영문 SNOW FALLING ON CEDARS 삼나무에 내리는 눈 영화 대사
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SNOW FALLING ON CEDARS
Screenplay by Ron Bass and Scott Hicks
Based on the novel by David Guterson
May 4, 1998
NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS
AND SOME "OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR THIS
SOFT COPY.
EXT. THE SUSAN MARIE, SHIP CHANNEL BANK - NIGHT
Fog. Penetrated only by sound. The LAPPING of sea at a
drifting hull. Tendrils of mist part, revealing...
...a face. Strong and blond and handsome.
We watch CARL HEINE, high on the cross spar of his mast. He
has pulled a SHUTTLE of TWINE from his rubber overalls, and
is LASHING a LANTERN in the cloud of mist.
INT/EXT THE SUSAN MARIES CABIN - NIGHT
A match is struck. CARL lights the wick of a second lantern.
The cabin is meticulously neat. A tin COFFEE CUP on the
counters edge. The floor clear of any clutter. Carl
glances at his watch. Its 1:07. Then he hears...
...the puttering SOUND of an approaching boat...
EXT. THE SUSAN MARIE, SHIP CHANNEL BANK - NIGHT
...Carl stands on deck with his kerosene lantern and his air
horn, watching as another BOAT comes slowly out of the mist.
The silhouette of a FISHERMAN. As fragments of fog part, we
CLOSE ON the figures face, to see...
...his eyes. They are Asian.
VISUAL FX TRANSITION TO:
EXT. SHIP CHANNEL BANK - MORNING
An island landscape. Tilt to find our boat bobbing
peacefully on placid water.
EXT. THE SUSAN MARIE - MORNING
Silhouetted against the morning sun, two figures slowly reel
in the massive net onto the rotating drum. A few salmon
slide across the gunnel. Hands methodically pick them out of
the net and drop them into the hold.
ANGLE ON the cedar floats stretched across the water. A dark
heavy shape in the net draws towards the surface.
One figure leans over to take a closer look. SHERIFF ART
MORAN is thin, unimposing, methodical. Only the eyes reflect
his disquiet.
Suddenly, a HAND looms from the tangled netting, stiff and
grotesque.
MORAN lurches back in shock as the raveling net LIFTS from
the waters surface...
...the face of Carl Heine. Turned to the sun.
Moran reels away as his young deputy, ABEL MARTINSON, turns
to throw up over the gunnel behind him.
CUT TO:
INT. CORONERS LAB - DAY
The face of HORACE WHALEY, coroner, gazing down. A shading
of regret behind the professional mask. Carls face is
reflected in his glasses. A series of QUICK CUTS...
...Whaley cuts through Carls weatherproof overalls with
large scissors...
...his hand pulls the SHUTTLE of TWINE from Carls pocket...
...examines the open, empty KNIFE SHEATH at Carls belt...
...the right palm is turned to reveal a long cut along the
mound of the thumb...
...Carls wrist, its WATCH stopped at 1:47...Whaley removes
it, notes the time, and drops it into a manila envelope...
Whaley bends over Carls body, presses on his solar plexus,
watching pink FOAM rise from Carls mouth and nose. And
then. He sees something more. His forceps gently pull back
the hair from above Carls left ear, and...
...Whaley sees something startling. He beckons Moran over.
WHALEY
You want to play Sherlock Holmes, Art?
Reluctantly Moran takes a look. A sharp intake of breath.
MORAN
What the hell would have caused that?
WHALEY
Ill tell you what a head wound like this
puts me in the mind of...
Whaley reaches for the instrument tray, and selects a sharp
cut-throat razor.
CUT TO:
INT. CORONERS LAB - DAY
CLOSE ON a DROP of BLOOD as it lands in SLOW MOTION on a
white porcelain tray.
VISUAL FX TRANSITION TO:
EXT. SAN PIEDRO ISLAND - DAY
Snow falling on cedars.
The heavens descend softly onto our island. Exquisite,
silent, hypnotic. An epic snowfall inspiring awe at our
frailness against the limitless scope of nature. As CREDITS
BEGIN...
TRANSITION TO:
EXT/INT ISHMAELS APARTMENT - DAY
Through a snow covered window we see a pensive, sombre young
man in his mid-20s. This is ISHMAEL CHAMBERS, lost in
thought as he pulls on his coat. We see its left sleeve
pinned up at the elbow of his amputated arm. He tucks his
slim satchel under it.
TRANSITION TO:
EXT. STRAWBERRY FIELDS - DAY
...undulating strawberry fields of pure white, untouched and
flawless...beyond the fields, against a backdrop of cedar
forest, an old PICKUP TRUCK drives carefully through the
snow.
Wipers swish slowly to reveal a slender woman of refined
beauty. HATSUE MIYAMOTO stares ahead at the snow-clad road,
her father HISAO at the wheel beside her.
CUT TO:
EXT. AMITY HARBOR/SAN PIEDRO ISLAND FERRY - DAY
...a view through another windscreen. This time of moving
WATER. In the rear-view mirror, a dapper man in his 40s
grooms himself carefully. ALVIN HOOKS glances out ahead
at...
EXT. AMITY HARBOR - DAY
...the wharves and boats shrouded in snow.
EXT. AMITY HARBOR - DAY
The SAN PIEDRO ISLAND ferry approaches the docks, blanketed
as if by volcanic ash. Behind HOOKS late model Chevy, the
deck is crowded with people, a number of other cars, and even
a bus.
CUT TO:
EXT. NELS HOUSE - DAY
A door opens to reveal a pair of dress shoes. Old-style
galoshes are pulled over them.
An OLD CAT curls around the feet
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