A series of shots of Shanghai，the river，people．A young woman，MEI-LIN，walks through the crowd，separates herself from it．
The car is parked on a lonely street near the East River．We HEAR MEI-LIN SINGING "THE END IS SILENCE．"
具体描述
晨曦微露：一座老城里的光影流转 作者： 佚名（或用一个笔名，如：江上渔者） 类型： 城市人文、历史回溯、怀旧小说 字数： 约 1500 字 --- 第一章：青石板上的回声 这是一座被时间温柔抚摸的城市，它不叫上海，却有着相似的肌理和无法磨灭的印记。我们的故事，从一条名叫“石板巷”的窄弄堂开始。巷子两边是斑驳的砖墙，爬满了翠绿的藤蔓，空气中永远弥漫着潮湿的泥土和清晨油条的混合香气。 主角是一位名叫陈默的中年人。他并非本地土著，而是为了逃避都市的喧嚣，在一次偶然的机缘下，搬进了这条巷子里一间由老式粮仓改造的小阁楼。陈默的职业是钟表修复匠，一个与时间打交道，却又仿佛被时间遗忘的人。他的生活哲学是慢，慢到能听清墙壁里水管滴水的声音，慢到能分辨出不同邻居推开木门时的声响差异。 石板巷的生活是流动的历史。每天清晨，卖菜的小贩用特有的、抑扬顿挫的调子吆喝着。老人们围坐在巷口的竹椅上，摇着蒲扇，聊着上个世纪的故事。这些故事如同巷子里的青石板，被无数双脚打磨得光滑圆润，承载着这座城市几代人的呼吸与叹息。 陈默的“铺子”设在巷子口，一个不到十平米的小空间。他修复的不仅是机械的齿轮和游丝，他修复的，也是人们心中那些失序的时刻。他总说：“机械的错误是清晰的，人心的错误，才需要耐心去校准。” 第二章：雨巷中的素描 故事的主线，围绕着陈默修复的一块古董怀表展开。这块表并非出自名家之手，表盘上有一个极其细微的、几乎难以察觉的裂痕。这块表的主人，是一位名叫林婉的年轻女子。 林婉，是这座老城里少有的“新”力量。她是一位独立纪录片制作人，回乡是为了拍摄关于城市边缘手艺人的专题片。她敏锐、果敢，与陈默的沉静形成了鲜明的对比。她对陈默的钟表手艺充满敬畏，但更对陈默所代表的“慢哲学”感到好奇和不解。 “陈先生，您为什么不使用现代的精密仪器来定位这个裂痕？”林婉第一次在铺子里问道，她的声音带着纪录片人特有的清脆和穿透力。 陈默没有抬头，他的工具在昏黄的灯光下闪烁着微光：“仪器能告诉你它在哪里，但不能告诉你它为什么在那里。有些裂痕，是时间刻下的记忆，你得用手去感受，去和它对话。” 他们的对话，常常发生在午后的光线穿过狭窄的天窗，在木地板上投下斑驳光影的时刻。林婉的镜头开始聚焦于石板巷的日常：裁缝铺里缝纫机“哒哒”的声响，面馆里热气腾腾的汤面，以及老人们在弄堂里踢的皮球砸到墙上的“砰”的一声。她试图捕捉这座城市在快速现代化进程中，那些不愿被时间遗忘的侧面。 第三章：尘封的信件与码头的黄昏 随着怀表的修复工作深入，陈默发现表壳夹层中藏着一张泛黄的信笺。信笺上的笔迹娟秀而急切，内容却晦涩难懂，只提到了一个地点——“三号货栈的尽头”。 这封信，将陈默的思绪拉回了二十年前。他曾经是这座城市码头上一名意气风发的学徒，怀揣着“走向更远地方”的梦想。二十年前的一场变故，让他放弃了远航的计划，回到了这座他曾试图逃离的城市，最终选择了与时间为伍。 林婉被陈默的沉默所感染，她决定将纪录片的拍摄主题转向码头的历史变迁。她发现，三号货栈曾是这座城市对外贸易的象征，也是无数人梦想起航又最终搁浅的地方。 在码头，他们遇到了已经退休的老引航员，李伯。李伯的记忆如同潮汐般起伏不定，他告诉陈默和林婉，二十年前，码头发生过一场小小的骚动，与一块“丢失的货物”有关。那块货物，似乎与陈默手中的怀表有着某种隐秘的联系。 第四章：齿轮的交汇 修复怀表的过程，成为了陈默与自己过去和解的过程。他终于明白，那块怀表是当年一位他尊敬的师傅留下的，师傅希望他能找到“真正重要的东西”，而不是追逐遥不可及的远方。裂痕，不是损坏，而是师傅特意留下的标记，引导他去审视那些被忽略的细节。 林婉的纪录片也开始成型。她不再只关注“怀旧”，而是聚焦于“坚持”。她记录了陈默如何在方寸之间，用耐心和技艺对抗工业化的冰冷；记录了面馆老板如何在不断上涨的租金压力下，坚持用老汤头维持味道；记录了石板巷的居民们，如何在城市更新的巨轮下，紧紧守住那份属于邻里之间的温暖。 在一次暴雨后的清晨，石板巷积水倒灌，几块老旧的木质招牌被冲倒。陈默和林婉，以及巷子里所有的居民，一起动手清理、修补。那一刻，他们不再是纪录片拍摄者和被拍摄者，他们是共同生活在这片土地上，共享着同一段历史的“自己人”。 当怀表最终被修复，裂痕在打磨后依然存在，但它不再是缺陷，而成为了一个独特的印记，记录着岁月的磨砺。陈默将表还给了林婉，他没有透露信件的秘密，但他明白了师傅的用意：有些记忆，无需公之于众，只需被理解和珍藏。 尾声：时间的沉淀 林婉带着她的纪录片离开了这座城市，她知道，她带走的不仅仅是影像，更是对“慢”和“根”的深刻体悟。 陈默留了下来。他依然坐在铺子里，修复着一块又一块的钟表。石板巷依旧清晨热闹，黄昏宁静。他偶尔会走到巷口，看着夕阳洒在青石板上，那光影仿佛在诉说着这座城市无数个没有被记录下来的瞬间。 他不再觉得自己是被时间遗弃的人。他是时间的守护者，是那些流逝的、细微的、却构建了整座城市灵魂的瞬间的见证者。这里的每一块砖、每一片瓦，都有它自己的故事，与上海无关，却与“人”的坚守息息相关。这座老城，在陈默的注视下，在晨曦与微露之间，继续着它古老而恒久的呼吸。
著者信息
作者簡介
巫本添(John Bon-Tien Wu)
台灣員林人，民國39年（西元1950年）出生。紐約社區報《周報》經濟專欄及房地產專欄作家（2003-2010）。輔仁大學英文系畢業、NYU紐約大學戲劇藝術碩士MA、NYU紐約大學電影電視製作碩士MFA、NYU紐約大學房地產研究所（1998-2000）。曾和Michael Kirby合寫英文表演劇劇本和電影劇本。合創SoHo結構主義者工作室。Kaplan NYC「正式邏輯」講師；法學教授 Albert DEMEO 的學生，曾榮獲中華民國兩屆電影金穗獎《夢幻與回憶》、《劇場情人》。
1950 Born in Yuan-Lin Taiwan. Economy and Real Estate Columnist of Weekly New York Community Times (2003-2010).
BA in English Literature, Fu Jen Catholic University (1968-1972), Taipei Taiwan.
MA in Drama, NYU (1975-1976), Manhattan NYC
MFA in Filmmaking and TV Production, NYU (1976-1979) Manhattan NYC.
Studied in Graduate School of Institute of Real Estate, NYU (1998-2000) Manhattan NYC.
Screenwriter, playwright.
Co-writer with Michael Kirby. Member of SoHo Structuralist Workshop (1975-1979).
Formal Logic instructor, Kaplan (2000-2001) Manhattan NYC.
Student of Law Professor Albert Demeo (1984-1986) Brooklyn Law School NYC.
Two Times Taiwan Golden Harvest Awards for Outstanding Short Films: The Theatre Lovers, Fantasy and Memory.
【作品】
《剖影》The Anatomy of A Shadow詩、散文合集
《四面是畫》Poetry and Prose Four Sides Are Paintings詩、散文合集
《巫本添的各種風貌》Various Features of John Bon-Tien Wu評論、短篇小說、詩、散文合集
《慾望的堅持：鴿翎及其他端短篇》中譯本，譯自約翰．阿布代克（John Updike）原著Pigeon Feathers and Other Stories
《尚未熄滅》Not Extinguished Yet漢文詩集
《永遠的謝晉：理想中國的藝術良心》Everlasting Jin Xie: The Art Conscience of Ideal China散文集
《Love and Survival》英文詩集
《發生的事情Happening》散文集
《書痴：文學劇本》Bibliophile: Literary Scenario
《Lost in her dream: She is from Shanghai》filmscript英文劇本
《解析經濟大衰退2008-2009》The Analysis of the Great Recession (2008-2009) 經濟專欄集
巫本添(John Bon-Tien Wu)
台灣員林人，民國39年（西元1950年）出生。紐約社區報《周報》經濟專欄及房地產專欄作家（2003-2010）。輔仁大學英文系畢業、NYU紐約大學戲劇藝術碩士MA、NYU紐約大學電影電視製作碩士MFA、NYU紐約大學房地產研究所（1998-2000）。曾和Michael Kirby合寫英文表演劇劇本和電影劇本。合創SoHo結構主義者工作室。Kaplan NYC「正式邏輯」講師；法學教授 Albert DEMEO 的學生，曾榮獲中華民國兩屆電影金穗獎《夢幻與回憶》、《劇場情人》。
1950 Born in Yuan-Lin Taiwan. Economy and Real Estate Columnist of Weekly New York Community Times (2003-2010).
BA in English Literature, Fu Jen Catholic University (1968-1972), Taipei Taiwan.
MA in Drama, NYU (1975-1976), Manhattan NYC
MFA in Filmmaking and TV Production, NYU (1976-1979) Manhattan NYC.
Studied in Graduate School of Institute of Real Estate, NYU (1998-2000) Manhattan NYC.
Screenwriter, playwright.
Co-writer with Michael Kirby. Member of SoHo Structuralist Workshop (1975-1979).
Formal Logic instructor, Kaplan (2000-2001) Manhattan NYC.
Student of Law Professor Albert Demeo (1984-1986) Brooklyn Law School NYC.
Two Times Taiwan Golden Harvest Awards for Outstanding Short Films: The Theatre Lovers, Fantasy and Memory.
【作品】
《剖影》The Anatomy of A Shadow詩、散文合集
《四面是畫》Poetry and Prose Four Sides Are Paintings詩、散文合集
《巫本添的各種風貌》Various Features of John Bon-Tien Wu評論、短篇小說、詩、散文合集
《慾望的堅持：鴿翎及其他端短篇》中譯本，譯自約翰．阿布代克（John Updike）原著Pigeon Feathers and Other Stories
《尚未熄滅》Not Extinguished Yet漢文詩集
《永遠的謝晉：理想中國的藝術良心》Everlasting Jin Xie: The Art Conscience of Ideal China散文集
《Love and Survival》英文詩集
《發生的事情Happening》散文集
《書痴：文學劇本》Bibliophile: Literary Scenario
《Lost in her dream: She is from Shanghai》filmscript英文劇本
《解析經濟大衰退2008-2009》The Analysis of the Great Recession (2008-2009) 經濟專欄集
图书目录
1. A series of shots of Shanghai, the river, people. A young woman, MEI-LIN, walks through the crowd, separates herself from it. Now the woman is shown full-frame. The image freezes. — 21
2. INT. AN INNER OFFICE OF THE CONSULATE--A MOMENT LATER. — 22
3. EXT. A PARK--A LITTLE LATER. — 25
4. INT. MICKEY'S BEDROOM--PAST MIDNIGHT. — 26
5. INT. MEI-LIN'S BEDROOM--EARLY EVENING. — 29
6. INT. A LARGE ROOM IN A HOUSE--EVENING. — 34
7. INT. ANOTHER ROOM OF THE HOUSE--A LITTLE WHILE LATER. — 36
8. INT. A POOLHALL IN QUEENS--NIGHT. — 43
9. INT. A MOVING CAR--A LITTLE LATER. — 43
10. EXT. A JUMBO JET TOUCHES DOWN IN THE L.A. AIRPORT--EARLY MORNING THREE MONTHS LATER. — 45
11. INT. THE LOS ANGELES AIRPORT--A LITTLE LATER. — 45
12. INT. THE RECEPTION AREA AT THE L.A. AIRPORT--A LITTLE LATER. — 45
13. INT. A TELEPHONE AT THE L.A. AIRPORT--A LITTLE LATER. — 45
14. A TICKET COUNTER AT THE L.A. AIRPORT--A LITTLE LATER. — 46
15. EXT. A TWIN-ENGINE JET LANDS IN ALBUQUERQUE--AFTERNOON THE SAME DAY. — 48
16. INT. THE ALBUQUERQUE AIRPORT--A LITTLE LATER. — 48
17. INT. A TELEPHONE AT THE ALBUQUERQUE AIRPORT--A LITTLE LATER. — 48
18. EXT. A SMALL PROP PLANE LANDS IN ROSWELL--TWILIGHT THE SAME DAY. — 48
19. INT. THE ROSWELL AIRPORT--A LITTLE LATER. — 49
20. EXT. CAB STAND AT THE ROSWELL AIRPORT--
A LITTLE LATER. — 49
21. EXT. TIMOTHY'S HOUSE--AFTER MIDNIGHT THE SAME EVENING. — 49
22. INT. A SOCIAL CLUB IN CHINATOWN, QUEENS,--SUNDAY AFTERNOON. — 51
23. EXT. A NEARBY BACKYARD--A LITTLE LATER. — 53
24. INT. THE LIVINGROOM OF TIMOTHY'S HOUSE--
EARLY MORNING THE NEXT DAY. — 55
25. EXT. NEW MEXICO LANDSCAPE--CONTINUATION. — 56
26. INT. THE LIVINGROOM--A MOMENT LATER. — 57
27. INT. A FANCY CHINESE RESTAURANT IN QUEENS--EVENING. — 58
28. INT. THE KITCHEN OF TIMOTHY'S HOUSE--LATE THAT SAME MORNING. — 62
29. INT. TIMOTHY'S FOUR-WHEEL DRIVE CAR--A LITTLE LATER. — 65
30. EXT. NEW MEXICO LANDSCAPE. — 65
31. EXT. A HIGH POINT IN A MOUNTAIN PASS--A LITTLE LATER. — 68
32. INT. A COFFEE SHOP IN QUEENS--MORNING. — 69
33. EXT. THE COFFEE SHOP--CONTINUATION. — 71
34. INT. TIMOTHY'S LIVINGROOM--AFTER MIDNIGHT SOME DAYS LATER. — 71
35. EXT. A BUS STATION IN ROSEWELL, NEW MEXICO--THE NEXT EVENING. — 74
36. INT. INSIDE THE BUS--A FEW MOMENTS LATER. — 77
37. INT. INSIDE THE BUS--AN HOUR LATER. — 78
38. EXT. A TRUCK STOP--MORNING. — 80
39. INT. THE TRUCK STOP--A LITTLE LATER THAT MORNING. — 81
40. INT. INSIDE THE BUS--THAT AFTERNOON. — 83
41. INT. INSDIE THE BUS--THAT NIGHT — 84
42. INT. PORT AUTHORITY BUS TERMINAL IN NEW YORK--THE NEXT MORNING. — 85
43. INT. AN APARTMENT OF THE UPPER WEST SIDE--A HALF-HOUR LATER. — 87
44. EXT/INT. THE FRONT DOOR OF A NIGHTCLUB IN QUEENS--NOON THE NEXT DAY. — 89
45. INT. THE NIGHTCLUB--A FEW MINUTES LATER. — 90
46. INT. THE LADIES' ROOM AT THE CLUB--A FEW MOMENTS LATER. — 93
47. INT. THE DANCE FLOOR OF THE CLUB--CONTINUATION. — 93
48. INT. NEAR THE EXIT OF THE CLUB-CONTINUATION. — 94
49. INT. THE DANCE FLOOR OF THE CLUB--CONTINUATION. — 94
50. INT. MICKEY'S MOVING CAR--A LITTLE LATER. — 99
51. INT. THE FRONT HALL OF ARTHUR'S APARTMENT--LATER THAT DAY. — 102
52. INT. A CHINESE NIGHTCLUB--LATE EVENING. — 105
53. EXT. THE ESPLANADE AT BATTERY PARK CITY--TWILIGHT. — 108
54. INT. AN INNER OFFICE AT THE CITY BUILDING--THE NEXT MORNING. — 110
55. EXT. TERRACE RESTAURANT ATOP A HOTEL IN MIDTOWN--EARLY THAT EVENING. — 111
56. EXT. THE STATEN ISLAND FERRY--TWILIGHT. — 114
57. INT. ARTHUR'S APARTMENT--EVENING. — 116
58. INT. A TAXI NEAR 34TH STREET IN MANHATTAN--EARLY AFTERNOON. — 118
59. INT. WATCH DEPARTMENT AT MACY'S--A LITTLE LATER. — 120
60. INT. A CHINESE TELEVISION STUDIO--A FEW DAYS LATER. — 123
61. INT. AN EXPENSIVE TEA-HOUSE IN FLUSHING CHINATOWN--A LITTLE LATER. — 125
62. INT. ARTHUR'S APARTMENT--EVENING, TEN DAYS LATER. — 127
63. INT. A LARGE NIGHTCLUB--EARLY EVENING THE SAME DAY, A SATURDAY. — 128
64. INT. A PRIVATE CLUB IN QUEENS CHINATOWN--A LITTLE LATER. — 134
65. EXT. A PAY TELEPHONE ON A STREET IN QUEENS CHINATOWN--AN HOUR LATER. — 137
66. INT. MEI-LIN'S ROOM--EARLY EVENING. — 138
67. INT. THE LIVINGROOM OF THE APARTMENT--CONTINUATION. — 139
68. INT. MEI-LIN'S ROOM--A LITTLE LATER. — 147
69. INT. THE LIVINGROOM OF THE APARTMENT--A LITTLE LATER. — 149
70. INT. MEI-LIN'S ROOM--A LITTLE LATER. — 150
71. INT. THE KING'S INNER OFFICE--THAT SAME MORNING. — 151
72. EXT. A STREET IN CHINATOWN--LATER THAT DAY. — 155
73. INT. THE KITCHEN OF MICKEY'S HOUSE--EARLY EVENING. — 157
74. INT. A CAR IN CHINATOWN--THE SAME TIME. — 161
75. EXT. THE CAR AT THE CURB IN CHINATOWN--CONTINUATION. — 162
76. EXT. TENEMENT STREET IN UPPER MANHATTAN--A LITTLE LATER. — 162
77. INT. THE TELEVISION STUDIO--THE SAME TIME. — 162
78. INT. THE GROUNDFLOOR HALLWAY OF THE TENEMENT--A MOMENT LATER. — 164
79. INT. THE STAIRS OF THE TENEMENT--A MOMENT LATER. — 164
80. INT. THE TELEVISION STUDIO--THE SAME TIME. — 164
81. INT. AN UPPER HALLWAY OF THE TENEMENT--THE SAME TIME. — 165
82. INT. THE TELEVISION STUDIO--THE SAME TIME. — 166
83. INT. YOHANCE'S APARTMENT--THE SAME TIME. — 167
84. INT. THE TELEVISION STUDIO--THE SAME TIME. — 167
85. INT. THE KITCHEN OF YOHANCE'S APARTMENT--THE SAME TIME. Tyrone stops in the kitchen and speaks to a MAN WITHOUT A SHIRT. — 168
86. INT. THE TELEVISION STUDIO--THE SAME TIME. — 169
87. INT. THE BACK ROOM OF THE APARTMENT--THE SAME TIME. — 170
88. INT. THE KITCHEN OF THE APARTMENT--CONTINUATION. — 170
89. INT. THE CONTROL BOOTH--THE SAME TIME. — 171
90. INT. THE HALLWAY OUTSIDE THE APARTMENT--THE SAME TIME. — 172
91. INT. HALLWAY OUTSIDE THE CONTROL BOOTH--CONTINUATION OF TELEVISION ACTION. — 173
92. INT. STAGE DOOR OF THE STATION--CONTINUATION. — 174
93. EXT. THE TENEMENT STREET IN UPPER MANHATTAN--THE SAME TIME. — 175
94. EXT. A STREET IN HARLEM--A MOMENT LATER. — 176
95. INT. THE MOVING TAXI--A FEW MOMENTS LATER. — 177
96. EXT. THE TAXI--CONTINUATION. — 178
97. INT. THE TAXI--CONTINUATION. — 178
98. EXT. THE STREET--CONTINUATION — 178
99. EXT. A STREET IN CHINATOWN--THE NEXT DAY. — 180
100. INT. THE RECEPTION AREA OF A TRADING COMPANY--A MOMENT LATER. — 180
101. INT. THE KING'S INNER OFFICE--A HALF-HOUR LATER. — 181
102. INT. THE UPSTAIRS HALLWAY OF MICKEY'S HOUSE--THAT AFTERNOON. — 183
103. INT. ANN'S BEDROOM--CONTINUATION. — 184
104. INT. MEI-LIN'S ROOM--A LITTLE LATER THAT EVENING. — 186
105. INT. ANN'S BEDROOM--CONTINUATION. — 187
106. INT. LIVINGROOM OF ARTHUR'S APARTMENT--
CONTINUATION. — 188
107. EXT. A PARKING LOT IN QUEENS--TWILIGHT. — 189
108. INT. MICKEY'S CAR--A LITTLE LATER. — 193
109. EXT. THE PARKED CAR--CONTINUATION. — 195
2. INT. AN INNER OFFICE OF THE CONSULATE--A MOMENT LATER. — 22
3. EXT. A PARK--A LITTLE LATER. — 25
4. INT. MICKEY'S BEDROOM--PAST MIDNIGHT. — 26
5. INT. MEI-LIN'S BEDROOM--EARLY EVENING. — 29
6. INT. A LARGE ROOM IN A HOUSE--EVENING. — 34
7. INT. ANOTHER ROOM OF THE HOUSE--A LITTLE WHILE LATER. — 36
8. INT. A POOLHALL IN QUEENS--NIGHT. — 43
9. INT. A MOVING CAR--A LITTLE LATER. — 43
10. EXT. A JUMBO JET TOUCHES DOWN IN THE L.A. AIRPORT--EARLY MORNING THREE MONTHS LATER. — 45
11. INT. THE LOS ANGELES AIRPORT--A LITTLE LATER. — 45
12. INT. THE RECEPTION AREA AT THE L.A. AIRPORT--A LITTLE LATER. — 45
13. INT. A TELEPHONE AT THE L.A. AIRPORT--A LITTLE LATER. — 45
14. A TICKET COUNTER AT THE L.A. AIRPORT--A LITTLE LATER. — 46
15. EXT. A TWIN-ENGINE JET LANDS IN ALBUQUERQUE--AFTERNOON THE SAME DAY. — 48
16. INT. THE ALBUQUERQUE AIRPORT--A LITTLE LATER. — 48
17. INT. A TELEPHONE AT THE ALBUQUERQUE AIRPORT--A LITTLE LATER. — 48
18. EXT. A SMALL PROP PLANE LANDS IN ROSWELL--TWILIGHT THE SAME DAY. — 48
19. INT. THE ROSWELL AIRPORT--A LITTLE LATER. — 49
20. EXT. CAB STAND AT THE ROSWELL AIRPORT--
A LITTLE LATER. — 49
21. EXT. TIMOTHY'S HOUSE--AFTER MIDNIGHT THE SAME EVENING. — 49
22. INT. A SOCIAL CLUB IN CHINATOWN, QUEENS,--SUNDAY AFTERNOON. — 51
23. EXT. A NEARBY BACKYARD--A LITTLE LATER. — 53
24. INT. THE LIVINGROOM OF TIMOTHY'S HOUSE--
EARLY MORNING THE NEXT DAY. — 55
25. EXT. NEW MEXICO LANDSCAPE--CONTINUATION. — 56
26. INT. THE LIVINGROOM--A MOMENT LATER. — 57
27. INT. A FANCY CHINESE RESTAURANT IN QUEENS--EVENING. — 58
28. INT. THE KITCHEN OF TIMOTHY'S HOUSE--LATE THAT SAME MORNING. — 62
29. INT. TIMOTHY'S FOUR-WHEEL DRIVE CAR--A LITTLE LATER. — 65
30. EXT. NEW MEXICO LANDSCAPE. — 65
31. EXT. A HIGH POINT IN A MOUNTAIN PASS--A LITTLE LATER. — 68
32. INT. A COFFEE SHOP IN QUEENS--MORNING. — 69
33. EXT. THE COFFEE SHOP--CONTINUATION. — 71
34. INT. TIMOTHY'S LIVINGROOM--AFTER MIDNIGHT SOME DAYS LATER. — 71
35. EXT. A BUS STATION IN ROSEWELL, NEW MEXICO--THE NEXT EVENING. — 74
36. INT. INSIDE THE BUS--A FEW MOMENTS LATER. — 77
37. INT. INSIDE THE BUS--AN HOUR LATER. — 78
38. EXT. A TRUCK STOP--MORNING. — 80
39. INT. THE TRUCK STOP--A LITTLE LATER THAT MORNING. — 81
40. INT. INSIDE THE BUS--THAT AFTERNOON. — 83
41. INT. INSDIE THE BUS--THAT NIGHT — 84
42. INT. PORT AUTHORITY BUS TERMINAL IN NEW YORK--THE NEXT MORNING. — 85
43. INT. AN APARTMENT OF THE UPPER WEST SIDE--A HALF-HOUR LATER. — 87
44. EXT/INT. THE FRONT DOOR OF A NIGHTCLUB IN QUEENS--NOON THE NEXT DAY. — 89
45. INT. THE NIGHTCLUB--A FEW MINUTES LATER. — 90
46. INT. THE LADIES' ROOM AT THE CLUB--A FEW MOMENTS LATER. — 93
47. INT. THE DANCE FLOOR OF THE CLUB--CONTINUATION. — 93
48. INT. NEAR THE EXIT OF THE CLUB-CONTINUATION. — 94
49. INT. THE DANCE FLOOR OF THE CLUB--CONTINUATION. — 94
50. INT. MICKEY'S MOVING CAR--A LITTLE LATER. — 99
51. INT. THE FRONT HALL OF ARTHUR'S APARTMENT--LATER THAT DAY. — 102
52. INT. A CHINESE NIGHTCLUB--LATE EVENING. — 105
53. EXT. THE ESPLANADE AT BATTERY PARK CITY--TWILIGHT. — 108
54. INT. AN INNER OFFICE AT THE CITY BUILDING--THE NEXT MORNING. — 110
55. EXT. TERRACE RESTAURANT ATOP A HOTEL IN MIDTOWN--EARLY THAT EVENING. — 111
56. EXT. THE STATEN ISLAND FERRY--TWILIGHT. — 114
57. INT. ARTHUR'S APARTMENT--EVENING. — 116
58. INT. A TAXI NEAR 34TH STREET IN MANHATTAN--EARLY AFTERNOON. — 118
59. INT. WATCH DEPARTMENT AT MACY'S--A LITTLE LATER. — 120
60. INT. A CHINESE TELEVISION STUDIO--A FEW DAYS LATER. — 123
61. INT. AN EXPENSIVE TEA-HOUSE IN FLUSHING CHINATOWN--A LITTLE LATER. — 125
62. INT. ARTHUR'S APARTMENT--EVENING, TEN DAYS LATER. — 127
63. INT. A LARGE NIGHTCLUB--EARLY EVENING THE SAME DAY, A SATURDAY. — 128
64. INT. A PRIVATE CLUB IN QUEENS CHINATOWN--A LITTLE LATER. — 134
65. EXT. A PAY TELEPHONE ON A STREET IN QUEENS CHINATOWN--AN HOUR LATER. — 137
66. INT. MEI-LIN'S ROOM--EARLY EVENING. — 138
67. INT. THE LIVINGROOM OF THE APARTMENT--CONTINUATION. — 139
68. INT. MEI-LIN'S ROOM--A LITTLE LATER. — 147
69. INT. THE LIVINGROOM OF THE APARTMENT--A LITTLE LATER. — 149
70. INT. MEI-LIN'S ROOM--A LITTLE LATER. — 150
71. INT. THE KING'S INNER OFFICE--THAT SAME MORNING. — 151
72. EXT. A STREET IN CHINATOWN--LATER THAT DAY. — 155
73. INT. THE KITCHEN OF MICKEY'S HOUSE--EARLY EVENING. — 157
74. INT. A CAR IN CHINATOWN--THE SAME TIME. — 161
75. EXT. THE CAR AT THE CURB IN CHINATOWN--CONTINUATION. — 162
76. EXT. TENEMENT STREET IN UPPER MANHATTAN--A LITTLE LATER. — 162
77. INT. THE TELEVISION STUDIO--THE SAME TIME. — 162
78. INT. THE GROUNDFLOOR HALLWAY OF THE TENEMENT--A MOMENT LATER. — 164
79. INT. THE STAIRS OF THE TENEMENT--A MOMENT LATER. — 164
80. INT. THE TELEVISION STUDIO--THE SAME TIME. — 164
81. INT. AN UPPER HALLWAY OF THE TENEMENT--THE SAME TIME. — 165
82. INT. THE TELEVISION STUDIO--THE SAME TIME. — 166
83. INT. YOHANCE'S APARTMENT--THE SAME TIME. — 167
84. INT. THE TELEVISION STUDIO--THE SAME TIME. — 167
85. INT. THE KITCHEN OF YOHANCE'S APARTMENT--THE SAME TIME. Tyrone stops in the kitchen and speaks to a MAN WITHOUT A SHIRT. — 168
86. INT. THE TELEVISION STUDIO--THE SAME TIME. — 169
87. INT. THE BACK ROOM OF THE APARTMENT--THE SAME TIME. — 170
88. INT. THE KITCHEN OF THE APARTMENT--CONTINUATION. — 170
89. INT. THE CONTROL BOOTH--THE SAME TIME. — 171
90. INT. THE HALLWAY OUTSIDE THE APARTMENT--THE SAME TIME. — 172
91. INT. HALLWAY OUTSIDE THE CONTROL BOOTH--CONTINUATION OF TELEVISION ACTION. — 173
92. INT. STAGE DOOR OF THE STATION--CONTINUATION. — 174
93. EXT. THE TENEMENT STREET IN UPPER MANHATTAN--THE SAME TIME. — 175
94. EXT. A STREET IN HARLEM--A MOMENT LATER. — 176
95. INT. THE MOVING TAXI--A FEW MOMENTS LATER. — 177
96. EXT. THE TAXI--CONTINUATION. — 178
97. INT. THE TAXI--CONTINUATION. — 178
98. EXT. THE STREET--CONTINUATION — 178
99. EXT. A STREET IN CHINATOWN--THE NEXT DAY. — 180
100. INT. THE RECEPTION AREA OF A TRADING COMPANY--A MOMENT LATER. — 180
101. INT. THE KING'S INNER OFFICE--A HALF-HOUR LATER. — 181
102. INT. THE UPSTAIRS HALLWAY OF MICKEY'S HOUSE--THAT AFTERNOON. — 183
103. INT. ANN'S BEDROOM--CONTINUATION. — 184
104. INT. MEI-LIN'S ROOM--A LITTLE LATER THAT EVENING. — 186
105. INT. ANN'S BEDROOM--CONTINUATION. — 187
106. INT. LIVINGROOM OF ARTHUR'S APARTMENT--
CONTINUATION. — 188
107. EXT. A PARKING LOT IN QUEENS--TWILIGHT. — 189
108. INT. MICKEY'S CAR--A LITTLE LATER. — 193
109. EXT. THE PARKED CAR--CONTINUATION. — 195
图书试读
序
〈PREFACE〉
Michael Stanley Kirby (1931 – February 24, 1997) was a professor of drama at New York University. He wrote several groundbreaking books, including Happenings, Futurist Performance and The Art of Time. He was editor of The Drama Review from 1969 to 1986.
Lost in her dream (She is from Shanghai)
Written by John Bon-Tien Wu
Revised by Michael Stanley Kirby
〈PREFACE〉
Michael Stanley Kirby (1931 – February 24, 1997) was a professor of drama at New York University. He wrote several groundbreaking books, including Happenings, Futurist Performance and The Art of Time. He was editor of The Drama Review from 1969 to 1986.
Lost in her dream (She is from Shanghai)
Written by John Bon-Tien Wu
Revised by Michael Stanley Kirby
用户评价
评分
这本书最让我印象深刻的，是它那种近乎冷酷的现实主义底色上，偶尔闪现出的、转瞬即逝的诗意火花。作者没有试图美化生活中的困境，而是将其赤裸裸地呈现，但就是在这种真实中，却诞生了一种令人肃然起敬的力量感。它探讨的冲突并非简单的善恶对立，而是根植于人性深处，关于爱、责任、遗忘与记忆的永恒拉锯。我发现自己在阅读时，会不自觉地将书中的情境与我个人生命中的某些关键时刻进行对照和反思，这证明了它的普适性和情感穿透力。行文的结构非常巧妙，时而如同电影镜头般快速剪辑，时而又像慢镜头一样，将某一瞬间的情绪无限拉长，这种节奏的掌控力，显示出作者炉火纯青的文学功底。总体来说，这是一次令人心绪不宁，但又无比值得的阅读旅程。
评分这本书的语言风格具有一种独特的疏离美感，它不是那种直白的情感宣泄，而是通过冷静、近乎客观的笔触，去描绘人物内心世界的汹涌暗流。这种反差营造出一种独特的张力，让人在阅读时始终保持着一种警觉，生怕错过任何一个潜藏的暗示。我发现自己不得不频繁地停下来，重新咀嚼一些关键的对话场景。作者在对话设计上极其高明，很多时候，真正重要的信息和情感张力，都隐藏在那些“没有说出来的话”和停顿之中。它对细节的捕捉能力令人称奇，无论是对某个特定季节的城市光影的描绘，还是对某种特定场合下人们肢体语言的刻画，都精准得如同高清镜头下的特写。阅读体验是一场沉浸式的感官盛宴，它挑战了我的阅读习惯，让我必须主动去参与到意义的构建过程中，而不是被动地接受叙事。
评分这本书的叙事节奏简直令人着迷，作者对人物心理的刻画入木三分，那种细腻到令人窒息的挣扎感，透过字里行间都能真切地感受到。它并非那种情节跌宕起伏到让你喘不过气的小说，而是像一幅缓缓展开的、色彩层次极其丰富的油画，每一笔触都蕴含着深意。我特别欣赏作者如何处理时间线，那些穿插的回忆和现实的片段，并非简单的线性叙述，而是如同记忆碎片般自然地闪回，不断地丰富和解构着主角当下的困境。读到一些关于选择与妥协的段落时，我甚至会放下书，陷入长时间的沉思，仿佛自己也站在了主人公的十字路口，权衡着那些沉甸甸的代价。文字的质感极其高级，很多句子本身就是独立的艺术品，读起来有一种被熨帖的愉悦感，仿佛作者精准地捕捉到了那些我们日常生活中难以言喻的微妙情感波动。整体而言，这是一次精神上的深度漫游，它挑战了你对既定人生的认知，并温柔地推着你向前去审视那些被忽略的内在角落。
评分如果要用一个词来形容阅读这本书的感受，我会选择“回味悠长”。它不像一些畅销小说那样，在合上封面的瞬间就将所有情绪释放殆尽，而是像一首未完待续的交响乐，余音袅袅，在你日常生活的间隙中不断回响。这本书的叙事视角切换非常流畅自然，作者似乎拥有多双眼睛，能够从不同的生命历程中观察同一个事件，并呈现出其多维度的解读。最让我震撼的是它对“身份”这一概念的解构。它探讨了我们如何通过环境、语言和期待来定义自己，以及当这些外部支柱摇摇欲坠时，剩下的“自我”究竟是什么。我特别喜欢那些富含象征意义的意象，它们如同隐藏的密码，只有当你将整本书的脉络串联起来时，才会恍然大悟。这是一部需要用心去“读”而非仅仅是“看”的书。
评分老实说，这本书的开头有些慢热，对于追求即时刺激的读者来说，可能需要一点耐心去适应这种缓慢沉淀的氛围。但一旦你跨过了最初的几章，真正进入到作者构建的世界观后，那种强烈的代入感便会像藤蔓一样紧紧缠绕住你，让你欲罢不能。我感受到的最深刻的一点是，作者对于“环境对人的塑形力”这一主题的探讨达到了近乎残酷的真实。那些看似微不足道的日常琐事，在特定的文化背景和人际关系网中，是如何一步步蚕食或塑造出一个人的灵魂的，描绘得淋漓尽致。这不是一部提供标准答案的作品，它更像一面镜子，映照出社会结构下个体命运的复杂性。我尤其佩服作者在处理复杂群像时的功力，即便是配角，也拥有独立而丰满的生命力，他们的动机和挣扎，绝非工具性地服务于主角，而是共同编织成了一张密不透风的生活巨网。看完之后，我久久不能平静，它迫使我去反思，我们口中的“自由”究竟有多少是真实存在的。
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