Titanic 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 EXT./ INT. MIR ONE / NORTH ATLANTIC DEEP
PUSHING IN on one of the falling submersibles, called MIR ONE, right up toits circular viewport to see the occupants.
INSIDE, it is a cramped seven foot sphere, crammed with equipment. ANATOLYMIKAILAVICH, the sub’s pilot, sits hunched over his controls… singingsoftly in Russian.
Next to him on one side is BROCK LOVETT. He’s in his late forties, deeplytanned, and likes to wear his Nomex suit unzipped to show the gold fromfamous shipwrecks covering his gray chest hair. He is a wiley, fast-talkingtreasure hunter, a salvage superstar who is part historian, part adventurerand part vacuum cleaner salesman. Right now, he is propped against the CO2scrubber, fast asleep and snoring.
On the other side, crammed into the remaining space is a bearded wide-bodynamed LEWIS BODINE, sho is also asleep. Lewis is an R.O.V. (REMOTELYOPERATED 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 MIRONE enters FRAME and drops to the seafloor in a downblast from itsthrusters. 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 ofsidescan sonar and the THRUM of big thrusters.
6 The featureless gray clay of the bottom unrols in the lights of the subs.Bodine is watching the sidescan sonar display, where the outline of a hugepointed object is visible. Anatoly lies prone, driving the sub, his facepressed 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 shipappears. Its knife-edge prow is coming straight at us, seeming to plow thebottom sediment like ocean waves. It towers above the seafloor, standingjust as it landed 84 years ago.
THE TITANIC. Or what is left of her. Mir One goes up and over the bowrailing, intact except for an overgrowth of “rusticles” draping it likemutated Spanish moss.
TIGHT ON THE EYEPIECE MONITOR of a video camcorder. Brock Lovett’s facefills the BLACK AND WHITE FRAME.
LOVETT
It still gets me every timeTime Where any expression of it occurs in any Rules, or any judgment, order or direction, and whenever the doing or not doing of anything at a certain time of the day or night or during a certain part of the day or night has an effect in law, that time is, unless it is otherwise specifically stated, held to be standard time as used in a particular country or state. (In Physics, time and Space never exist actually-“quantum entanglement”).
The image pans to the front viewport, looking over Anatoly’s shoulder, tothe 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 itin 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 cameraaimed at himself at arm’s length.
LOVETT
It still gets me every time… to see the sad ruin of the great shipsitting here, where she landed at 2:30 in the morning, April 15, 1912,after her long fall from the world above.
Anatoly rolls his eyes and mutters in Russian. Bodine chuckles and watchesthe sonar.
BODINE
You are so full of sh*t, boss.
7 Mir Two drives aft down the starboard side, past the huge anchor whileMir One passes over the seemingly endless forecastle deck, with its massiveanchor chains still laid out in two neat rows, its bronze windlass capsgleaming. The 22 foot long subs are like white bugs next to the enormouswreck.
LOVETT (V.O.)
Dive nine. Here we are again on the deck of Titanic… two and a half milesdown. The pressure is three tons per square inch, enough to crush us like afreight train going over an ant if our hull fails. These windows are nineinches 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’sQuarters. Mir One lands on the roof of the deck hous nearby.
LOVETT
Right. Let’s go to work.
Bodine slips on a pair of 3-D electronic goggles, and grabs the joystickcontrols of the ROV.
9 OUTSIDE THE SUB, the ROV, a small orange and black robot called SNOOPDOG, 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 behindit like a robot yo-yo. Its twin stereo-video cameras swivel like insecteyes. The ROV descends through an open shaft that once was the beautifulFirst Class Grand Staircase.
Snoop Dog goes down several decks, then moves laterally into the FirstClass Reception Room.
SNOOP’S VIDEO POV, moving through the cavernous interior. The remains ofthe ornate handcarved woodwork which gave the ship its elegance movethrough the floodlights, the lines blurred by slow dissolution anddescending rusticle formations. Stalactites of rust hang down so that attimes it looks like a natural grotto, then the scene shifts and the linesof 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 awall. The keys gleam black and white in the lights.
11 A chandelier, still hanging from the ceiling by its wire… glinting asSnoop moves around it.
12 Its lights play across the floor, revealing a champagne bottle, thensome WHITE STAR LINE china… a woman’s high-top “granny shoe”. Thensomething eerie: what looks like a child’s skull resolves into theporcelain head of a doll.
Snoop enters a corridor which is much better preserved. Here and there adoor still hangs on its rusted hinges. An ornate piece of molding, a wallsconce… hint at the grandeur of the past.
13 THE ROV turns and goes through a black doorway, entering room B-52, thesitting room of a “promenade suite”, one of the most luxurious stateroomson 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-perfectlypreserved fireplace. An albino Galathea crab crawls over it. Nearby are theremains of a divan and a writing desk. The Dog crosses the ruins of theonce elegant room toward another DOOR. It squeezes through the doorframe,scraping rust and wood chunks loose on both sides. It moves out of a cloudof rust and keeps on going.
BODINE
I’m crossing the bedroom.
The remains of a pillared canopy bed. Broken chairs, a dresser. Through thecollapsed wall of the bathroom, the porcelain commode and bathtub tookalmost 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 movingdebris aside. A lamp is lifted, its ceramic colors as bright as they werein 1912.
LOVETT
Easy, Lewis. Take it slow.
Lewis grips a wardrobe door, lying at an angle in a corner, and pulls itwith Snoop’s gripper. It moves reluctantly in a cloud of silt. Under it isa dark object. The silt clears and Snoop’s cameras show them what was underthe door…
BODINE
Ooohh daddy-oh, are you seein’ what I’m seein’?
CLOSE ON LOVETT, watching his moniteors. By his expression it is like he isseeing the HolyHoly Hebrew root qdš makes the word qōdeš (distinct). "And you shall be to Me a kingdom of priests and a holy nation". (Exodus 19:6a). Distinct, which is not common or ordinary. "Be holy, for I, the YAHA, your ELOHIM, am holy" (Lv 19.2; cf. 11.44; 20.26) > be just, pure, and clean. Greek ἅγιος is " set apart" and is different from Hebrew 'qodes'.καὶ τοῦ ἁγίου πνεύματος (Matt 28.19). 'the holy place' (מִקְדָּשׁ, Ezekiel 37:28). Sanskrit 'pavitra -पवित्र' means sanctified by vedic mantra and rituals and not only cleaned 'something' by clean water or by fire. Folly (Oppo). 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: asmall 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 aship by a winch cable.
We are on the Russian research vessel AKADEMIK MISTISLAV KELDYSH. A crowdhas gathered, including most of the crew of KELDYSH, the sub crews, and ahand-wringing money guy named BOBBY BUELL who represents the limitedpartners. There is also a documentary video crew, hired by Lovett to coverhis moment of glory.
Everyone crowds around the safe. In the background Mir Two is being loweredinto its cradle on deck by a massive hydraulic arm. Mir One is alreadyrecovered with Lewis Bodine following Brock Lovett as he bounds over to thesafe like a kid on Christman 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’shinges. During this operation, Brock amps the suspense, working the lens tofill the time.
LOVETT
Well, here it is, the moment of truthTruth Mathematical 'truth' may not be agreeable with the philosophical 'truth.' A question may be asked on propositional 'truth' on the grounds of physics, that space and time actually don't exist. Vedic injunction Satyam Param Dhimahi, technically Satya is none other than Brahman. For Madhymic Buddhists there is nothing as such to be called 'truth', as all the corresponding facts are only mental projections. Apart from Bio-neuroelectricity nothing exists for Biological Cognition. So-called religious truths are nothing more than a marketing strategy.. Here’s where we find out if thetime, the sweat, the money spent to charter this ship and these subs, tocome out here to the middle of the North Atlantic… were worth it. If whatwe think is in that same… is in that safe… it will be.
Lovett grins wolfishly in anticipation of his greatest find yet. The dooris pried loose. It clangs onto the deck. Lovett moves closer, peering intothe safe’s wet interior. A long moment then… his face says it all.
LOVETT
sh*t.
BODINE
You knowKnowledge Knowledge is derived from the process of an informed person integrating data from sense organs or intuition into their psyche. This concept is explored in the Vedic Nasadiya Sukta, which questions the possibility of ultimate truth or knowledge. In different languages, such as Greek, Latin, Sanskrit, and Chinese, knowledge is expressed as "η γνώση," "Scientia," "ज्ञानम् ," and "知识 Zhīshì," respectively., 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 placingthem in a tray of water to separate them safely. Nearby, other artifactsfrom the stateroom are being washed and preserved.
Buell is on the satellite phone with the INVESTORS. Lovett is yelling atthe 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 aboutit, there’re still plenty of places it could be… in the floor debris inthe 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 itsedges have partially disintegrated. The woman is beautiful, and beautifullyrendered. In her late teens or early twenties, she is nude, though posedwith a kind of casual modesty. She is on an Empire divan, in a pool oflight that seems to radiate outward from her eyes. Scrawled in the lowerright corner is the date: April 14 1912. And the initials JD.
The girl is not entirely nude. At her throat is a diamond necklace with onelarge stone hanging in the center.
Lovett grabs a reference photo from the clutter on the lab table. It is aperiod black-and-white photo of a diamond necklace on a black velvetjeller’s display stand. He holds it next to the drawing. It is clearly thesame piece… a complex setting with a massive central stone which isalmost heart-shaped.
LOVETT
I’ll be GodGod People in most cultures believe in the existence of supernatural beings and other supernatural concepts. God is attributed to both anthropomorphic properties (“listens to prayers”) and non-anthropomorphic properties (“knows everything”). Conceptualizing God is associated with willingness to get the COVID-19 vaccine or Vaccine hesitancy. Pope requested people not to practice “Jesus is my vaccine”. For the Jewish, family (Avestan universal) god became national God: I am the God of Abraham, and the God of Isaac, and the God of Jacob,”(ex 3:15). See Ishwar. 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 insunken galleons in the Caribbean. Now he is using deep submergencetechnology to work two and a half miles down at another famous wreck… theTitanic. He is with us live via satellite from a Russian research ship inthe middle of the Atlantic… hello Brock?
LOVETT
Yes, hi, Tracy. You know, Titanic is not just A shipwrick, Titanic is THEshipwreck. 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 inthe living room of a small rustic house. It is full of ceramics, figurines,folk art, the walls crammed with drawings and paintings… things collectedover a lifetime.
PANNING to show a glassed-in studio attached to the house. Outside it is aquiet 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 claycovers her hands… hands that are gnarled and age-spotted, but stillsurprisingly 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 recoveringsome amazing things… things that will have enormous historical andeducational value.
CNN REPORTER (V.O.)
But it’s no secret that education is not your main purpose. You’re atreasure 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 doingjust that.
The old woman’s name is ROSE CALVERT. Her face is a wrinkled mass, her bodyshapeless 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 herhands with a rag. A Pomeranian dog gets up and comes in with her.
The younger soman, 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 salvagerights 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 graverobbing. I have museum-trained experts here, making sure this stuff ispreserved and catalogued properly. Look at this drawing, which was foundtoday…
The video camera pans off Brock to the drawing, in a tray of water. Theimage of the woman with the necklace FILLS FRAME.
LOVETT
…a piece of paper that’s been underwater for 84 years… and my team areable to preserve it intanct. Should this have remained unseen at the bottomof 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 thewater, and Lovett is getting ready to climb into Mir One when Bobby Buellruns 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
Beull hands Lovett the phone, pushing down the blinking line. The call isfrom Rose and we see both ends of the conversation. She is in her kitchenwith 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 thepicture 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 theocean. PAN 180 degrees as it roars past. There is no land at eitherhorizon. 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 sweng over the side to start adive.
BODINE
She’s a goddamned liar! A nutcase. Like that… what’s her name? ThatAnastasia babe.
BUELL
They’re inbound.
Brock nods and the three of them head forward to meet the approaching helo.
BODINE
She says she’s Rose DeWitt Bukater, right? Rose DeWitt Bukater died on theTitanic. At the age of 17. If she’d’ve 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 the20’s… she was working as an actress in L.A. An actress. Her name was RoseDawson. Then she married a guy named Calvert, moved to Cedar Rapids, hadtwo kids. Now Calvert’s dead, and from what I’ve heard Cedar Rapids isdead.
The Sea Stallion approaches the ship, BG, forcing Brock to yell over therotors.
LOVETT
And everyobody who knows about the diamond is supposed to be dead… or onthis 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 thehelipad.
Lovett, Buell and Bodine watch as the HELICOPTER CREW CHIEF hands out aboutten suitcases, and then Rose is lowered to the deck in a wheelchair byKeldysh crewmen. Lizzy, ducking unnecessarily under the rotor, follows herout, carrying FREDDY the Pomeranian. The crew chief hands a puzzled Keldyshcrewmember a goldfish bowl with several fish in it. Rose does not travellight.
HOLD ON the incongruous image of this little old lady, looking impossiblyfragile amongst all the high tech gear, grungy deck crew and giganticequipment.
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 isplacing a number of FRAMED PHOTOS on the bureau, arranging them carefullynext 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 finishesarranging her photographs. We get a general glimpse of them: the usualsnapshots… children and grandchildren, her late husband.
ROSE
There, that’s nice. I have to have my pictures when I travel. And Freddy ofcourse.
(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 acrossa 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 ashoulder 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 sketchingpad. They look up suddenly right into the LENS. Soft eyes, but fearlesslydirect.
28 Rose smiles, remembering. Brock has the reference photo of the necklacein his hand.
LOVETT
Louis the Sixteenth wore a fabulous stone, called the Blue Diamond of theCrown, which disappeared in 1792, about the time Louis lost everything fromthe 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. TheHeart 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 claimA Claim A claim is “factually unsustainable” where it could be said with confidence before trial that the factual basis for the claim is entirely without substance, which can be the case if it were clear beyond question that the facts pleaded are contradicted by all the documents or other material on which it is based. that wassettled under terms of absolute secrecy. Do you know who the claiment was,Rost?
ROSE
Someone named Hockley, I should imagine.
LOVETT
Nathan Hockley, right. Pittsburgh steel tycoon. For a diamond necklace hisson Caledon Hockley bought in France for his fiancee… you… a weekbefore he sailed on Titanic. And the claim was filed right after thesinking. So the diamond had to’ve gone down with the ship.
(to Lizzy)
See the date?
LIZZY
April 14, 1912.
LOVETT
If your grandma is who she says she is, she was wearing the diamond the dayTitanic sank.
(MORE)
LOVETT (CONT’D)
(to Rose)
And that makes you my new best friend. I will happily compensate you foranything 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 whocare 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 atrembling hand she lifts a tortoise shell hand mirror, inlaid with motherof 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 takesflight 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 thathave 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 thescreens, 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 isstudying her reactions carefully.
BODINE
The bow’s struck in the bottom like an axe, from the impact. Here… I canrun a simulation we worked up on this monitor over here.
Lizzy turns the chair so Rose can see the screen of Bodine’s computer. Ashe 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 parallelshis 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’sflooding in the
BODINE (cont’d)
forward compartments… and the water spills over the tops of thebulkheads, 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 thatweight, maybe 20 or 30 thousand tons… out of the water and the hull can’tdeal… so SKRTTT!!
(making a sound in time with the animation)
… it splits! Right down to the keel, which acts like a big hinge. Now thebow swings down and the stern falls back level… but the weight of the bowpulls the stern up vertical, and then the bow section detaches, heading forthe bottom. The stern bobs like a cork, floods and goes under about 2:20a.m. Two hours and forty minutes after the collision.
The animation then follows the bow section as it sinks. Rose watches thisclinical dissection of the disaster without emotion.
BODINE
The bow pulls out of its dive and planes away, almost a half a mile, beforeit hits the bottom going maybe 12 miles an hour. KABOOM!
The bow impacts, digging deeply into the bottom, the animation now followsthe stern.
BODINE
The stern implodes as it sinks, from the pressure, and rips apart from theforce 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 theexperience 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. Roserecognizes one of the Wellin davits, still in place. She hears ghostlywaltz music. The faint and echoing sound of an officer’s voice, Englishaccented, calling “Women and children only”.
30 FLASH CUTS of screaming faces in a running crowd. Pandemonium andterror. 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 slidingpast, like dark mouths.
32 IMAGE OF A CHILD, three years old, standing ankle deep in water in themiddle of an endless corridor. The child is lost alone, crying.
33 Rose is shaken by the flood of memories and emotions. Her eyes well upand 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 hadnever 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 MOVE to that same railing in 1912…
MATCH DISSOLVE:
34 EXT. SOUTHAMPTON DOCK – DAY
SHOT CONTINUES IN A FLORIOUS REVEAL as the gleaming white superstructure ofTitanic rises mountainously beyond the rail, and above that thebuff-colored funnels stand against the sky like the pillars of a greattempleTemple Latintemplum (Tem > "to cut", set apart) Greek temenos (ναός - innermost chamber), Old French temple "side of the forehead" > night temper > Template. Church building (εκκλησιαστικό κτίριο) is not a Temple (ναός) rather it is σαλόνι for a communal meal (devoid of ιερότητα και αφιέρωση), again the early Christian community had no intention to build anything like Ναός του Σολομώντα. Temple of Athena (Ναός της Αθηνάς). Ayodhya Ram Temple. Read: Temple Management, Devottar.. Crewmen move across the deck, dwarfed by the awesome scale of thesteamer.
Southanmpton, EnglandEngland In England, the Parliament was originally an advisory body summoned to consult with the monarch, and the courts exercised delegated royal powers, as “lions beneath the throne”., April 10, 1912. It is almost nnon on ailing day. Acrowd of hundreds blackens the pier next to Titanic like ants on a jellysandwich.
IN FG a gorgeous burgundy RENAULT TOURING CAR swings into frame, hangingfrom a loading crane. It is lowered toward HATCH #2.
On the pier horsedrawn 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 thecrowd leaving a wake in the press of people. Around the handsome carspeople are streaming to board the ship, jostling with hustling seamen andstokers, porters, and barking WHITE STAR LINE officials.
The Renault stops and the LIVERIED DRIVER scurries to open the door for aYOUNG WOMAN dressed in a stunning white and purple outfit, with an enormousfeathered hat. She is 17 years old and beautiful, regal of bearing, withpiercing eyes.
It is the girl in the drawing. ROSE. She looks up at the ship, taking it inwith cool appraisal.
ROSE
I don’t see what all the fuss is about. It doesn’t look any bigger than theMauretania.
A PERSONAL VALET opens the door on the other side of the car for CALEDONHOCKLEY, the 30 year old heir to the elder Hockley’s fortune. “Cal” ishandsome, arrogant and rich beyond meaning.
CAL
You can be blase about some things, Rose, but not about Titanic. It’s overa hundred feet longer than Mauretania, and far more luxurious. It hassquash courts, a Parisian cafe… even Turkish baths.
Cal turns and fives his hand to Rose’s mother, RUTH DEWITT BUKATER, whodescends from the touring car being him. Ruth is a 40ish society empress,from one of the most prominent Philadelphia families. She is a widow, andrules her household with iron will.
CAL
Your daughter is much too hard to impress, Ruth.
(indicating a puddle)
MindConciousness Through it, a living being exists. It exists even at the molecular level. Mind is not able to control it. The mind is an internal organ that exists separate from consciousness. The mind (depending on bio-electricity) can not work without memory and information, but consciousness can. Dreams come from consciousness. Read: Mind is man. 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, aquintessential example of the Edwardian upper class, complete withservants. Cal’s VALET, SPICER LOVEJOY, is a tall and impassive, dour as anundertaker. Behind him emerge TWO MAIDS, personal servants to Ruth andRose.
A WHITE STAR LINE PORTER scurries toward them, harried by last minuteloading.
PORTER
Sir, you’ll have to check your baggage through the main terminal, roundthat way–
Cal nonchalantly hands the man a fiver. The porter’s eyes dilate. Fivepounds was a monster tip in those days.
CAL
I put my faithFaith πίστει. 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 upin the rooms.
The White Star man looks stricken when he sees the enormous pile of steamertrunks and suitcases loading down the second car, including wooden cratesand steel safe. He whistles frantically for some cargo-handlers nearby whocome running.
Cal breezes on, leaving the minions to scramble. He quickly checks hispocket watch.
CAL
We’d better hurry. This way, ladies.
He indicates the way toward the first class gangway. They move into thecrowd. TRUDY BOLT, Rose’s maid, hustles behind them, laden with bags of hermistress’s most recent purchases… things too delicate for the baggagehandlers.
Cal leads, weaving between vehicles and handcarts, hurrying passengers(mostly second class and steerage) and well-wishers. Most of the firstclass passengers are avoiding the smelly press of the dockside crowd byusing 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 OFFICERexamines 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 fatherfounded the Biograph Film Studio) is filming his young bride in front ofthe 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 believehow big it is! Like a mountain. That’s great.
Mary Marvin, without an acting fiber in her body, does a bad Clara Bowpantomime of awe, hands raised.
Cal is jostled by two yelling steerage boys who shove past him. And he isbumped again a second later by the boys’ father.
CAL
Steady!!
MAN
Sorry squire!
The co*ckney 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 lastinstant, we could have gone through the terminal instead of running alongthe dock like some squalid immigrant family.
CAL
All part of my charm, Ruth. At any rate, it was my darling fiancee’s beautyrituals 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 twotons of OXFORD MARMALADE, in wooden cases, for Titanic’s VictuallingDepartment.
CAL
Here I’ve pulled every string I could to book us on the grandest ship inhistory, in her most luxurious suites… and you act as if you’re going toyour 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 gangwayto 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’sarm. He escorts her up the gangway and the black hull of Titanic swallowsthem.
OLD ROSE (V.O.)
Outwardly I was everything a well brought up girl should be. Inside, I wasscreaming.
35 CUT TO a SCREAMING BLAST from the mighty triple steam horns on Titanic’sfunnels, bellowing their departure warning.
CUT TO:
36 EXT. SOUTHAMPTON DOCKS / TITANIC – DAY
A VIEW OF TITANIC from several blocks away, towering above the terminalbuildings like the skyline of a city. The steamer’s whistle echoes acrossSouthampton.
PULL BACK, revealing that we were looking through a window, and backfurther to show the smoky inside of a pub. It is crowded with dockworkersand ship;s crew.
Just inside the window, a poker game is in progress. FOUR MEN, in workingclass clothes, play a very serious hand.
JACK DAWSON and FABRIZIO DE ROSSI, both about 20, exchange a glance as theother two players argue in Swedish. Jack is American, a lanky drifter withhis 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 hasadopted the bohemian style of art scene in Paris. He is also veryself-possessed and sure-footed for 20, having lived on his own since 15.
The TWO SWEDES continue their sullen argumentArguments It is not quarreling. It can be divided into Deductive, inductive, and conductive > Functional includes include: “because”, “since”, “for”, and “as”; typical conclusion indicators include “therefore”, “thus”, “hence”, and “so”. पंच अवयव तर्कः प्रतिज्ञा हेतू उदाहरणम् निगमनम् अवयवाः > premises to conclusion or conclusion to premises to Proof something. Proof is a derivation of a conclusion from premises through a valid argument., in Swedish.
OLAF
(subtitled)
You stupidStupid Only Stupid (Χαζος) people know everything. It is a state of mind without reasoning. Often smart and rich people behave like they are devoid of understanding. Those depending too much on AI would end up with Alzheimer's disease. Why is it? Is It due to a lack of religion? Or bad schooling? Or perverse emotions? Or ill health? Or inane traditions? Or corruption of customs and manners? Or superstition? Or poverty? Or ignorance? Or decayed endocrine glands? Or an obscure trend in mutations and chromosomes? (Walter B. Pitkin 1932). Is self-analysis available to them? > Evidentiary value of statement given by a Stupid > Sense of security by behaving like a 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 acard.
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 counrties.This has been going on for a while. Sitting on top of the money are two 3RDCLASS 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 dicazzo–
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 themoney 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 andsits there, looking depressed. Olaf forgets about Jack and Fabrizio, whoare 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 aroundthe 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! Onthe TITANIC!! We’re ridin’ in high style now! We’re practically goddamnedroyalty, ragazzo mio!!
FABRIZIO
You see? Is my destinio!! Like I told you. I go to l’America!! To be amillionaire!!
(MORE)
FABRIZIO (CONT’D)
(to pubkeeper)
Capito?? I go to America!!
PUBKEEPER
No, mate. Titanic go to America. In five minutes.
JACK
sh*t!! 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 towait!
CUT TO:
37 OMITTED
38 EXT. TERMINAL – TITANIC
Jack and Fabrizio, carrying everything they own in the world in the kitbags on their shoulders, sprint toward the pier. They tear through millingcrowds next to the terminal. Shouts go up behind them as they jostleslow-moving gentlemen. They dodge piles of luggage, and weave throughgroups of people. They burst out onto the pier and Jack comes to a deadstop… staring at the cast wall of the ship’s hull, towering seven storiesabove the wharf and over an eighth of a mile long. The Titanic ismonstrous.
Fabrizio runs back and grabs Jack, and they sprint toward the third classgangway aft, at E deck. They reach the bottom of the ramp just as SIXTHOFFICER MOODY detaches it at the top. It starts to swing down from thegangway 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 comeaboard. Moody glances at the tickets, then passes Jack and Fabrizio throughto Rowe. Rowe looks at the names on the tickets to enter them in thepassenger list.
ROWE
Gundersen. And…
(reading Fabrizio’s)
Gundersen.
He hands the tickets back, eyeing Fabrizio’s Mediterranean lookssuspiciously.
JACK
(grabbing Fabrizio’s arm)
Come on, Sven.
Jack and Fabrizio whoop with victory as they run down the white-paintedcorridero… 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 thewater. A cheer goes up on the pier as SEVEN TUGS pull the Titanic away fromthe quay.
CUT TO:
41 EXT. AFT WELL DECK / POOP DECK – DAY
JACK AND FABRIZIO burst through a door onto the aft well deck. TRACKINGWITH THEM as they run across the deck and up the steel stairs to the poopdeck. They get to the rail and Jack starts to yell and wave to the crowd onthe dock.
FABRIZIO
You know somebody?
JACK
Of course not. That’s not the point.
(to the crowd)
Goodbye! Goodbye!! I’ll miss you!
Grinning, Fabrixio 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 metalmoves past them. Impossibly tiny figues 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 theliner’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 sideslike a college dorm. Total confusion as people argue over luggage inseveral languages, or wander in confusion in the labyrinth. They passemigrants studying the signs over the doors, and looking up the words inphrase books.
They find their berth. It is a modest cubicle, painted enamel white, withfour 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, andcomprises two bedrooms, a bath, WC, wardrobe room, and a large sittingroom. In addition there is a private 50 foot promenade deck outside.
A room service waiter pours champagne into a tulip glass of orange juiceand 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 abstractworks. They are all unknown paintings… lost works.
Cal is out on the covered deck, which has potted trees and vines ontrellises, 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 withoutlogicLogic What is logic> Glossary of Indian Logic (Sanskrit)-तर्क शब्दावली > Logical Reasoning - Set One. 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 ahandtruck.
CAL
Put that in the wardrobe.
47 IN THE BEDROOM Rose enters with the large Degas of the dancers. She setsit on the dresser, near the canopy bed. Trudy is already in there, hangingup some of Rose’s clothes.
TRUDY
It smells so brand new. Like they built it all just for us. I mean… justto think that tonight, when I crawl between the sheets, Iill 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 andputs 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 uplike a floating palace, and her thousand portholes reflect in the calmharbor waters. The 150 foot tender Nomadic lies-to alongside, looking likea 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 ofprominent passengers. A BROAD-SHOULDERED WOMAN in an enormous feathered hatcomes up the gangway, carrying a suitcase in each hand, a spindly porterrunning 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 ofthe way if you think you can manage.
OLD ROSE (V.O.)
At Cherbourg a woman came aboard named Margaret Brown, but we all calledher Molly. History would call her the Unsinkable Molly Brown. Her husbandhad struck gold someplace out west, and she was what mother called “newmoney”.
At 45, MOLLY BROWN is a tough talking straightshooter who dresses in thefinery 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 westfrom 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 andFabrizio stand right at the bow gripping the curving railing so familiarfrom images of the wreck. Jack leans over, looking down fifty feet to wherethe prow cuts the surface like a knife, sending up two glassy sheets ofwater.
CUT TO:
52 INT. / EXT. TITANIC – SERIES OF SCENES – DAY
ON THE BRIDGE, CAPTAIN SMITH turns from the binnacle to FIRST OFFICERWILLIAM 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 greatship. The music is rhythmic, surging forward, with a soaring melody thataddresses 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 theengineers and greasers scramble to adjust valves. Towering above them arethe twin RECIPROCATING engines, four stories tall, their ten-foot-longconnecting rods surging up and down with the turning of the massivecrankshafts. The engines thunder like the footfalls of marching giants.
54 IN THE BOILER ROOMS the STOKERS chant a song as they hurl coal into theroaring furnaces. The “black gang” are covered with sweat and coal dust,their muscles working like part of the machinery as they toil in thehellish glow.
55 UNDERWATER the enormous bronze screws chop through the water, hurlingthe steamer forward and churning up a vortex of foam that lingers for milesbehind 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 hishair and–
57 Captain Smith steps out of the enclosed bridge onto the wing. He standswith his hands on the rail, looking every bit the storybook picture of aCaptain… 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 watchesthe white V of water hurled outward from the bows like an expression of hisown 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 fastjust in front of the steel blade of the prow. They do it for the sheer joyand exultation of motion. Jack watches the dolphins and grins. They breach,jumping clear of the water and then dive back, crisscrossing in front ofthe 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 marchpast like the pillars of heavenHeaven स्वर्गे लोके न भयं किञ्चनास्ति न तत्र त्वं न जरया बिभेति । उभे तीर्त्वा अशनायापिपासे शोकातिगो मोदते स्वर्गलोके ॥ १२ ॥ (Kathopanishad). स्वर्ग (Swarga) is neither physical nor a spiritual place or entity.In Torah Elohim is the creator of שמים shamayim (Sky). Heavenly father = pater caelestis (Ουράνιος πατέρας) in NT. Christian heaven is a Paradisus/Park/παράδεισος where Trinity lives. جَنَّة (Janna) is the place, somewhere in sky where awarded people will get a place., one by one. We pull back and up, until weare looking down the funnels, and the people strolling on the decks andstanding at the rail become antlike.
And still we pull back until the great lady is seen whole in a gorgeousaerial portrait, black and severe in her majesty.
ISMAY (V.O.)
She is the largest moving object ever made by the hand of man in allhistory…
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 keelplates up.
He indicates a handsome 39 year old Irish gentlemen to his right, THOMASANDREWS, of Harland and Wolf Shipbuilders.
WIDER, showing the group assembled for lunch the next day. Ismay seatedwith Cal, Rose, Ruth, Molly Brown and Thomas Andrews in the Palm Court, abeautiful 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. Heenvisioned a steamer so grand in scale, and so luxurious in itsappointments, that its supremacy would never be challenged. And here sheis…
(he slaps the table)
…willed into solid reality.
MOLLY
Why’re ships always bein’ called “she”? Is it because men think half thewomen 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
Do you know of Dr. Freud? His ideas about the male preoccupation with sizemight be of particular interest to you, Mr. Ismay.
Andrews chockes on his breadstick, suppressing laughter.
RUTH
My God, Rose, what’s gotten into–
ROSE
Excuse me.
She stalks away.
RUTH
(mortified)
I do apologize.
MOLLY
She’s a pistol, Cal. You sure you can handle her?
CAL
(tense but feigning unconcern)
Well, I may have to start minding what she reads from now on.
CUT TO:
60 EXT. POOP DECK / AFTER DECKS – DAY
Jack sits on a bench in the sun. Titanic’s wake spreads out behind him tothe horizon. He has his knees pulled up, supporting a leather boundsketching pad, his only valuable possession. With conte crayon he drawsrapidly, using sure strokes. An emigrant from Manchester named CARTMELL hashis 3 year old daughter CORA standing on the lower rung of the rail. She isleaned back against his beer barrel of a stomach, watching the seagulls.
THE SKETCH captures them perfectly, with a great sense of the humanityHuman Ο άνθρωπος (Humanum> hom*o sapiens) मानव:. We have failed to consider the minimum need to be a 'human'. For Christians, human beings are sinful creatures, who need some saviour. For Evolution biology a man is still evolving, for what, we don´t know. For Buddhist Nagarjuna, the realisation of having a human body is a mere mental illusion. We are not ready to accept that a human is a computer made of meat. For a slave master, a human person is another animal, his sons and daughters are his personal property. ofthe moment. Jack is good. Really good. Fabrizio looks over Jack’s shoulder.He nods appreciatively.
TOMMY RYAN, a scowling young Irish emigrant, watches as a crewmember comesby, walking three small dogs around the deck. One of them, a BLACK FRENCHBULLDOG, is among the ugliest creatures on the planet.
TOMMY
That’s typical. First class dogs come down here to take a sh*t.
Jack looks up from his sketch.
JACK
That’s so we know where we rank in the scheme of things.
TOMMY
Like we could forget.
Jack glances across the well deck. At the aft railing of B deck promenadestands ROSE, in a long yellow dress and white gloves.
CLOSE ON JACK, unable to take his eyes off of her. They are across fromeach other, about 60 feet apart, with the well deck like a valley betweenthem. She on her promontory, he on his much lower one. She stares down atthe water.
He watches her unpin her elaborate hat and take it off. She looks at thefrilly absurd thing, then tosses it over the rail. It sails far down to thewater and is carried away, astern. A spot of yellow in the vast ocean. Heis riveted by her. She looks like a figure in a romantic novel, sad andisolated.
Fabrizio taps Tommy and they both look at Jack gazin at Rose. Fabrizio andTommy grin at each other.
Rose turns suddenly and looks right at Jack. He is caught staring, but hedoesn’t look away. She does, but then looks back. Their eyes meet acrossthe space of the well deck, across the gulf between worlds.
Jack sees a man (Cal) come up behind her and take her arm. She jerks herarm away. They argue in pantomime. She storms away, and he goes after her,disappearing along the A-deck promenade. Jack stares after her.
TOMMY
Forget it, boyo. You’d as like have angels fly out o’ yer arse as get nextto the likes o’ her.
CUT TO:
61 INT. FIRST CLASS DINING SALOON – NIGHT
SLOWLY PUSHING IN ON ROSE as she sits, flanked by people in heatedconversation. Cal and Ruth are laughing together, while on the other sideLADY DUFF-GORDON is holding forth animatedly. We don’t hear what they aresaying. Rose is staring at her plate, barely listening to theinconsequential babble around her.
OLD ROSE (V.O.)
I saw my whole life as if I’d already lived it… an endless parade ofparties and cotillions, yachts and polo matches… always the same narrowpeople, the same mindless chatter. I felt like I was standing at a greatprecipice, with no one to pull me back, no one who cared… or evennoticed.
ANGLE BENEATH TABLE showing Rose’s hand, holding a tiny fork from her crabsalad. She pokes the crab-fork into the skin of her arm, harder and harderuntil it draws blood.
CUT TO:
62 INT. CORRIDOR / B DECK – NIGHT
Rose walks along the corridor. A steward coming the other way greets her,and she nods with a slight smile. She is perfectly composed.
CUT TO:
63 INT. ROSE’S BEDROOM – NIGHT
She enters the room. Stands in the middle, staring at her reflection in thelarge vanity mirror. Just stands there, then–
With a primal, anguished cry she claws at her throat, ripping off her pearlnecklace, which explodes across the room. In a frenzy she tears at herself,her clothes, her hair… then attacks the room. She flings everything offthe dresser and it flies clattering against the wall. She hurls ahandmirror against the vanity, cracking it.
CUT TO:
64 EXT. A DECK PROMENADE, AFT – NIGHT
Rose runs along the B deck promenade. She is dishevelled, her hair flying.She is crying, her cheeks streaked with tears. But also angry, furious!Shaking with emotions she doesn’t understand… hatred, self-hatred,desperation. A strolling couple watch her pass. Shocked at the emotionaldisplay in public.
CUT TO:
65 EXT. POOP DECK – NIGHT
Jack is kicked back on one of the benches gazing at the stars blazinggloriously overhead. Thinking artist thoughts and smoking a cigarette.
Hearing something, he turns as Rose runs up the stairs from the well deck.They are the only two on the stern deck, except for QUARTERMASTER ROWE,twenty feet above them on the docking bridge catwalk. She doesn’t see Jackin the shadows, and runs right past him.
TRACKING WITH ROSE as she runs across the deserted fantail. Her breathhitches in an occasional sob, which she suppresses. Rose slams against thebase of the stern flagpole and clings there, panting. She stares out at theblack water.
Then starts to climb over the railing. She has to hitch her long dress wayup, and climbing is clumsy. Moving methodically she turns her body and getsher heels on the white-painted gunwale, her back to the railing, facing outtoward blackness. 60 feet below her, the massive propellers are churningthe atlantin into white foam, and a ghostly wake trails off toward thehorizon.
IN A LOW ANGLE, we see Rose standing like a figurehead in reverse. Belowher are the huge letters of the name “TITANIC”.
She leans out, her arms straightening… looking down hypnotized, into thevortex below her. Her dress and hair are lifted by the wind of the ship’smovement. The only sound, above the rush of water below, is the flutter andsnap of the big Union Jack right above her.
JACK
Don’t do it.
She whips her head around at the sound of his voice. It takes a second forher eyes to focus.
ROSE
Stay back! Don’t come any closer!
Jack sees the tear tracks on her cheeks in the faint glow from the sternrunning lights.
JACK
Take my hand. I’ll pull you back in.
ROSE
No! Stay where you are. I mean it. I’ll let go.
JACK
No you won’t.
ROSE
What do you mean no I won’t? Don’t presume to tell me what I will and willnot do. You don’t know me.
JACK
You would have done it already. Now come on, take my hand.
Rose is confused now. She can’t see him very well through the tears, so shewipes them with one hand, almost losing her balance.
ROSE
You’re distracting me. Go away.
JACK
I can’t. I’m involved now. If you let go I have to jump in after you.
ROSE
Don’t be absurd. You’ll be killed.
He takes off his jacket.
JACK
I’m a good swimmer.
He starts unlacing his left shoe.
ROSE
The fall alone would kill you.
JACK
It would hurt. I’m not saying it wouldn’t. To be honest I’m a lot moreconcerned about the water being so cold.
She looks down. The reality factor of what she is doing is sinking in.
ROSE
How cold?
JACK
(taking off his left shoe)
Freezing. Maybe a couple degrees over.
He starts unlacing his right shoe.
JACK
Ever been to Wisconsin?
ROSE
(perplexed)
No.
JACK
Well they have some of the coldest winters around, and I grew up there,near Chippewa Falls. Once when I was a kid me and my father wereice-fishing out on Lake Wissota… ice-fishing’s where you chop a hole inthe–
ROSE
I know what ice fishing is!
JACK
Sorry. Just… you look like kind of an indoor girl. Anyway, I went throughsome thin ice and I’m tellin’ ya, water that cold… like that right downthere… it hits you like a thousand knives all over your body. You can’tbreath, you can’t think… least not about anything but the pain.
(takes off his other shoe)
Which is why I’m not looking forward to jumping in after you. But like Isaid, I don’t see a choice. I guess I’m kinda hoping you’ll come back overthe rail and get me off the hook here.
ROSE
You’re crazy.
JACK
That’s what everybody says. But with all due respect, I’m not the onehanging off the back of a ship.
He slides one step closer, like moving up on a spooked horse.
JACK
Come on. You don’t want to do this. Give me your hand.
Rose stares at this madman for a long time. She looks at his eyes and theysomehow suddenly seem to fill her universe.
ROSE
Alright.
She unfastens one hand from the rail and reaches it around toward him. Hereaches out to take it, firmly.
JACK
I’m Jack Dawson.
ROSE
(voice quavering)
Pleased to meet you, Mr. Dawson.
Rose starts to turn. Now that she has decided to live, the height isterrifying. She is overcome by vertigo as she shifts her footing, turningto face the ship. As she starts to climb, her dress gets in the way, andone foot slips off the edge of the deck.
She plunges, letting out a piercing SHRIEK. Jack, gripping her hand, isjerked toward the rail. Rose barely grabs a lower rail with her free hand.
QUARTERMASTER ROWE, up on the docking bridge hears the scream and heads forthe ladder.
ROSE
HELP! HELP!!
JACK
I’ve got you. I won’t let go.
Jack holds her hand with all his strength, bracing himself on the railingwith his other hand. Rose tries to get some kind of foothold on the smoothhull. Jack tries to lift her bodily over the railing. She can’t get anyfooting in her dress and evening shoes, and she slips back. Rose SCREAMSagain.
Jack, awkwardly clutching Rose by whatever he can get a grip on as sheflails, gets her over the railing. They fall together onto the deck in atangled heap, spinning in such a way that Jack winds up slightly on top ofher.
Rowe slides down the ladder from the docking bridge like it’s a fire drilland sprints across the fantail.
ROWE
Here, what’s all this?!
Rowe runs up and pulls Jack off of Rose, revealing her dishevelled andsobbing on the deck. Her dress is torn, and the hem is pushing up above herknees, showing one ripped stocking. He looks at Jack, the shaggy steerageman with his jacket off, and the first class lady clearly in distress, andstarts drawing conclusions. Two seamen chug across the deck to join them.
ROWE
(to Jack)
Here you, stand back! Don’t move an inch!
(to the seamen)
Fetch the Master at Arms.
CUT TO:
66 EXT. POOP DECK – NIGHT
A few minutes later. Jack is being detained by the burly MASTER AT ARMS,the closest thing to a cop on board. He is handcuffing Jack. Cal is rightin front of Jack, and furious. He has obviously just rushed out here withLovejoy and another man, and none of them have coats over their black tieevening dress. The other man is COLONEL ARCHIBALD GRACIE, a mustachioedblowhard who still has his brandy snifter. He offers it to Rose, who ishunched over crying on a bench nearby, but she waves it away. Cal is moreconcerned with Jack. He grabs him by the lapels.
CAL
What made you think you could put your hands on my fiancee?! Look at me,you filth! What did you think you were doing?!
ROSE
Cal, stop! It was an accident.
CAL
An accident?!
ROSE
It was… stupid really. I was leaning over and I slipped.
Rose looks at Jack, getting eye contact.
ROSE
I was leaning way over, to see the… ah… propellers. And I slipped and Iwould have gone overboard… and Mr. Dawson here saved me and he almostwent over himself.
CAL
You wanted to see the propellers?
GRACIE
(shaking his head)
Women and machinery do not mix.
MASTER AT ARMS
(to Jack)
Was that the way of it?
Rose is begging him with her eyes not to say what really happened.
JACK
Uh huh. That was pretty much it.
He looks at Rose a moment longer. Now they have a secret together.
COLONEL GRACIE
Well! The boy’s a hero then. Good for you son, well done!
(to Cal)
So it’s all’s well and back to our brandy, eh?
Jack is uncuffed. Cal gets Rose to her feet and moving.
CAL
(rubbing her arms)
Let’s get you in. You’re freezing.
Cal is leaving without a second thought for Jack.
GRACIE
(low)
Ah… perhaps a little something for the boy?
CAL
Oh, right. Mr. Lovejoy. A twenty should do it.
ROSE
Is that the going rate for saving the woman you love?
CAL
Rose is displeased. Mmm… what to do?
Cal turns back to Jack. He appraises him condescendingly… a steerageruffian, unwashed and ill-mannered.
CAL
I know.
(to Jack)
Perhaps you could join us for dinner tomorrow, to regale our group withyour heroic tale?
JACK
(looking straight at Rose)
Sure. Count me in.
CAL
Good. Settled then.
Cal turns to go, putting a protective arm around Rose. he leans close toGracie as they walk away.
CAL
This should be amusing.
JACK
(as Lovejoy passes)
Can I bum a cigarette?
Lovejoy smoothly draws a silver cigarette case from his jacket and snaps itopen. Jack takes a cigarette, then another, popping it behind his ear forlater. Lovejoy lights Jack’s cigarette.
LOVEJOY
You’ll want to tie those.
(Jack looks at his shoes)
Interesting that the young lady slipped so mighty all of a sudden and youstill had time to take of your jacket and shoes. Mmmm?
Lovejoy’s expression is bland, but the eyes are cold. He turns away to joinhis group.
CUT TO:
67 INT. ROSE’S BEDROOM – NIGHT
As she undresses for bed Rose sees Cal standing in her doorway, reflectedin the cracked mirror of her vanity. He comes toward her.
CAL
(unexpectedly tender)
I know you’ve een melancholy, and I don’t pretent to know why.
From behind his back he hands her a large black velvet jewel case. Shetakes it, numbly.
CAL
I intended to save this till the engagement gals next week. But I thoughttonight, perhaps a reminder of my feeling for you…
Rose slowly opens the box. Inside is the necklace… “HEART OF THE OCEAN”in all its glory. It is huge… a malevolent blue stone glittering with aninfinity of scalpel-like inner reflections.
ROSE
My God… Cal. Is it a–
CAL
Daimond. Yes it is. 56 carats.
He takes the necklace and during the following places it around her throat.He turns her to the mirror, staring behind her.
CAL
It was once worn by Louis the Sixteenth. They call it Le Coeur de la Mer,the–
ROSE
The Heart of the Ocean. Cal, it’s… it’s overwhelming.
He gazes at the image of the two of them in the mirror.
CAL
It’s for royalty. And we are royalty.
His fingers caress her neck and throat. He seems himself to be disarmed byRose’s elegance and beauty. His emotion is, for the first time, unguarded.
CAL
There’s nothing I couldn’t give you. There’s nothing I’d deny you if youwould deny me. Open your heart to me, Rose.
CAMERA begins to TRACK IN ON ROSE. Closer and closer, during the following:
OLD ROSE (V.O.)
Of course his gift was only to reflect light back onto himself, toilluminate the greatness that was Caledon Hockley. It was a cold stone… aheart of ice.
Finally, when Rose’s eyes FILL FRAM, we MORPH SLOWLY to her eyes as the arenow… transforming through 84 years of life…
TRANSITION
68 INT. KELDYSH IMAGING SHACK
Without a cut the wrinkled, weathered landscape of age has appeared aroundher eyes. But the eyes themselves are the same.
OLD ROSE
After all these years, feel it closing around my throat like a dog collar.
THE CAMERA PUllS BACK to show her whole face.
ROSE
I can still feel its weight. If you could have felt it, not just seen it…
LOVETT
Well, that’s the general idea, my dear.
BODINE
So let me get this right. You were gonna kill yourself by jumping off theTitanic?
(he guffaws)
That’s great!
LOVETT
(warningly)
Lewis…
But Rose laughs with Bodine.
BODINE
(still laughing)
All you had to do was wait two days!
Lovett, standing out of Rose’s sightline, checks his watch. Hours havepassed. This process is taking too long.
LOVETT
Rose, tell us more about the diamond. What did Hockley do with it afterthat?
ROSE
Im afraid I’m feeling a little tired, Mr. Lovett.
Lizzy picks up the cue and starts to wheel her out.
LOVETT
Wait! Can you give us something go on, here. Like who had access to thesafe. What about this Lovejoy guy? The valet. Did he have the combination?
LIZZY
That’s enough.
Lizzy takes her out. Rose’s old hand reapears at the doorway in a frailwave goodbye.
CUT TO:
69 EXT. LAUNCH AREA/KELDYSH DECK – DAY
As the big hydraulic jib swings one of the Mir subs out over the water.Lovett walks as he talks with Bobby Buell, the partners’ rep. They weaveamong deck cranes, launch crew, sub maintenance guys.
BUELL
The partners are pissed.
BROCK
Bobby, buy me time. I need time.
BUELL
We’re running thirty thousand a day, and we’re six days over. I’m tellingyou what they’re telling me. The hand is on the plug. It’s starting topull.
BROCK
Well you tell the hand I need another two days! Bobby, Bobby, Bobby…we’re close! I smell it. I smell ice. She had the diamond on… now we justhave to find out where it wound up. I just gotta work her a bit more. Okay?
Brock turns and sees Lizy standing behind him. She has overheard the pastpart of his dialogue with Buell. He goes to her and hustles her away fromBuell, toward a quite spot on the deck.
BROCK
Hey, Lizzy. I need to talk to you for a second.
LIZZY
Don’t you mean work me?
BROCK
Look, I’m running out of time. I need your help.
LIZZY
I’m not going to help you browbeat my hundred and
(MORE)
LIZZY (CONT’D)
one year old grandmother. I came down here to tell you to back off.
BROCK
(with undisguised desperation)
Lizzy… you gotta understand something. I’ve bet it all to find the Heartof the Ocean. I’ve got all my dough tied up in this thing. My wife evendivorced me over this hunt. I need what’s locked inside your grandma’smemory.
(he holds out his hand)
You see this? Right here?
She looks at his hand, palm up. Empty. Cupped, as if around an imaginaryshape.
LIZZY
What?
BROCK
That’s the shape my hand’s gonna be when I hold that thing. You understand?I’m not leaving here without it.
LIZZY
Look, Brock, she’s going to do this her way, in her own time. Don’t forget,she contacted you. She’s out here for her own reasons, God knows what theyare.
LOVETT
Maybe she wants to make peacePeace εἰρήνη with the past.
LIZZY
What past? She has never once, not once, ever said a word about being onthe Titanic until two days ago.
LOVETT
Then we’re all meeting your grandmother for the first time.
LIZZY
(looks at him hard)
You think she was really there?
LOVETT
Oh, yeah. Yeah, I’m a believer. She was there.
CUT TO:
70 INT. IMAGING SHACK
Bodine starts the tape recorder. Rose is gazing at the screen seeing THELIVE FEED FROM THE WRECK–SNOOP DOG is moving along the starboard side ofthe hull, heading aft. The rectangular windows of A deck (forward) marchpast on the right.
ROSE
The next day, Saturday, I remember thinking how the sunlight felt.
DISSOLVE TO:
71 EXT. B DECK TITANIC – DAY
MATCH DISSOLVE from the rusting hulk to the gleaming new Titanic in 1912,passing the end of the enclosed promenade just as Rose walks into thesunlight right in front of us. She is stunningly dressed and walking withpurpose.
OLD ROSE (V.O.)
As if I hadn’t felt the sun in years.
IT IS SATURDAY APRIL 13, 1912. Rose unlatches the gate to go down intothird class. The steerage men on the deck stop what they’re doing and stareat her.
CUT TO:
72 INT. THIRD CLASS GENERAL ROOM
The social center of steerage life. It is stark by comparison to theopulence of first class, but is a loud, boisterous place. There are motherswith babies, kids running between the benches yelling in several languagesand being scolded in several more. There are old women yelling, men playingchess, girls doing needlepoint and reading dime novels. There is even anupright piano and Tommy Ryan is noodling around it.
Three boys, shrieking and shouting, are scrambling around chasing a ratunder the benches, trying to whomp it with a shoe and causing generalhavoc. Jack is playing with 5 year old CORA CARTMeLL, drawing funny facestogether in his sketchbook.
Fabrizio is struggling to get a conversation going with an attractiveNorwegian girl, HELGA DAHL, sitting with her family at a table across theroom.
FABRIZIO
No Italian? Some little English?
HELGA
No, no. Norwegian. Only.
Helga’s eye is caught by something. Fabrizio looks, does a take… andJack, curious, follows their gaze to see…
Rose, coming toward them. The activity in the room stops… a hush falls.Rose feels suddenly self-conscious as the steerage passengers stare openlyat this princess, some with resentment, others with awe. She spots Jack andgives a little smile, walking straight to him. He rises to meet her,smiling.
ROSE
Hello Jack.
Fabrizio and Tommy are floored. Its like the slipper fitting Cinderella.
JACK
Hello again.
ROSE
Could I speak to you in private?
JACK
Uh, yes. Of course. After you.
He motions her ahead and follows. Jack glances over his shoulder, oneeyebrow raised, as he walks out with her leaving a stunned silence.
CUT TO:
73 EXT. BOAT DECK – DAY
Jack and Rose walk side by side. They pass people reading and talking insteamer chairs, some of whom glance curiously at the mismatched couple. Hefeels out of place in his rough clothes. They are both awkward, fordifferent reasons.
JACK
So, you got a name by the way?
ROSE
Rose. Rose DeWitt Bukater.
JACK
That’s quite a moniker. I may hafta get you to write that down.
There is an awkward pause.
ROSE
Mr. Dawson, I–
JACK
Jack.
ROSE
Jack… I feel like such an idiot. It took me all morning to get up thenerve to face you.
JACK
Well, here you are.
ROSE
Here I am. I… I want to thank you for what you did. Not just for… forpulling me back. But for your discretion.
JACK
You’re welcome. Rose.
ROSE
Look, I know what you must be thinking! Poor little rich girl. What doesshe know about misery?
JACK
That’s not what I was thinking. What I was thinking was… what could havehappened to hurt this girl so much she though she had no way out.
ROSE
I don’t… it wasn’t just one thing. It was everything. It was them, it wastheir whole world. And I was trapped in it, like an insect in amber.
(in a rush)
I just had to get away… just run and run and run… and then I was at theback rail and there was no more ship… even the Titanic wasn’t big enough.Not enough to get away from them. And before I’d really though about it, Iwas over the rail. I was so furious. I’ll show them. They’ll be sorry!
JACK
Uh huh. They’ll be sorry. ‘Course you’ll be dead.
ROSE
(she lowers her head)
Oh God, I am such an utter fool.
JACK
That penguin last night, is he one of them?
ROSE
Penguin? Oh, Cal! He is them.
JACK
Is he your boyfriend?
ROSE
Worse I’m afraid.
She shows him her engagement ring. A sizable diamond.
JACK
Gawd look at that thing! You would have gone straight to the bottom.
They laugh together. A passing steward scowls at Jack, who is clearly not afirst class passenger, but Rose just glares at him away.
JACK
So you feel like you’re stuck on a train you can’t get off ’cause you’remarryin’ this fella.
ROSE
Yes, exactly!
JACK
So don’t marry him.
ROSE
If only it were that simple.
JACK
It is that simple.
ROSE
Oh, Jack… please don’t judge me until you’ve seen my world.
JACK
Well, I guess I will tonight.
Looking for another topic, any other topic, she indicates his sketchbook.
ROSE
What’s this?
JACK
Just some sketches.
ROSE
May I?
The question is rhetorical because she has already grabbed the book. Shesits on a deck chair and opens the sketchbook. ON JACK’S sketches… eachone an expressive little bit of humanity: an old woman’s hands, a sleepingman, a father and daughter at the rail. The faces are luminous and alive.His book is a celebration of the humanHuman Ο άνθρωπος (Humanum> hom*o sapiens) मानव:. We have failed to consider the minimum need to be a 'human'. For Christians, human beings are sinful creatures, who need some saviour. For Evolution biology a man is still evolving, for what, we don´t know. For Buddhist Nagarjuna, the realisation of having a human body is a mere mental illusion. We are not ready to accept that a human is a computer made of meat. For a slave master, a human person is another animal, his sons and daughters are his personal property. condition.
ROSE
Jack, these are quite good! Really, they are.
JACK
Well, they didn’t think too much of ’em in Paree.
Some loose sketches fall out and are taken by the wind. Jack scramblesafter them… catching two, but the rest are gone, over the rail.
ROSE
Oh no! Oh, I’m so sorry. Truly!
JACK
Well, they didn’t think too much of ’em in Paree.
He snaps his wrist, shaking his drawing hand in a flourish.
JACK
I just seem to spew ’em out. Besides, they’re not worth a damn anyway.
For emphasis he throws away the two he caught. They sail off.
ROSE
(laughing)
You’re deranged!
She goes back to the book, turning a page.
ROSE
Well, well…
She has come upon a series of nudes. Rose is transfixed by the languidbeauty he has created. His nudes are soulful, real, with expressive handsand eyes. They feel more like portraits than studies of the human form…almost uncomfortably intimate. Rose blushes, raising the book as somestrollers go by.
ROSE
(trying to be very adult)
And these were drawn from life?
JACK
Yup. That’s one of the great things about Paris. Lots of girls willing taketheir clothes off.
She studies one drawing in particular, the girl posed half in sunlight,half in shadow. Her hands lie at her chin, one furled and one open like aflower, languid and graceful. The drawing is like an Alfred Steiglitz printof Georgia O’Keefe.
ROSE
You liked this woman. You used her several times.
JACK
She had beautiful hands.
ROSE
(smiling)
I think you must have had a love affair with her…
JACK
(laughing)
No, no! Just with her hands.
ROSE
(looking up from the drawings)
You have a gift, Jack. You do. You see people.
JACK
I see you.
There it is. That piercing gaze again.
ROSE
And…?
JACK
You wouldn’ta jumped.
CUT TO:
74 INT. RECEPTION ROOM / D-DECK – DAY
Ruth is having tea with NOEL LUCY MARTHA DYER-EDWARDES, the COUNTESS OFROTHES, a 35ish English blue-blood with patirician features. Ruth seessomeone coming across the room and lowers her voice.
RUTH
Oh no, that vulgar Brown woman is coming this way. Get up, quickly beforeshe sits with us.
Molly Brown walks up, greeting them cheerfully as they are rising.
MOLLY
Hello girls, I was hoping I’d catch you at tea.
RUTH
We’re awfully sorry you missed it. The Countess and I are just off to takethe air on the boat deck.
MOLLY
That sounds great. Let’s go. I need to catch up on the gossip.
Ruth grits her teeth as the three of them head for the Grand Staircase togo up. TRACKING WITH THEM, as they cross the room, the SHOT HANDS OFF toBruce Ismay and Captain Smith at another table.
ISMAY
So you’ve not lit the last four boilers then?
SMITH
No, but we’re making excellent time.
ISMAY
(impatiently)
Captain, the press knows the size of Titanic, let them marvel at her speedtoo. We must give them something new to print. And the maiden voyage ofTitnaic must make headlines!
SMITH
I prefer not to push the engines until they’ve been properly run in.
ISMAY
Of course I leave it to your good offices to decide what’s best, but what aglorious end to your last crossing if we get into New York Tuesday nightand surprise them all.
(Ismay slaps his hand on the table)
Retire with a bang, eh, E.J?
A beat. Then Smith nods, stiffy.
CUT TO:
75 EXT. A DECK PROMENADE – DAY
Rose and Jack stroll aft, past people lounging on deck chairs in theslanting late-afternoon light. Stewards scurry to serve tea or hot cocoa.
ROSE
(girlish and excited)
You know, my dream has always been to just chuck it all and become anartist… living in a garret, poor but free!
JACK
(laughing)
You wouldn’t last two days. There’s no hot water, and hardly ever anycaviar.
ROSE
(angry in a flash)
Listen, buster… I hate caviar! And I’m tired of people dismissing mydreams with a chuckle and a pat on the head.
JACK
I’m sorry. Really… I am.
ROSE
Well, alright. There’s something in me, Jack. I feel it. I don’t know whatit is, whether I should be an artist, or, I don’t know… a dancer. LikeIsadora Duncan…. a wild paganPagan Practitioners of Non-Christian and non-Vedic religion. Greek and Roman religions were called 'Pagan' by 4th-century Christians. Paganism believes that happiness is possible in this world through a proper understanding of Nature and there exists no debt and no salvation. Christo-Pagans are those people who are culturally Christian but adopt a scientific, naturalistic approach in their lives. The historical school holds that paganism is the source of Church formation. spirit…
She leaps forward, lands deftly and whirls like a dervish. Then she seessomething ahead and her face lights up.
ROSE
…or a moving picture actress!
She takes his hand and runs, pulling him along the deck toward–
DANIEL AND MARY MARVIN. Daniel is cranking the big wooden movie camera asshe poses stiffly at the rail.
MARVIN
You’re sad. Sad, sad, sad. You’ve left your lover on the shore. You maynever see him agian. Try to be sadder, darling.
SUDDENLY Rose shoots into the shot and strikes a theatrical pose at therail next to Mary. Mary bursts out laughing. Rose pulls Jack into thepicture and makes him pose.
Marvin grins and starts yelling and gesturing. We see this in CUTS, withmusic and no dialogue.
SERIES OF CUTS:
Rose posing tragically at the rail, the back of her hand to her forehead.
Jack on a deck chair, pretending to be a Pasha, the two girls pantomimingfanning him like slave girls.
Jack, on his knees, pleading with his hands clasped while Rose, standing,turns her head in bored disdain.
Rose cranking the camera, while Daniel and Jack have a western shoot-out.Jack wins and leers into the lens, twirling an air mustache like SnidelyWhiplash.
CUT TO:
76 EXT. A DECK PROMENADE / AFT – SUNSET
Painted with orange light, Jack and Rose lean on the A-deck rail aft,shoulder to shoulder. The ship’s lights come on.
It is a magical moment… perfect.
ROSE
So then what, Mr. Wandering Jack?
JACK
Well, then logging got to be too much like work, so I went down to LosAngelas to the pier in Santa Monica. That’s a swell place, they even have arollercoaster. I sketched portraits there for ten cents a piece.
ROSE
A whole ten cents?!
JACK
(not getting it)
Yeah; it was great money… I could make a dollar a day, sometimes. Butonly in summer. When it got cold, I decided to go to Paris and see what thereal artists were doing.
ROSE
(looks at the dusk sky)
Why can’t I be like you Jack? Just head out for the horizon whenever I feellike it.
(turning to him)
Say we’ll go there, sometime… to that pier… even if we only ever justtalk about it.
JACK
Alright, we’re going. We’ll drink cheap beer and go on the rollercoasteruntil we throw up and we’ll ride horses on the beach… right in thesurf… but you have to ride like a cowboy, none of that side-saddle stuff.
ROSE
You mean one leg on each side? Scandalous! Can you show me?
JACK
Sure. If you like.
ROSE
(smiling at him)
I think I would.
(she looks at the horizon)
And teach me to spit too. Like a man. Why should only men be able to spit.It’s unfair.
JACK
They didn’t teach you that in finishing school? Here, it’s easy. Watchclosely.
He spits. It arcs out over the water.
JACK
Your turn.
Rose screws up her mouth and spits. A pathetic little bit of foamy spittlewhich mostly runs down her chin before falling off into the water.
JACK
Nope, that was pitiful. Here, like this… you hawk it down… HHHNNNK!…then roll it on your tongue, up to the front, like thith, then a big breathand PLOOOW!! You see the range on that thing?
She goes through the steps. Hawks it down, etc. He coaches her through it(ad lib) while doing the steps himself. She lets fly. So does he. Twocomets of gob fly out over the water.
JACK
That was great!
Rose turns to him, her face alight. Suddenly she blanches. He sees herexpression and turns.
RUTH, the Countess of Rothes, and Molly Brown have been watching themhawking lugees. Rose becomes instantly composed.
ROSE
Mother, may I introduce Jack Dawson.
RUTH
Charmed, I’m sure.
Jack has a little spit running down his chin. He doesn’t know it. MollyBrown is grinning. As Rose proceeds with the introductions, we hear…
OLD ROSE (V.O.)
The others were gracious and curious about the man who’d saved my life. Butmy mother looked at him like an insect. A dangerous insect which must besquashed quickly.
MOLLY
Well, Jack, it sounds like you’re a good man to have around in a stickyspot–
They all jump as a BUGLER sounds the meal call right behind them.
MOLLY
Why do they insist on always announcing dinner like a damn cavalry charge?
ROSE
Shall we go dress, mother?
(over her shoulder)
See you at dinner, Jack.
RUTH
(as they walk away)
Rose, look at you… out in the sun with no hat. Honestly!
The Countess exits with Ruth and Rose, leaving Jack and Molly alone ondeck.
MOLLY
Son, do you have the slightest comprehension of what you’re doing?
JACK
Not really.
MOLLY
Well, you’re about to go into the snakepit. I hope you’re ready. What areyou planning to wear?
Jack looks down at his clothes. Back up at her. He hadn’t thought aboutthat.
MOLLY
I figured.
CUT TO:
77 INT. MOLLY BROWN’S STATEROOM
Men’s suits and jackets and formal wear are strewn all over the place.Molly is having a fine time. Jack is dressed, except for his jacket, andMolly is tying his bow tie.
MOLLY
Don’t feel bad about it. My husband still can’t tie one of these damnthings after 20 years. There you go.
She picks up a jacket off the bed and hands it to him. Jack goes into thebathroom to put it on. Molly starts picking up the stuff off the bed.
MOLLY
I gotta buy everything in three sizes ’cause I never know how much he’sbeen eating while I’m away.
She turns and sees him, though we don’t.
MOLLY
My, my, my… you shine up like a new penny.
CUT TO:
78 EXT. BOAT DECK / FIRST CLAsS ENTRANCE – DUSK
A purple sky, shot with orange, in the west. Drifting strains of classicmusic. We TRACK WITH JACK along the deck. By Edwardian standards he looksbadass. Dashing in his borrowed white-tie outfit, right down to his pearlstuds.
A steward bows and smartly opens the door to the First Class Entrance.
STEWARD
Good evening, sir.
Jack plays the role smoothly. Nods with just the right degree of disdain.
CUT TO:
79 INT. UPPER LANDING / GRAND STAIRCASE AND A-DECK
Jack steps in and his breath is taken away by the splendor spread outbefore him. Overhead is the enormous glass dome, with a crystal chandelierat its center. Sweeping down six stories is the First Class GrandStaircase, the epitome of the opulent naval architecture of the time.
And the people: the women in their floor length dresses, elaboratehairstyles and abundant jewelry… the gentlemen in evening dress, standingwith one hand at the small of the back, talking quietly.
Jack descends to A deck. Several men nod a perfunctory greeting. He nodsback, keeping it simple. He feels like a spy.
Cal comes down the stairs, with Ruth on his arm, covered in jewelry. Theyboth walk right past Jack, neither one gecognizeing him. Cal nods at him,one gent to another. But Jack barely has time to be amused. Because justbehind Cal and Ruth on the stairs is Rose, a vision in red and black, herlow-cut dress showing off her neck and shoulders, her arms seathed in whitegloves that come well above above the elbow. Jack is hypnotized by herbeauty.
CLOSE ON ROSE as she approaches Jack. He imitates the gentlemen’s stance,hand behind his back. She extends her gloved hand and he takes it, kissingthe back of her fingers. Rose flushes, beaming noticeably. She can’t takeher eyes off him.
JACK
I saw that in a nickelodean once, and I always wanted to do it.
ROSE
Cal, surely you remember Mr. Dawson.
CAL
(caught off guard)
Dawson! I didn’t recognize you.
(studies him)
Amazing! You could almost pass for a gentlemen.
CUT TO:
80 INT. D-DECK RECEPTION ROOM
CUT TO THE RECEPTION ROOM ON D DECK, as the party descends to dinner. Theyencounter Molly Brown, looking good in a beaded dress, in her own bustybroad-shouldered way. Molly grins when she sees Jack. As they are goinginto the dining saloon she walks next to him, speaking low:
MOLLY
Ain’t nothin’ to it, is there, Jack?
JACK
Yeah, you just dress like a pallbearer and keep your nose up.
MOLLY
Remember, the only thing they respect is money, so just act like you’ve gota lot of it and you’re in the club.
As they enter the swirling throng, Rose leans close to him, pointing outseveral notables.
ROSE
There’s the Countess Rothes. And that’s John Jacob Astor… the richest manon the ship. His little wifey there, Madeleine, is my age and in a delicatecondition. See how she’s trying to hide it. Quite the scandal.
(nodding toward a couple)
And over there, that’s Sir Cosmo and Lucile, Lady Duff-Gordon. She designsnaughty lingerie, among her many talents. Very popular with the royals.
Cal becomes engrossed in a conversations with Cosmo Duff-Gordon and ColonelGracie, while Ruth, the Countess and Lucille discuss fashion. Rose picotsJack smoothly, to show him another couple, dressed impeccably.
ROSE
And that’s Benjamin Guggenheim and his mistress, Madame Aubert. Mrs.Guggenheim is at home with the children, of course.
Cal, meanwhile, is accepting the praise of his male counterparts, who arelooking at Rose like a prize show horse.
SIR COSMO
Hockley, she is splendid.
CAL
Thank you.
GRACIE
Cal’s a lucky man. I know him well, and it can only be luck.
Ruth steps over, hearing the last. She takes Cal’s arm, somewhatcoquettishly.
RUTH
How can you say that Colonel? Caledon Hockley is a great catch.
The entourage strolls toward the dining saloon, where they run into theAstor’s going through the ornate double doors.
ROSE
J.J., Madeleine, I’d like you to meet Jack Dawson.
ASTOR
(shaking his hand)
Good to meet you Jack. Are you of the Boston Dawsons?
JACK
No, the Chippewa Falls Dawsons, actually.
J.J. nods as if he’s heard of them, then looks puzzled. Madeleine Astorappraises Jack and whispers girlishly to Rose:
MADELEINE
It’s a pity we’re both spoken for, isn’t it?
CUT TO:
81 INT. DINING SALOON
Like a ballroom at the palace, alive and lit by a constellation ofchandeliers, full of elegantly dressed people and beautiful music fromBANDLEADER WALLACE HARTLEY’S small orchestra. As Rose and Jack enter andmove across the room to their table, Cal and Ruth beside them, we hear…
OLD ROSE (V.O.)
He must have been nervous but he never faltered. They assumed he was one ofthem… a young captain of industry perhaps… new money, obviously, butstill a memeber of the club. Mother of course, could always be countedupon…
CUT TO:
82 INT. DINING SALOON
CLOSE ON RUTH.
RUTH
Tell us of the accommodations in steerage, Mr. Dawson. I hear they’re quitegood on this ship.
WIDER: THE TABLE. Jack is seated opposite Rose, who is flanked by Cal andThomas Andrews. Also at the table are Molly Brown, Ismay, Colonel Gracie,the Countess, Guggenheim, Madame Aubert, and the Astors.
JACK
The best I’ve seen, m’am. Hardly any rats.
Rose motions surreptitiously for Jack to take his napkin off his plate.
CAL
Mr. Dawson is joining us from third class. He was of some assistance to myfiancee last night.
(to Jack, as if to a child)
This is foie gras. It’s goose liver.
We see whispers exchanged. Jack becomesthe subject of furtive glances. Nowthey’re all feeling terribly liberal and dangerous.
GUGGENHEIM
(low to Madame Aubert)
What is Hockly hoping to prove, bringing this… bohemian… up here?
WAITER
(to Jack)
How do you take your caviar, sir?
CAL
(answering for him)
Just a soupcon of lemon…
(to Jack, smiling)
…it improves the flavor with champagne.
JACK
(to the waiter)
No caviar for me, thanks.
(to Cal)
Never did like it much.
He looks at Rose, pokerfaced, and she smiles.
RUTH
And where exactly do you live, Mr. Dawson?
JACK
Well, right now my address is the RMS Titanic. After that, I’m on God’sgood humor.
Salad is served. Jack reaches for the fish fork. Rose gives him a look andpicks up the salad fork, prompting him with her eyes. He changes forks.
RUTH
You find that sort of rootless existence appealing, do you?
JACK
Well… it’s a big world, and I want to see it all before I go. My fatherwas always talkin’ about goin’ to see the ocean. He died in the town he wasborn in, and never did see it. You can’t wait around, because you neverknow what hand you’re going to get dealt next. See, my folks died in a firewhen I was fifteen, and I’ve been on the road since. Somethin’ like thatteaches you to take life as it comes at you. To make each day count.
Molly Brown raises her glass in a salute.
MOLLY
Well said, Jack.
COLONEL GRACIE
(raising his glass)
Here, here.
Rose raises her glass, looking at Jack.
ROSE
To making it count.
Ruth, annoyed that Jack has scored a point, presses him further.
RUTH
How is it you have the means to travel, Mr. Dawson?
JACK
I work my way from place to place. Tramp steamers and such. I won my ticketon Titanic here in a lucky hand at poker.
(he glances at Rose)
A very lucky hand.
GRACIE
All life is a game of luck.
CAL
A real man makes his own luck, Archie.
Rose notices that Thomas Andrews, sitting next to her, is writing in hisnotebook, completely ignoring the conversation.
ROSE
Mr. Andrews, what are you doing? I see you everywhere writing in thislittle book.
(grabs it and reads)
Increase number of screws in hat hooks from 2 to 3. You build the biggestship in the world and this preoccupies you?!
Andrews smiles sheepishly.
ISMAY
He knows every rivet in her, don’t you Thomas?
ANDREWS
All three million of them.
ISMAY
His blood and soulSoul Abraham, having wept a short time over his wife’s body, soon rose up from the corpse; thinking, as it should seem, that to mourn any longer would be inconsistent with that wisdom by which he had been taught that he was not to look upon death as the extinction of the soul, but rather as a separation and disjunction of it from the body, returning back to the region from whence it came; and it came, from God. (Philo) न जायते म्रियते वा कदाचिन्-नायं भूत्वा भविता वा न भूयः-अजो नित्यः शाश्वतोयं पुराणो-न हन्यते हन्यमाने शरीरे (Gita 2.20 ) are in the ship. She may be mine on paper, but in theeyes of God she belongs to Thomas Andrews.
ROSE
Your ship is a wonder, Mr. Andrews. Truly.
ANDREWS
Thankyou, Rose.
We see that Andrews has come under Rose’s spell.
83 TIME TRANSITION: Dessert has been served and a waiter arrives withcigars in a humidor on a wheeled cart. The men start clipping ends andlighting.
ROSE
(low, to Jack)
Nest it’ll be brandies in the Smoking Room.
GRACIE
(rising)
Well, join me for a brandy, gentlemen?
ROSE
(low)
Now they retreat into a cloud of smoke and congratulate each other on beingmasters of the universe.
GRACIE
Joining us, Dawson? You don’t want to stay out here with the women, do you?
Actually he does, but…
JACK
No thanks. I’m heading back.
CAL
Probably best. It’ll be all business and politicsPolitics The art of controlling people and land grabbing. Political Documents. Books: The New Testament, Quran, Mahabharat, The Communist Manifesto. Men: Chanakya, John Locke, Karl Marx, Henry David Thoreau, Mussolini, Lenin, Ben Rhodes. Ideas: Roman Inquisition, Democracy, Socialism, Hindutva, Zionism, Islamic fundamentalism.Classical: Plato, Aristotle, Mahabharata, that sort of thing.Wouldn’t interest you. Good of you to come.
Cal and te other gentlemen exit.
ROSE
Jack, must you go?
JACK
Time for my coach to turn back into a pumpkin.
He leans over to take her hand.
INSERT: We see him slip a tiny folded not into her palm.
Ruth, scowling, watches him walk away across the enormous room. Rosesurreptitiously opens the note below table level. It reads: “Make it count.Meet me at the clock”.
CUT TO:
84 INT. A-DECK FOYER-NIGHT
Rose crosses the A-Deck foyer, sighting Jack at the landing above. Overheadis the crystal dome. Jack has his back to her, studying the ornate clockwith its carved figures of Honor and Glory. It softly strikes the hour.
MOVING WITH ROSE as she goes up the sweeping staircase toward him. Heturns, sees her… smiles.
JACK
Want to go to a real party?
CUT TO:
85 INT. THIRD CLASS GENERAL ROOM
Crow led and alive with music, laughter and raucous carrying on. An ad hocband is gathered near the upright piano, honking out lively stomping musicon fiddle, accoridon and tambourine. People of all ages are dancing,drinking beer and wine, smoking, laughing, even brawling.
Tommy hands Rose a pint of stout and she hoists it. Jack meanwhile danceswith 5 year old Cora Cartmell, or tries to, with her standing on his feet.As the tune ends, Rose leans down to the little girl.
ROSE
May I cut in, miss?
JACK
You’re still my best girl, Cora.
Cora scampers off. Rose and Jack face each other. She is trembling as hetakes her right hand in his left. His other hand slides to the small of herback. It is an electrifying moment.
ROSE
I don’t know the steps.
JACK
Just move with me. Don’t think.
The music starts and they are off. A little awkward at first, she starts toget into it. She grins at Jack as she starts to get the rhythm of thesteops.
ROSE
Wait… stop!
She bends down, pulling off her high heeled shoes, and flings them toTommy. Then she grabs Jack and they plunge back into the fray, dancingfaster as the music speeds up.
CUT TO:
86 OMITTED
87 INT. THIRD CLASS GENERAL ROOM
The scene is rowdy and rollicking. A table gets knocked over as a drunkcrashes into it. And in the middle of it… Rose dancing with Jack in herstocking feet. The steps are fast and she shines with sweat. A space opensaround them, and people watch them, clapping as the band plays faster andfaster.
FABRIZIO AND HELGA. Dancing has obviated the need for a common language. Hewhirls her, then she responds by whirling him… Fabrizio’s eyes go widewhen he realizes she’s stronger than he is.
The tune ends in a mad rush. Jack steps away from Rose with a flourish,allowing her to take a bow. Exhilarated and slightly tipsy, she does agraceful ballet ployer, feet turned out perfectly. Everyone laughs andapplauds. Rose is a hit with the steerage folks, who’ve never had a ladyparty with them.
They move to a table, flushed and sweaty. Rose grabs Fabrizio’s cigaretteand takes a big drag. She’s feeling co*cky. Fabrizio is grinning, holdinghands with Helga.
JACK
How you two doin’?
FABRIZIO
I don’t know hwat she’s say, she don’t know what I say, so we get alongfine.
Tommy walks up with a pint for each of them. Rose chugs hers, showing off.
ROSE
You think a first class girl can’t drink?
Everybody else is dancing again, and Bjorn Gundersen crashes into Tommy,who sloshes his beer over Rose’s dress. She laughs, not caring. But Tommylunges, grabbing Bjorn and wheeling him around.
TOMMY
You stupid bastard!!
Bjorn comes around, his fists coming up… and Jack leaps into the middleof it, pushing them apart.
JACK
Boys, boys! Did I ever tell you the one about the Swede and the Irishmangoin’ to the whor*house?
Tommy stands there, all piss and vinegar, chest puffed up. Then he grinsand claps Bjorn on the shoulder.
ROSE
So, you think you’re big tough men? Let’s see you do this.
In her stocking feet she assumes a ballet stance, arms raised, and goes upon point, taking her entire weight on the tips of her toes. The guys gapeat her incredible muscle control. She comes back down, then her face screwsup in pain. She grabs one foot, hopping around.
ROSE
Oooowww! I haven’t done that in years.
Jack catches her as she loses her balance, and everyone cracks up.
THE DOOR to the well deck is open a few inches as Lovejoy watches throughthe gap. He sees Jack holding Rose, both of them laughing.
LOVEJOY closes the door.
CUT TO:
88 EXT. BOAT DECK – NIGHT
The stars blaze overhead, so bright and clear you can see the Milky Way.Rose and Jack walk along the row of lifeboats. Still giddy from the party,they are singing a popular song “Come Josephine in My Flying Machine”.
JACK/ROSE
Come Josephine in my flying machine
And it’s up she goes! Up she goes!
In the air she goes. Where? There she goes!
They fumble the words and break down laughing. They have reached the FirstClass Entrance, but don’t go straight in, not wanting the evening to end.Through the doors the sound of the ship’s orchestra wafts gently. Rosegrabs a davit and leans back, staring at the cosmos.
ROSE
Isn’t it magnificent? So grand and endless.
She goes to the rail and leans on it.
ROSE
They’re such small people, Jack… my crowd. They think they’re giants onthe earth, but they’re not even dust in God’s eye. They live inside thislittle tiny champagne bubble… and someday the bubble’s going to burst.
He leans at the rail next to her, his hand just touching hers. It is theslightest contact imaginable, and all either one of them can feel is thatsquare inch of skin where their hands are touching.
JACK
You’re not one of them. There’s been a mistake.
ROSE
A mistake?
JACK
Uh huh. You got mailed to the wrong address.
ROSE
(laughing)
I did, didn’t I?
(MORE)
ROSE (CONT’D)
(pointing suddenly)
Look! A shooting star.
JACK
That was a long one. My father used to say that whenever you saw one, itwas a soul going to heaven.
ROSE
I like that. Aren’t we supposed to wish on it?
Jack looks at her, and finds that they are suddenly very close together. Itwould be so easy to move another couple of inches, to kiss her. Rose seemsto be thinking the same thing.
JACK
What would you wish for?
After a beat, Rose pulls back.
ROSE
Something I can’t have.
(she smiles sadly)
Goodnight, Jack. And thank you.
She leaves the rail and hurries through the First Class Entrance.
JACK
Rose!!
But the door bangs shut, and she is gone. Back to her world.
CUT TO:
89 INT. ORSE AND CAL’S SUITE / PRIVATE PROMENADE – DAY
SUNDAY APRIL 14, 1912. A bright clear day. Sunlight splashing across thepromenade. Rose and Cal are having breakfast in silence. The tension ispalpable. Trudy Bolt, in her maid’s uniform, pours the coffee and goesinside.
CAL
I had hoped you would come to me last night.
ROSE
I was tired.
CAL
Yes. Your exertions below decks were no doubt exausting.
ROSE
(stiffening)
I see you had that undertaker of a manservant follow me.
CAL
You will never behave like that again! Do you understand?
ROSE
I’m not some foreman in your mills than you can command! I am yourfiancee–
Cal explodes, sweeping the breakfast china off the table with a crash. Hemoves to her in one shocking moment, glowering over her and gripping thesides of her chair, so she is trapped between his arms.
CAL
Yes! You are! And my wife… in practice, if not yet by law. So you willhonor me, as a wife is required to honor her husband! I will not be madeout a fool! Is this in any way unclear?
Rose shrinks into the chair. She sees Trudy, frozen, partway through thedoor bringing the orange juice. Cal follows Rose’s glance and straightensup. He stalks past the maid, entering the stateroom.
ROSE
We… had a little accident. I’m sorry, Trudy.
CUT TO:
90 INT. RUTH’S SUITE – DAY
Rose is dressed for the day, and is in the middle of helping Ruth with hercorset. The tight bindings do not inhibit Ruth’s fury at all.
RUTH
You are not to see that boy again, do you understand me Rose? I forbid it!
Rose has her knee at the base of her mother’s back and is pulling thecorset strings with both hands.
ROSE
Oh, stop it, Mother. You’ll give yourself a nosebleed.
Ruth pulls away from her, and crosses to the door, locking it. CLACK!
RUTH
(wheeling on her)
Rose, this is not a game! Our situation is precarious. You know the money’sgone!
ROSE
Of course I know it’s gone. You remind me every day!
RUTH
Your father left us nothing but a legacy of bad debts hidden by a goodname. And that name is the only card we have to play.
Rose turns her around and grabs the corset strings again. Ruth sucks in herwaist and Rose pulls.
RUTH
I don’t understand you. It is a fine match with Hockley, and it will insureour survival.
ROSE
(hurt and lost)
How can you put this on my shoulders?
Rose turns to her, and we see what Rose sees– the naked fear in hermother’s eyes.
RUTH
Do you want to se me working as a seamstress? Is that what you want? Do youwant to see our fine things sold at an auction, our memories scattered tothe winds? My God, Rose, how can you be so selfish?
ROSE
It’s so unfair.
RUTH
Of course it’s unfair! We’re women. Our choices are never easy.
Rose pulls the corset tighter.
CUT TO:
91 INT. FIRST CLASS DINING SALOON
At the divine service, Captain Smith is leading a group in the hymn“Almighty Father Strong To Save.” Rose and Ruth sing in the middle of thegroup.
Lovejoy stands well back, keeping an eye on Rose. He notices a commotion atthe entry doors. Jack has been halted there by two stewards. He is dressedin his third class clothes, and stands there, hat in hand, looking out ofplace.
STEWARD
Look, you, you’re not supposed to be in here.
JACK
I was just here last night… don’t you remember?
(seeing Lovejoy coming toward him)
He’ll tell you.
LOVEJOY
Mr. Hockley and Mrs. DeWitt Bukater continue to be most appreciative ofyour assistance. They asked me to give you this in gratitude–
He holds out two twenty dollar bills, which Jack refuses to take.
JACK
I don’t want money, I–
LOVEJOY
–and also to remind you that you hold a third class ticket and yourpresence here is no longer appropriate.
Jack spots Rose but she doesn’t see him.
JACK
I just need to talk to Rose for a–
LOVEJOY
Gentlemen, please see that Mr. Dawson gets back where he belongs.
(giving the twenties to the stewards)
And that he stays there.
STEWARD
Yes sir!
(to Jack)
Come along you.
END ON ROSE, not seeing Jack hustled out.
ROSE
(singing)
O hear us when we cry to thee for those in peril on the sea.
CUT TO:
92 INT. GYMNASIUM – DAY
An Edwardian nautilus room. There are machines we recognize, and somedon’t. A woman pedals a stationary bicycle in a long dress, lookingrediculous. Thomas Andrews is leading a small tour group, including Rose,Ruth and Cal. Cal is wroking the oars of a stationary rowing machine with awell trained stroke.
CAL
Reminds me of my Harvard days.
T.W. McCAULEY, the gym instructor, is a bouncy little man in whiteflannels, eager to show off his modern equipment, like his present-daycounterpart on an “Abflex” infomercial. He hits a switch and a machine witha saddle on it starts to undulate. Rose puts her hand on it, curious.
MCCAULEY
The electric horse is very popular. We even have an electric camel.
(to Ruth)
Care to try your hand at the rowing, m’am?
RUTH
Don’t be absurd. I can’t think of a skill I should likely need less.
ANDREWS
The next stop on our tour will be bridge. This way, please.
CUT TO:
93 EXT. AFT WELL DECK, B-DECK AND A-DECK – DAY
Jack, walking with determination, is followed closely by Tommy andFabrizio. He quickly climbs the steps to B-Deck and steps over the gateseparating 3rd from 2nd class.
TOMMY
She’s a goddess amongst mortal men, there’s no denyin’. But she’s inanother world, Jackie, forget her. She’s closed the door.
Jack moves furtively to the wall below the A-Deck promenade, aft.
JACK
It was them, not her.
(glancing around the deck)
Ready… go.
Tommy shakes his head resignedly and puts his hands together, crouchingdown. Jack steps into Tommy’s hands and gets boosted up to the next deck,where he scrambles nimbly over the railing, onto the First Class deck.
TOMMY
He’s not bein’ logical, I tell ya.
FABRIZIO
Amore is’a not logical.
CUT TO:
94 EXT. A-DECK / AFT – DAY
A man is playing with his son, who is spinning a top with a string. Theman’s overcoat and hat are sitting on a deck chair nearby. Jack emergesfrom behind one of the huge deck cranes and calmly picks up the coat andbowler hat. He walks away, slipping into the coat, and slicks his hair backwith spit. Then puts the hat on at a jaunty angle. At a distance he couldpass for a gentlemen.
CUT TO:
95 INT. BRIDGE / CHARTROOM – DAY
HAROLD BRIDE, the 21 year old Junior Wireless Operator, hustles in andskirts around Andrews’ tour group to hand a Marconigram to Captain Smith.
BRIDE
Another ice warning, sir. This one from the “Baltic”.
SMITH
Thankyou, Sparks.
Smith glances at the message then nonchalantly puts it in his pocket. Henods reassuringly to Rose and the group.
SMITH
Not to worry, it’s quite normal for this time of year. In fact, we’respeeding up. I’ve just ordered the last boilers lit.
Andrews scowls slightly before motioning the group toward the door. Theyexit just as SECOND OFFICER CHARLES HERBERT LIGHTOLLER comes out of thechartroom, stopping next to First Officer Murdoch.
LIGHTOLLER
Did we ever find those binoculars for the lookouts?
FIRST OFFICER MURDOCH
Haven’t seen them since Southampton.
CUT TO:
96 EXT. BOAT DECK / STARBOARD SIDE – DAY
Andrews leads the group back from the bridge along the boat deck.
ROSE
Mr. Andrews, I did the sum in my head, and with the number of lifeboatstimes the capacity you mentioned… forgive me, but it seems that there arenot enough for everyone aboard.
ANDREWS
About half, actually. Rose, you miss nothing, do you? In fact, I put inthese new type davits, which can take an extra row of boats here.
(he gestures along the eck)
But it was thought… by some… that the deck would look too cluttered. SoI was over-ruled.
CAL
(slapping the side of a boat)
Waste of deck space as it is, on an unsinkable ship!
ANDREWS
Sleep soundly, young Rose. I have built you a good ship, strong and true.She’s all the lifeboat you need.
As they are passing Boat 7, a gentlemen turns from the rail and walks upbehind the group. It is Jack. He taps Rose on the arm and she turns,gasping. He motions and she cuts away from the group toward a door whichJack holds open. They duck into the–
CUT TO:
97 INT. GYMNASIUM – DAY
Jack closes the door behind her, and glances out through the ripple-glasswindow to the starboard rail, where the gym instructor is chatting up thewoman who was riding the bike. Rose and Jack are alone in the room.
ROSE
Jack, this is impossible. I can’t see you.
He takes her by the shoulders.
JACK
Rose, you’re no picnic… you’re a spoiled little brat even, but under thatyou’re a strong, pure heart, and you’re the most amazingly astounding girlI’ve ever known and–
ROSE
Jack, I–
JACK
No wait. Let me try to get this out. You’re amazing… and I know I havenothing to offer you, Rose. I know that. But I’m involved now. You jump, Ijump, remember? I can’t turn away without knowin’ that you’re goin’ to bealright.
Rose feels the tears coming to her eyes. Jack is so open and real… notlike anyone she has ever known.
ROSE
You’re making this very hard. I’ll be fine. Really.
JACK
I don’t think so. They’ve got you in a glass jar like some butterfly, andyou’re goin’ to die if you don’t break out. Maybe not right away, ’causeyou’re strong. But sooner or later the fire in you is goin’ to go out.
ROSE
It’s not up to you to save me, Jack.
JACK
You’re right. Only you can do that.
ROSE
I have to get back, they’ll miss me. Please, Jack, for both our sakes,leave me alone.
CUT TO:
98 INT. FIRST CLASS LOUNG – DAY
The most elegant room on the ship, done in Louis Quinze Versaille style.Rose sits on a divan, with a group of other women arrayed around her. Ruth,the Countess Rothes and Lady Duff-Gordon are taking tea. Rose is silent andstill as a porcelain figurine as the conversation washes around her.
RUTH
Of course the invitations had to be sent back to the printers twice. Andthe bridesmaids dresses! Let me tell you what an odyssey that has been…
TRACKING SLOWLY IN on Rose as Ruth goes on.
REVERSE, ROSE’S POV: A tabeau of MOTHER and DAUGHTER having tea. The fouryear old girl, wearing white gloves, daintily picking up a cookie. Themother correcting her on her posture, and the way she holds the teacup. Thelittle girl is trying so hard to please, her expression serious. A glimpseof Rose at that age, and we see the relentless conditioning… the pain tobecoming an Edwardian geisha.
ON ROSE. She calmly and deliberately turns her teacup over, spilling teaall over her dress.
ROSE
Oh, look what I’ve done.
CUT TO:
99 EXT. TITANIC – DAY
TITANIC STEAMS TOWARD US, in the dusk light, as if lit by the embers of agiant fire. As the ship looms, FILLING FRAME, we push in on the bow. Jackis there, right at the apex of the bow railing, his favorite spot. Hecloses his eyes, letting the chill wind clear his head.
Jack hears her voice, behind him…
ROSE
Hello, Jack.
He turns and she is standing there.
ROSE
I changed my mind.
He smiles at her, his eyes drinking her in. Her cheeks are red with thechill wind, and her eyes sparkle. Her hair blows wildly about her face.
ROSE
Fabrizio said you might be up–
JACK
Sssshh. Come here.
He puts his hands on her waist. As if he is going to kiss her.
JACK
Close your eyes.
She does, and he turns her to face forward, the way the ship is going. Hepresses her gently to the rail, standing right behind her. Then he takesher two hands and raises them until she is standing with her armsoutstetched on each side. Rose is going along with him. When he lowers hishands, her arms stay up… like wings.
JACK
Okay. Open them.
Rose gasps. There is nothing in her field of vision but water. It’s likethere is no ship under them at all, just the two of them soaring. TheAtlantic unrolls toward her, a hammered copper shield under a dusk sky.There is only the wind, and the hiss of the water 50 feel below.
ROSE
I’m flying!
She leans forward, arching her back. He puts his hands on her waist tosteady her.
JACK
(singing softly)
Come Josephine in my flying machine…
Rose cleses her eyes, feeling herself floating weightless far above thesea. She smiles dreamily, then leans back, gently pressing her back againsthis chest. He pushes forward slightly against her.
Slowly he raises his hands, arms outstretched, and they meet hers…fingertips gently touching. Then their fingers intertwine. Moving slowly,their fingers caress through and around each other like the bodies of twolovers.
Jack tips his face forward into her blowing hair, letting the scent of herwash over him, until his cheek is agianst her ear.
Rose turns her head until her lips are near his. She lowers her arms,turning further, until she finds his mouth with hers. He wraps his armsaround her from behind, and they kiss like this with her head turned andtilted back, surrendering to him, to the emotion, to the inevitable. Theykiss, slowly and tremulously, and then with building passion.
Jack and the ship seem to merge into one force of power and optimism,lifting her, buoying her forward on a magical journey, soaring onward intoa night without fear.
100 IN THE CROW’S NEST, high above and behind them, lookout FREDERICK FLEETnudges his mate, REGINALD LEE, pointing down at the figures in the bow.
FLEET
Wish I had those bleedin’ binoculars.
101 JACK AND ROSE, embracing at the bow rail, DISSOLVE SLOWLY AWAY, leavingthe ruined bow of the WRECK–
CUT TO:
102 INT. KELDYSH IMAGING SHACK
OLD ROSE blinks, seeming to come back to the present. She sees the wreck onthe screen, the sad ghost ship deep in the abyss.
ROSE
That was the last time Titanic ever saw daylight.
Brock Lovett changes the tape in the minicassette recorder.
BROCK
So we’re up to dusk on the night of the sinking. Six hours to go.
BODINE
Don’t you love it? There’s Smith, he’s standing there with the icebergwarning in his f*cking hand…
(remembering Rose)
… excuse me… in his hand, and he’s ordering more speed.
BROCK
26 years of experience working against him. He figures anything big enoughto sink the ship they’re going to see in time to turn. But the ship’s toobig, with too small a rudder… it can’t corner worth sh*t. Everything heknows is wrong.
ROSE is ignoring this conversation. She has the art-nouveau comb with thejade butterfly on the handle in her hands, turning it slowly. She iswatching a monitor, which shows the ruins of Suite B-52/56. PUSH IN untilthe image fills frame.
TRANSITION:
103 INT. ROSE’S SUITE
… 1912. Like in a dream the beautiful woodwork and satin upholsteryemerge from the rusted ruin. Jack is overwhelmed by the opulence of theroom. He sets his sketchbood and drawing materials on the marble table.
ROSE
Will this light do? Don’t artists need good light?
JACK
(bad French accent)
Zat is true, I am not used to working in such ‘orreeble conditions.
(seeing the paintings)
Hey… Monet!
He crouches next to the paintings stacked against the wall.
JACK
Isn’t he great… the use of color? I saw him once… through a hole inthis garden fence in Giverny.
She goes into the adjoining walk-in wardrobe closet. He sees her go to thesafe and start working the combination. He’s fascinated.
ROSE
Cal insist on luggin this thing everywhere.
JACK
Should I be expecting him anytime soon?
ROSE
Not as long as the cigars and brandy hold out.
CLUNK! She unlocks the safe. Glancing up, she meets his eyes in the mirrorbehind the safe. She opens it and removes the necklace, then holds it outto Jack who takes it nervously.
JACK
What is it? A sapphire?
ROSE
A diamond. A very rare diamond, called the Heart of the Ocean.
Jack gazes at wealth beyond his comprehension.
ROSE
I want you to draw me like your French girl. Wearing this.
(she smiles at him)
Wearing only this.
He looks up at her, surprised, and we CUT TO:
104 ROSE’S BEDROOM. ON THE BUTTERFLY COMB as Rose draws it out of her hair.She shakes her head and her hair falls free around her shoulders.
105 IN THE SITTING ROOM Jack is laying out his pencils like surgical tools.His sketchbook is open and ready. He looks up as she comes into the room,wearing a silk kimono.
ROSE
The last thing I need is another picture of me looking like a china doll.As a paying customer, I expect to get what I want.
She hands him a dime and steps back, parting the kimono. The blue stonelies on her creamy breast. Her heart is pounding as she slowly lowers therobe.
Jakc looks so stricken, it is almost comical. The kimono drops to the floor(this is all in cuts, lyrical).
ROSE
Tell me when it looks right to you.
She poses on the divan, settling like a cat into the position we rememberfrom the drawing… almost.
JACK
Uh… just bend your left leg a little and… and lower your head. Eyes tome. That’s it.
Jack starts to sketch. He drops his pencil and she stifles a laugh.
ROSE
I believe you are blushing, Mr. Big Artiste. I can’t imagine Monsieur Monetblushing.
JACK
(sweating)
He does landscapes.
TIGHT ON JACK as his eyes come up to look at her over the top edge of hissketchpad. We have seen this image of him before, in her memory. It is animage she will carry the rest of her life.
Despite his nervousness, he draws with sure strokes, and what emerges isthe best thing he has ever done. Her pose is languid, her hands beautiful,and her eyes radiate her energy.
PUSH SLOWLY IN ON ROSE’S FACE…
TRANSITION:
106 INT. KELDYSH / IMAGING SHACK
MATCH DISSOLVE/MORPH to Rose, 101 years old. Only her eyes are the same.
OLD ROSE
My heart was pounding the whole time. It was the most erotic moment of mylife… up till then at least.
CUT TO REVERSE: A semicircle of listeners staring in rapt, frozen silence.The story of Jack and Rose has finally and completely grabbed them.
BODINE
What, uh… happened next?
OLD ROSE
(smiling)
You mean, did we “do it”?
CUT TO:
107 INT. ROSE AND CAL’S SUITE – NIGHT
BACK TO 1912. Jack is signing the drawing. Rose, wearing her kimono again,is leaning on his shoulder, watching.
OLD ROSE (V.O.)
Sorry to disappoint you Mr. Bodine.
Rose gazes at the drawing. He has X-rayed her soul.
ROSE
Date it, Jack. I want to always remember this night.
He does: 4/14/1912. Rose meanwhile scribbles a note on a piece of Titanicstationary. We don’t see what it says. She accepts the drawing from him,and crosses to the safe in the wardrobe.
She puts the diamond back in the safe, placing hte drawing and the note ontop of it. Closes the door with a CLUNK!
CUT TO:
108 INT. FIRST CLASS SMOKING ROOM – NIGHT
Lovejoy enters from the Palm Court through the revolving door and crossesthe room toward Hockley. A fire is blazing in the marble fireplace, and theusual fatcats are playing cards, drinking and talking. Cal sees Lovejoy anddetaches from his group, coming to him.
LOVEJOY
None of the stewards have seen her.
CAL
(low but forceful)
This is ridiculous, Lovejoy. Find her.
CUT TO:
109 EXT. ATLANTIC – NIGHT
TITANIC glides across an unnatural sea, blakc and calm as a pool of oil.The ships lights are mirrored almost perfectly in the black water. The skyis brilliant with stars. A meteor traces a bright line across the heavens.
110 ON THE BRIDGE, Captain Smith peers out at the blackness ahead of theship. QUARTERMASTER HITCHINS brings him a cup of hot tea with lemon. Itsteams in the bitter cold of the open bridge. Second Officer Lightoller isnext to him, staring out at the sheet of black glass the Atlantic hasbecome.
LIGHTOLLER
I don’t think I’ve ever seen such a flat calm, in 24 years at sea.
SMITH
Yes, like a mill pond. Not a breath of wind.
LIGHTOLLER
It’s make the bergs harder to see, with no breaking water at the base.
SMITH
Mmmmm. Well, I’m off. Maintain speed and heading, Mr. Lightoller.
LIGHTOLLER
Yes sir.
SMITH
And wake me, of course, if anything becomes in the slightest degreedoubtful.
CUT TO:
111 INT. ROSE AND CAL’S SUITE
Rose, fully dressed now, returns to the sitting room. They hear a key inthe lock. Rose takes Jack’s hand and leads him silently through thebedrooms. Lovejoy enters by the sitting room door.
LOVEJOY
Miss Rose? Hello?
He hears a door opening and goes through Cal’s room toward hers.
CUT TO:
112 INT. CORRIDOR OUTSIDE SUITE
Rose and Jack come out of her stateroom, closing the door. She leads himquickly along the corridor toward the B deck foyer. They are halfway acrossthe open space when the sitting room door opens in the corridor and Lovejoycomes out. The valet sees Jack with Rose and hustles after them.
ROSE
Come on!
She and Jack break into a run, surprising the few ladies and gentlemenabout. Rose leads him past the stairs to the bank of elevators. They runinto one, shocking the hellHell Isaiah (66:22-24), Mark (9:48), Jesus informed us, that “where their worm never dies, and the fire is never quenched.” Matthew (25:31-46)-Eternal punishment. Christian Schedule is given in Revelation 20:7-15. Garuda Purana supplied the description of Naraka (नरक).1. Augustine, City of God, Book 212. Leibniz, G. W. (c. 1672) The Philosopher’s Confession. out of the OPERATOR.
ROSE
Take us down. Quickly, quickly!
The Operator scrambles to comply. Jack even helps him close the steel gate.Lovejoy runs up as the lift starts to descend. He slams one hand on thebars of the gate. Rose makes a very rude and unladylike gesture, and laughsas Lovejoy disappears above. The Operator gapes at her.
CUT TO:
113 INT. E-DECK FOYER / ELEVATORS
Lovejoy emerges from another lift and runs to the one Jack and Rose werein. The Operator is just closing the gate to go back up. Lovejoy runsaround the bank of elevators and scans the foyer… no Jack and Rose. Hetries the stairs going down to F-Deck.
CUT TO:
114 INT. F-DECK CORRIDORS / FAN ROOM
A functional space, with access to a number of machine spaces (fan rooms,boiler uptakes). Jack and Rose are leaning against a wall, laughing.
JACK
Pretty tough for a valet, this fella.
ROSE
He’s an ex-Pinkerton. Cal’s father hired him to keep Cal out of trouble…to make sure he always got back to the hotel with his wallet and watch,after some crawl through the less reputable parts of town…
JACK
Kinda like we’re doin’ right now– uh oh!
Lovejoy has spotted them from a cross-corridor nearby. He charges towardthem. Jack and Rose run around a corner into a blind alley. There is onedoor, marked CREW ONLY, and Jack flings it open.
115 They enter a roaring RAN ROOM, with no way out but a ladder going down.Jack latches the deadbolt on the door, and Lovejoy slams against it amoment later. Jack grins at Rose, pointing to the ladder.
JACK
After you, m’lady.
CUT TO:
116 INT. BOILER ROOM FIVE AND SIX
Jack and Rose come down the escape ladder and look around in amazement. Itis like a vision of hell itself, with the roaring furnaces and blackfigures moving in the smoky glow. They run the length of the boiler room,dodging amazed stokers, and trimmers with their wheelbarrows of coal.
JACK
(shouting over the din)
Carry on! Don’t mind us!
They run through the open watertight door into BOILER ROOM SIX. Jack pullsher through the fiercely hot alley between two boilers and they wind up inthe dark, out of sight of the working crew. Watching from the shadows, theysee the stokers working in the hellish glow, shovelling coal into theinsatiable maws of the furnaces. The whole place thunders with the roar ofthe fires.
CUT TO:
117 INT. FIRST CLASS SMOKING ROOM
Amid unparalled luxury, Cal sits at a card game, sipping brandy.
COLONEL GRACIE
We’re going like hell I tel you. I have fifty dollars that says we make itinto New York Tuesday night!
Cal looks at his gold pocket watch, and scowls, not listening.
CUT TO:
118 OMITTED
119 INT. BOILER ROOM SIX
The furnaces roar, silhouetting the glistening stokers. Jack kisses Rose’sface, tasting the sweat trickling down from her forehead. They kisspassionately in the steamy, pounding darkness.
CUT TO:
120 INT. HOLD #2
Jack and Rose enter and run laughing between the rows of stacked cargo. Shehugs herself against the cold, after the dripping heat of the boiler room.
They come upon William Carter’s brand new RENAULT touring car, lashing downto a pallet. It looks like a royal coach from a fairy tale, its brass trimand headlamps nicely set off by its deep burgundy color.
Rose climbs into the plushly upholstered back seat, acting very royal.There are cut crystals bud vases on the walls back there, each containing arose. Jack jumps into the driver’s seat, enjoying hte feel of the leatherand wood.
JACK
Where to, Miss?
ROSE
To the stars.
ON JACK as her hands come out of the shadows and pull him over the seatinto the back. He lands next to her, and his breath seems loud in the quietdarkness. He looks at her and she is smiling. It is the moment of truth.
JACK
Are you nervous?
ROSE
Au contraire, mon cher.
He strokes her face, cherishing her. She kisses his artist’s fingers.
ROSE
Put your hands on me Jack.
He kisses her, and she slides down in the seat under his welcome weight.
CUT TO:
121 INT. WIRELESS ROOM
A BRILLIANT ARC OF ELECTRICITY fills frame– the sparks gap of the Marconiinstrument as SENIOR WIRELESS OPERATOR JACK PHILLIPS (24) rapidly keys outa message. Junior Operator Bride looks through the huge stack of outgoingmessages swamping them.
BRIDE
Look at this one, he wants his private train to meet him. La dee da.
(slaps them down)
We’ll be up all bloody night on this lot.
Phillips start to receive an incoming message from a nearby ship, theLeyland frieghter CALIFORNIAN, which jams his outgoing signal. At suchclose range, the beeps are deafening.
PHILLIPS
ChristChrist Lamentations 4:20 > The breath of our nostrils, the Christ (Mašíaḥ) of Yahweh, was captured in their pits, of whom we had said, “Under his shadow, we shall live among the nations.” Greek Septuagint (OT), χριστός derived from χρίω (anointed one). Whether Jesus was Christ? NT declared in affirmative. Jews never accepted Jesus as a chosen leader. His violent death was interpreted as a curse by Yahweh. For Hindus, Christian claims are absurd. Performing Dharma leads to liberation. For Muslims, Jesus never died on the Cross. He who confesses that Jesus is Christ is Christian. Confessing Muhammad is the Last Prophet (Rasul) earned the name ofMohammedan..! It’s that idiot on the Californian.
Cursing, Phillips furiously keys a rebuke.
CUT TO:
122 INT. / EXT. WIRELESS SHAK / FREIGHTER CALIFORNIAN
Wireless Operater CYRIL EVANS pulls his earphone off his ear as theTitanic’s spark deafens him. he translates the message for THIRD OFFICERGROVES.
EVANS
Stupid bastard. I try to warn him about the ice, and he says “Keep out.Shut up. I’m working Cape Race.”
GROVES
Now what’s he sending?
EVANS
“No seasickness. Poker business good. Al”. Well that’s it for me. I’mshutting down.
As Evans wearily switches off his generator, Groves goes out on deck. PANoFF Him to reveal the ship is stopped fifty yards from the edge of a fieldof pack ice and icebergs stretching as far as the eye can see.
CUT TO:
123 EXT. OCEAN / TITANIC
ON TITANIC, steaming hellbent through the darkness, hurling up white waterat the bows. The bow comes straight at us, until the bow wave WIPES THEFRAME–
CUT TO:
124 INT. HOLD #2
PUSHING IN on the rear window of the Renault, which is completely foggedup. Rose’s hand comes up and slams against the glass for a moment, making ahandprint in the veil of condensation.
INSIDE THE CAR, Jack’s overcoat is liek a blanket over them. It stirs andRose pulls it down. They are huddled under it, intertwined, still mostlyclothed. Their faces are flushed and they look at each other wonderingly.She puts her hand on his face, as if making sure he is real.
ROSE
You’re trembling.
JACK
It’s okay. I’m alright.
He lays his cheek against her chest.
JACK
I can feel your heart beating.
She hugs his head to her chest, and just holds on for dear life.
OLD ROSE (V.O.)
Well, I wasn’t the first teenage girl to get seduced in the backseat of acar, and certainly not the last, by several million. He had such finehands, artists’ hands, but strong too… roughened by work. I remembertheir touch even now.
CUT TO:
125 EXT. ATLANTIC / TITANIC – NIGHT
The bow sweeps under us, and the CAMERA CLIMBS toward the foremast and thetiny half-cylinder of the crow’s nest, which grows as we push in onlookouts Fleet and Lee. They are stamping their feet and swinging theirarms, trying to keep warm in the 22 knot freezing wind, which whips caporof their breath away behind.
FLEET
You can smell ice, you know, when it’s near.
LEE
Bollocks.
FLEET
Well I can.
CUT TO:
126 INT. BOILER ROOM SIX
Without hearing hte words over the roar of the furnaces, we see stokerstelling TWO STEWARDS which way Rose and Jack went. The stewards move offtoward the forward holds.
CUT TO:
127 INT. CAL AND ROSE’S SUITE
Cal stands at the open safe. He stares at the drawing of Rose and his faceclenches with fury. He reads the not again: “DARLING, NOW YOU CAN KEEP USBOTH LOCKED IN YOUR SAFE, ROSE”.
Lovejoy, standing behind him, looks over his shoulder at the drawing. Calcrumples Rose’s not, then takes the drawing in both hands as if to rip itin half. He tenses to do it, then stops himself.
CAL
I have a better idea.
CUT TO:
128 INT. HOLD #2 – NIGHT
The two stewards enter. They have electric torches and play the beamsaround the hold. They spot the Renault with its fogged up rear window andapproach it slowly.
FROM INSIDE we see the torch light up Rose’s passionate handprint, stillthere on the fogged up glass. One steward whips open the door.
STEWARD
Got yer!
REVERSE: the back seat is empty.
CUT TO:
129 EXT. FORWARD WELL DECK AND CROW’S NEST – NIGHT
Rose and Jack, fully dressed, come through a crew door onto the deck. Theycan barely stand, they are laughing so hard.
UP ABOVE THEM, IN THE CROW’S NEST, lookout Fleet hears the disturbancebelow and looks around and back down to the well deck, where he can see twofigures embracing.
Jack and Rose stand in each others arms. Their breath clouds around them inthe now freezing air, but they don’t even feel the cold.
ROSE
When this ship docks, I’m getting off with you.
JACK
This is crazy.
ROSE
I know. It doesn’t make any sense. That’s why I trust it.
Jack pulls her to him and kisses her fiercely.
130 IN THE CROW’S NEST Fleet nudges Lee.
FLEET
Cor… look at that, would ya.
LEE
They’re a bloody sight warmer than we are.
FLEET
Well if that’s what it takes for us two to get warm, I’d rather not, ifit’s all the same.
They both have a good laugh at that one. It is Fleet whose expression fallsfirst. Glancing forward again, he does a double take. The color drains outof his face.
FLEET’S POV: a massive iceberg right in their path, 500 yards out.
FLEET
Bugger me!!
Fleet reaches past Lee and rings the lookout bell three times, then grabsthe telephone, calling the bridge. He waits precious seconds for it to bepicket up, never taking his eyes off the black mass ahead.
FLEET
Pick up, ya bastard.
CUT TO:
131 INT. / EXT. BRIDGE
Inside the enclosed wheelhous, SIXTH OFFICER MOODY walks unhurriedly to thetelephone, picking it up.
FLEET (V.O.)
Is someone there?
MOODY
Yes. What do you see?
FLEET
Iceberg right ahead!
MOODY
Thankyou.
(hangs up, calls to Murdoch)
Iceberg right ahead!
Murdoch sees it and rushes to the engine room telegraph. While signaling“FULL SPEED ASTERN” he yells to Quartermaster Hitchins, who is at thewheel.
MURDOCH
Hard a’ starboard.
MOODY
(standing behind Hitchins)
Hard’a starboard. The helm is hard over, sir.
CRASH SEQUENCE / SERIES OF CUTS:
132 CHIEF ENGINEER BELL is just checking the soup he has warming on a steammanifold when the engine telegraph clangs, then goes… incredibly… toFULL SPEED ASTERN. He and the other ENGINEERS just stare at it a second,unbelieving. Then Bell reacts.
BELL
Full astern! FULL ASTERN!!
The engineers and greasers like madmen to close steam valves and startbraking the mighty propeller shafts, big as Sequias, to a stop.
133 IN BOILER ROOM SIX, Leading Stoker FREDERICK BARRETT is standing with2nd Engineer JAMES HESKETH when the red warning light and “STOP” indicatorcome on.
BARRETT
Shut all dampers! Shut ’em!!
134 FROM THE BRIDGE Murdoch watches the burg growing… straight ahead. Thebow finally starts to come left (since the ship turns the reverse of thehelm setting).
MURDOCH’S jaw clenches as the bow turns with agonizing slowness. He holdshis breath as the horrible physics play out.
135 IN THE CROW’S NEST Frederick Fleet braces himself.
136 THE BOW OF THE SHIP thunders right at CAMERA and–
KRUUUNCH!! The ship hits the berg on its starboard bow.
137 UNDERWATER we see the ice smashing in the steel hull plates. Theiceberg bumps and scrapes along the side of the ship. Rivets pop as thesteel plate of the hull flexes under the load.
138 IN #2 HOLD the two stewards stagger as the hull buckles in four feetwith a sound like THUNDER. Like a sledgehammer beating along outside theship, the berg splits the hull plates and the sea pour in, sweeping themoff their feert. The icy water swirls around the Renault as the menscramble for the stairs.
139 ON G-DECK forward Fabrizio is tossed in his bunk by the impact. Hehears a sound like the greatly amplified squeal of a skate on ice.
140 IN BOILER ROOM SIX Barret and Hesketh stagger as they hear the ROLLINGTHUNDER of the collision. They see the starboard side of the ship buckle intoward them and are almost swept off their feet by a rush of water comingin about two feet above the floor.
141 ON THE FORWARD WELL DECK Jack and Rose break their kiss and look up inastonishment as the berg sails past, blocking out the sky like a mountain.Fragments break off it and crash down onto the deck, and they have to jumpback to avoid flying chunks of ice.
142 ON THE BRIDGE Murdoch rings the watertight door alarm. He quicky throwsthe switch that closes them.
MURDOCH
Hard a ‘port!
Judging the berg to be amidships, he is trying to clear the stern.
143 BARRETT AND HESKETH hear the DOOR ALARM and scramble through theswirling water to the watertight door between Boiler Rooms 6 and 5. Theroom is full of water vapor as the cold sea strikes the red hot furnaces.Barrett yells to the stokers scrambling through the door as it comes downlike a slow guillotine.
BARRETT
Go Lads! Go! Go!
He dives through into Boiler Room 5 just before the door rumbles down witha CLANG.
144 JACK AND ROSE rush to the starboard rail in time to see the berg movingaft down the side of the ship.
145 In his stateroom, surrounded by piles of plans while making notes inhis ever-present book, Andrews looks up at the sound of a cut-crystal lightfixture tinkling like a windchime.
He feels the shudder run through the ship. And we see it in his face. Toomuch of his soul is in this great ship for him not to feel its mortalwound.
146 IN THE FIRST CLASS SMOKING ROOM Gracie watches his highball vibratingon the table.
147 IN THE PALM COURT, with its high arched windows, Molly Brown holds upher drink to a passing waiter.
MOLLY
Hey, can I get some ice here, please?
Silently, a moving wall of ice fills the window behind her. She doesn’t seeit. It disappears astern.
148 OMITTED
149 IN THE CROW’S NEST Fleet turns to his Lee…
FLEET
Oy, mate… that was a close shave.
LEE
Smell ice, can you? Bleedin’ Christ!
CUT TO:
150 INT. / EXT. BRIDGE
CLOSE ON MURDOCH. The alarm bells still clatter mindlessly, seeming toreflect his inner state. He is in shock, unable to get a grip on what justhappened. He just ran the biggest ship in history into an iceberg on itsmaiden voyage.
MURDOCH
(stiffly, to Moody)
Note the time. Enter it in the log.
Captain Smith rushes out of his cabin onto the bridge, tucking in hisshirt.
SMITH
What was that, Mr. Murdoch?
MURDOCH
An iceberg, sir. I put her hard a’ starboard and run the engines fullastern, but it was too close. I tried to port around it, but she hi… andI–
SMITH
Close the emergency doors.
MURDOCH
The doors are closed.
Together they rush out onto the starboard wing, and Murdoch points. Smithlooks into the darkness aft, then wheels around to FOURTH OFFICER BOHALL.
SMITH
Find the Carpenter and get him to sound the ship.
CUT TO:
151 INT. G-DECK FORWARD
In steerage, Fabrizio comes out into the hall to see what’s going on. Hesees dozens of rats running toward him in the corridor, fleeing theflooding bow. Fabrizio jumps aside as the rats run by.
FABRIZIO
Ma– che cazzo!
152 IN HIS STATEROOM Tommy gets out of his top bunk in the dark and dropsdown to the floor. SPLASH!!
TOMMMY
Cor!! What in hell–?!
He naps on the light. The floor is covered with 3 inches of freezing water,and more coming in. He pulls the door open, and steps out into thecorridor, which is flooded. Fabrizio is running toward him, yellingsomething in Italian. Tommy and Fabrizio start pounding on doors, gettingeverybody up and out. The alarm spreads in several languages.
CUT TO:
153 INT. FIRST CLASS CORRIDOR / A-DECK
A couple of people have come out into the corridor in robes and slippers. ASTeWARD hurries along, reassuring them.
WOMAN
Why have the engines stopped? I felt a shudder?
STEWARD #1
I shouldn’t worry, m’am. We’ve likely thrown a propeller blade, that’s theshudder you felt. May I bring you anything?
THOMAS ANDREWS brushes past them, walking fast and carrying an armload ofrolled up ship’s plans.
CUT TO:
154 EXT. FORWARD WELL DECK
Jack and Rose are leaning over the starboard rail, looking at the hull ofthe ship.
JACK
Looks okay. I don’t see anything.
ROSE
Could it have damaged the ship?
JACK
It didn’t seem like much of a bump. I’m sure we’re okay.
Behind them a couple of steerage guys are kicking the ice around the deck,laughing.
CUT TO:
155 INT. STEERAGE FORWARD
Fabrizio and Tommy are in a crowd of steerage men clogging the corridors,heading aft away from the flooding. Many of them have grabbed suitcases andduffel bags, some of which are soaked.
TOMMY
If this is the direction the rats were runnin’, it’s good enough for me.
CUT TO:
156 INT. CORRIDOR ON B DECK
Bruce Ismay, dressed in pajamas under the topcoat, hurries down thecorridor, headed for the bridge. An officious steward named BARNES comesalong the other direction, getting the few concerned passengers back intotheir rooms.
STEWARD BARNES
There’s no cause for alarm. Please, go back to your rooms.
He is stopped in his tracks by Cal and Lovejoy.
STEWARD BARNES
Please, sir. There’s no emergency–
CAL
Yes there is, I have been robbed. Now get the Master at Arms. Now youmoron!
CUT TO:
157 INT. BRIDGE / CHARTROOM
C.U. CAPTAIN SMITH studying the commutator.
He turns to Andrews, standing behind him.
SMITH
A five degree list in less than ten minutes.
SHIP’S CARPENTER JOHN HUTCHINSON enters behind him, out of breath andclearly unnerved.
HUTCHINSON
She’s making water fast… in the forepeak tank and the forward holds, inboiler room six.
ISMAY enters, his movements quick with anger and frustration. Smith glancesat him with annoyance.
ISMAY
Why have we stopped?
SMITH
We’ve struck ice.
ISMAY
Well, do you think the ship is seriously damaged?
SMITH
(glaring)
Excuse me.
Smith pushes past him, with Andrews and Hutchinson in tow.
CUT TO:
158 INT. BOILER ROOM 6
Strokers and firemen are struggling to draw the fires. They are working inwaist deep water churning around as it flows into the boiler room, ice coldand swirling with grease from the machinery. Chief Engineer Bell comespartway down the ladder and shouts.
BELL
That’s it, lads. Get the hell up!
They scramble up the escape ladders.
CUT TO:
159 EXT. B-DECK FORWARD / WELL DECK
The gentlemen, now joined by another man, leans on the forward railwatching the steerage men playing soccer with chunks of ice.
GENTLEMANGentleman A non-Jewish. The word gentleman originally meant one who had a coat of arms and some landed property. When you called someone "a gentleman" you were not paying him a homage, but merely stating a fact. If you said he was not "a gentleman" you were not insulting him, but giving information. Aryan (Arya) is a courageous person, and Bhadralok is a well-mannered typically Bengali Babu.
I guess it’s nothing too serious. I’m going back to my cabin to read.
A 20ish YALE MAN pops through the door wearing a topcoat over pajamas.
YALEY
Say, did I miss the fun?
Rose and Jack come up the steps from the well deck, which are right next tothe three men. They stare as the couple climbs over the locked gate.
A moment later Captain Smith rounds the corner, followed by Andrews andCarpenter Hutchinson. They have come down from the bridge by the outsidestairs. The three men, their faces grim, crush right past Jack and Rose.Andrews barely glances at her.
SMITH
Can you shore up?
HUTCHINSON
Not unless the pumps get ahead.
The inspection party goes down the stairs to the well deck.
JACK
(low, to her)
It’s bad.
ROSE
We have to tell Mother and Cal.
JACK
Now it’s worse.
ROSE
Come with me, Jack. I jump, you jump… Right?
JACK
Right.
Jack follows Rose through the door inside the ship.
CUT TO:
160 INT. B-DECK FOYER / CORRIDOR
Jack and Rose cross the foyer, entering the corridor. Lovejoy is waitingfor them in the hall as they approach the room.
LOVEJOY
We’ve been looking for you miss.
Lovejoy follows and, unseen, moves close behind Jack and smoothly slips thediamond necklace into the pocket of his overcoat.
CUT TO:
161 INT. ROSE AND CAL’S SUITE
Cal and Ruth wait in the sitting room, along with the Master at Arms andtwo stewards (Steward #1 and Barnes). Silence as Rose and Jack enter. Ruthcloses her robe at her throat when she sees Jack.
ROSE
Something serious has happened.
CAL
That’s right. Two things dear to me have disappeared this evening. Now thatone is back…
(he looks from Rose to Jack)
… I have a pretty good idea where to fine the other.
(to Master at Arms)
SearchSearch Google SEO: Meaning> Relevance> Quality> Usability> Context him.
The Master at Arms steps up to Jack.
MASTER AT ARMS
Coat off, mate.
Lovejoy pulls at Jack’s coat and Jack shakes his head in dismay, shruggingout of it. The Master at Arms pats him down.
JACK
This is horsesh*t.
ROSE
Cal, you can’t be serious! We’re in the middle of an emergency and you–
Steward Barnes pulls the Heart of the Ocean out of the pocket of Jack’scoat.
STEWARD BARNES
Is this it?
Rose is stunned. Needless to say, so is Jack.
CAL
That’s it.
MASTER AT ARMS
Right then. Now don’t make a fuss.
He starts to handcuff Jack.
JACK
Don’t you believe it, Rose. Don’t!
ROSE
(uncertain)
He couldn’t have.
CAL
Of course he could. Easy enough for a professional. He memorized thecombination when you opend the safe.
FLASHBACK: Rose at the safe, looking in the mirror and meeting Jack’s eyesas he stands behind her, watching.
ROSE
But I was with him the whole time.
CAL
(just to her, low and cold)
Maybe he did it while you were putting your clothes back on.
JACK
They put it in my pocket!
LOVEJOY
(holding Jack’s coat)
It’s not even your pocket, son.
(reading)
“Property of A. L. Ryerson”.
Lovejoy shows the coat to the Master at Arms. There is a label inside thecollar with the owner’s name.
MASTER AT ARMS
That was reported stolen today.
JACK
I was going to return it! Rose–
Rose feels utterly betrayed, hurt and confused. She shrinks away from him.He starts shouting to her as Lovejoy and the Master at Arms drag him outinto the hall. She can’t look him in the eye.
JACK
Rose, don’t listen to them… I didn’t do this! You know I didn’t! You knowit!
She is devastated. Her mother lays a comforting hand on her shoulder as tetears well up.
RUTH
Why do women believe men?
CUT TO:
162 INT. MAIL SORTING ROOM / HOLD
Smith and Andrews come down the steps to the Mail Sorting Room and findsthe clerks scrambling to pull mail from the racks. They are furiouslyhauling wet sacks of mail up from the hold below.
Andrews climbs partway down the stairs to the hold, which is almost full.Sacks of mail float everywhere. The lights are still on below the surface,casting an eerie glow. The Renault is visible under the water, the brassglinting cheerfully. Andrews looks down as the water covers his shoe, andscrambles back up the stairs.
CUT TO:
163 INT. BRIDE / CHARTROOM
Andrews unrolls a big drawing of the ship across the chartroom table. It isa side elevation, showing all the watertight bulkheads. His hands areshaking. Murdoch and Ismay hover behind Andrews and the Captain.
ISMAY
When can we get underway, do you think?
Smith glares at him and turns his attention to Andrews’ drawing. Thebuilder points to it for emphasis as he talks.
ANDREWS
Water 14 feet above the keel in ten minutes… in the forepeak… in allthree holds… and in boiler room six.
SMITH
That’s right.
ANDREWS
Five compartments. She can stay afloat with the first four compartmentsbreached. But not five. Not five. As she goes down by the head the waterwill spill over the tops of the bulkheads… at E Deck… from one to thenext… back and back. There’s no stopping it.
SMITH
The pumps–
ANDREWS
The pumps buy you time… but minutes only. From this moment, no matterwhat we do, Titanic will founder.
ISMAY
But this ship can’t sink!
ANDREWS
She is made of iron, sir. I assure you, she can. And she will. It is amathematical certainty.
Smith looks like he has been gutpunched.
SMITH
How much time?
ANDREWS
An hour, two at most.
Ismay reels as his dream turns into his worst nightmare.
SMITH
And how many aboard, Mr. Murdoch?
MURDOCH
Two thousand two hundred souls aboard, sir.
A long beat. Smith turns to his employer.
SMITH
I believe you may get your headlines, Mr. Ismay.
CUT TO:
164 EXT. BOAT DECK
Andrews is striding along the boat deck, as seamen and officers scurry touncover the boats. Steam is venting from pipes on the funnes overhead, andthe din is horrendous. Speech is difficult adding to the crew’s level ofdisorganization. Andrews sees some men fumbling with the mechanism of oneof the Wellin davits and yells to them over the roar of steam.
ANDREWS
Turn to the right! Pull the falls taut before you unchock. Have you neverhad a boat drill?
SEAMAN
No sir! Not with these new davits, sir.
He looks around, disguisted as the crew fumble with the davits, and thetackle for the “falls”… the ropes which are used to lower the boats. Afew passengers are coming out on deck, hesitantly in the noise and bittercold.
CUT TO:
165 INT. ROSE AND CAL’S SUITE
From inside the sitting room they can hear knocking and voices in thecorridor.
RUTH
I had better go dress.
Ruth exits and Hockley crosses to Rose. He regards her coldly for a moment,then SLAPS her across the face.
CAL
It is a little slu*t, isn’t it?
To Rose the blow is inconsequential compared to the blow her heart has beengiven. Cal grabs her shoulders roughly.
CAL
Look at me, you little–
There is a loud knock on the door and an urgent voice. The door opens andtheir steward puts his head in.
STEWARD BARNES
Sir, I’ve been told to ask you to please put on your lifebelt, and come upto the boat deck.
CAL
Get out. We’re busy.
The steward persists, coming in to get the lifebelts down from the top of adresser.
STEWARD
I’m sorry about the inconvenience, Mr. Hockley, but it’s Captain’s orders.Please dress warmly, it’s quite cold tonight.
(he hands a lifebelt to Rose)
Not to worry, miss, I’m sure it’s just a precaution.
CAL
This is ridiculous.
In the corridor outside the stewards are being so polite and obsequiousthey are conveying no sense of danger whatsoever. However, it’s anotherstory in…
CUT TO:
166 INT. STEERAGE BERTHING AFT
BLACKNESS. Then BANG! The door is thrown open and the lights snapped on bya steward. The Cartmell family rouses from a sound sleep.
STEWARD #2
Everybody up. Let’s go. Put your lifebelts on.
IN THE CORRIDOR outside, another steward is going from door to door alongthe hall, pouncing and yelling.
STEWARD #2
Lifebelts on. Lifebelts on. Everybody up, come on. Lifebelts on…
People come out of the doors behind the steward, perplexed. In theforeground a SYRIAN WOMAN asks her husband what was said. He shrugs.
CUT TO:
167 INT. WIRELESS ROOM
ON PHILLIPS, looking shocked.
PHILLIPS
CQD, sir?
SMITH
That’s right. The distress call. CQD. Tell whoever responds that we aregoing down by the head and need immediate assistance.
Smith hurries out.
PHILLIPS
Blimey.
BRIDE
Maybe you ought to try that new distress call… S.O.S.
(grinning)
It may be our only chance to use it.
Phillips laughs in spite of himself and starts sending history’s firstS.O.S. Dit dit dit, da da da, dit dit dit… over and over.
CUT TO:
168 EXT. BOAT DECK
Thomas Andrews looks around in amazement. The deck is empty except for thecrew fumbling with the davits. He yells over the roar of the steam to FirstOfficer Murdoch.
ANDREWS
Where are all the passengers?
MURDOCH
They’ve all gone back inside. Too damn cold and noisy for them.
Andrews feels like he is in a bad dream. He looks at his pocketwatch andheads for the foyer entrance.
CUT TO:
169 INT. A-DECK FOYER
A large number of First Class passengers have gathered near the staircase.They are getting indignant about the confusion. Molly Brown snags a passingYOUNG STEWARD.
MOLLY
What’s doing, sonny? You’ve got us all trussed up and now we’re cooling ourheels.
The young steward backs away, actually stumbling on the stairs.
YOUNG STEWARD
Sorry, mum. Let me go and find out.
The jumpy piano rhythm of “Alexander’s Ragtime Band” comes out of the firstclass lounge a few yards away. Band leader WALLACE HARTLEY has assembledsome of his men on Captain’s orders, to allay panicPanic Sudden extreme anxiety or fear that may cause irrational thoughts or actions. Panic may include rapid heart rate, flushing (a hot, red face), sweating, and trouble breathing. Panic Disorder: A type of anxiety disorder in which a person has repeated panic attacks when there is no actual danger. Panic attacks are sudden periods of intense anxiety or fear that may cause irrational thoughts or actions. During a panic attack, a person may experience chest pain, trouble breathing, a fast heartbeat, sweating, shaking, dizziness, and feelings of impending doom or being out of control. Panic attacks may last for several minutes or longer. People with a panic disorder often worry that the panic attacks will happen again and try to avoid places or situations in which they have occurred..
Hockley’s entourage comes up to the A-deck foyer. Cal is carrying thelifebelts, almost as an afterthought. Rose is like a sleepwalker.
CAL
It’s just the God damned English doing everything by the book.
RUTH
There’s no need for language, Mr. Hockley.
(to Trudy)
Go back and turn the heater on in my room, so it won’t be too cold when weget back.
Thomas Andrews enters, looking around the magnificent room, which he knowsis doomed. Rose, standing nearby, sees his heartbroken expression. Shewalks over to him and Cal goes after her.
ROSE
I saw the iceberg, Mr. Andrews. And I see it in your eyes. Please tell methe truth.
ANDREWS
The ship will sink.
ROSE
You’re certain?
ANDREWS
Yes. In an hour or so… all this… will be at the bottom of the Atlantic.
CAL
My God.
Now it is Cal’s turn to look stunned. The Titanic? Sinking?
ANDREWS
Please tell only who you must, I don’t want to be responsible for a panic.And get to a boat quickly. Don’t wait. You remember what I told you aboutthe boats?
ROSE
Yes, I understand. Thankyou.
Andrews goes off, moving among the passengers and urging them to put ontheir lifebelts and get to the boats.
CUT TO:
170 INT. MASTER AT ARMS OFFICEOffice Αξίωμα > Officer > Office-bearer (1593) > Opus, officium, ex officio (Latin). Box-office (Cash Box).
Lovejoy and the Master at Arms are handcuffing Jack to a 4″ WATER PIPE as acrewman rushes in anxiously and almost blurts to the Master at Arms–
CREWMAN
You’re wanted by the Purser, sir. Urgently.
LOVEJOY
Go on. I’ll keep an eye on him.
Lovejoy pulls a pearl handled Colt .45 automatic from under his coat. TheMaster at Arms nods and tosses the handcuff key to Lovejoy, then exits withthe crewman. Lovejoy flips the key in the air. Catches it.
CUT TO:
171 INT. BRIDGE
Junior Wireless Operator Bride is relaying a message to Captain Smith fromthe CUNARD LINER CARPATHIA.
BRIDE
Carpathia says they’re making 17 knots, full steam for them, sir.
SMITH
And she’s the only one who’s responding?
BRIDE
The only one close, sir. She says they can be here in four hours.
SMITH
Four hours!
The enormity of it hits Smith like a sledgehammer blow.
SMITH
Thank you, Bride.
He turns as Bride exits, and looks out onto the blackness.
SMITH
(to himself)
My God.
CUT TO:
172 EXT. BOAT DECK – NIGHT
Lightoller has his boats swung out. He is standing amidst a crowd ofuncertain passengers in all states of dress and undress. One first classwoman is barefoot. Others are in stockings. The maitre of the restaurant isin top hat and overcoat. Others are still in evening dress, while some arein bathrobes and kimonos. Women are wearing lifebelts over velvet gowns,then topping it with sble stoles. Some brought jewels, others books, evensmall dogs.
Lightoller sees Smith walking stiffly toward him and quickly goes to him.He yells into the Captain’s ear, through cupped hands, over the roar of thesteam…
LIGHTOLLER
Hadn’t we better get the women and children into the boats, sir?
Smith just nods, a bit abstractly. The fire has gone out of him. Lightollersees the awesome truth in Smith’s face.
LIGHTOLLER
(to the men)
Right! Start the loading. Women and children!
The appalling din of escaping steam abruptly cuts off, leaving a suddenunearthly silence in which Lightoller’s voice echoes.
ON WALLACE HARTLEY raising his violin to play.
HARTLEY
Number 26. Ready and–
The band has reassembled just outside the First Class Entrance, port side,near where Lightoller is calling for the boats to be loaded. They strike upa waltz, lively and elegant. The music wafts all over the ship.
LIGHTOLLER
Ladies, please. Step into the boat.
Finally one soman steps across the gap, into the boat, terrified of thedrop to the water far below.
WOMAN IN CROWD
You watch. They’ll put us off in these silly little boats to freeze, andwe’ll all be back on board by breakfast.
Cal, Rose and Ruth come out of the doors near the band.
RUTH
My brooch, I left my brooch. I must have it!
She turns back to go to her room but Cal takes her by the arm, refusing tolet her go. The firmness of his hold surprises her.
CAL
Stay here, Ruth.
Ruth sees his expression, and knows fear for the first time.
CUT TO:
173 INT. STEERAGE BERTHING AFT / CORRIDORS AND STAIRWELL
It is chaos, with stewards pushing their way through narrow corridorsclogged with peopel carrying suitcases, duffel bags, children. Some havelifebelts on, others don’t.
STEWARD #2
(to Steward #3)
I told the stupid sods no luggage. Aw, bloody hell!
He throws up his hand at the sight of a family, loaded down with cases andbags, completely blocking the corridor.
Fabrizio and Tommy push past the stewards, going the other way. They rech ahuge crowd gathered at the bottom of the MAIN 3RD CLASS STAIRWELL. Fabriziospots Helga with the rest of the Dahl family, standing patiently withsuitcases in hand. He reaches her and she grins, hugging him.
Tommy pushes to where he can see what’s holding up the group. There is asteel gate across the top of the stairs, with several stewards and seamenon the other side.
STEWARD
Stay calm, please. It’s not time to go up to the boats yet.
Near Tommy, an IRISHWOMAN stands stoically with two small children andtheir battered luggage.
LITTLE BOY
What are we doing, mummy?
WOMAN
We’re just waiting, dear. When they fiish putting First Class people in theboats, they’ll be startin’ with us, and we’ll want to be all ready, won’twe?
CUT TO:
174 EXT. STARBOARD SIDE
Boat 7 is less than half full, with 28 aboard a boat made for 65.
FIRST OFFICER MURDOCH
Lower away! By the left and right together, stady lads!
The boat lurches as the falls start to pay out through the pulley blocks.The women gasp. The boat descends, swaying and jerking, toward the water 60feet below. The passengers are terrified.
CUT TO:
175 EXT. / INT. TITANIC HULL AND MASTER AT ARMS OFFICE
TRACKING along the rows of portholes angling down into the water. Under thesurface, they glow green. PUSHING IN on one porthole which is havesubmerged. Inside we see Jack, looking apprehensively at the water risingup the glass.
INSIDE THE MASTER AT ARMS’ OFFICE Jack sits chained to the waterpipe, nextto the porthole. Lovejoy sits on the edge of a desk. He puts a .45 bulleton the desk and watches it roll across and fall off. He picks up thebullet.
LOVEJOY
You know… I believe this ship may sink.
(crosses to Jack)
I’ve been asked to give you this small token of our appreciation…
He punches Jack hard in the stomach, knocking the wind out of him.
LOVEJOY
Compliments of Mr. Caledon Hockley.
Lovejoy flips the handcuff key in the air, catches it and puts it in hispocket. He exits. Jack is left gasping, handcuffed to the pipe.
CUT TO:
176 EXT. BOAT DECK / STARBOARD SIDE, FORWARD
At the stairwell rail on the bridge wing, Fourth Officer Boxhall andQuartermaster Rowe light the first distress rocket. It shoots into the skyand EXPLODES with a thunderclap over the ship, sending out white starburstswhich light up the entire deck as they fall.
WHIP PAN off the starbursts to Ismay. The Managing Director of White StarLine is cracking. Already at the breaking point from his immense guilt, therocket panics him. He starts shouting at the officers struggling with thefalls of BOAT 5.
ISMAY
There is no time to waste!
(yelling and waving his arms)
Lower away! Lower away! Lower away!
FIFTH OFFICER LOWE, a baby-faced 28, and the youngest officer, looks upfrom the tangled falls at the madman.
LOWE
Get out of the way, you fool!
ISMAY
Do you know who I am?
Lowe, not having a clue nor caring, squares up to Ismay.
LOWE
You’re a passenger. And I’m a ship’s bloody officer. Now do what you’retold!
(MORE)
LOWE (CONT’D)
(turning away)
Steady men! Stand by the falls!
ISMAY
(numbly, backing away)
Yes, quite right. Sorry.
CUT TO:
177 EXT. BOAT DECK / PORT SIDE
SECOND OFFICER LIGHTOLLER is loading the boat nearest Cal and Rose… Boat6.
LIGHTOLLER
Women and children only! Sorry sir, no men yet.
Another rocket bursts overhead, lighting the crowd. Startled faces turnupward. Fear now in the eyes.
DANIEL MARVIN has his Biograph camera set up, cranking away… hoping toget an exposure off the rocket’s light. he has Mary posed in front of thescene at the boats.
MARVIN
You’re afraid, darling. Scared to death. That’s it!
Either she suddenly learned to act or she is petrified.
ROSE watches the farewells taking pace right in front of her as they stepcloser to the boat. Husbands saying goodbye to wives and children. Loversand friends parted. Nearby MOLLY is getting a reluctant woman to board theboat.
MOLLY
Come on, you heard the man. Get in the boat, sister.
RUTH
Will the lifeboats be seated according to class? I hope they’re not toocrowded–
ROSE
Oh, Mother shut up!
(Ruth freezes, mouth open)
Don’t you understand? The water is freezing and there aren’t enoughboats… not enough by half. Half the people on this ship are going to die.
CAL
Not the better half.
PUSH IN ON ROSE’S FACE as it hits her like a thunderbolt. Jack is thirdclass. He doesn’t stand a chance. Another rocket bursts overhead, bathingher face in white light.
ROSE
You unimaginable bastard.
MOLLY
Come on, Ruth, get in the boat. These are the first class seats right uphere. That’s it.
Molly practically hands her over to Lightoller, then looks around for someother women who might need a push.
MOLLY
Come on, Rose. You’re next, darlin’.
Rose steps back, shaking her head.
RUTH
Rose, get in the boat!
ROSE
Goodbye, mother.
Ruth, standing in the tippy lifeboat, can do nothing. Cal grabs Rose’s armbut she pulls free and walks away through the crowd. Cal catches up to Roseand grabs her again, roughly.
CAL
Where are you going? To him? Is that it? To be a whor* to that gutter rat?
ROSE
I’d rather be his whor* than your wife.
He clenches his jaw and squeezes her arm viciously, pulling her back towardthe lifeboat. Rose pulls out a hairpin and jabs him with it. he lets gowith a curse and she runs into the crowd.
LIGHTOLLER
Lower away!!
RUTH
Rose! ROSE!!
MOLLY
Stuff a sock in it, would ya, Ruth. She’ll be along.
The boat lurches downward as the falls are paid out.
TRACKING WITH ROSE, as she runs through the clusters of people. She looksback and a furious Cal is coming after her. She runs breathlessly up to twoproper looking men.
ROSE
That man tried to take advantage of me in the crowd!
Appalled, they turn to see Cal running toward them. Rose runs on as the twomen grab Cal, restraining him. She runs throught the First Class entrance.
Cal breaks free and runs after her. He reaches the entrance, but runs intoa knot of people coming out. He pushes rudely through them…
CUT TO:
178 INT. BOAT DECK FOYER / STAIRCASE / A-DECK FOYER
Cal runs in, and down to the landing, pushing past the gentlemen and ladieswho are filling up the stairs. He scans the A-deck foyer. Rose is gone.
CUT TO:
179 EXT. OCEAN / TITANIC / BOAT 6
The hull of Titanic looms over Boat 6 like a cliff. Its enormous mass issuddenly threatening to those in the tiny boat. Quartermaster Hitchins, atthe tiller, wants nothing but to get away from the ship. Unfortunately histwo seamen can’t row. They flail like a duck with a broken wing.
HITCHINS
Keep pulling… away from the ship. Pull.
MOLLY
Ain’t you boys ever rowed before? Here, gimme those oars. I’ll show ya howit’s done.
She climbs over Ruth to get at the oars, stepping on her feet.
Around them the evacuation is in full swing, with boats in the water,others being lowered.
CUT TO:
180 INT. MASTER AT ARMS OFFICE / CORRIDOR
Jack pulls on the pipe with all his strength. It’s not budging. He hearsgurgling sound. Water pours under the door, spreading rapidly across thefloor.
JACK
sh*t.
He tries to pull one hand out of the cuffs, working until the skin israw… no good.
JACK
Help!! Somebody!! Can anybody hear me?!
(to himself)
This could be bad.
181 THE CORRIDOR outside is deserted. Flooded a couple of inches deep.Jack’s voice comes faintly through the door, but there is no one to hearit.
CUT TO:
182 INT. FIRST CLASS CORRIDOR
Thomas Andrews is opening stateroom doors, checking that people are out.
ANDREWS
Anyone in here?
Rose runs up to him, breathless.
ROSE
Mr. Andrews, thank God! Where would the Master at Arms take someone underarrest?!
ANDREWS
What? You have to get to a boat right away!
ROSE
No! I’ll do this with or without your help, sir. But without will takelonger.
ANDREWS
(beat)
Take the elevator to the very bottom, go left, down the crewman’s passage,then make a right.
ROSE
Bottom, left, right. I have it.
ANDREWS
Hurry, Rose.
CUT TO:
183 INT. FOYER / ELEVATORS
Rose runs up as the last Elecator Operator is closing up his lift to leave.
OPERATOR
Sorry, miss, lifts are closed–
Without thinking she grabs him and shoves him back into the lift.
ROSE
I’m through with being polite, goddamnit!! I may never be polite the restof my life! Now take me down!!
The operator fumbles to close the gate and start the lift.
CUT TO:
184 EXT. OCEAN / BOAT 6
Molly and the two seamen are rowing, and they’ve made it a hundret feet orso. Enough to see that the ship is angled down into the water, with the bowrail less than ten feet above the surface.
MOLLY
Come on girls, join in, it’ll keep ya warm. Let’s go Ruth. Grab an oar!
Ruth just stares at the spectacle of the great liner, its rows of lightsblazing, slanting down into the sullen black mirror of the Atlanic.
CUT TO:
185 INT. FIRST CLASS ELEVATOR / CORRIDORS
Through the wrought iron door of the elevator car Rose can see the decksgoing past. The lift slows. Suddenly ICE WATER is swirling around her legs.She SCREAMS in surprise. So does the operator.
The car has landed in a foot of freezing water, shocking the hell out ofher. She claws the door open and splashes out, hiking up her floor-lengthskirt so she can move. The lift goes back up, behind her, as she looksaround.
ROSE
Left, crew passage.
She spots it and slogs down the flooded corridor. The place isunderstandably deserted. She is on her own.
ROSE
Right, right… right.
She turns into a cross-corridor, splashing down the hall. A row of doors oneach side.
ROSE
Jack? Jaaacckk??
CUT TO:
186 INT. MASTER AT ARMS OFFICE / CORRIDOR
Jack is hopelessly pulling on the pipe again, straining until he turns red.He collapses back on the bench. realizing he’s screwed. Then he hears herthrough the door.
JACK
ROSE!! In here!
187 IN THE HALL Rose hears his voice behind her. She spins and runs back,locating the right door, then pushes it open, creating a small wave.
She splashes over Jack and puts her arms around him.
ROSE
Jack, Jack, Jack… I’m sorry, I’m so sorry.
They are so happy to see each other it’s embarrassing.
JACK
That guy Lovejoy put it in my pocket.
ROSE
I know, I know.
JACK
See if you can find a key for these. Try those drawers. It’s a little brassone.
She kisses his face and hugs him again, then starts to go through the desk.
JACK
So… how did you find out I didn’t do it?
ROSE
I didn’t.
(she looks at him)
I just realized I already knew.
They share a look, then she goes back to ransacking the room, searchingSearch Google SEO: Meaning> Relevance> Quality> Usability> Contextdrawers and cupboards. Jack sees movement out the porthole and looks out.
A LIFEBOAT hits the surface of the water, seen from below.
CUT TO:
188 EXT. TITANIC / BOAT ONE
While the seamen detach the falls, Boat One rocks next to the hull. Lucileand Sir Cosmo Duff-Gordon sit with ten others in a boat made for four timesthat many.
LUCILE
I despise small boats. I just know I’m going to be seasick. I always getseasick in small boats. Good Heavens, there’s a man down there.
In a lit porthole beneath the surface she sees Jack looking up at her… aface in a bubble of light under the water.
CUT TO:
189 INT. MASTER AT ARMS OFFICE
Rose stops trashing the room, and stands there, breathing hard.
ROSE
There’s no key in here.
They look around at the water, now almost two feet deep. Jack has pulledhis feet up onto the bench.
JACK
You have to go for help.
ROSE
(nodding)
I’ll be right back.
JACK
I’ll wait here.
She runs out, looking back at him once from the doorway, then splashesaway. Jack looks down at the swirling water.
CUT TO:
190 INT. STAIRWELL AND CORRIDORS
Rose splashes down the hall to a stairwell going up to the next deck. Sheclimbs the stairs, her long skirt leaving a trail like a giant snail. Theweight of it is really slowing her down. She rips at the buttons andshimmies quickly out of the thing. She bounds up the stairs in herstockings and knee-length slip, to find herself in–
191 A LONG CORRIDOR… part of the labyrinth of steerage hallways forward.She is alone here. A long groan of stressing metal echoes along the hall asthe ship continues to settle. She runs down the hall, unimpeded now.
ROSE
Hello? Somebody?!
She turns a corner and runs along another corridor in a daze. The hallslopes down into water which, shimmers, reflecting the light. The margin ofthe water creeps toward her. A YOUNG MAN appears, running through thewater, sending up geysers of spray. He pelts past her without slowing, hiseyes crazed…
ROSE
Help me! We need help!
He doesn’t look back. It is like a bad dream. The hull gongs withterrifying sounds.
The lights flicker and go out, leaving utter darkness. A beat. Then theycome back on. She finds herself hyperventilating. That one moment ofblackness was the most terrifying of her life.
A STEWARD runs around the nearest corner, his arms full of lifebelts. He isupset to see someone still in his section. He grabs her forcefully by thearm, pulling her with him like a wayward child.
STEWARD
Come on, then, let’s get you topside, miss, that’s right.
ROSE
Wait. Wait! I need your help! There’s–
STEWARD
No need for panic, miss. Come along!
ROSE
No, let me go! You’re going the wrong way!
He’s not listening. And he won’t let her go.
She SHOUTS in his ear, and when he turns, she punches him squarely in thenose. Shocked, he lets her go and staggers back.
STEWARD
To Hell with you!
ROSE
See you there, buster!
The steward runs off, holding his bloody nose. She spits after him. Justthe way Jack taugh: her.
She turns around, SEES: a glass case with a fire-axe in it. She breaks theglass with a battered suitcase which is lying discarded nearby, and seizesthe axe, running back the way she came.
192 AT THE STAIRWELL she looks down and gasps. The water has flooded thebottom five steps. She goes down and has to crouch to look along thecorridor to the room where Jack is trapped.
Rose plunges into the water, which is up to her waist… and powersforward, holding the axe above her head in two hands. She grimaces at thepain from the literally freezing water.
CUT TO:
193 INT. MASTER AT ARMS OFFICE
Jack has climbed up on the bench, and is hugging the waterpipe. Rose wadesin, holding the axe above her head.
ROSE
Will this work?
JACK
We’ll find out.
They are both terrified, but trying to keep panic at bay. He positions thechain connecting the two cuffs, stretching it taut across the steel pipe.The chain is of course very short, and his exposed wrists are on eitherside of it.
JACK
Try a couple practice swings.
Rose hefts the axe and thunks it into a wooden cabinet.
JACK
Now try to hit the same mark again.
She swings hard and the blade thunks in four inches from the mark.
JACK
Okay, that’s enough practice.
He winces, bracing himself as she raises the axe. She has to hit a targetabout an inch wide with all the foce she can muster, with his hands oneither side.
JACK
(sounding calm)
You can do it, Rose. Hit it as hard as you can, I trust you.
Jack closes his eyes. So does she.
The axe comes down. K-WHANG! Rose gingerly opens her eyes looks… Jack isgrinning with two separate cuffs.
Rose drops the axe, all the strength going out of her.
JACK
Nice work, there, Paul Bunyan.
He climbs down into the water next to her. He can’t breathe for a second.
JACK
sh*t! Excuse my French. Ow ow ow, that is cold! Come on, let’s go.
They wade out into the hall. Rose starts toward the stiars going up, butJack stops her. There is only about a foot of the stairwell openingvisible.
JACK
Too deep. We gotta find another way out.
CUT TO:
194 EXT. BOAT 6 AND TITANIC
TIGHT ON THE LETTERS TITANIC painted two feet high on the bow of the doomedsteamer. Once 50 feet above the waterline, they now quietly slip below thesurface. We see them, gold on black, rippling and dimming to a pale greenas they go deeper.
195 IN BOAT SIX, Ruth looks back at the Titanic, transfixed by the sight ofthe dying liner. The bowsprit is now barely above the waterline. Another ofBoxhall’s rockets EXPLODES overhead. K-BOOM! It lights up the whole area,and we see half a dozen boats in the water, spreading out from the ship.
MOLLY
Now there’s somethin’ you don’t see every day.
CUT TO:
196 INT. SCOTLAND ROAD / E-DECK
The widest passageway in the ship, it is used by crew and steerage alike,and runs almost the length of the ship. Right now steerage passengers movealong it like refugees, heading aft.
CRASH! A wooden doorframe splinters and the door bursts open under theforce of Jack’s shoulder. Jack and Rose stumble through, into the corridor.A STEWARD, who was nearby herding people along, marches over.
STEWARD
Here you! You’ll have to pay for that, you know. That’s White Star Lineproperty–
JACK AND ROSE
(turning together)
Shutup!
Jack leads her past the dumbfounded steward. They join the steeragestragglers going aft. In places the corridor is almost completely blockedby large families carrying all their luggage.
AN IRISH WOMAN gives Rose a blanket, more for modesty than because she isblue-lipped and shivering.
IRISHWOMAN
Here, lass, cover yerself.
Jack rubs her arms and tries to warm her up as they walk along. The woman’shusband offers them a flask of whiskey.
IRISHMAN
This’ll take the chill off.
Rose takes a mighty belt and hands it to Jack. He grins and follows suit.Jack tries a number of DOORS and IRON GATES along the way, finding them alllocked.
CUT TO:
197 EXT. BOAT DECK
ON THE BOAT DECK, the action has moved to the aft group of boats, numbers9, 11, 13 and 15 on the starboard side, and 10, 12, 14 and 16 on the portside. The pace of work is more frantic. You see crew and officers runningnow to work the davits, their previous complacency gone.
CAL pushes through the crowd, scanning for Rose. Around him is chaos andconfusion. A woman is calling for a child who has become seperated from thecrowd. A man is shouting over people’s heads. A woman takes hold of SecondOfficer Lightoller’s arm as he is about to launch Boat 10.
WOMAN
Will you hold the boat a moment? I have to run back to my room forsomething–
Lightoller grabs her and shoves her bodily into the boat. Thomas Andrewsrushes up to him just then.
ANDREWS
Why are the boats being launched half full?!
Lightoller steps past him, helping a seaman clear a snarled fall.
LIGHTOLLER
Not now, Mr. Andrews.
ANDREWS
(pointing down at the water)
There, look… twenty or so in a boat built for sixty five. And I saw oneboat with only twelve. Twelve!
LIGHTOLLER
Well… we were not sure of the weight–
ANDREWS
Rubbish! They were tested in Belfast with the weight of 70 men. Now fillthese boats, Mr. Lightoller. For God’s sake, man!
The shot HANDS OFF to Cal, who sees Lovejoy hurrying toward him through theaisle connecting the port and starboard sides of the boat deck.
LOVEJOY
She’s not on the starboard side either.
CAL
We’re running out of time. And this strutting martinet…
(indicating Lightoller)
…isn’t letting any men in at all.
LOVEJOY
The one on the other side is letting men in.
CAL
Then that’s our play. But we’re still going to need some insurance.
(he starts off forward)
Come on.
Cal charges off, heading forward, followed by Lovejoy. The SHOT HANDS OFFto a finely dressed elderly couple, IDA and ISADOR STRAUSS.
ISADOR
Please, Ida, get into the boat.
IDA
No. We’ve been together for forty years, and where
(MORE)
IDA (CONT’D)
you go, I go. Don’t argue with me, Isador, you know it does no good.
He looks at her with sadness and great love. They embrace gently.
LIGHTOLLER
Lower away!!
CUT TO:
198 EXT. BRIDGE / FORWARD WELL DECK / FOC’SLE
AT THE BOW… the place where Jack and Rose first kissed… the bow railinggoes under water water. Water swirls around the captsans and windlasses onthe foc’sle deck.
Smith strides to the bridge rail and looks down at the well deck. Water isshipped over the sides and the well deck is awash. Two men run across thedeck, their feet sending up spray. Behind Smith, Boxhall fires anotherrocket. WHOOSH!
CUT TO:
199 OMITTED
200 OMITTED
201 INT. E-DECK CORRIDORS AND STAIRWELL
Fabrizio, standing with Helga Dahl and her family, hears Jack’s voice.
JACK
Fabrizio! Fabri!
Fabrizio turns and sees Jack and Rose pushing through the crowd. He andJack hug like brothers.
FABRIZIO
The boats are all going.
JACK
We gotta get up there or we’re gonna be gargling saltwater. Where’s Tommy?
Fabrizio points over the heads of the solidly packed crowd to thestairwell.
Tommy has his hands on the bars of the steel gate which blocks the head ofthe stairwell. The crew open the gate a foot or so and a few women aresqueezing through.
STEWARD #2
Women only. No men. No men!!
But some terrified men, not understanding English, try to rush through thegap, forcing the gate open. The crewmen and stewards push them back,shoving and punching them.
STEWARD #2
Get back! Get back you lot!
(to the crewmen)
Lock it!!
They struggle to get the gate closed again, while Steward #2 brandishes asmall revolver. Another holds a fire axe. They lock the gate, and a crygoes up among the crowd, who surge forward, pounding against the steel andshouting in several languages.
TOMMY
For the love of God, man, there are children down here! Let us up, so wecan have a chance!
But the crewmen are scared now. They have let the situation get out ofhand, and now they have a mob. Tommy gives up and pushes his way backthrough the crowd, going down the stairs. He rejoins Jack, Rose andFabrizio.
TOMMY
It’s hopeless that way.
JACK
Well, whatever we’re goin’ to do, we better do it fast.
Fabrizio turns to Helga, praying he can make himself understood.
FABRIZIO
(with a lot of hand gestures)
Everyone… all of you… come with me now. We go to the boats. We go tothe boats. Capito? Come now!
They can’t understand what he’s saying. They can see his urgency, but OLUFDAHL, the patriarch of the family, shakes his head. He will not panic, andwill not let his family go with this boy. Fabrizio turns to Helga.
FABRIZIO
Helga… per favore… please… come with me, I am lucky. Is my destiny togo to America.
She kisses him, then steps back to be with her family. Jack lays a hand onhis shoulder, his eyes saying “Let’s go”.
FABRIZIO
I will never forget you.
He turns to Jack, who leads the way out of the crowd. Looking back Fabriziosees her face disappear into the crowd.
CUT TO:
202 OMITTED
203 OMITTED
204 INT. CAL AND ROSE’S SUITE
CLUNK! Cal opens his safe and reaches inside. As Lovejoy watches, he pullsout two stacks of bills, still banded by bank wrappers. Then he takes out“Heart of the Ocean”, putting it in the pocket of his overcoat, and locksthe safe.
CAL
(holding up stacks of bills)
I make my own luck.
LOVEJOY
(putting the .45 in his waistband)
So do I.
Cal grins, putting the money in his pocket as they go out.
CUT TO:
205 INT. STEERAGE, AFT
Jack, Rose, Fabrizio and Tommy are lost, searching for a way out. They pushpast confused passengers… past a mother changing her baby’s diaper on topof an upturned steamer trunk… past a woman arguing heatedly with a man inSerbo-Croatian, a wailing child next to them… past a man kneeling toconsole a woman who is just sitting on the floor, sobbing… and pastanother man with an English/Arabic dictionary, trying to figure out whatthe signs mean, while his wife and children wait patiently.
Jack et al come upon a narrow stairwell and they go up two decks beforethey are stopped by a small group pressed up against a steel gate. Thesteerage men are yelling at a scared STEWARD.
STEWARD
Go to the main stairwell, with everyone else. It’ll all get sorted outthere.
Jack takes one look at this scene and finally just loses it.
JACK
God damn it to Hell son of a bitch!!
He grabs one end of a bench bolted to the floor on the landing. He startspulling on it, and Tommy and Fabrizio pitch in until the bolts shear and itbreaks free. Rose figures out what they are doing and clears a path up thestairs between the waiting people.
ROSE
Move aside! Quickly, move aside!
Jack and Tommy run up the steps with the bench and RAM IT INTO THE GATEwith all their strength. It rips loose from its track and falls outward,narrowly mssing the steward. Led by Jack, the crowd surges though. Rosesteps up to the cowering steward and says in her most imperious tone:
ROSE
If you have any intention of keeping your pathetic job
(MORE)
ROSE (CONT’D)
with the White Star Line, I suggest you escort these good people to theboat deck… now.
Class wins out. He nods dumbly motions form them to follow.
CUT TO:
206 EXT. BOAT 6 / TITANIC – NIGHT
Ruth rows with Molly Brown, two other women and the incompetent sailors.She rests on her oars, exhausted, and looks back at the ship.
It slants down into the water, still ablaze with light. Nothing is abovewater forward of the bridge except for the foremast. Another rocket goesoff, lighting up the entire area… there are a dozen boats moving outwardfrom the ship.
207 AT THE BOAT DECK RAIL Captain Smith is shouting to Boat 6 through alarge metal megaphone.
SMITH
Come back! Come back to the ship!
CHIEF OFFICER WILDE joins him, blowing his silver whistle.
208 FROM BOAT 6 the whistle comes shrilly across the water. QuartermasterHitchins grips the rudder in fear.
HITCHINS
The suction will pull us right down if we don’t keep going.
MOLLY
We got room for lots more. I say we go back.
HITCHINS
No! It’s our lives now, not theirs. And I’m in charge of this boat! Nowrow!!
209 CAPTAIN SMITH, at the rail of the boat deck, lowers his megaphoneslowly
SMITH
The fools.
CUT TO:
210 INT. A-DECK FOYER
As Cal and Lovejoy cross the foyer encounter Benjamin Guggenheim and hisvalet, coth dressed in white tie, tail-coats and top hats.
CAL
Ben, what’s the occasion?
GUGGENHEIM
We have dressed in our best and are prepared to go down like gentlemen.
CAL
That’s admirable, Ben.
(walking on)
I’ll sure and tell your wife… when I get to New York.
CUT TO:
211 INT. FIRST CLASS SMOKING ROOM
There are still two cardgames in progress. The room is quiet and civilized.A silver serving cart, holding a large humidor, begins to roll slowlyacross the room. One of the cardplayers takes a cigar from it as it rollsby.
CARDPLAYER
It seems we’ve been dealt a bad hand this time.
CUT TO:
212 EXT. / INT. A-DECK PROMENADE
Cal and Lovejoy are walking aft with a purposeful stride. They pass CHIEFBAKER JOHGHIN, who is working up a sweat tossing deck chairs over the rail.After they go by, Joughin takes a break and pulls a bottle of scotch from apocket, opening it. He drains it, and tosses it over the side too, thenstands there a little unteadily.
CUT TO:
213 EXT. BOAT DECK AND A-DECK, AFT
PANIC IS SETTING IN around the remaining boats aft. The crowd here is now amix of all three classes. Officers repeatedly warn men back from the boats.The crowd presses in closer.
Seamen SCAROTT brandishes the tiller of boat 14 to discourage a close pressof men who look ready to rush the boat. Several men break ranks and rushforward.
Lightoller pulls out his Webley revolver and aims it at them.
LIGHTOLLER
Get back! Keep order!
The men back down. Fifth Officer Lowe standing in the boat, yells to thecrew.
LOWE
Lower away left and right!
Lightoller turns away from the crowd and, out of their sight, breaks hispistol open. Letting out a long breath, he starts to LOAD IT.
CUT TO:
214 EXT. BOAT DECK, STARBOARD SIDE, AFT
Cal and Lovejoy arrive in time to see Murdoch lowering his last boat.
CAL
We’re too late.
LOVEJOY
There are still some boats forward. Stay with this one… Murdoch. He seemsto be quite… practical.
215 IN THE WATER BELOW there is another panic. Boat 13, already in thewater but still attached to its falls, is pushed aft by the discharge waterbeing pumped out of the ship. It winds up directly under boat 15, which iscoming downt he right on top of it.
The passengers shout in panic to the crew above to stop lowering. They areignored. Some men put their hands up, trying futilely to keep the 5 tons ofboat 15 from crushing them.
Fred Barrett, the stoker, gets out his knife and leaps to the after falls,climbing rudely over people. He cuts the aft falls while another crewmancuts the forward lines. 13 drifts out from beneath 15 just seconds beforeit touches the water with a slap.
Cal, looking down from the rail hears GUNSHOTS–
CUT TO:
216 EXT. BOAT DECK / A-DECK, PORT, AFT
Fifth Officer Lowe, in Boat 14 is firing his gun as a warning to a bunch ofmen threatening to jump into the boat as it passes the open promenade onA-Deck.
LOWE
Stay back you lot!
BLAM! BLAM!
CUT TO:
217 EXT. BOAT DECK, STARBOARD, AFT
The shots echo away.
CAL
It’s starting to fall apart. We don’t have much time.
Cal sees three dogs run by, including the black French bulldog. Someone hasreleased the pets from the kennels.
Cal sees Murdoch turn from the davits of boat 15 and start walking towardthe bow. He catches up and falls in beside him.
CAL
Mr. Murdoch, I’m a businessman, as you know, and I have a businessproposition for you.
CUT TO:
218 OMITTED
219 EXT. BOAT DECK, PORT
Jack, Rose et al burst out onto the boat deck from the crew stairs just aftof the third funnel. They look at the empty davits.
ROSE
The boats are gone!
She sees Colonel Gracie chugging forward along the deck, escorting twofirst class ladies.
ROSE
Colonel! Are there any boats left?
GRACIE
(staring at her bedraggled state)
Yes, miss… there are still a couple of boats all the way forward. Thisway, I’ll lead you!
Jack grabs her hand and they sprint past Gracie, with Tommy and Fabrizioclose behind.
ANGLE ON THE BAND… incredibly they are still playing. Jack, Rose and theothers run by.
TOMMY
Music to drown by. Now I know I’m in First Class.
CUT TO:
220 EXT. BOAT DECK, STARBOARD, FORWARD
Water pours like a spillway over the forward railing on B-Deck. CAMERASWEEPS UP past A-Deck to the Boat Deck where Murdoch and his team areloading Collapsible Car the forward-most davits.
NOTE: There are four so-called collapsibles, or Engelhardts boats,including two which are stored on the roof of the officer’s quarters.
The crowd is sparse, with most people still aft. Cal slips his hand out ofhte pocket of his overcoat and into the waist pocket of Murdoch’sgreatcoat, leaving the stacks of bills there.
CAL
So we have an understanding then?
MURDOCH
(nodding curtly)
As you’ve said.
Cal, satisfied, steps back. He finds himself waiting next to J. BruceIsmay. Ismay does not meet his eyes, nor anyone’s. Lovejoy come sup to Calat that moment.
LOVEJOY
I’ve found her. She’s just over on the port side. With him.
MURDOCH
Women and children? Any more women and children?
(glancing at Cal)
Any one else, then?
Cal looks longingly at his boat… his moment has arrived.
CAL
God damn it to hell! Come on.
He and Lovejoy head for the port side, taking a short-cut through thebridge.
Bruce Ismay, seeing his oppurtunity, steps quickly into Collapsible C. Hestares straight ahead, not meeting Murdoch’s eyes.
MURDOCH
(staring at Ismay)
Take them down.
CUT TO:
221 EXT. BOAT DECK / PORT SIDE – NIGHT
ON THE PORT SIDE Lightoller is getting people into Boat 2. He keeps hispistol in his hand at this point. Twenty feet below them the sea is pouringinto the doors and windows of B deck staterooms. They can hear the roar ofwater cascading into the ship.
LIGHTOLLER
Women and children, please. Women and children only. Step back, sir.
Even with Jack’s arms wrapped around her, Rose is shivering in the cold.Near her a WOMAN with TWO YOUNG DAUGHTERS looks into the eyes of a HUSBANDshe knows she may not see again
HUSBAND
Goodbye for a little while… only for a little while.
(to his two little girls)
Go with mummy.
The woman stumbles to the boat with the children, hiding her tears fromthem. Beneath the false good cheer, the man is choked with emotion.
HUSBAND
Hold mummy’s hand and be a good girl. That’s right.
Some of the women are stoic, others are overwhelmed by emotion and have tobe helped into the boats. A MAN scribbles a note and hands it to a womanwho is about to board.
MAN
Please get this to my wife in DeMoines, Iowa.
Jack looks at Tommy and Fabrizio.
JACK
You better check out the other side.
They nod and run off, searching for a way around the deckhouse.
ROSE
I’m not going without you.
JACK
Get in the boat, Rose.
Cal walks up just then.
CAL
Yes. Get in the boat, Rose.
She is shocked to see him. She steps instinctively to Jack. Cal looks ather, standing there shivering in her wet slip and stockings, a shockingdisplay in 1912.
CAL
My God, look at you.
(taking off his boat)
Here, put this on.
She numbly shrugs into it. He is doing it for modesty, not the cold.
LIGHTOLLER
Quickly, ladies. Step into the boat. Hurry, please!
JACK
Go on. I’ll get the next one.
ROSE
No. Not without you!
She doesn’t even care that Cal is standing right there. He sees the emotionbetween Jack and Rose and his jaw clenches. But then he leans close to herand says…
CAL
(low)
There are boats on the other side that are allowing men in. Jack and I canget off safely. Both of us.
JACK
(he smiles reassuringly)
I’ll be alright. Hurry up so we can get going… we got our own boat tocatch.
CAL
Get in… hurry up, it’s almost full.
Lightoller grabs her arm and pulls her toward the boat. She reaches out forJack and her fingers brush his for a moment. Then she finds herselfstepping down into the boat. It’s all a rush and blur.
LIGHTOLLER
Lower away!
The two men watch at the rail as the boat begins to descend.
CAL
(low)
You’re a good liar.
JACK
Almost as good as you.
CAL
I always win, Jack. One way or another.
(looks at him, smiling)
Pity I didn’t keep that drawing. It’s going to be worth a lot more bymorning.
Jack knows he is screwed. He looks down at Rose, not wanting to waste asecond of his last view of her.
222 ROSE’S PERCEPTION… IN SLOW MOTION: The ropes going through thepulleys as the seamen start to lower. All sound going away… Lightollergiving orders, his lips moving… but Rose hears only the blood pounding inher ears… this cannot be happening… a rocket bursts above inslow-motion, outlining Jack in a halo of light… Rose’s hair blowing inslow motion as she gazes up at him, descending away from him… she seeshis hand trembling, the tears at the corners of his eyes, and cannotbelieve the unbearable pain she is feeling…
Rose is still staring up, tears pouring down her face.
SUDDENLY SHE IS MOVING. She lunges across the women next to her. Reachesthe gunwale, climbing it…
Hurls herself out of the boat to the rail of the A-Deck promenade, catchingit, and scrambling over the rail. The Boat 2 continues down. But Rose isback on Titanic.
JACK
No Rose! NOOOO!!
Jack spins from the rail, running for the nearest way down to A-Deck.
Hockley too has seen her jump. She is willing to die for this man, thisgutter scum. He is overwhelmed by a rage so all consuming it eclipses allthought.
CUT TO:
223 INT. GRAND STAIRCASE
TRACKING WITH JACK as he bangs through the doors to the foyer and sprintsdown the stairs. He sees her coming into A-deck foyer, running toward him,Cal’s long coat flying out behind her as she runs.
They meet at the bottom of the stairs, and collide in an embrace.
JACK
Rose, Rose, you’re so stupid, you’re such an idiot–
And all the while he’s kissing her and holding her as tight as he can.
ROSE
You jump, I jump, right?
JACK
Right.
Hockley comes in and runs to the railing. Looking down he sees them lockedin their embrace. Lovejoy comes up behind Cal and puts a restraining HANDon him, but Cal whips around, grabbing the pistol from Lovejoy’s waistbandin one cobra-fast move.
He RUNS along the rail and down the stairs. As he reaches the landing abovethem he raises the gun. SCREAMING in rage, he FIRES.
The carved cherub at the foot of the center railing EXPLODES. Jack pullsRose toward the stairs going down to the next deck. Cal fires again,running down the steps toward them. A bullet blows a divet out of the oakpanelling behind Jack’s head as he pulls Rose down the next flight ofstairs.
Hockley steps on the skittering head of the cherub statue and goessprawling. The gun clatters across the marble floor. He gets up, andreeling drunkenly goes over to retrieve it.
CUT TO:
224 INT. D-DECK RECEPTION ROOM
The bottom of the grand staircase is flooded several feet deep. Jack andRose come down the stairs two at a time and run straight into the water,fording across the room to where the floor slopes up, until they reach dryfooting at the entrance to the dining saloon.
STEADICAM WITH HOCKLEY as he reels down the stairs in time to see Jack andRose splashing through the water toward the dining saloon. He FIRES twice.Big gouts of spray near them, but he’s not a great shot.
The water boils up around his feet and he retreast up the stairs a coupleof steps. Around him the woodward groans and creaks.
CAL
(calling to them)
Enjoy your time together!!
Lovejoy arrives next to him. Cal suddenly remembers something and starts tolaugh.
LOVEJOY
What could possible be funny?
CAL
I put the diamond in my coat pocket. And I put my coat… on her.
He turns to Lovejoy with a sickly expression, his eyes glittering.
CAL
I give it to you… if you can get it.
He hands Lovejoy the pistol and goes back up the stairs. Lovejoy thinksabout it… then slogs into the water. The icewater is up to his waist ashe crosses the pool into the dining saloon.
CUT TO:
225 INT. DINING SALOON
Lovejoy moves among the tables and ornate columns, searching…listening… his eyes tracking rapidly. It is a sea of tables, and theycould be anywhere. A silver serving tolley rolls downhill, bumping intotables and pillars.
He glances behind him. The water is following him into the room, advancingin a hundred foot wide tide. The reception room is now a roiling lake, andthe grand staircase is submerged past the first landing. Monstrous groansecho through the ship.
ON JACK AND ROSE, crouched behind a table, somewhere in the middle. Theysee the water advancing toward them, swirling over the floor. They crawlahead of it to the next row of tables.
JACK
(whispering)
Stay here.
He moves off as–
Lovejoy moves over one row and looks along the tables. Nothing.
The ship GROANS and CREAKS. He moves another row.
ANGLE ON A METAL CART… five feet tall and full of stacks of china dishes.It starts to roll down the aisle between tables.
ON ROSE as the cart rolls toward her. It hits a table and the stacks ofdishes topple out, EXPLODING across the floor and showering her.
She scrambles out of the way and–
Lovejoy spins, seeing her. He moves rapidly toward her, keeping the gunaimed–
That’s when Jack tackles him from the side. They slam together into atable, crashing over it, and toppling to the floor. They land in the waterwhich is flowing rapidly between the tables.
Jack and Lovejoy grapple in the icy water. Jack jams his knee down onLovejoy’s hand, breaking his grip on the pistol, and kicks it away. Lovejoyscrmbles up and lunges at him, but Jack GUTPUCHES him right in the solarplexus, doubling him over.
JACK
Compliments of the Chippewa Falls Dawsons.
He grabs Lovejoy and slams him into an ornate columb. Lovejoy drops to thefloor with a splas, stunned.
JACK
Let’s go.
Jack and Rose run aft… uphill… entering the galley. Behind them thetables have become islands in a lake… and the far end of the room isflooded up to the ceiling.
Lovejoy gets up and looks around for his gun. He pulls it up out of thewater and wades after them.
CUT TO:
226 INT. GALLEY / STAIRWELL
They run throught the galley and Rose spots the stairs. She starts up andJack grabs her hand. He leads her DOWN.
They crouch together on the landing as Lovejoy runs to the stairs. Assumingthey have gone up (who wouldn’t?) he clombs up them two at a time.
They wait for the footstep to recede. A long CREAKING GROAN. Then they hearit… a CRYING CHILD. Below them. They go down a frew steps to looks alongthe next deck.
CUT TO:
227 INT. E-DECK CORRIDORS
The corridor is awash, about a foot deep. Standing against the wall, about50 feet away, is a little BOY, aobut 3. The water swirls around his legsand he is wailing.
ROSE
We can’t leave him.
Jack nods and they leave the promise of escape up the stairwell to run tothe child. Jack scoops up the kid and they run back to the stairs but–
A torrent of water comes pouring down the stairs like rapids. In seconds itis too powerful for them to go against.
JACK
Come on.
Charging the other way down the flooding corridor, they blast up spray witheach footstep. At the end of the hall are heavy double doors. As Jackapproaches them he sees water spraying through the gap between the doorsright up to the ceiling. The doors groan and start to crack under the tonsof pressure.
JACK
Back! Go back!!
Rose pivots and runs back the way they came, taking a turn into across-corridor. A MAN is coming the other way. He sees the boy in Jack’sarms and cries out, grabbing him away from Jack. Starts cursing him inRussian. He runs on with the boy–
ROSE
No! Not that way! Come back!
228 DOUBLE DOORS BLAST OPEN. A wall of water thunders into the corridor.The father and child DISAPPEAR instantly.
Jack and Rose run as a wave blasts around the corner, foaming from floor toceiling. It gains on them like a locomotive. They make it to a stairwaygoing up.
CUT TO:
229 INT. STAIRWELL
Jack and Rose pound up the steps as white water swirls up behind them. PULLBACK to reveal that a steel gate blocks the top of the stairs. Jack SLAMSagainst the fate, gripping the bars.
A terrified steward standing guard on the landing above turns to run at thesight of the water thundering up the stairs.
JACK
Wait! Wait! Help us! Unlock the gate.
The steward runs on. The water wells up around Jack and Rose, pouringthrough the gate and slamming them against it. In seconds it is up to theirwaist.
ROSE
Help us! Please!
The steward stops and looks back. He sees Jack and Rose at the gate, theirarms raching through… sees the water POURING through the gate onto thelanding.
STEWARD
f*cking ‘ell!
He runs back, slogging against the curretn. He pulls a key ring from hisbelt and struggles to unlock the padlock as the water fountains up aroundthem.
The lights short out and the landing is plunged into darkness.
The water rises over the lock and he’s doing it by feel.
JACK
Come on! Come on!
Jack and Rose are right up against the ceiling…
Suddenly the gate gives and SWINGS OPEN. They are pushing through by theforce of the water. They make it to stairs on the other side of the landingand follow the steward up to the next deck.
CUT TO:
230 EXT. BOAT DECK, STARBOARD SIDE
Cal comes reeling out of the first class entrance, looking wild-eyed. Thelurches down the deck toward the bridge. Waltz music wafts over the ship.Somewhere the band is still playing.
CAL’S POV: A little girl, maybe two years old, is crying along in thealcove. She looks up at Cal beseechingly. Cal moves on without a glanceback… reaching a large crowd clustered around COLLAPSIBLE A just aft ofthe bridge. He sees Murdoch and a number of crewmen struggling to drag theboat to the davits, with no luck.
Cal pushes forward, trying to signal Murdoch, but the officer ignores him.Nearby Tommy and Fabrizio are being pushed forward by the crowd behind.PURSER MCELROY pushes them back, getting a couple of seamen to help him. Hebrandishes his gun, waving it in the air, yelling for the crowd to stayback.
CUT TO:
231 EXT. BOAT DECK, PORT SIDE / ROOF OF OFFICERS’ QUARTERS
Lightoller, with a group of crew and passengers, is trying to getCollapsible B down from the roof. They slide it down a pair of oars leanedagainst the deck house.
LIGHTOLLER
Hold it! Hold it!
The weight of the boat snaps the oars and it crashes to the deck, upsidedown. The two Swedish cousins, OLAUS and BJORN GUNERSEN, jump back as theboat nearly hits them.
CUT TO:
232 OMITTED
233 INT. STAIRWELL
Jack and Rose run up seemingly endless stairs as the ship groans andtorgues around them.
CUT TO:
234 EXT. BOAT DECK, STARBOARD SIDE
Murdoch, at Collapsible A, is no longer in control. The crowd isthreatening to rush the boat. They push and jostle, yelling and shouting atthe officers. The pressure from behind pushes them forward, and one guyfalls off the edge of the deck into the water less than ten feet below.
TOMMY
Give us a chance to live, you limey bastards!
Murdoch fires his Webley twice in the air, then point it at the crowd.
MURDOCH
I’ll shoot any man who tries to get past me.
Cal steps up to him.
CAL
We had a deal, damn you.
Murdoch pushes him back, pointing the pistol at Cal.
MURDOCH
Get back!
A man next to Tommy rushes forward, and Tommy is shoved from behind.Murdoch SHOOTS the first man, and seeing Tommy coming forward, puts abullet into his chest.
Tommy collapses, and Fabrizio grabs him, holding him in his arms as hislife flows out over the deck.
Murdoch turns to his men and salutes smartly. Then he puts the pistol tohis temple and… BLAM! He drops like a puppet with the strings cut andtopples over the edge of the boat deck into the water only a few feetbelow.
Cal stares in horror at Murdoch’s body bobbing in the black water. TheMONEY FLOATS out of the pocket of his greatcoat, the bills spreading acrossthe surface.
The crew rush to get the last few women aboart the boat.
PURSER MCELROY
(calling above the confusion)
Any more women or children?!
THE CHILD crying in the alcove. Cal scoops her up and runs forward,cradling her in his arms.
CAL
(forcing his way through the crowd)
Here’s a child! I’ve got a child!
CAL (CONT’D)
(to McElroy)
Please… I’m all she has in the world.
McElroy nods curtly and pushes him into the boat. He spins with his gun,brandishing it in the air to keep the other men back. Cal gets into theboat, holding the little girl. He takes a seat with the women.
CAL
There, there.
CUT TO:
235 INT. FIRST CLASS SMOKE ROOM
Thomas Andrews stands in front of the fireplace, staring at the largepainting above the mantle. The fire is still going in the fireplace.
The room is empty except for Andrews. An ashtray falls off the table.Behind him Jack and Rose run into the room, out of breath and soaked. Theyrun through, toward the aft revolving door… then Rose recognizes him. Shesees that his lifebelt is off, lying on a table.
ROSE
Won’t you even make a try for it, Mr. Andrews?
ANDREWS
(a tear rolls down his cheek)
I’m sorry that I didn’t build you a stronger ship, young Rose.
JACK
(to her)
It’s going fast… we’ve got to keep moving.
Andrews picks up his lifebelt and hands it to her.
ANDREWS
Good luck to you, Rose.
ROSE
(hugging him)
And to you, Mr. Andrews.
Jack pulls her away and they run through the revolving door.
CUT TO:
236 EXT. BOAT DECK AND VARIOUS LOCATIONS
The band finishes the waltz. Wallace Hartley looks at the orchestramembers.
HARTLEY
Right, that’s it then.
They leave him, walking forward along the deck. Hartley puts his violin tohis chin and bows the first notes of “Nearer My God to Thee”. One by onethe band memebers turn, hearing the lonely melody.
Without a word they walk back and take their places. They join in withHartley, filling out the sound so that it reaches all over the ship on thisstill night. The vocalist begins: “If in my dreams I be, nearer my God tothee…”
THE HYMN PLAYS OVER THE FOLLOWING SEQUENCE:
237 A seaman pulls off his lifebelt and catches up to Captain Smith as hewalks to the bridge. He proffers it, but Smith seems to stare through him.Without a word he turns and goes onto the bridge. He enters the enclosedWHEELHOUSE and closes the door. He is alone, surrounded by the gleamingbrass instruments. He seems to inwardly collapse.
238 IN THE FIRST CLASS SMOKING ROOM Andrews stands like a statue. He pullsout his pocketwatch and checks the time. Then he opens the face of themantle clock and adjusts it to the correct time: 2:12 a.m. Everything mustbe correct.
239 IN CAL’S PARLOUR SUITE water swirls in from the private promenade deck.Rose’s paintings are submerged. The Picasso tranforms under the water’ssurface. Degas’ colors run. Monet’s water lilies come to life.
240 DOWNANGLE on the two figures lying side by side, fully clothed, on abed in a FIRST CLASS CABIN. Elderly Ida and Isador Strauss stare at theceiling, holding hands like young lovers. Water pours into the room througha doorway. It swirls around the bed, two feet deep rising fast.
241 IN A STEERAGE CABIN somewhere in the bowels of the ship, the youngIRISH MOTHER, seen earlier stoically waiting at the stairs, is tucking hertwo young children into bed. She pulls up the covers, making sure they areall warm and cozy. She lies down with them on the bed, speaking soothinglyand holding them.
CUT TO:
EXT. BOAT DECK / BRIDGE
242 IN A WIDE SHOT we see a wave travel up the boat deck as the bridgehouse sinks into the water.
243 ON THE PORT SIDE Collapsible B is picked up by water. Workingfrantically, the men try to detach it from the falls so the ship won’t dragit under. Colonel Gracie hands Lightoller a pocket knife and he sawsfuriously at the ropes as the water swirls around his legs. The boat, stillupside down, is swept off the ship. Men start diving in, swimming to staywith it.
244 IN COLLAPSIBLE A Cal sits next to the wailing child, whom he hascompletely forgotten. He watches the water rising around the men as theywork, scrambling to get the ropes cut so the ship won’t drag thecollapsible under.
Fabrizio removes the lifebelt from Tommy’s body and struggles to put it onas the water rises around him.
245 CAPTAIN SMITH, standing near the wheel, watches the black waterclimbing the windows of the enclosed wheelhouse. He has the strickenexpression of a damned sould on JudgmentJudgment The statement given by the Judge on the grounds of a decree or order - CPC 2(9). It contains a concise statement of the case, points for determination, the decision thereon, and the reasons for such decision - Order 20 Rule 4(2). Section 354 of CrPC requires that every judgment shall contain points for determination, the decision thereon and the reasons for the decision.Indian Supreme Court Decisions > Law declared by Supreme Court to be binding on all courts (Art 141 Indian Constitution) Civil and judicial authorities to act in aid of the Supreme Court (Art 144)Supreme Court NetworkOn Judiciary – Portal > Denning: “Judges do not speak, as do actors, to please. They do not speak, as do advocates, to persuade. They do not speak, as do historians, to recount the past. They speak to give Judgment. And in their judgments, you will find passages, which are worthy to rank with the greatest literature….”Law Points on Judgment Writing > The judge must write to provide an easy-to-understand analysis of the issues of law and fact which arise for decision. Judgments are primarily meant for those whose cases are decided by judges (State Bank of India and Another Vs Ajay Kumar Sood SC 2022) Day. The windows burst suddenlyand a wall of water edged with shards of glass slams into Smith. Hedisappears in a vortex of foam.
246 Collapsible A is hit by a wave as the bow plunges suddenly. Itpartially swamps the boat, washing it along the deck. Over a hundredpassengers are plunged into the freezing water and the area around the boatbecomes a frenzy of splashing, screaming people.
As men are trying to climb into the callapsible, Cal grabs an oar andpushes them back into the water.
CAL
Get back! You’ll swamp us!
Fabrizio, swimming for his life, gets swirled under a davit. The ropes andpulleys tangle around him as the davit goes under the water, and he isdragged down. Underwater he struggles to free himself, and then kicks backto the surface. He surfaces, gasping for air in the freezing water.
247 WALLACE HARTLEY sees the water rolling rapidly up the deck toward them.He holds the last note of the hymn in a sustain, and then lowers hisviolin.
HARTLEY
Gentlemen, it has been a previlege playing with you tonight.
CUT TO:
248 EXT. A-DECK AFT, PORT SIDE
Jack and Rose run out of the PALM COURT into a dense crowd. Jack pushes hisway to the rail and looks at the state of the ship. The bridge is underwater and tehre is chaos on deck. Jack helps her put her lifebelt on.People stream around them, shouting and pushing.
JACK
Okay… we keep moving aft. We have to stay on the ship as long aspossible.
They push their way aft through the panicking crowd.
CUT TO:
249 EXT. FORWARD FUNNEL
Collapsible A is whirled like a leaf in the currents around the siningship. It slams against the side of the forward funnel.
CAL
(to the crew in the boat)
Row! Row you bastards!!
250 NEARBY: Fabrizio is drawn up against the grating of a STOKEHOLD VENT aswater pours through it. The force of tons of water roaring down the shiptraps him against it, and he is dragged down under the surface as the shipsinks. He struggles to free himself but cannot.
Suddenly there is a concussion deep in the bowels of the ship as a furnaceexplodes and a blast of hot air belches out of hte ventilator, ejectingFabrizio. He surfaces in a roar of foam and keeps swimming.
CUT TO:
251 EXT. A-DECK / B-DECK / WELL DECK, AFT
Jack and Rose clamber over the A-Deck aft rail. Then, using all hisstrength, he lowers her toward the deck below, holding on with one hand.She dangles, then falls. Jack jumps down behind her.
They join a crush of people literally clawing and scrambling over eachother to get down the narrow stairs to the well deck… the only way aft.
Seeing that the stairs are impossible, Jack climbs over the B-Deck railingand helps Rose over. He lowers her again, and she falls in a heap. BakerJoughin, now three sheets to the wind, happens to be next to her. He haulsRose to her feet. Jack drops down and the three of them push through thecrowd across the well deck. Near them, at the rail, people are jumping intothe water.
The ship GROANS and SHUDDERS. The man ahead of Jack is walking like azombie.
MAN
Yeah, though I walk through the valley of the shadow of death–
JACK
You wanna walk a little faster through that valley, fella?
CUT TO:
252 EXT. FORWARD FUNNEL
The stay cables along the top of the funnel snap, and they lash like steelwhips down into the water. Cal watches as the funnel topples from itsmounts. Falling like a temple pillar twenty eight feet across it whompsinto the water with a tremendous splash. People swimming underneath itdisappear in an instant.
Fabrizio, a few feet away, is hurled back by a huge wave. He comes up,gasping… still swimming. The water pouring into the open end of thefunnel draws in several swimmers. The funnel sinks, disappearing, but–
Hundreds of tons of water pour down through the 30 foot hole where thefunnel stood, thundering down into the belly of the ship. A whirlpoolforms, a hole in the ocean, like at enormous toiler-flush. T. W. McCauley,the gym instructor swims in a frenzy as the vortex draws him in. He issucked down like a spider going down a drain.
Fabrizio, nearby, swims like Hell as more people are sucked down behindhim. He manages to get clear. He’s going to live no matter what it takes.
CUT TO:
253 INT. BOAT DECK FOYER / GRAND STAIRCASE
Water raors through the doors and windows, cascading down the stairs like arapids. John Jacob Astor is swept down the marble steps to A-Deck, which isalready flooded… a roiling vortex. He grabs the headless cherub at thebottom of the staircase and wraps his arms around it.
Astor looks up in time to see the 30 foot glass dome overhead EXPLOSEINWARD with the wave of water washing over it. A Niagara of sea waterthunders down into the room, blasting through the first class opulence. ITis the Armageddon of elegance.
CUT TO:
254 OMITTED
255 INT. BELOWDECKS
The flooding is horrific. Walls and doors are splintered like kindling.Water roars down corridors with pile-driver force.
The CARTMELL FAMILY is at the top of a stairwell, jammed against a lockedgate like Jack and Rose were. Water boils up the stairwell behind them.Bert Cartmell shakes the gate futilely, shouting for help. Little Corawails as the water boils up around them all.
CUT TO:
256 EXT. STERN
Rose and Jack struggle to climb the well deck stairs as the ship tilts.Drunk Baker Joughin puts a hand squarely on Rose’s butt and shoves her uponto the deck.
JOUGHIN
Sorry, miss!
Hundreds of people are already on the poop deck, and more are pouring upevery second. Jack and Rose cling together as tehy struggle across thetilting deck.
257 As the bow goes down, the STERN RISES. IN BOAT 2, which is just off thestern, passengers gape as the giant bronze propellers rise out of the waterlike gods of the deep, FILLING FRAME behind them.
People are JUMPING from the well deck, the poop deck, the gangway doors.Some hit debris in the water and are hurt or killed.
258 OMITTED
259 OMITTED
260 EXT. STERN
ON THE POOP DECK Jack and Rose struggle aft as the angle increases.Hundreds of passengers, clinging to every fixed object on deck, huddle ontheir knees around FATHER BYLES, who has his voice raised in prayer. Theyare praying, sobbing, or just staring at nothing, their minds blank withdread.
Pulling himself from handhold to handhold, Jack tugs Rose aft along thedeck.
JACK
Come on, Rose. We can’t expect God to do all the work for us.
They struggle on, pushing through the praying people. A MAN loses hisfooting ahead and slides toward them. Jack helps him.
261 THE PROPELLERS are twenty feet above the water and rising faster.
262 JACK AND ROSE make it to the stern rail, right at the base of theflagpole. They grip the rai, jammed in between other people. It is the spotwhere Jack pulled her back onto the ship, just two night… and aliftime… ago.
Above the wailing and sobbing, Father Byles’ voice carries, cracking withemotion.
FATHER BYLES
…and I saw new heavens and a new earth. The former heavens and the formerearth had passed away and the sea was no longer.
The lights flicker, threatening to go out. Rose grips Jack as the sternrises into a night sky ablaze with stars.
FATHER BYLES
I also saw a new Jerusalem, the holy city coming down out of heaven fromGod, beautiful as a bride prepared to meet her husband. I heard a loudvoice from the throne ring out this is God’s dwelling among men. He shalldwell with them and they shall be his people and He shall be their God whois alway with them.
Rose stares about her at the faces of the doomed. Near them are the DAHLFAMILY, clinging together stoically. Helga looks at her briefly, and hereyes are infinitely sad.
Rose sees a young mother next to her, clutching her five year old son, whois crying in terror.
MOTHER
Shhh. Don’t cry. It’ll be over soon, darling. It’ll all be over soon.
FATHER BYLES
He shall wipe every tear from their eyes. And there shall be no more deathor mourning, crying out or pain, for the former world has passed away.
CUT TO:
INT. SHIP– VARIOUS
As the ship tilts further everything not bolted down inside shifts.
263 CUPBOARDS burst open in the pantry showering the floor with tons ofchina. A PIANO slides across the floor, crashing into a wall. FURNITUREtumbles across the Smoking Room floor.
264 ON THE A-DECK PROMENADE passengers lose their grip and slide down thewooden deck like a bobsled run, hundreds of feet before they hit the water.TRUDY BOLT, Rose’s maid, slips as she struggles along the railing andslides away screaming.
265 AT THE STERN the propellers are 100 feet out of the water and rising.Panicking people leap from the poop deck rail, fall screaming and hit thewater like mortar rounds. A man falls from the poop deck, hitting thebronze hub of the starboard propeller with a sickening smack.
266 SWIMMERS LOOK UP and see the stern towering over them like a monolith,the propellers rising against the stars. 110 feet. 120.
267 AT THE STERN RAIL a man jumps. IN HIS POV we fall seemingly forever,right past one of the giant screws. The water rushes up–
CUT TO:
EXT. TITANIC / BOAT 6
268 TRACKING SLOWLY IN on Ruth as the sounds of the dying ship and thescreaming people come across the water.
269 REVERSE / HER POV: IN A WIDE SHOT we see the spectacle of the Titanic,her lights blazing, reflecting in the still water. Its stern is high in theair, angles up over forty five degrees. The propellers are 150 feet out ofthe water. Over a thousand passengers cling to the decks, looking from adistance like a swarm of bees.
The image is shocking, unbelieveable, unthinkable. Ruth stares at thespectacle, unable to frame it or put it into any proportion.
MOLLY BROWN
God Almighty.
The great liner’s lights flicker.
CUT TO:
270 INT. ENGINE ROOM
In darkness Chief Engineer Bell hangs onto a pipe at the master brakerpanel. Around him men climb through tilted cyclopean mahcines with electrichand-torches. It is a black hell of breaking pipes, spraying water, andgroaning machinery threatening to tear right out of its bedplates.
Water sprays down, hitting the breaker panel, but Bell will not leave hispost. CLUNK. The breakers kick. He slams them in again and– WHOOM! a blastof light! Something melts and arcing fills the engine room with nightmarishlight–
CUT TO:
271 EXT. TITANIC
WIDE SHOT. The lights go out all over the ship. Titanic becomes a vastblack silhouette against the stars.
IN COLLAPSIBLE C: BRUCE ISMAY has his back to the ship, unable to watch thegreat steamer die. He is catatonic with remorse, his mind overloaded. Hecan avert his eyes, but he can’t block out the sounds of dying people andmachinery.
A loud CRACKING REPORT comes across the water.
CUT TO:
272 EXT. BOAT DECK
Near the third funnel a man clutches the ship’s rail. He stares down as theDECK SPLITS right between his feet. A yawning chasm opens with a THUNDER ofbreaking steel
LOVEJOY is clutching the railing on the roof of the Officers’ Mess. Hewatches in horror as the ship’s structure RIPS APART right in front of him.He gapes down into a widening maw, seeing straight down into the bowels ofthe ship, amid a BOOMING CONCUSSION like the sound of artillery. Peoplefalling into the widening crevasse look like dolls.
The stay cables on the funnel part and snap across the decks like whips,ripping off davits and ventilators. A man is hit by a whipping cable andsnatched OUT OF FRAME. Another cable smashes the rail next to Lovejoy andit rips free. He falls backward into the pit of jagged metal.
Fires, explosions and sparks light the yawning chasm as the hull splitsdown through nine decks to the keel. The sea pours into the gaping wound–
CUT TO:
273 INT. ENGINE ROOM
It is a thundering black hell. Men scream as monstrous machinery comesapart around them, steel frames twisting like taffy. Their torchesilluminate the roaring, foaming demon of water as it races at the throughthe manchines. Trying to climb they are overtaken in seconds.
CUT TO:
274 EXT. TITANIC – NIGHT
The STERN ALF of the ship, almost four hundred feet long, falls back towardthe water. On the poop deck everyone screams as they feel themselvesplummeting. The sound goes up like the roar of fans at a baseball stadiumwhen a run is scored.
Swimming in the water directly under the stern a few unfortunates shriek asthey see the keel coming down on them like God’s bootheel. The massivestern section falls back almost level, thundering down into the sea andpushing out a mighty wave of displaced water.
Jack and Rose struggle to hole onto the stern rail. They feel the shipseemingly RIGHT ITSELF. Some of those praying think it is salvationSalvation σωτηρίας (σωτηρᾱ), Moksha in Sanskrit, Moksha can not be achieved without performing Dharma, acquiring Artha ( money and meaning in life), enjoying Kama (fulfilling desires according to Dharma). αἴτιος σωτηρίας (Philo) -Delivery from molestation. Σωτηρίας- Safety money. paying the cost to the Father God for worldly safety and delivery from slavery..
SEVERAL PEOPLE
We’re saved!
Jack looks at Rose and shakes his head, grimly.
Now the horrible mechanics play out. Pulled down by the awesome weight ofthe flooded bow, the buoyant stern tilts up rapidly. They feel the RUSH OFASCENT as the fantail angles up again. Everyone is clinging to benches,railings, ventilators… anything to keep from sliding as the stern lifts.
The stern goes up and up, past 45 degrees, then past sixty.
People start to fall, sliding and tumbling. They skid down the deck,screaming and flailing to grab onto somehting. They wrench other peopleloose and pull them down as well. There is a pile-up of bodies at theforward rail. The DAHL FAMILY falls one by one.
JACK
We have to move!
He climbs over the stern rail and reaches back for Rose. She is terrifiedto move. He grabs her hand.
JACK
Come on! I’ve got you!
Jack pulls her over the rail. It is the same place he pulled her over therail two nights earlier, going the other direction. She gets over just asthe railing is going HORIZONTAL, and the deck VERITCAL. Jack grips herfiercely.
The stern is now straight up in the air… a rumbling black monolithstanding against the stars. It hangs there like that for a long grace note,its buoyancy stable.
Rose lies on the railing, looking down fifteen stories to the boiling seaat the base of the stern section. People near them, who didn’t climb over,hang from the railing, their legs dangling over the long drop. They fallone by one, plummeting down the vertical face of the poop deck. Some ofthem bounce horribly off deck benches and ventilators.
Jack and Rose lie side by side on what was the vertical face of the hull,gripping the railing, which is now horizontal. Just beneath their feet arethe gold letters TITANIC emblazoned across the stern.
Rose stares down terrified at the black ocean waiting below to claim them.Jack looks to his left and sees Baker Joughin, crouching on the hull,holding onto the railing. It is a surreal moment.
JOUGHIN
(nodding a greeting)
Helluva night.
The final relentless plunge begins as the stern section floods. Lookingdown a hundred feet to the water, we drop like an elevator with Jack andRose.
JACK
(talking fast)
Take a deep breath and hold it right before we go into the water. The shipwill suck us down. Kick for the surface and keep kicking. Don’t let go ofmy hand. We’re gonna make it Rose. Trust me.
She stares at the water coming up at them, and grips his hand harder.
ROSE
I trust you.
Below them the poop deck is disappearing. The plunge gathers speed… theboiling surface engulfs the docking bridge and then rushes up the lastthirty feet.
278 IN A HIGH SHOT, we see the stern descend into the boiling sea. The nameTITANIC disappears, and the tiny figures of Jack and Rose vanish under thewater.
Where the ship stood, now there is nothing. Only the black ocean.
CUT TO:
279 EXT. OCEAN / UNDERWATER AND SURFACE
Bodies are whirled and spun, some limp as dolls, others strugglingspasmodically, as the vortex sucks them down and tumbles them.
280 Jack rises INTO FRAME F.G. kicking hard for the surface… holdingtightly to Rose, pulling her up.
281 AT THE SURFACE: a roiling chaos of screaming, thrashing people. Over athousand people are now floating where the ship went down. Some arestunned, gasping for breath. Others are crying, praying, moaning,shouting… screaming.
Jack and Rose surface among them. They barely have time to gasp for airbefore people are clawing at them. People driven insane by the water, 4degrees below freezing, a cold so intense it is indistinguishable formdeath by fire.
A man pushes Rose under, trying to climb on top of her… senselesslytrying to get out of the water, to climb onto anything. Jack PUNCHES himrepeatedly, pulling her free.
JACK
Swim, Rose! SWIM!
She tries, but her strokes are not as effective as his because of herlifejacket. They break out of the clot of people. He has to find some kindof flotation, anything to get her out of the freezing water.
JACK
Keep swimming. Keep moving. Come one, you can do it.
All about them there is a tremendous wailing, screaming and moaning… achorus of tormented souls. And beyond that… nothing but black waterstretching to the horizon. The sense of isolation and hopelessness isoverwhelming.
CUT TO:
282 OMITTED
283 EXT. OCEAN
Jack strokes rhythmically, the effort keeping him from freezing.
JACK
Look for something floating. Some debris… wood… anything.
ROSE
It’s so cold.
JACK
I know. I know. Help me, here. Look around.
His words keep her focused, taking her mind off the wailing around them.Rose scans the water, panting, barely able to draw a breath. She turnsand… SCREAMS.
A DEVIL is right in from of her face. It is the black FRENCH BULLDOG,swimming right at her like a seamonster in the darkness, its coal eyesbugging. It motors past her, like it is headed for Newfoundland.
Beyond it Rose sees somehting in the water.
ROSE
What’s that?
Jack sees what she is pointing to, and they make for it together. It is apiece of wooden debris, intricately carved. He pushes her up and sheslithers onto it belly down.
But when Jack tries to get up onto the thing, it tilts and submerges,almost dumping Rose off. It is clearly only big enough to support her. Heclings to it, close to her, keeping his upper body out of the water as besthe can.
Their breath floats around them in a cloud as they pant from exertion. AMAN swims toward them, homing in on the piece of debris. Jack warns himback.
JACK
It’s just enough for this lady… you’ll push it under.
MAN
Let me try at least, or I’ll die soon.
JACK
You’ll die quicker if you come any closer.
MAN
Yes, I see. Good luck to you then.
(swimming off)
God bless.
CUT TO:
284 EXT. COLLAPSIBLE A / OCEAN
The boat is overloaded and half-flooded. Men cling to the sides in thewater. Others, swimming, are drawn to it as their only hope. Cal, standingin the boat, slaps his oar in the water as a warning.
CAL
Stay back! Keep off!
Fabrizio, exhausted and near the limit, makes it almost to the boat. CalCLUBS HIM with the oar, cutting open his scalp.
FABRIZIO
You don’t… understand… I have… to get… to America.
CAL
(pointing with the oar)
It’s that way!
CLOSE ON FABRIZIO as he floats, panting each breath agony. You see thespirit leave him.
FABRIZIO’S POV: Cal in SLOW MOTION, yelling and wielding the oar. A demonin a tuxedo. The image fades to black.
CUT TO:
285 EXT. OCEAN
JACK AND ROSE still float amid a chorus of hte damned. Jack sees the ship’sofficer nearby, CHIEF OFFICER WILDE. He is blowing his whistle furiously,knowingKnowledge Knowledge is derived from the process of an informed person integrating data from sense organs or intuition into their psyche. This concept is explored in the Vedic Nasadiya Sukta, which questions the possibility of ultimate truth or knowledge. In different languages, such as Greek, Latin, Sanskrit, and Chinese, knowledge is expressed as "η γνώση," "Scientia," "ज्ञानम् ," and "知识 Zhīshì," respectively. the sound will carry over the water for miles.
JACK
The boats will come back for us, Rose. Hold on just a little longer. Theyhad to row away for the suction and now they’ll be coming back.
She nods, his words helping her. She is shivering uncontrollably, her lipsblue and her teeth chattering.
ROSE
Thank God for you Jack.
People are still screaming, calling to the lifeboats.
WOMAN
Come back! Please! We know you can hear us. For God’s sake!
MAN
Please… help us. Save one life! SAVE ON LIFE!
CUT TO:
286 EXT. LIFEBOATS / OCEAN
IN BOAT 6: Ruth has her ears covered against the wailing in the darkness.The first class women in the boat sit, stunned, listening to the sounds ofhundreds screaming.
HITCHINS
They’ll pull us right down I tell ya!
MOLLY
Aw knock it off, yer scarin’ me. Come on girls, grab your oars. Let’s go.
(nobody moves)
Well come on!
The women won’t meet her eyes. They huddle into their ermine wraps.
MOLLY
I don’t understand a one of you. What’s the matter with you? It’s your menback there! We got plenty a’ room for more.
HITCHINS
If you don’t shut that hole in yer face, there’ll be one less in this boat!
Ruth keeps her ears covered and her eyes closed, shutting it all out.
287 IN BOAT ONE: Sir Cosmo and Lucile Duff-Gordon sit with ten other peoplein a boat that is two thirds empty. They are two hundred yards from thescreaming in the darkness.
FIREMAN HENDRICKSON
We should do something.
Lucile squeezes Cosmo’s hand and pleads him with her eyes. She isterrified.
SIR COSMO
It’s out of the question.
The crewmembers, intimidated by a nobleman, acquiesce. They hunch guiltily,hoping the sound will stop soon.
TWENTY BOATS, most half full, float in the darkness. None of them make amove.
CUT TO:
288 EXT. OCEAN
Jack and Rose drift under the blazing stars. The water is glassy, with onlythe faintest undulating swell. Rose can actually see the stars reflectingon the black mirror of the sea.
Jack squeezes the water out of her long coat, tucking it in tightly aroundher legs. He rubs her arms. His face is chalk with in the darkness. A lowMOANING in the darknes around them.
ROSE
It’s getting quiet.
JACK
Just a few more minutes. It’ll take them a while to get the boatsorganized…
Rose is unmoving, just staring into space. She knows the truth. There won’tbe any boats. Behind Jack she sees that Officer Wilde has stopped moving.He is slumped in his lifejacket, looking almost asleep. He has died ofexposure already.
JACK
I don’t know about you, but I intend to write a strongly worded letter tothe White Star Line about all this.
She laughs weakly, but it sounds like a gasp of fear. Rose finds his eyesin the dim light.
ROSE
I love you Jack.
He takes her hand.
JACK
No… don’t say your good-byes, Rose. Don’t you give up. Don’t do it.
ROSE
I’m so cold.
JACK
You’re going to get out of this… you’re going to go on and you’re goingto make babies and watch them grow and you’re going to die an old lady,warm in your bed. Not here. Not this night. Do you understand me?
ROSE
I can’t feel my body.
JACK
Rose, listen to me. Listen. Winning that ticket was the best thing thatever happened to me.
Jack is having trouble getting the breath to speak.
JACK
It brought me to you. And I’m thankful, Rose. I’m thankful.
His voice is trembling with the cold which is working tis way to his heart.But his eyes are unwavering.
JACK
You must do me this honor… promise me you will survive… that you willnever give up… no matter what happens… no matter how hopeless…promise me now, and never let go of that promise.
ROSE
I promise.
JACK
Never let go.
ROSE
I promise. I will never let go, Jack. I’ll never let go.
She grips his hand and they lie with their heads together. It is quiet now,except for the lapping of the water.
CUT TO:
289 EXT. LIFEBOATS / OCEAN – NIGHT
Fifth Officer Lowe, the impetuous young Welshman, has gotten Boats 10, 12and Collapsible D together with his own Boat 14. A demon of energy, he’shad everyone hold the boats together and is transferring passengers from 14into the others, to empty his boat for a rescue attempt.
As the women step gingerly across the other boats, Lowe sees a shawledfigure in too much of a hurry. He rips the shawl off, and finds himselfstaring into the face of a man. He angrily shoves the stowaway into anotherboat and turns to his crew of three.
LOWE
Right, man the oars.
CUT TO:
290 EXT. OCEAN / BOAT 14
The beam of an electric torch plays across the water like a searchlight asboat 14 comes toward us.
ANGLE FROM THE BOAT as the torch illuminates floating debris, a poignanttrail of flotsam: a violin, a child’s wooden soldier, a framed photo of asteerage family. Daniel Marvin’s wooden Biograph camera.
Then, their white lifebelts bobbing in the darkness like signoposts, thefirst bodies come into the torch’s beam. The people are dead but notdrowned, killed by the freezing water. Some look like they could besleeping. Others stare with frozen eyes at the stars.
Soon bodies are so thick the seamen cannot row. They hit the oars on theheads of floating men and women… a wooden thunk. One seaman throws up.Lowe sees a mother floating with her arms frozen around her lifeless baby.
LOWE
(the worst moment of his life)
We waited too long.
CUT TO:
291 EXT. OCEAN
IN A HOVERING DOWNANGLE we see Jack and Rose floating in the black water.The stars reflect in the mill pond surface, and the two of them seem to befloating in interstellar space. They are absolutely still. Their hands arelocked together. Rose is staring upwards at the canopy of stars wheelingabove her. The music is transparent, floating… as the long sleep stealsover Rose, and she feels peace.
CLOSE ON Rose’s face. Pale, like the faces of the dead. She seems to befloating in a void. Rose is in a semi-hallucinatory state. She knows she isdying. Her lips barely move as she sings a scrap of Jack’s song:
ROSE
“Come Josephine in my flying machine…”
ROSE’S POV: The stars. Like you’ve never seen them. The Milky Way aglorious band from horizon to horizon.
A SHOOTING STAR flares… a line of light across the heavens.
TIGHT ON ROSE again. We see that her hair is dusted with frost crystals.Her breathing is so shallow, she is almost motionless. Her eyes track downfrom the stars to the water.
ROSE’S POV… SLOW MOTION: The silhouetter of a boat crossing the stars.She sees men in it, rowing so slowly the oars lift out of the syrupy water,leaving weightless pearls floating in the air. The VOICES of the men soundslow and DISTORTED.
Then the lookout flashes his torch toward her and the light flares acrossthe water, silouetting the bobbing corpses in between. It flicks past hermotionless form and moves on. The boat is 50 feet away, and moving pasther. The men look away.
Rose lifts her head to turn to Jack. We see that her hair has frozen to thewood under her.
ROSE
(barely audible)
Jack.
She touches his shoulder with her free hand. He doesn’t respond. Rosegently turns his face toward her. It is rimed with frost.
He seems to be sleeping peacefully.
But he is not asleep.
Rose can only stare at his still face as the realization goes through her.
ROSE
Oh, Jack.
All hope, will and spirit leave her. She looks at the boat. It is furtheraway now, the voices fainter. Rose watches them go.
She closes her eyes. She is so weak, and there just seems to be no reasonto even try.
And then… her eyes snap open.
She raises her head suddenly, cracking the ice as she rips her hair off thewood. She calls out, but her voice is so weak they don’t hear her. The boatis invisible now, the torch light a star impossibly far away. She strugglesto draw breath, calling again.
292 IN THE BOAT Lowe hears nothing behind him. He points to somethingahead, turning the tiller.
293 ROSE struggles to move. Her hand, she realizes, is actually frozen toJack’s. She breaths on it, melting the ice a little, and gently unclaspstheir hands, breaking away a thin tinkling film.
ROSE
I won’t let go. I promise.
She releases him and he sinks into the black water. He seems to fade outlike a spirit returning to some immaterial plane.
Rose rolls off the floating staircase and plunges into the icy water. Sheswims to Chief Officer Wilde’s body and grabs his whistle. She starts toBLOW THE WHISTLE with all the strength in her body. Its sound slaps acrossthe still water.
294 IN BOAT 14 Lowe whips around at the sound of the whistle.
LOWE
(turning the tiller)
Row back! That way! Pull!
Rose keeps blowing as the boat comes to her. She is still blowing when Lowetakes the whistle from her mouth as they haul her into the boat. She slipsinto uncosciousness and they scramble to cover her with blankets…
DISSOLVE TO:
295 INT. IMAGING SHACK / KELDYSH
EXTREME CLOSEUP of Rose’s ancient, wrinkled face. Present day.
OLD ROSE
Fifteen hundred people went into the sea when Titanic sank from under us.There were twenty boats floating nearby and only one came back. One. Sixwere saved from the water, myself included. Six out of fifteen hundred.
As she speaks THE CAMERA TRACKS slowly across the faces of Lizzy and thesalvage crew on KELDYSH. Lovett, Bodine, Buell, the others… the realityof what happened here 84 years before has hit them like never before. Withher story Rose has put them on Titanic in its final hours, and or the firsttime, they do feel like graverobbers.
Lovett, for the first time, has even forgotten to ask about the diamond.
OLD ROSE
Afterward, the seven hundred people in the boats had nothing to do butwaith… wait to die, wait to live, wait for an absolution which wouldnever come.
DISSOLVE TO:
296 EXT. LIFEBOATS / OPEN SEA – PRE-DAWN
MATCHING MOVE as the camera tracks along the faces of the saved.
DISSOLVE TO: ANOTHER BOAT, and then ANOTHER, seeing faces we know among thesurvivors: Ismay in a trance, just staring and trembling… Cal, sippingfrom a hip flask offered to him by a black-faced stoker… Ruth huggingherself, rocking gently.
IN BOAT 14: CLOSE ON ROSE, lying swaddled. Only her face is visile, whiteas the moon. The man next to her jumps up, pointing and yelling. Sooneveryone is looking and shouting excitedly. In Rose’s POV it is all silent,SLOW MOTION.
IN SLOW-MOTION SILENCE we see Lowe light a green flare and wave it aseveryone shouts and cheers. Rose doesn’t react. She floats beyond all humanemotion.
DISSOLVE TO:
298 EXT. LIFEBOATS / OPEN SEA – DAWN
Golden lgiht washes across the white boats, which gloat in a calm seareflecting the rosy sky. All around them, like a flotilla of sailing ships,are icebergs. The CARPATHIA sits nearby, as boats row toward her.
DISSOLVE TO:
299 EXT. LIFEBOATS / OCEAN / CARPATHIA MONTAGE – DAY
IMAGES DISSOLVE into one another: a ship’s hull looming, with the lettersCARPATHIA visible on the bow… Rose watching, rocked by the sea, her faceblank… seamen helping survivors up the rope ladder to the Carpathia’sgangway doors… two women crying and hugging each other inside the ship…ALL SILENT, ALL IN SLOW-MOTION. There is just music, so gentle and sad,part elegy, part hymn, part aching song of love lost forever.
THE IMAGES CONTINUE to music… Rose, outside of time, outside of herself,coming into Carpathia, barely able to stand… Rose being draped wtih warmblankets and given hot tea… BRUCE ISMAY climbing aboard. He has the faceand eyes of a damned soul.
As Ismay walks along the hall, guided by a crewman toward the doctor’scabin, he passes rows of seated and standing widows. He must run thegauntlet of their accusing gazes.
CUT TO:
300 EXT. DECK / CARPATHIA – DAY
It is the afternoon of the 15th. Cal is searching the faces of the widowslining the deck, looking for Rose. The deck of Carpathia is crammed withhuddled people, and even the recovered lifeboats of Titanic. On a hatchcover sits an enormous pile of lifebelts.
He keeps walking toward the stern. Seeing Cal’s tuxedo, a stewardapproaches him.
CARPATHIA STEWARD
You won’t find any of your people back here, sir. It’s all steerage.
Cal ignores him and goes amongst this wrecked group, looking under shawlsand blankets at one bleak face after another.
Rose is sipping hot tea. Her eyes focus on him as he approaches her. Hebarely recognizes her. She looks like a refugee, her matted hair hanging inher eyes.
ROSE
Yes, I lived. How awkward for you.
CAL
Rose… your mother and I have been looking for you–
She holds up her hand, stopping him.
ROSE
Please don’t. Don’t talk. Just listen. We will make a deal, since that issomething you understand. From this moment you do not exist for me, nor Ifor you. You shall not see me again. And you will not attempt to find me.In return I will keep my silence. Your actions last night need never cometo light, and you will get to keep the honor you have carefully purchased.
She fixes him with a glare as cold and hard as the ice which changed theirlives.
ROSE
Is this in any way unclear?
CAL
(after a long beat)
What do I tell your mother?
ROSE
Tell her that her daughter died with the Titanic.
She stands, turning to the rail. Dismissing him. We see Cal stricken withemotion.
CAL
You’re precious to me, Rose.
ROSE
Jewels are precious. Goodbye, Mr. Hockley.
We see that in his way, the only way he knows, he does truly love her.
After a moment, he turns and walks away.
OLD ROSE (V.O.)
That was the last time I ever saw him. He married, of course, and inheritedhis millions. The crash of 28 hit his interests hard, and he put a pistolin his mouth that year. His children fought over the scraps of his estatelike hyenas, or so I read.
301 ANGLE ON ROSE, at the railing of the Carpathia, 9pm April 18th. Shegazes up at the Statue of Liberty, looking just as it does today, welcomingher home with her glowing torch. It is just as Fabrizio saw it, so clearly,in his mind.
302 LATER CARPATHIA DISCORGES THE SURVIVORS at the Cunard pier, Pier 54.Over 30,000 people line the dock and fill the surrounding streets. Themagnesium flashes of the photographers go off like small bombs, lighting anamazing tableau.
Several hundred police keep the mob back. The dock is packes with friendsand reletives, officials, ambulances, and the press–
Reporters and photographers swarm everywhere… 6 deep at the foot of thegangways, lining the tops of cars and trucks… it is the 1912 equicalentof a media circus. They jostle to get close to the survivors, tugging onthem as they pass and shouting over each other to ask them questions.
Rose is covered with a whoollen shawl and walking with a group of steeragepassengers. Immigration officers are asking them questions as they come offthe gangway.
IMMIGRATION OFFICER
Name?
ROSE
Dawson. Rose Dawson.
The officer steers her toward a holding area for processing. Rose walksforward with the dazed immigrants. The BOOM! of photographer’s magnesiumflashes cause them to flinch, and the glare is blinding. There is a suddendisturbance near her as two men burst through the cordon, running toembrace an older woman along the survivors, who cries out with joy. Thereporters converge on this emotional scene, and flashes explode.
Rose uses this moment to slip away into the crowd. She pushes through thejostling people, moving with purpose, and none challenges her in theconfusion.
OLD ROSE (V.O.)
Can you exchange one life for another? A caterpillar turns into abutterfly. If a mindless insect can do it, why couldn’t I? Was it any moreunimaginable than the sinking of the Titanic?
TRACKING WITH HER as she walks away, further and further until she flashesand the roar are far behind her, and shi is till walking, determined.
CUT TO:
303 INT. IMAGING SHACK / KELDYSH
Old Rose sits with the group in the Imaging Shack, lit by the blue glow ofthe screens. She holds the haircomb with the jade butterfly on the handlein her gnarled hands.
BODINE
We never found anything on Jack. There’s no record of him at all.
OLD ROSE
No, there wouldn’t be, would there? And I’ve never spoken of him until now,not to anyone.
(to Lizzy)
Not even your grandfather. A woman’s heart is a deep ocean of secrets. Butnow you all know there was a man named Jack Dawson, and that he saved me,in every way that a person can be saved.
(closing her eyes)
I don’t even have a picture of him. He exists now only in my memory.
CUT TO:
304 OMITTED
305 EXT. OCEAN FLOOR / TITANIC WRECK
The Mir submersibles make their last pass over the ship. We hear Yuri thepilot on the UQC:
YURI
Mir One returning to surface.
The sub rises off the deck of the wreck, taking its light with it, leavingthe Titanic once again it its fine and private darkness.
CUT TO:
306 EXT. KELDYSH DECK
A desultory wrap party for the expedition is in progress. There is musicand some of the (co-ed) Russian crew are dancing. Bodine is getting drunkin the aggressive style of Baker Joughin.
Lovett stands at the rail, looking down into the black water. Lizzy comesto him, offering him a beer. She puts her hand on his arm.
LIZZY
I’m sorry.
LOVETT
We were pissin’ in the wind the whole time.
Lovett notices a figure move through the lights far down at the stern ofthe ship.
LOVETT
Oh sh*t.
CUT TO:
307 EXT. KELDYSH STERN DECK
Rose walks through the shadows of the deck machinery. Her nightgown blowsin the wind. Her feet are bare. Her hands are clutched at her chest, almostas if she is praying.
ON LOVETT AND LIZZY running down the stairs from the top deck, hauling ass.
ROSE reaches the sern rail. Her gnarled fingers wrap over the rail. Herancient foot steps up on the gunwale. She pushes herself up, leaningforward. Over her shoulder, we see the black water glinting far below.
LOVETT AND LIZZY run up behind her.
LIZZY
Grandma, wait!! Don’t–
ROSE TURNS her head, looking at them. She turns further, and we see she hassomething in her hand, something she was about to drop overboard.
It is the “Heart of the Ocean”.
Lovett sees his holy grail in her hand and his eyes go wide. Rose keeps itover the railing where she can drop it anytime.
ROSE
Don’t come any closer.
LOVETT
You had it the entire time?!
FLASH CUT TO: A SILENT IMAGE OF YOUNG ROSE walking away from Pier 54. Thephotographers’ flashes go off like a battle behind her. She has her handsin her pockets. She stops, feeling something, and pulls out the necklace.She stares at it in amazement.
BACK ON KELDYSH, Rose smiles at Brock’s incomprehension.
ROSE
The hardest part about being so poor, was being so rich. But every time Ithough of selling it, I though of Cal. And somehow I always got by withouthis help.
She holds it out over the water. Bodine and a couple of the other guys comeup behind Lovett, reacting to what is in Rose’s hand.
BODINE
Holy sh*t.
LOVETT
Don’t drop it Rose.
BODINE
(a fierce whisper)
Rush her.
LOVETT
(to Bodine)
It’s hers, you schmuck.
(to her)
Look, Rose, I… I don’t know what to say to a woman who tries to jump offthe Titanic when it’s not sinking, and jumps back onto it when it is…we’re not dealing with logic here, I know that… but please… think aboutthis a second.
ROSE
I have. I came all the way here so this could go back where it belongs.
The massive diamond glitters. Brock edges closer and holds out his hand…
LOVETT
Just let me hold it in my hand, Rose. Please. Just once.
He comes closer to her. It is reminiscent of Jack slowly moving up to herat the stern of Titanic.
Surprisingly, she calmly places the massice stone in the palm of his hand,while still holding onto the necklace. Lovett gazes at the object of hisquest. An infinity of cold scalpels glint in its blue depths. It ismesmerizing. It fits in his hand just like he imagined.
LOVETT
My God.
His grip tightens on the diamond.
He looks up, meeting her gaze. Her eyes are suddenly infinitely wise anddeep.
ROSE
You look for treasures in the wrong place, Mr. Lovett. Only life ispriceless, and making each day count.
His fingers relax. He opens them slowly. Gently she slips the diamond outof his hand. He feels it sliding away.
Then, with an impish little grin, Rose tosses the necklace over the rail.Lovett gives a strangled cry and rushes to the rail in time to see it hitthe water and disappear forever.
BODINE
Aww!! That really sucks, lady!
Brock Lovett goes through ten changes before he settles on a reaction… HELAUGHS. He laughs until the tears come to his eyes. Then he turns to Lizzy.
LOVETT
Would you like to dance?
Lizzy grins at him and nods. Rose smiles. She looks up at the stars.
308 IN THE BLACK HEART OF THE OCEAN, the diamond sinks, twinkling end overend, into the infinate depths.
CUT TO:
309 INT. ROSE’S CABIN / KELDYSH
A GRACEFUL PAN across Rose’s shelf of carefully arranged pictures:
Rose as a young actress in California, radiant… a theatrically lit studiopublicity shot… Rose and her husband, with their two children… Rosewith her son at his college graduation… Rose with her children andgrandchildren at her 70th birthday. A collage of images of a life livedwell.
THE PAN STOPS on an image filling frame. Rose, circa 1920. She is at thebeach, sitting on a horse at the surfline. The Santa Monica pier, with itsrollercoaster is behind her. She is grinning, full of life.
We PAN OFF the last picture to Rose herself, warm in her bunk. A profileshot. She is very still. She could be sleeping, or maybe something else.
CUT TO:
BLACKNESS
310 THE WRECK OF TITANIC looms like a ghost out of the dark. It is lit by a kind of moonlight, a light of the mind. We pass over the endless forecastle deck to the superstructure, moving faster than subs can move… almost like we are flying.
WE GO INSIDE, and the echoing sound of distant waltz music is heard. The rust fades away from the walls of the dark corridor and it is transformed… WE EMERGE onto the grand staircase, lit by glowing chandelier. The music is vibrant now, and the room is populated by men in tie and tails, women in gowns. It is exquisitely beautiful.
IN POV we sweep down the staircase. The crowd of beautiful gentlmen and ladies turn as we descend toward them. At the bottom a man stands with his back to us… he turns and it is Jack. Smiling he holds his hand out toward us.
IN A SIDE ANGLE Rose goes into his arms, a girl of 17. The passengers, officers and crew of the RMS Titanic smile and applaud in the utter silence of the abyss.
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