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．"
具體描述
晨曦微露：一座老城裏的光影流轉 作者： 佚名（或用一個筆名，如：江上漁者） 類型： 城市人文、曆史迴溯、懷舊小說 字數： 約 1500 字 --- 第一章：青石闆上的迴聲 這是一座被時間溫柔撫摸的城市，它不叫上海，卻有著相似的肌理和無法磨滅的印記。我們的故事，從一條名叫“石闆巷”的窄弄堂開始。巷子兩邊是斑駁的磚牆，爬滿瞭翠綠的藤蔓，空氣中永遠彌漫著潮濕的泥土和清晨油條的混閤香氣。 主角是一位名叫陳默的中年人。他並非本地土著，而是為瞭逃避都市的喧囂，在一次偶然的機緣下，搬進瞭這條巷子裏一間由老式糧倉改造的小閣樓。陳默的職業是鍾錶修復匠，一個與時間打交道，卻又仿佛被時間遺忘的人。他的生活哲學是慢，慢到能聽清牆壁裏水管滴水的聲音，慢到能分辨齣不同鄰居推開木門時的聲響差異。 石闆巷的生活是流動的曆史。每天清晨，賣菜的小販用特有的、抑揚頓挫的調子吆喝著。老人們圍坐在巷口的竹椅上，搖著蒲扇，聊著上個世紀的故事。這些故事如同巷子裏的青石闆，被無數雙腳打磨得光滑圓潤，承載著這座城市幾代人的呼吸與嘆息。 陳默的“鋪子”設在巷子口，一個不到十平米的小空間。他修復的不僅是機械的齒輪和遊絲，他修復的，也是人們心中那些失序的時刻。他總說：“機械的錯誤是清晰的，人心的錯誤，纔需要耐心去校準。” 第二章：雨巷中的素描 故事的主綫，圍繞著陳默修復的一塊古董懷錶展開。這塊錶並非齣自名傢之手，錶盤上有一個極其細微的、幾乎難以察覺的裂痕。這塊錶的主人，是一位名叫林婉的年輕女子。 林婉，是這座老城裏少有的“新”力量。她是一位獨立紀錄片製作人，迴鄉是為瞭拍攝關於城市邊緣手藝人的專題片。她敏銳、果敢，與陳默的沉靜形成瞭鮮明的對比。她對陳默的鍾錶手藝充滿敬畏，但更對陳默所代錶的“慢哲學”感到好奇和不解。 “陳先生，您為什麼不使用現代的精密儀器來定位這個裂痕？”林婉第一次在鋪子裏問道，她的聲音帶著紀錄片人特有的清脆和穿透力。 陳默沒有抬頭，他的工具在昏黃的燈光下閃爍著微光：“儀器能告訴你它在哪裏，但不能告訴你它為什麼在那裏。有些裂痕，是時間刻下的記憶，你得用手去感受，去和它對話。” 他們的對話，常常發生在午後的光綫穿過狹窄的天窗，在木地闆上投下斑駁光影的時刻。林婉的鏡頭開始聚焦於石闆巷的日常：裁縫鋪裏縫紉機“噠噠”的聲響，麵館裏熱氣騰騰的湯麵，以及老人們在弄堂裏踢的皮球砸到牆上的“砰”的一聲。她試圖捕捉這座城市在快速現代化進程中，那些不願被時間遺忘的側麵。 第三章：塵封的信件與碼頭的黃昏 隨著懷錶的修復工作深入，陳默發現錶殼夾層中藏著一張泛黃的信箋。信箋上的筆跡娟秀而急切，內容卻晦澀難懂，隻提到瞭一個地點——“三號貨棧的盡頭”。 這封信，將陳默的思緒拉迴瞭二十年前。他曾經是這座城市碼頭上一名意氣風發的學徒，懷揣著“走嚮更遠地方”的夢想。二十年前的一場變故，讓他放棄瞭遠航的計劃，迴到瞭這座他曾試圖逃離的城市，最終選擇瞭與時間為伍。 林婉被陳默的沉默所感染，她決定將紀錄片的拍攝主題轉嚮碼頭的曆史變遷。她發現，三號貨棧曾是這座城市對外貿易的象徵，也是無數人夢想起航又最終擱淺的地方。 在碼頭，他們遇到瞭已經退休的老引航員，李伯。李伯的記憶如同潮汐般起伏不定，他告訴陳默和林婉，二十年前，碼頭發生過一場小小的騷動，與一塊“丟失的貨物”有關。那塊貨物，似乎與陳默手中的懷錶有著某種隱秘的聯係。 第四章：齒輪的交匯 修復懷錶的過程，成為瞭陳默與自己過去和解的過程。他終於明白，那塊懷錶是當年一位他尊敬的師傅留下的，師傅希望他能找到“真正重要的東西”，而不是追逐遙不可及的遠方。裂痕，不是損壞，而是師傅特意留下的標記，引導他去審視那些被忽略的細節。 林婉的紀錄片也開始成型。她不再隻關注“懷舊”，而是聚焦於“堅持”。她記錄瞭陳默如何在方寸之間，用耐心和技藝對抗工業化的冰冷；記錄瞭麵館老闆如何在不斷上漲的租金壓力下，堅持用老湯頭維持味道；記錄瞭石闆巷的居民們，如何在城市更新的巨輪下，緊緊守住那份屬於鄰裏之間的溫暖。 在一次暴雨後的清晨，石闆巷積水倒灌，幾塊老舊的木質招牌被衝倒。陳默和林婉，以及巷子裏所有的居民，一起動手清理、修補。那一刻，他們不再是紀錄片拍攝者和被拍攝者，他們是共同生活在這片土地上，共享著同一段曆史的“自己人”。 當懷錶最終被修復，裂痕在打磨後依然存在，但它不再是缺陷，而成為瞭一個獨特的印記，記錄著歲月的磨礪。陳默將錶還給瞭林婉，他沒有透露信件的秘密，但他明白瞭師傅的用意：有些記憶，無需公之於眾，隻需被理解和珍藏。 尾聲：時間的沉澱 林婉帶著她的紀錄片離開瞭這座城市，她知道，她帶走的不僅僅是影像，更是對“慢”和“根”的深刻體悟。 陳默留瞭下來。他依然坐在鋪子裏，修復著一塊又一塊的鍾錶。石闆巷依舊清晨熱鬧，黃昏寜靜。他偶爾會走到巷口，看著夕陽灑在青石闆上，那光影仿佛在訴說著這座城市無數個沒有被記錄下來的瞬間。 他不再覺得自己是被時間遺棄的人。他是時間的守護者，是那些流逝的、細微的、卻構建瞭整座城市靈魂的瞬間的見證者。這裏的每一塊磚、每一片瓦，都有它自己的故事，與上海無關，卻與“人”的堅守息息相關。這座老城，在陳默的注視下，在晨曦與微露之間，繼續著它古老而恒久的呼吸。
著者信息
作者簡介
巫本添(John Bon-Tien Wu)
颱灣員林人，民國39年（西元1950年）齣生。紐約社區報《周報》經濟專欄及房地產專欄作傢（2003-2010）。輔仁大學英文係畢業、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閤寫英文錶演劇劇本和電影劇本。閤創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《夢幻與迴憶》、《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、散文閤集
《四麵是畫》Poetry and Prose Four Sides Are Paintings詩、散文閤集
《巫本添的各種風貌》Various Features of John Bon-Tien Wu評論、短篇小說、詩、散文閤集
《慾望的堅持：鴿翎及其他端短篇》中譯本，譯自約翰．阿布代剋（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
《書癡：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)
颱灣員林人，民國39年（西元1950年）齣生。紐約社區報《周報》經濟專欄及房地產專欄作傢（2003-2010）。輔仁大學英文係畢業、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閤寫英文錶演劇劇本和電影劇本。閤創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《夢幻與迴憶》、《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、散文閤集
《四麵是畫》Poetry and Prose Four Sides Are Paintings詩、散文閤集
《巫本添的各種風貌》Various Features of John Bon-Tien Wu評論、短篇小說、詩、散文閤集
《慾望的堅持：鴿翎及其他端短篇》中譯本，譯自約翰．阿布代剋（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
《書癡：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
圖書目錄
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
圖書試讀
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
用戶評價
评分
這本書最讓我印象深刻的，是它那種近乎冷酷的現實主義底色上，偶爾閃現齣的、轉瞬即逝的詩意火花。作者沒有試圖美化生活中的睏境，而是將其赤裸裸地呈現，但就是在這種真實中，卻誕生瞭一種令人肅然起敬的力量感。它探討的衝突並非簡單的善惡對立，而是根植於人性深處，關於愛、責任、遺忘與記憶的永恒拉鋸。我發現自己在閱讀時，會不自覺地將書中的情境與我個人生命中的某些關鍵時刻進行對照和反思，這證明瞭它的普適性和情感穿透力。行文的結構非常巧妙，時而如同電影鏡頭般快速剪輯，時而又像慢鏡頭一樣，將某一瞬間的情緒無限拉長，這種節奏的掌控力，顯示齣作者爐火純青的文學功底。總體來說，這是一次令人心緒不寜，但又無比值得的閱讀旅程。
评分這本書的敘事節奏簡直令人著迷，作者對人物心理的刻畫入木三分，那種細膩到令人窒息的掙紮感，透過字裏行間都能真切地感受到。它並非那種情節跌宕起伏到讓你喘不過氣的小說，而是像一幅緩緩展開的、色彩層次極其豐富的油畫，每一筆觸都蘊含著深意。我特彆欣賞作者如何處理時間綫，那些穿插的迴憶和現實的片段，並非簡單的綫性敘述，而是如同記憶碎片般自然地閃迴，不斷地豐富和解構著主角當下的睏境。讀到一些關於選擇與妥協的段落時，我甚至會放下書，陷入長時間的沉思，仿佛自己也站在瞭主人公的十字路口，權衡著那些沉甸甸的代價。文字的質感極其高級，很多句子本身就是獨立的藝術品，讀起來有一種被熨帖的愉悅感，仿佛作者精準地捕捉到瞭那些我們日常生活中難以言喻的微妙情感波動。整體而言，這是一次精神上的深度漫遊，它挑戰瞭你對既定人生的認知，並溫柔地推著你嚮前去審視那些被忽略的內在角落。
评分這本書的語言風格具有一種獨特的疏離美感，它不是那種直白的情感宣泄，而是通過冷靜、近乎客觀的筆觸，去描繪人物內心世界的洶湧暗流。這種反差營造齣一種獨特的張力，讓人在閱讀時始終保持著一種警覺，生怕錯過任何一個潛藏的暗示。我發現自己不得不頻繁地停下來，重新咀嚼一些關鍵的對話場景。作者在對話設計上極其高明，很多時候，真正重要的信息和情感張力，都隱藏在那些“沒有說齣來的話”和停頓之中。它對細節的捕捉能力令人稱奇，無論是對某個特定季節的城市光影的描繪，還是對某種特定場閤下人們肢體語言的刻畫，都精準得如同高清鏡頭下的特寫。閱讀體驗是一場沉浸式的感官盛宴，它挑戰瞭我的閱讀習慣，讓我必須主動去參與到意義的構建過程中，而不是被動地接受敘事。
评分如果要用一個詞來形容閱讀這本書的感受，我會選擇“迴味悠長”。它不像一些暢銷小說那樣，在閤上封麵的瞬間就將所有情緒釋放殆盡，而是像一首未完待續的交響樂，餘音裊裊，在你日常生活的間隙中不斷迴響。這本書的敘事視角切換非常流暢自然，作者似乎擁有多雙眼睛，能夠從不同的生命曆程中觀察同一個事件，並呈現齣其多維度的解讀。最讓我震撼的是它對“身份”這一概念的解構。它探討瞭我們如何通過環境、語言和期待來定義自己，以及當這些外部支柱搖搖欲墜時，剩下的“自我”究竟是什麼。我特彆喜歡那些富含象徵意義的意象，它們如同隱藏的密碼，隻有當你將整本書的脈絡串聯起來時，纔會恍然大悟。這是一部需要用心去“讀”而非僅僅是“看”的書。
评分老實說，這本書的開頭有些慢熱，對於追求即時刺激的讀者來說，可能需要一點耐心去適應這種緩慢沉澱的氛圍。但一旦你跨過瞭最初的幾章，真正進入到作者構建的世界觀後，那種強烈的代入感便會像藤蔓一樣緊緊纏繞住你，讓你欲罷不能。我感受到的最深刻的一點是，作者對於“環境對人的塑形力”這一主題的探討達到瞭近乎殘酷的真實。那些看似微不足道的日常瑣事，在特定的文化背景和人際關係網中，是如何一步步蠶食或塑造齣一個人的靈魂的，描繪得淋灕盡緻。這不是一部提供標準答案的作品，它更像一麵鏡子，映照齣社會結構下個體命運的復雜性。我尤其佩服作者在處理復雜群像時的功力，即便是配角，也擁有獨立而豐滿的生命力，他們的動機和掙紮，絕非工具性地服務於主角，而是共同編織成瞭一張密不透風的生活巨網。看完之後，我久久不能平靜，它迫使我去反思，我們口中的“自由”究竟有多少是真實存在的。
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