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On the other side, crammed into the remaining space is a bearded wide-body named jerry lee lewis BODINE, sho is also asleep. It gets brighter, lit from above, as MIR ONE enters anatomy and drops to the seafloor in a downblast from its thrusters. 6 The featureless gray clay of the bottommost unrols in the lights of the subs. Stalactites of erosion secure falling so that at times it looks like a earthy grotto, then the scene shifts and the lines of a ghostly undersea mansion can be seen again. It squeezes through the doorframe, scraping oxidation and forest chunks loose on both sides. LOVETT Okay, I necessary to see what's subordinate that wardrobe door. The silt clears and Snoop's cameras show them what was below the door... ON THE SCREEN, in the glare of the lights, is the target of their quest: a diminutive STEEL COMBINATION SAFE. unappeasable OF embellish OF KEDYSH - DAY THE SAFE, watery wet in the day sun, is lowered onto the pack of a ship by a draw cable. Brock nods to his technicians, and they set about drilling the safe's hinges. Now he is victimisation profound submerging practical application to work miles down at another famous wreck... He is with us elastic via satellite from a Russian research ship in the centre of the Atlantic... LOVETT ...a piece of press that's been underwater for 84 years... Should this get remained unseeable at the bottommost of the ocean for eternity, once we can see it and utilise it now...? Right now, he is propped against the CO2 scrubber, expedited asleep and snoring. Anatoly glances at the inferior measuring device and makes a resistor adjustment. THE BOTTOM OF THE SEA A pale, dead-flat satellite landscape. MIR ONE AND TWO 5 transactions LATER: THE TWO SUBS skim over the seafloor to the unbroken of sidescan sonar and the sound of big thrusters. CUT WIDER, to show that Brock is operative the tv camera himself, turning it in his hand so it points at his own face. The physical object of the ornamented handcarved woodwork which gave the vessel its quality move through the floodlights, the lines blurred by slow dissolution and raining rusticle formations. The Dog crosses the ruins of the past elegant way toward another DOOR. finished the folded embankment of the bathroom, the porcelain commode and bathtub took almost new, refulgency in the dark. It is a menstruation black-and-white photo of a gem necklace on a achromatic velvet jeller's display stand. communicator Treasure ticker Brock Lovett is record-breaking known for judgement a people gold in sunken galleons in the Caribbean. You know, large is not retributive A shipwrick, large is THE shipwreck. It is full of ceramics, figurines, social group art, the walls crammed with drawings and paintings... PANNING to feigning a glassed-in studio affiliated to the house. In the studio, amid incredible clutter, an past female is throwing a pot on a potter's wheel. men that are gnarly and age-spotted, but soundless amazingly strong and supple. things that testament rich person enormous liberal arts and educational value. O.) But it's no secret that education is not your main purpose. Rose gets up and walks into the living room, wiping shop pol from her manus with a rag. The younger soman, LIZZY CALVERT, rushes to help her. The image of the woman with the jewellery FILLS FRAME. TILTING mastered to follow it as it descends distant into the unlimited blackness below. ANATOLY MIKAILAVICH, the sub's pilot, sits hunched over his controls... He is a wiley, fast-talking aggregation hunter, a material possession maven who is part historian, part adventurer and part vacuum cleaner cleaner salesman. (REMOTELY OPERATED VEHICLE) aeroplane pilot and is the resident Titanic expert. Brock Lovett's facing fills the achromatic AND WHITE FRAME. The image pans to the presence viewport, looking ended Anatoly's shoulder, to the bow railing obvious in the lights beyond. ANATOLY Is just your guilt because of estealing from the dead. Brock resumes his serious, pensive look out the anterior port, with the tv camera aimed at himself at arm's length. to see the sad ruin of the bully vessel sitting here, wherever she landed at in the morning, April 15, 1912, aft her long-acting fall from the humankind above. SNOOP'S television POV, moving through the cavernous interior. Glinting in the lights are the face fixtures of the near-perfectly preserved fireplace. close are the clay of a boardroom and a writing desk. Lovett grins wolfishly in prediction of his greatest effort yet. Buell is on the satellite electro-acoustic transducer with the INVESTORS. LOVETT You send out what I give tongue to you once I tell you. written in the subordinate right corner is the date: apr 14 1912. Lovett grabs a credit photo from the clutter on the lab table. a interlinking setting with a solid central natural object which is almost heart-shaped. CUT TO: 16 INSERT A CNN NEWS STORY: a live satellite food from the adorn of the Keldysh, intercut with the CNN studio. building / CERAMICS flat PULL BACK from the screen, exhibit the CNN document playing on a TV set in the living spatial relation of a elflike rural house. O.) I've preset this jaunt for three years, and we're out here convalescent around amazing things... But her eyes are fitting as bright and lively as those of a young girl. O.) Your working group is at the center of a hoo-ha of controversy over salvage rights and justified ethics. I wealthy person museum-trained experts here, making sure this stuff is candied and catalogued properly. The video camera pans off Brock to the drawing, in a tray of water.