern.

　　bodine

　　the stern implodes as it sinks, from the pressure, and rips apart from the

　　force of the current as it falls, landing like a big pile of junk.

　　(indicating the simulation)

　　cool huh?

　　rose

　　thank you for that fine forensic analysis, mr. bodine. of course the

　　experience of it was somewhat less clinical.

　　lovett

　　will you share it with us?

　　her eyes go back to the screens, showing the sad ruins far below them.

　　a view from one of the subs tracking slowly over the boat deck. rose

　　recognizes one of the wellin davits, still in place. she hears ghostly waltz

　　music. the faint and echoing sound of an officer's voice, english accented,

　　calling 'women and children only'.

　　30 flash cuts of screaming faces in a running crowd. pandemonium and terror.

　　people crying, praying, kneeling on the deck. just impressions... flashes in

　　the dark.

　　31 rose looks at another monitor. snoop dog moving down a rusted,

　　debris-filled corridor. rose watches the endless row of doorways sliding

　　past, like dark mouths.

　　32 image of a child, three years old, standing ankle deep in water in the

　　middle of an endless corridor. the child is lost alone, crying.

　　33 rose is shaken by the flood of memories and emotions. her eyes well up

　　and she puts her head down, sobbing quietly.

　　lizzy

　　(taking the wheelchair)

　　i'm taking her to rest.

　　rose

　　no!

　　her voice is surprisingly strong. the sweet little old lady is gone,

　　replaced by a woman with eyes of steel. lovett signals everyone to stay

　　quiet.

　　lovett

　　tell us, rose.

　　she looks from screen to screen, the images of the ruined ship.

　　rose

　　it's been 84 years...

　　lovett

　　just tell us what you can--

　　rose

　　(holds up her hand for silence)

　　it's been 84 years... and i can still smell the fresh paint. the china had

　　never been used. the sheets had never been slept in.

　　he switches on the minirecorder and sets it near her.

　　rose

　　titanic was called the ship of dreams. and it was. it really was...

　　as the underwater camera rises past the rusted bow rail, we dissolve / match

　　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.

　　crowd of hundreds blackens the pier next to titanic like ants on a jelly

　　sandwich.

　　in fg a gorgeous burgundy renault touring car swings into frame, hanging

　　from a loading crane. it is lowered toward hatch #2.

　　on the pier horse drawn vehicles, motorcars and lorries move slowly through

　　the dense throng. the atmosphere is one of excitement and general giddiness.

　　people embrace in tearful farewells, or wave and shout bon voyage wishes to

　　friends and relatives on the decks above.

　　a white renault, leading a silver-gray daimler-benz, pushes through the

　　crowd leaving a wake in the press of people. around the handsome cars people

　　are streaming to board the ship, jostling with hustling seamen and stokers,

　　porters, and barking white star line officials.

　　the renault stops and the liveried driver scurries to open the door for a

　　young woman dressed in a stunning white and purple outfit, with an enormous

　　feathered hat. she is 17 years old and beautiful, regal of bearing, with

　　piercing eyes.

　　it is the girl in the drawing. rose. she looks up at the ship, taking it in

　　with cool appraisal.

　　rose

　　i don't see what all the fuss is about. it doesn't look any bigger than the

　　mauritania.

　　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 mauritania, and far more luxurious. it has squash

　　courts, a parisian cafe... even turkish baths.

　　cal turns and fives his hand to rose's mother, ruth dewitt bukater, who

　　descends from the touring car being him. ruth is a 40ish society empress,

　　from one of the most prominent philadelphia families. she is a widow, and

　　rules her household with iron will.

　　cal

　　your daughter is much too hard to impress, ruth.

　　(indicating a puddle)

　　mind your step.

　　ruth

　　(gazing at the leviathan)

　　so this is the ship they say is unsinkable.

　　cal

　　it is unsinkable. god himself couldn't sink this ship.

　　cal speaks with the pride of a host providing a special experience.

　　this entire entourage of rich americans is impeccably turned out, a

　　quintessential example of the edwardian upper class, complete with servants.

　　cal's valet, spicer lovejoy, is a tall and impassive, dour as an undertaker.

　　behind him emerge two maids, personal servants to ruth and rose.

　　a white star line porter scurries toward them, harried by last minute

　　loading.

　　porter

　　sir, you'll have to check your baggage through the main terminal, round that

　　way--

　　cal nonchalantly hands the man a fiver. the porter's eyes dilate. five

　　pounds was a monster tip in those days.

　　cal

　　i put my faith in you, good sir.

　　(more)

　　cal (cont'd)

　　(curtly, indicating lovejoy)

　　see my man.

　　porter

　　yes, sir. my pleasure, sir.

　　cal never tires of the effect of money on the unwashed masses.

　　lovejoy

　　(to the porter)

　　these trunks here, and 12 more in the daimler. we'll have all this lot up in

　　the rooms.

　　the white star man looks stricken when he sees the enormous pile of steamer

　　trunks and suitcases loading down the second car, including wooden crates

　　and steel safe. he whistles frantically for some cargo-handlers nearby who

　　come running.

　　cal breezes on, leaving the minions to scramble. he quickly checks his

　　pocket watch.

　　cal

　　we'd better hurry. this way, ladies.

　　he indicates the way toward the first class gangway. they move into the

　　crowd. trudy bolt, rose's maid, hustles behind them, laden with bags of her

　　mistress's most recent purchases... things too delicate for the baggage

　　handlers.

　　cal leads, weaving between vehicles and handcarts, hurrying passengers

　　(mostly second class and steerage) and well-wishers. most of the first class

　　passengers are avoiding the smelly press of the dockside crowd by using an

　　elevated boarding bridge, twenty feet above.

　　they pass a line of steerage passengers in their coarse wool and tweeds,

　　queued up inside movable barriers like cattle in a chute. a health officer

　　examines their heads one by one, checking scalp and eyelashes for lice.

　　they pass a well-dressed young man cranking the handle of a wooden biograph

　　'cinematograph' camera mounted on a tripod. naniel marvin (whose father

　　founded the biograph film studio) is filming his young bride in front of the

　　titanic. mary marvin stands stiffly and smiles, self conscious.

　　daniel

　　look up at the ship, darling, that's it. you're amazed! you can't believe

　　how big it is! like a mountain. that's great.

　　mary marvin, without an acting fiber in her body, does a bad clara bow

　　pantomime of awe, hands raised.

　　cal is jostled by two yelling steerage boys who shove past him. and he is

　　bumped again a second later by the boys' father.

　　cal

　　steady!!

　　man

　　sorry squire!

　　the cockney father pushes on, after his kids, shouting.

　　cal

　　steerage swine. apparently missed his annual bath.

　　ruth

　　honestly, cal, if you weren't forever booking everything at the last

　　instant, we could have gone through the terminal instead of running along

　　the dock like some squalid immigrant family.

　　cal

　　all part of my charm, ruth. at any rate, it was my darling fiancee's beauty

　　rituals which made us late.

　　rose

　　you told me to change.

　　cal

　　i couldn't let you wear black on sailing day, sweetpea. it's bad luck.

　　rose

　　i felt like black.

　　cal guides them out of the path of a horse-drawn wagon loaded down with two

　　tons of oxford marmalade, in wooden cases, for titanic's victualling

　　department.

　　cal

　　here i've pulled every string i could to book us on the grandest ship in

　　history, in her most luxurious suites... and you act as if you're going to

　　your execution.

　　rose looks up as the hull of titanic looms over them...a great iron wall,

　　bible black and sever. cal motions her forward, and she enters the gangway

　　to the d deck doors with a sense of overwhelming dread.

　　old rose (v.o.)

　　it was the ship of dreams... to everyone else. to me it was a slave ship,

　　taking me back to america in chains.

　　close on cal's hand in slow-motion as it closes possessively over rose's

　　arm. he escorts her up the gangway and the black hull of titanic swallows

　　them.

　　old rose (v.o.)

　　outwardly i was everything a well brought up girl should be. inside, i was

　　screaming.

　　35 cut to a screaming blast from the mighty triple steam horns on titanic's

　　funnels, bellowing their departure warning.

　　cut to:

　　36 ext. southampton docks / titanic - day

　　a view of titanic from several blocks away, towering above the terminal

　　buildings like the skyline of a city. the steamer's whistle echoes across

　　southampton.

　　pull back, revealing that we were looking through a window, and back further

　　to show the smoky inside of a pub. it is crowded with dockworkers and ship;s

　　crew.

　　just inside the window, a poker game is in progress. four men, in working

　　class clothes, play a very serious hand.

　　jack dawson and fabrizio de rossi, both about 20, exchange a glance as the

　　other two players argue in swedish. jack is american, a lanky drifter with

　　his hair a little long for the standards of the times. he is also unshaven,

　　and his clothes are rumpled from sleeping in them. he is an artist, and has

　　adopted the bohemian style of art scene in paris. he is also very

　　self-possessed and sure-footed for 20, having lived on his own since 15.

　　the two swedes continue their sullen argument, in swedish.

　　olaf

　　(subtitled)

　　you stupid fishhead. i can't believe you bet our tickets.

　　sven

　　(subtitled)

　　you lost our money. i'm just trying to get it back. now shutup and take a

　　card.

　　jack

　　(jaunty)

　　hit me again, sven.

　　jack takes the card and slips it into his hand.

　　ecu jack's eyes. they betray nothing.

　　close on fabrizio licking his lips nervously as he refuses a card.

　　ecu stack in the middle of the table. bills and coins from four countries.

　　this has been going on for a while. sitting on top of the money are two 3rd

　　class tickets for rms titanic.

　　the titanic's whistle blows again. final warning.

　　jack

　　the moment of truth boys. somebody's life's about to change.

　　fabrizio puts his cards down. so do the swedes. jack holds his close.

　　jack

　　let's see... fabrizio's got niente. olaf, you've got squat. sven, uh oh...

　　two pair... mmm.

　　(turns to his friend)

　　sorry fabrizio.

　　fabrizio

　　what sorry? what you got? you lose my money?? ma va fa'n culo testa di

　　cazzo--

　　jack

　　sorry, you're not gonna see your mama again for a long time...

　　he slaps a full house down on the table.

　　jack

　　(grinning)

　　'cause you're goin' to america!! full house boys!

　　fabrizio

　　porca madonna!! yeeaaaaa!!!

　　the table explodes into shouting in several languages. jack rakes in the

　　money and the tickets.

　　jack

　　(to the swedes)

　　sorry boys. three of a kind and a pair. i'm high and you're dry and...

　　(to fabrizio)

　　... we're going to--

　　fabrizio/jack

　　l'america!!!

　　olaf balls up one huge farmer's fist. we think he's going to clobber jack,

　　but he swings round and punches sven, who flops backward onto the floor and

　　sits there, looking depressed. olaf forgets about jack and fabrizio, who are

　　dancing around, and goes into a rapid harangue of his stupid cousin.

　　jack kisses the tickets, then jumps on fabrizio's back and rides him around

　　the pub. it's like they won the lottery.

　　jack

　　goin' home... to the land o' the free and the home of the real hot-dogs! on

　　the titanic!! we're ridin' in high style now! we're practically goddamned

　　royalty, ragazzo mio!!

　　fabrizio

　　you see? is my destinio!! like i told you. i go to l'america!! to be a

　　millionaire!!

　　(more)

　　fabrizio (cont'd)

　　(to pubkeeper)

　　capito?? i go to america!!

　　pubkeeper

　　no, mate. titanic go to america. in five minutes.

　　jack

　　shit!! come on, fabri!

　　(grabbing their stuff)

　　come on!!

　　(to all, grinning)

　　it's been grand.

　　they run for the door.

　　pubkeeper

　　'course i'm sure if they knew it was you lot comin', they'd be pleased to

　　wait!

　　cut to:

　　37 omitted

　　38 ext. terminal - titanic

　　jack and fabrizio, carrying everything they own in the world in the kit bags

　　on their shoulders, sprint toward the pier. they tear through milling crowds

　　next to the terminal. shouts go up behind them as they jostle slow-moving

　　gentlemen. they dodge piles of luggage, and weave through groups of people.

　　they burst out onto the pier and jack comes to a dead stop... staring at the

　　cast wall of the ship's hull, towering seven stories above the wharf and

　　over an eighth of a mile long. the titanic is monstrous.

　　fabrizio runs back and grabs jack, and they sprint toward the third class

　　gangway aft, at e deck. they reach the bottom of the ramp just as sixth

　　officer moody detaches it at the top. it starts to swing down from the

　　gangway doors.

　　jack

　　wait!! we're passengers!

　　flushed and panting, he waves the tickets.

　　moody

　　have you been through the inspection queue?

　　jack

　　(lying cheerfully)

　　of course! anyway, we don't have lice, we're americans.

　　(glances at fabrizio)

　　both of us.

　　moody

　　(testy)

　　right, come aboard.

　　moody has quartermaster rowe reattach the gangway. jack and fabrizio come

　　aboard. moody glances at the tickets, then passes jack and fabrizio through

　　to rowe. rowe looks at the names on the tickets to enter them in the

　　passenger list.

　　rowe

　　gundersen. and...

　　(reading fabrizio's)

　　gundersen.

　　he hands the tickets back, eyeing fabrizio's mediterranean looks

　　suspiciously.

　　jack

　　(grabbing fabrizio's arm)

　　come on, sven.

　　jack and fabrizio whoop with victory as they run down the white-painted

　　corridero... grinning from ear to ear.

　　jack

　　we are the luckiest sons of bitches in the world!

　　cut to:

　　39 omitted

　　40 ext. titanic and dock - day

　　the mooring lines, as big around as a man's arm, are dropped into the water.

　　a cheer goes up on the pier as seven tugs pull the titanic away from the

　　quay.

　　cut to:

　　41 ext. aft well deck / poop deck - day

　　jack and fabrizio burst through a door onto the aft well deck. tracking with

　　them as they run across the deck and up the steel stairs to the poop deck.

　　they get to the rail and jack starts to yell and wave to the crowd on the

　　dock.

　　fabrizio

　　you know somebody?

　　jack

　　of course not. that's not the point.

　　(to the crowd)

　　goodbye! goodbye!! i'll miss you!

　　grinning, fabrizio joins in, adding his voice to the swell of voices,

　　feeling the exhilaration of the moment.

　　fabrizio

　　goodbye! i will never forget you!!

　　cut to:

　　42 omitted

　　ext. southampton dock - day

　　the crowd of cheering well-wishers waves heartily as a black wall of metal

　　moves past them. impossibly tiny figures wave back from the ship's rails.

　　titanic gathers speed.

　　cut to:

　　44 ext. river test - day

　　in a long lens shot the prow of titanic fills frame behind the lead tug,

　　which is dwarfed. the bow wave spreads before the mighty plow of the liner's

　　hull as it moves down the river test toward the english channel.

　　cut to:

　　45 int. third class berthing / g-deck forward - day

　　jack and fabrizio walk down a narrow corridor with doors lining both sides

　　like a college dorm. total confusion as people argue over luggage in several

　　languages, or wander in confusion in the labyrinth. they pass emigrants

　　studying the signs over the doors, and looking up the words in phrase books.

　　they find their berth. it is a modest cubicle, painted enamel white, with

　　four bunks. exposed pipes overhead. the other two guys are already there.

　　olaus and bjorn gundersen.

　　jack throws his kit on one open bunk, while fabrizio takes the other.

　　bjorn

　　(in swedish/ subtitled)

　　where is sven?

　　cut to:

　　46 int. suite b-52-56 - day

　　by contrast, the so-called 'millionaire suite' is in the empire style, and

　　comprises two bedrooms, a bath, wc, wardrobe room, and a large sitting room.

　　in addition there is a private 50 foot promenade deck outside.

　　a room service waiter pours champagne into a tulip glass of orange juice and

　　hands the bucks fizz to rose. she is looking through her new paintings.

　　there is a monet of water lilies, a degas of dancers, and a few abstract

　　works. they are all unknown paintings... lost works.

　　cal is out on the covered deck, which has potted trees and vines on

　　trellises, talking through the doorway to rose in the sitting room.

　　cal

　　those mud puddles were certainly a waste of money.

　　rose

　　(looking at a cubist portrait)

　　you're wrong. they're fascinating. like in a dream... there's truth without

　　logic. what's his name again... ?

　　(reading off the canvas)

　　picasso.

　　cal

　　(coming into the sitting room)

　　he'll never amount to a thing, trust me. at least they were cheap.

　　a porter wheels cal's private safe (which we recognize) into the room on a

　　handtruck.

　　cal

　　put that in the wardrobe.

　　47 in the bedroom rose enters with the large degas of the dancers. she sets

　　it on the dresser, near the canopy bed. trudy is already in there, hanging

　　up some of rose's clothes.

　　trudy

　　it smells so brand new. like they built it all just for us. i mean... just

　　to think that tonight, when i crawl between the sheets, i'll be the first--

　　cal appears in the doorway of the bedroom.

　　cal

　　(looking at rose)

　　and when i crawl between the sheets tonight, i'll still be the first.

　　trudy

　　(blushing at the innuendo)

　　s'cuse me, miss.

　　she edges around cal and makes a quick exit. cal comes up behind rose and

　　puts his hands on her shoulders. an act of possession, not intimacy.

　　cal

　　the first and only. forever.

　　rose's expression shows how bleak a prospect this is for her, now.

　　cut to:

　　48 ext. cherbourg harbor, france - late dusk

　　titanic stands silhouetted against a purple post-sunset sky. she is lit up

　　like a floating palace, and her thousand portholes reflect in the calm

　　harbor waters. the 150 foot tender nomadic lies-to alongside, looking like a

　　rowboat. the lights of a cherbourg harbor complete the postcard image.

　　cut to:

　　49 int. first class reception/ d-deck

　　entering the first class reception room from the tender are a number of

　　prominent passengers. a broad-shouldered woman in an enormous feathered hat

　　comes up the gangway, carrying a suitcase in each hand, a spindly porter

　　running to catch up with her to take the bags.

　　woman

　　well, i wasn't about to wait all day for you, sonny. take 'em the rest of

　　the way if you think you can manage.

　　old rose (v.o.)

　　at cherbourg a woman came aboard named margaret brown, but we all called her

　　molly. history would call her the unsinkable molly brown. her husband had

　　struck gold someplace out west, and she was what mother called 'new money'.

　　at 45, molly brown is a tough talking straightshooter who dresses in the

　　finery of her genteel peers but will never be one of them.

　　old rose (v.o.)

　　by the next afternoon we had made our final stop and we were steaming west

　　from the coast of ireland, with nothing out ahead of us but ocean...

　　cut to:

　　50 omitted

　　51 ext. bow - day

　　the ship glows with the warm creamy light of late afternoon. jack and

　　fabrizio stand right at the bow gripping the curving railing so familiar

　　from images of the wreck. jack leans over, looking down fifty feet to where

　　the prow cuts the surface like a knife, sending up two glassy sheets of

　　water.

　　cut to:

　　52 int. / ext. titanic - series of scenes - day

　　on the bridge, captain smith turns from the binnacle to first officer

　　william murdoch.

　　captain smith

　　take her to sea mister murdoch. let's stretch her legs.

　　murdoch moves the engine telegraph lever to all ahead full.

　　53 now begins a kind of musical/visual setpiece... an ode to the great ship.

　　the music is rhythmic, surging forward, with a soaring melody that addresses

　　the majesty and optimism of the ship of dreams.

　　in the engine room the telegraph clangs and moves to 'all ahead full'.

　　chief engineer bell

　　all ahead full!

　　on the catwalk thomas andrews, the shipbuilder, watches carefully as the

　　engineers and greasers scramble to adjust valves. towering above them are

　　the twin reciprocating engines, four stories tall, their ten-foot-long

　　connecting rods surging up and down with the turning of the massive

　　crankshafts. the engines thunder like the footfalls of marching giants.

　　54 in the boiler rooms the stokers chant a song as they hurl coal into the

　　roaring furnaces. the 'black gang' are covered with sweat and coal dust,

　　their muscles working like part of the machinery as they toil in the hellish

　　glow.

　　55 underwater the enormous bronze screws chop through the water, hurling the

　　steamer forward and churning up a vortex of foam that lingers for miles

　　behind the juggernaut ship. smoke pours from the funnels as--

　　56 the riven water flares higher at the bow as the ship's speeds builds. the

　　camera sweeps up the prow to find jack, the wind streaming through his hair

　　and--

　　57 captain smith steps out of the enclosed bridge onto the wing. he stands

　　with his hands on the rail, looking every bit the storybook picture of a

　　captain... a great patriarch of the sea.

　　first officer murdoch

　　twenty one knots, sir!

　　smith

　　she's got a bone in her teeth now, eh, mr. murdoch.

　　smith accepts a cup of tea from fifth officer lowe. he contentedly watches

　　the white v of water hurled outward from the bows like an expression of his

　　own personal power. they are invulnerable, towering over the sea.

　　58 at the bow jack and fabrizio lean far over, looking down.

　　in the glassy bow-wave two dolphins appear, under the water, running fast

　　just in front of the steel blade of the prow. they do it for the sheer joy

　　and exultation of motion. jack watches the dolphins and grins. they breach,

　　jumping clear of the water and then dive back, crisscrossing in front of the

　　bow, dancing ahead of the juggernaut.

　　fabrizio looks forward across the atlantic, staring into the sunsparkles.

　　fabrizio

　　i can see the statue of liberty already.

　　(grinning at jack)

　　very small... of course.

　　the camera arcs around them, until they are framed against the sea.

　　now we pull back, across the forecastle deck. rising, as we continue back,

　　and the ships rolls endlessly forward underneath. over the bridge wing,

　　along the boat deck until her funnels come into frame besides us and march

　　past like the pillars of heaven, one by one. we pull back and up, until we

　　are looking down the funnels, and the people strolling on the decks and

　　standing at the rail become antlike.

　　and still we pull back until the great lady is seen whole in a gorgeous

　　aerial portrait, black and severe in her majesty.

　　ismay (v.o.)

　　she is the largest moving object ever made by the hand of man in all

　　history...

　　cut to:

　　59 int. palm court restaurant - day

　　close on j. bruce ismay, managing director of white star line.

　　ismay

　　...and our master shipbuilder, mr. andrews here, designed her from the keel

　　plates up.

　　he indicates a handsome 39 year old irish gentlemen to his right, thomas

　　andrews, of harland and wolf shipbuilders.

　　wider, showing the group assembled for lunch the next day. ismay seated with

　　cal, rose, ruth, molly brown and thomas andrews in the palm court, a

　　beautiful sunny spot enclosed by high arched windows.

　　andrews

　　(disliking the attention)

　　well, i may have knocked her together, but the idea was mr. ismay's. he

　　envisioned a steamer so grand in scale, and so luxurious in its

　　appointments, that its supremacy would never be challenged. and here she

　　is...

　　(he slaps the table)

　　...willed into solid reality.

　　molly

　　why're ships always bein' called 'she'? is it because men think half the

　　women around have big sterns and should be weighed in tonnage?

　　(they all laugh)

　　just another example of the men settin' the rules their way.

　　the waiter arrives to take orders. rose lights a cigarette.

　　ruth

　　you know i don't like that, rose.

　　cal

　　she knows.

　　cal takes the cigarette from her and stubs it out.

　　cal

　　(to the waiter)

　　we'll both have the lamb. rare, with a little mint sauce.

　　(to rose, after the waiter moves away)

　　you like lamb, don't you sweetpea?

　　molly is watching the dynamic between rose, cal and ruth.

　　molly

　　so, you gonna cut her meat for her too there, cal?

　　(turning to ismay)

　　hey, who came up with the name titanic? you, bruce?

　　ismay

　　yes, actually. i wanted to convey sheer size. and size means stability,

　　luxury... and safety--

　　rose

　　泰坦尼克英文篇2

　　1

　　1912年4月10日上午，英国南安普顿港，码头上挤满了旅客和送行的人群，他们身后正是泰坦尼克号。手握编号1601、价值56英镑9先令11便士的一张三等舱船票，中国人Fang Lang和他的7名同伴挨个走上舷梯。中国人所在的三等船舱上方，是极其奢华的游泳池、健身房、壁球室、土耳其浴室等。

　　泰坦尼克号耗资7500万英镑，被称为“海上凡尔赛宫”。一等舱内，几乎都是名流贵胄。商人、教师等只被允许购买二等舱船票。而三等舱，则几乎塞满了来自欧洲各地的移民。

　　多年后，有国外媒体质疑，Fang Lang等8个中国人只买了一张船票，是不是偷渡客？事实上，多人合用一张船票的情况在泰坦尼克号上十分普遍。56英镑多的船票平摊到8个人身上，每个人的实际支出超过7英镑，而三等舱船票从3镑到8镑不等。

　　那三等舱里的这8个中国人究竟姓甚名谁？

　　买票时，泰坦尼克号的老板——白星公司曾一一记录下乘客的姓名，但长久以来，对这几个中国人名字的英文拼法争议不断。大体上他们的名字可以被写为：Fang Lang、Lee Bing、Ali Lam、Chang Chip、Choong Foo、Lee Ling、Ling Hee和Len Lam。

　　2012年3月21日，笔者前往纽约曼哈顿岛上的美国国家档案馆，见到了纽约南区最高法院的档案纸，其中甚至还出现了中文签名。“钟捷”（Chang Chip）、“李炳”（Lee Bing）、Choong Foo（签名以两个“＋”代替）……这几份现存档案上的签字都是繁体，不太工整，但一笔一画很认真。档案信息进一步揭示了他们的个人信息——李炳：男，32岁（约1880年生），中国人，出生地香港；Ali Lam：男，37岁（约1875年生），中国人；Fang Lang：男，32岁（约1880年生），中国人……

　　这8个中国人都是男性，最小的24岁，最大的37岁，都来自香港。在详细收集泰坦尼克号数据及史实的权威论坛“泰坦尼克号大百科”上，他们的职业都被记录为轮船锅炉工，是船上最辛苦的工种，一般每天要工作十四五个小时。

　　更多的华工资料显示，这些香港海员很可能被卖作劳工，为了“赎身”，他们要付出1年～3年的无偿劳动。

　　日后，有信息源称8人中的Fang Lang来自海南。虽然无法核实，但据海南史志显示，1902年～1911年，海南连年缺粮，许多人被迫前往国外谋生，比如海南文昌一带，出洋者中有不少人成了海员。

　　2

　　对不少三等舱的乘客来说，这里的条件比他们家里都优越：舒适的弹簧床垫上整