TITANIC

　　　　TITANIC
A screenplay by James Cameron
Cast:KATE WINSLET... Rose DeWitt BukaterLEONARDO DiCAPRIO... Jack DawsonKATHY BATES... The Unsinkable Molly BrownBILLY ZANE... Caledon HockleyBILL PAXTON... Brock Lovett
Written and Directed by:JAMES CAMERON
1 BLACKNESSThen two faint lights appear, close together... growing brighter. Theyresolve into two DEEP SUBMERSIBLES, free-falling toward us like expresselevators.One is ahead of the other, and passes close enough to FILL FRAME, lookinglike a spacecraft blazing with lights, bristling with insectilemanipulators.TILTING DOWN to follow it as it descends away into the limitless blacknessbelow. Soon they are fireflies, then stars. Then gone.                                                                    CUT TO:2 EXT./ INT. MIR ONE / NORTH ATLANTIC DEEPPUSHING 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, who 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 SEAA 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 ONELovett and Bodine jerk awake at the landing.                                  ANATOLY                           (heavy Russian accent)We are here.EXT. / INT. MIR ONE AND TWO5 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 unrolls 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.                                   BODINECome left a little. She's right in front of us, eighteen meters. Fifteen.Thirteen... you should see it.                                  ANATOLYDo you see it? I don't see it... there!Out of the darkness, like a ghostly apparition, the bow of the ship appears.Its knife-edge prow is coming straight at us, seeming to plow the bottomsediment like ocean waves. It towers above the seafloor, standing just as itlanded 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.                                   LOVETTIt still gets me every time.The image pans to the front viewport, looking over Anatoly's shoulder, tothe bow railing visible in the lights beyond. Anatoly turns.                                  ANATOLYIs just your guilt because of stealing from the dead.CUT WIDER, to show that Brock is operating the camera himself, turning it inhis hand so it points at his own face.                                   LOVETTThanks, Tolya. Work with me, here.Brock resumes his serious, pensive gaze out the front port, with the cameraaimed at himself at arm's length.                                   LOVETTIt still gets me every time... to see the sad ruin of the great ship sittinghere, where she landed at 2:30 in the morning, April 15, 1912, after herlong fall from the world above.Anatoly rolls his eyes and mutters in Russian. Bodine chuckles and watchesthe sonar.                                   BODINEYou are so full of shit, boss.7 Mir Two drives aft down the starboard side, past the huge anchor while MirOne 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 house nearby.                                   LOVETTRight. 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 SNOOP DOG,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 First ClassReception Room.SNOOP'S VIDEO POV, moving through the cavernous interior. The remains of theornate handcarved woodwork which gave the ship its elegance move through thefloodlights, the lines blurred by slow dissolution and descending rusticleformations. Stalactites of rust hang down so that at times it looks like anatural grotto, then the scene shifts and the lines of a ghostly underseamansion 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, then someWHITE STAR LINE china... a woman's high-top "granny shoe". Then somethingeerie: what looks like a child's skull resolves into the porcelain head of adoll.Snoop enters a corridor which is much better preserved. Here and there adoor still hangs on its rusted hinges. An ornate piece of moulding, 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 staterooms onTitanic.                                   BODINEI'm in the sitting room. Heading for bedroom B-54.                                   LOVETTStay off the floor. Don't stir it up like you did yesterday.                                   BODINEI'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 the onceelegant 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.                                   BODINEI'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.                                   LOVETTOkay, 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 were in1912.                                   LOVETTEasy, 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 is adark object. The silt clears and Snoop's cameras show them what was underthe door...                                   BODINEOoohh daddy-oh, are you seein' what I'm seein'?CLOSE ON LOVETT, watching his monitors. By his expression it is like he isseeing the Holy Grail.                                   LOVETTOh 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 - DAYTHE 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 Christmas morning.                                   BODINEWho's the best? Say it.                                   LOVETTYou are, Lewis.                            (to the video crew)You rolling?                                 CAMERAMANRolling.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.                                   LOVETTWell, here it is, the moment of truth. Here's where we find out if the time,the sweat, the money spent to charter this ship and these subs, to come outhere to the middle of the North Atlantic... were worth it. If what we thinkis in that same... is in that safe... it will be.Lovett grins wolfishly in anticipation of his greatest find yet. The door ispried loose. It clangs onto the deck. Lovett moves closer, peering into thesafe's wet interior. A long moment then... his face says it all.                                   LOVETTShit.                                   BODINEYou know, 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 - DAYTechnicians 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 at thevideo crew.                                   LOVETTYou 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.                                   BUELLThe partners want to know how it's going?                                   LOVETTHow it's going? It's going like a first date in prison, whattaya think?!Lovett grabs the phone from Buell and goes instantly smooth.                                   LOVETTHi, 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 of lightthat seems to radiate outward from her eyes. Scrawled in the lower rightcorner 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 is almostheart-shaped.                                   LOVETTI'll be God damned.                                                                    CUT TO:16 INSERTA CNN NEWS STORY: a live satellite feed from the deck of the Keldysh,intercut with the CNN studio.                                 ANNOUNCERTreasure 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?                                   LOVETTYes, hi, Tracy. You know, Titanic is not just A shipwreck, Titanic is THEshipwreck. It's the Mount Everest of shipwrecks.                                                                    CUT TO:17 INT. HOUSE / CERAMICS STUDIOPULL BACK from the screen, showing the CNN report playing on a TV set in theliving room of a small rustic house. It is full of ceramics, figurines, folkart, the walls crammed with drawings and paintings... things collected overa 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 woman, LIZZY CALVERT, rushes to help her.                                    ROSETurn 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.                                   LOVETTNobody 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 intact. 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.                                    ROSEI'll be God damned.                                                                    CUT TO:18 EXT. KELDYSH DECK - NIGHTCUT 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.                                   BUELLThere's a satellite call for you.                                   LOVETTBobby, we're launching. See these submersibles here, going in the water?Take a message.                                   BUELLNo, trust me, you want to take this call.                                                                    CUT TO:19 INT. LAB DECK / KELDYSH - NIGHTBuell 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.                                   LOVETTThis is Brock Lovett. What can I do for you, Mrs... ?                                   BUELLRose Calvert.                                   LOVETT... Mrs. Calvert?                                    ROSEI 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...                                   BUELLI 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?                                    ROSEOh yes. The woman in the picture is me.                                                                    CUT TO:20 EXT. OCEAN - DAYSMASH CUT TO AN ENORMOUS SEA STALLION HELICOPTER thundering across theocean. PAN 180 degrees as it roars past. There is no land at either horizon.The Keldysh is visible in the distance.CLOSE ON A WINDOW of the monster helicopter. Rose's face is visible, lookingout calmly.                                                                    CUT TO:21 EXT. KELDYSH - DAYBrock and Bodine are watching Mir 2 being swung over the side to start adive.                                   BODINEShe's a goddamned liar! A nutcase. Like that... what's her name? ThatAnastasia babe.                                   BUELLThey're inbound.Brock nods and the three of them head forward to meet the approaching helm.                                   BODINEShe says she's Rose DeWitt Bukater, right? Rose DeWitt Bukater died on theTitanic. At the age of 17. If she'd have lived, she'd be over a hundred now.                                   LOVETTA hundred and one next month.                                   BODINEOkay, 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, had twokids. Now Calvert's dead, and from what I've heard Cedar Rapids is dead.The Sea Stallion approaches the ship, BG, forcing Brock to yell over therotors.                                   LOVETTAnd everybody 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 HELIPADIN 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.                                   BODINES'cuse me, I have to go check our supply of Depends.                                                                    CUT TO:23 INT. ROSE'S STATEROOM / KELDYSH - DAYLizzy 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.                                   LOVETTIs your stateroom alright?                                    ROSEYes. Very nice. Have you met my granddaughter, Lizzy? She takes care of me.                                   LIZZYYes. We met just a few minutes ago, grandma. Remember, up on deck?                                    ROSEOh, 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.                                    ROSEThere, that's nice. I have to have my pictures when I travel. And Freddy ofcourse.                            (to the Pomeranian)Isn't that right, sweetie.                                   LOVETTWould you like anything?                                    ROSEI should like to see my drawing.                                                                    CUT TO:24 INT. LAB DECK, PRESERVATION AREARose looks at the drawing in its tray of water, confronting herself across aspan 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 sketching pad.They look up suddenly right into the LENS. Soft eyes, but fearlessly direct.28 Rose smiles, remembering. Brock has the reference photo of the necklacein his hand.                                   LOVETTLouis 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... recutinto a heart-like shape... and it became Le Coeur de la Mer. The Heart ofthe Ocean. Today it would be worth more than the Hope Diamond.                                    ROSEIt was a dreadful, heavy thing.                        (she points at the drawing)I only wore it this once.                                   LIZZYYou actually believe this is you, grandma?                                    ROSEIt is me, dear. Wasn't I a hot number?                                   LOVETTI tracked it down through insurance records... and old claim that wassettled under terms of absolute secrecy. Do you know who the claiment was,Rose?                                    ROSESomeone named Hockley, I should imagine.                                   LOVETTNathan Hockley, right. Pittsburgh steel tycoon. For a diamond necklace hisson Caledon Hockley bought in France for his fiancee... you... a week beforehe sailed on Titanic. And the claim was filed right after the sinking. Sothe diamond had to've gone down with the ship.                                 (to Lizzy)See the date?                                   LIZZYApril 14, 1912.                                   LOVETTIf 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.                                    ROSEI 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.                                   LOVETTDeal.                            (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 mother ofpearl. She caresses it wonderingly.                                    ROSEThis was mine. How extraordinary! It looks the same as the last time I sawit.She turns the mirror over and looks at her ancient face in the crackedglass.                                    ROSEThe reflection has changed a bit.She spies something else, a silver and moonstone art-nouveau brooch.                                    ROSEMy 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 takes flighton the ebony handle of the comb. She turns it slowly, remembering. We cansee that Rose is experiencing a rush of images and emotions that have laindormant for eight decades as she handles the butterfly comb.                                   LOVETTAre you ready to go back to Titanic?                                                                    CUT TO:29 INT. IMAGING SHACK / KELDYSHIt 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.                                   BODINELive from 12,000 feet.ROSE stares raptly at the screens. She is enthraled by one in particular, animage of the bow railing. It obviously means something to her. Brock isstudying her reactions carefully.                                   BODINEThe 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. As heis calling up the file, he keeps talking.                                   BODINEWe've put together the world's largest database on the Titanic. Okay,here...                                   LOVETTRose might not want to see this, Lewis.                                    ROSENo, no. It's fine. I'm curious.Bodine starts a COMPUTER ANIMATED GRAPHIC on the screen, which parallels hisrapid-fire narration.                                   BODINEShe 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 the bulkheads,going aft. As her bow is going down, her stern is coming up... slow atfirst... and then faster and faster until it's lifting all that weight,maybe 20 or 30 thousand tons... out of the water and the hull can't deal...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.                                   BODINEThe 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.                                   BODINEThe 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?                                    ROSEThank you for that fine forensic analysis, Mr. Bodine. Of course theexperience of it was somewhat less clinical.                                   LOVETTWill 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 ghostly waltzmusic. The faint and echoing sound of an officer's voice, English accented,calling "Women and children only".30 FLASH CUTS of screaming faces in a running crowd. Pandemonium and terror.People crying, praying, kneeling on the deck. Just impressions... flashes inthe 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.                                    ROSENo!Her voice is surprisingly strong. The sweet little old lady is gone,replaced by a woman with eyes of steel. Lovett signals everyone to stayquiet.                                   LOVETTTell us, Rose.She looks from screen to screen, the images of the ruined ship.                                    ROSEIt's been 84 years...                                   LOVETTJust 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.                                    ROSETitanic was called the Ship of Dreams. And it was. It really was...As the underwater camera rises past the rusted bow rail, WE DISSOLVE / MATCHMOVE to that same railing in 1912...                                                            MATCH DISSOLVE:34 EXT. SOUTHAMPTON DOCK - DAYSHOT CONTINUES IN A FLORIOUS REVEAL as the gleaming white superstructure ofTitanic rises mountainously beyond the rail, and above that the buff-coloredfunnels stand against the sky like the pillars of a great temple. Crewmenmove across the deck, dwarfed by the awesome scale of the steamer.Southampton, England, April 10, 1912. It is almost noon 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 horse drawn vehicles, motorcars and lorries move slowly throughthe dense throng. The atmosphere is one of excitement and general giddiness.People embrace in tearful farewells, or wave and shout bon voyage wishes tofriends 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 cars peopleare streaming to board the ship, jostling with hustling seamen and stokers,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.                                    ROSEI don't see what all the fuss is about. It doesn't look any bigger than theMauritania.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.                                    CALYou can be blase about some things, Rose, but not about Titanic. It's over ahundred feet longer than Mauritania, and far more luxurious. It has squashcourts, 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.                                    CALYour daughter is much too hard to impress, Ruth.                           (indicating a puddle)Mind your step.                                    RUTH                         (gazing at the leviathan)So this is the ship they say is unsinkable.                                    CALIt 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 with servants.Cal's VALET, SPICER LOVEJOY, is a tall and impassive, dour as an undertaker.Behind him emerge TWO MAIDS, personal servants to Ruth and Rose.A WHITE STAR LINE PORTER scurries toward them, harried by last minuteloading.                                   PORTERSir, you'll have to check your baggage through the main terminal, round thatway--Cal nonchalantly hands the man a fiver. The porter's eyes dilate. Fivepounds was a monster tip in those days.                                    CALI put my faith in you, good sir.                                   (MORE)                                CAL (CONT'D)                        (curtly, indicating Lovejoy)See my man.                                   PORTERYes, 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 up inthe 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.                                    CALWe'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 first classpassengers are avoiding the smelly press of the dockside crowd by using anelevated 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 of theTitanic. MARY MARVIN stands stiffly and smiles, self conscious.                                   DANIELLook 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.                                    CALSteady!!                                    MANSorry squire!The Cockney father pushes on, after his kids, shouting.                                    CALSteerage swine. Apparently missed his annual bath.                                    RUTHHonestly, 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.                                    CALAll part of my charm, Ruth. At any rate, it was my darling fiancee's beautyrituals which made us late.                                    ROSEYou told me to change.                                    CALI couldn't let you wear black on sailing day, sweetpea. It's bad luck.                                    ROSEI 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.                                    CALHere 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 - DAYA 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 back furtherto show the smoky inside of a pub. It is crowded with dockworkers and ship;screw.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 argument, in Swedish.                                    OLAF                                (subtitled)You 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 countries.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.                                    JACKThe moment of truth boys. Somebody's life's about to change.Fabrizio puts his cards down. So do the Swedes. Jack holds his close.                                    JACKLet's see... Fabrizio's got niente. Olaf, you've got squat. Sven, uh oh...two pair... mmm.                           (turns to his friend)Sorry Fabrizio.                                  FABRIZIOWhat sorry? What you got? You lose my money?? Ma va fa'n culo testa dicazzo--                                    JACKSorry, 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!                                  FABRIZIOPorca 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/JACKL'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, who aredancing 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.                                    JACKGoin' 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!!                                  FABRIZIOYou 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!!                                 PUBKEEPERNo, mate. Titanic go to America. In five minutes.                                    JACKShit!! 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 OMITTED38 EXT. TERMINAL - TITANICJack and Fabrizio, carrying everything they own in the world in the kit bagson their shoulders, sprint toward the pier. They tear through milling crowdsnext to the terminal. Shouts go up behind them as they jostle slow-movinggentlemen. They dodge piles of luggage, and weave through groups of people.They burst out onto the pier and Jack comes to a dead stop... staring at thecast wall of the ship's hull, towering seven stories above the wharf andover an eighth of a mile long. The Titanic is monstrous.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.                                    JACKWait!! We're passengers!Flushed and panting, he waves the tickets.                                   MOODYHave 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.                                    ROWEGundersen. 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.                                    JACKWe are the luckiest sons of bitches in the world!                                                                    CUT TO:39 OMITTED40 EXT. TITANIC AND DOCK - DAYThe mooring lines, as big around as a man's arm, are dropped into the water.A cheer goes up on the pier as SEVEN TUGS pull the Titanic away from thequay.                                                                    CUT TO:41 EXT. AFT WELL DECK / POOP DECK - DAYJACK AND FABRIZIO burst through a door onto the aft well deck. TRACKING WITHTHEM as they run across the deck and up the steel stairs to the poop deck.They get to the rail and Jack starts to yell and wave to the crowd on thedock.                                  FABRIZIOYou know somebody?                                    JACKOf course not. That's not the point.                               (to the crowd)Goodbye! Goodbye!! I'll miss you!Grinning, Fabrizio joins in, adding his voice to the swell of voices,feeling the exhilaration of the moment.                                  FABRIZIOGoodbye! I will never forget you!!                                                                    CUT TO:42 OMITTEDEXT. SOUTHAMPTON DOCK - DAYThe crowd of cheering well-wishers waves heartily as a black wall of metalmoves past them. Impossibly tiny figures wave back from the ship's rails.Titanic gathers speed.                                                                    CUT TO:44 EXT. RIVER TEST - DAYIN 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 the liner'shull as it moves down the River Test toward the English Channel.                                                                    CUT TO:45 INT. THIRD CLASS BERTHING / G-DECK FORWARD - DAYJack and Fabrizio walk down a narrow corridor with doors lining both sideslike a college dorm. Total confusion as people argue over luggage in severallanguages, or wander in confusion in the labyrinth. They pass emigrantsstudying the signs over the doors, and looking up the words in phrase 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 - DAYBy contrast, the so-called "Millionaire Suite" is in the Empire style, andcomprises two bedrooms, a bath, WC, wardrobe room, and a large sitting room.In addition there is a private 50 foot promenade deck outside.A room service waiter pours champagne into a tulip glass of orange juice andhands 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.                                    CALThose 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 withoutlogic. 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.                                    CALPut 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.                                   TRUDYIt smells so brand new. Like they built it all just for us. I mean... justto think that tonight, when I crawl between the sheets, I'll 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.                                    CALThe 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 DUSKTitanic 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 like arowboat. The lights of a Cherbourg harbor complete the postcard image.                                                                    CUT TO:49 INT. FIRST CLASS RECEPTION/ D-DECKEntering 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.                                   WOMANWell, 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 called herMolly. History would call her the Unsinkable Molly Brown. Her husband hadstruck gold someplace out west, and she was what mother called "new money".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 OMITTED51 EXT. BOW - DAYThe 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 - DAYON THE BRIDGE, CAPTAIN SMITH turns from the binnacle to FIRST OFFICERWILLIAM MURDOCH.                               CAPTAIN SMITHTake 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 great ship.The music is rhythmic, surging forward, with a soaring melody that addressesthe majesty and optimism of the ship of dreams.IN THE ENGINE ROOM the telegraph clangs and moves to "All Ahead Full".                            CHIEF ENGINEER BELLAll 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 the hellishglow.55 UNDERWATER the enormous bronze screws chop through the water, hurling thesteamer 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. THECAMERA SWEEPS UP the prow to find Jack, the wind streaming through his hairand--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 MURDOCHTwenty one knots, sir!                                   SMITHShe'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 of thebow, dancing ahead of the juggernaut.FABRIZIO looks forward across the Atlantic, staring into the sunsparkles.                                  FABRIZIOI 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 heaven, 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 - DAYCLOSE 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 seated withCal, 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.                                   MOLLYWhy'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.                                    RUTHYou know I don't like that, Rose.                                    CALShe 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.                                   MOLLYSo, you gonna cut her meat for her too there, Cal?                             (turning to Ismay)Hey, who came up with the name Titanic? You, Bruce?                                   ISMAYYes, actually. I wanted to convey sheer size. And size means stability,luxury... and safety--                                    ROSEDo you know of Dr. Freud? His ideas about the male preoccupation with sizemight be of particular interest to you, Mr. Ismay.Andrews chokes on his breadstick, suppressing laughter.                                    RUTHMy God, Rose, what's gotten into--                                    ROSEExcuse me.She stalks away.                                    RUTH                                (mortified)I do apologize.                                   MOLLYShe'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 - DAYJack 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 humanity 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.                                   TOMMYThat's typical. First class dogs come down here to take a shit.Jack looks up from his sketch.                                    JACKThat's so we know where we rank in the scheme of things.                                   TOMMYLike 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 from eachother, about 60 feet apart, with the well deck like a valley between them.She on her promontory, he on his much lower one. She stares down at thewater.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. He isriveted 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 across thespace of the well deck, across the gulf between worlds.Jack sees a man (Cal) come up behind her and take her arm. She jerks her armaway. They argue in pantomime. She storms away, and he goes after her,disappearing along the A-deck promenade. Jack stares after her.                                   TOMMYForget it, boy. 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 - NIGHTSLOWLY 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 even noticed.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 - NIGHTRose 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 - NIGHTShe 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 a handmirroragainst the vanity, cracking it.                                                                    CUT TO:64 EXT. A DECK PROMENADE, AFT - NIGHTRose 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 - NIGHTJack 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 churning theAtlantic into white foam, and a ghostly wake trails off toward the horizon.IN A LOW ANGLE, we see Rose standing like a figurehead in reverse. Below herare 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.                                    JACKDon't do it.She whips her head around at the sound of his voice. It takes a second forher eyes to focus.                                    ROSEStay back! Don't come any closer!Jack sees the tear tracks on her cheeks in the faint glow from the sternrunning lights.                                    JACKTake my hand. I'll pull you back in.                                    ROSENo! Stay where you are. I mean it. I'll let go.                                    JACKNo you won't.                                    ROSEWhat do you mean no I won't? Don't presume to tell me what I will and willnot do. You don't know me.                                    JACKYou 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.                                    ROSEYou're distracting me. Go away.                                    JACKI can't. I'm involved now. If you let go I have to jump in after you.                                    ROSEDon't be absurd. You'll be killed.He takes off his jacket.                                    JACKI'm a good swimmer.He starts unlacing his left shoe.                                    ROSEThe fall alone would kill you.                                    JACKIt 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.                                    ROSEHow cold?                                    JACK                         (taking off his left shoe)Freezing. Maybe a couple degrees over.He starts unlacing his right shoe.                                    JACKEver been to Wisconsin?                                    ROSE                                (perplexed)No.                                    JACKWell they have some of the coldest winters around, and I grew up there, nearChippewa Falls. Once when I was a kid me and my father were ice-fishing outon Lake Wissota... ice-fishing's where you chop a hole in the--                                    ROSEI know what ice fishing is!                                    JACKSorry. 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.                                    ROSEYou're crazy.                                    JACKThat'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.                                    JACKCome 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.                                    ROSEAlright.She unfastens one hand from the rail and reaches it around toward him. Hereaches out to take it, firmly.                                    JACKI'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, turning toface the ship. As she starts to climb, her dress gets in the way, and onefoot 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.                                    ROSEHELP! HELP!!                                    JACKI'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.                                    ROWEHere, 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 - NIGHTA few minutes later. Jack is being detained by the burly MASTER AT ARMS, theclosest thing to a cop on board. He is handcuffing Jack. Cal is right infront 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 moustachedblowhard 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.                                    CALWhat made you think you could put your hands on my fiancee?! Look at me, youfilth! What did you think you were doing?!                                    ROSECal, stop! It was an accident.                                    CALAn accident?!                                    ROSEIt was... stupid really. I was leaning over and I slipped.Rose looks at Jack, getting eye contact.                                    ROSEI 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 almost wentover himself.                                    CALYou 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.                                    JACKUh huh. That was pretty much it.He looks at Rose a moment longer. Now they have a secret together.                               COLONEL GRACIEWell! 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?                                    CALOh, right. Mr. Lovejoy. A twenty should do it.                                    ROSEIs that the going rate for saving the woman you love?                                    CALRose is displeased. Mmm... what to do?Cal turns back to Jack. He appraises him condescendingly... a steerageruffian, unwashed and ill-mannered.                                    CALI know.                                 (to Jack)Perhaps you could join us for dinner tomorrow, to regale our group with yourheroic tale?                                    JACK                         (looking straight at Rose)Sure. Count me in.                                    CALGood. Settled then.Cal turns to go, putting a protective arm around Rose. he leans close toGracie as they walk away.                                    CALThis 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.                                  LOVEJOYYou'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 - NIGHTAs she undresses for bed Rose sees Cal standing in her doorway, reflected inthe cracked mirror of her vanity. He comes toward her.                                    CAL                           (unexpectedly tender)I know you've been melancholy, and I don't pretend to know why.From behind his back he hands her a large black velvet jewel case. She takesit, numbly.                                    CALI 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" inall its glory. It is huge... a malevolent blue stone glittering with aninfinity of scalpel-like inner reflections.                                    ROSEMy God... Cal. Is it a--                                    CALDiamond. 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.                                    CALIt was once worn by Louis the Sixteenth. They call it Le Coeur de la Mer,the--                                    ROSEThe Heart of the Ocean. Cal, it's... it's overwhelming.He gazes at the image of the two of them in the mirror.                                    CALIt'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.                                    CALThere'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 FRAME, we MORPH SLOWLY to her eyes as the arenow... transforming through 84 years of life...                                                                 TRANSITION68 INT. KELDYSH IMAGING SHACKWithout a cut the wrinkled, weathered landscape of age has appeared aroundher eyes. But the eyes themselves are the same.                                  OLD ROSEAfter all these years, feel it closing around my throat like a dog collar.THE CAMERA PULLS BACK to show her whole face.                                    ROSEI can still feel its weight. If you could have felt it, not just seen it...                                   LOVETTWell, that's the general idea, my dear.                                   BODINESo 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.                                   LOVETTRose, tell us more about the diamond. What did Hockley do with it afterthat?                                    ROSEI'm afraid I'm feeling a little tired, Mr. Lovett.Lizzy picks up the cue and starts to wheel her out.                                   LOVETTWait! 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?                                   LIZZYThat's enough.Lizzy takes her out. Rose's old hand reappears at the doorway in a frail wavegoodbye.                                                                    CUT TO:69 EXT. LAUNCH AREA/KELDYSH DECK - DAYAs 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.                                   BUELLThe partners are pissed.                                   BROCKBobby, buy me time. I need time.                                   BUELLWe'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 to pull.                                   BROCKWell you tell the hand I need another two days! Bobby, Bobby, Bobby... we'reclose! I smell it. I smell ice. She had the diamond on... now we just haveto find out where it wound up. I just gotta work her a bit more. Okay?Brock turns and sees Lizzy 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.                                   BROCKHey, Lizzy. I need to talk to you for a second.                                   LIZZYDon't you mean work me?                                   BROCKLook, I'm running out of time. I need your help.                                   LIZZYI'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.                                   LIZZYWhat?                                   BROCKThat's the shape my hand's gonna be when I hold that thing. You understand?I'm not leaving here without it.                                   LIZZYLook, 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.                                   LOVETTMaybe she wants to make peace with the past.                                   LIZZYWhat past? She has never once, not once, ever said a word about being on theTitanic until two days ago.                                   LOVETTThen we're all meeting your grandmother for the first time.                                   LIZZY                            (looks at him hard)You think she was really there?                                   LOVETTOh, yeah. Yeah, I'm a believer. She was there.                                                                    CUT TO:70 INT. IMAGING SHACKBodine 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.                                    ROSEThe next day, Saturday, I remember thinking how the sunlight felt.                                                               DISSOLVE TO:71 EXT. B DECK TITANIC - DAYMATCH 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 into thirdclass. The steerage men on the deck stop what they're doing and stare ather.                                                                    CUT TO:72 INT. THIRD CLASS GENERAL ROOMThe 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 general havoc.Jack is playing with 5 year old CORA CARTMELL, drawing funny faces togetherin 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.                                  FABRIZIONo Italian? Some little English?                                   HELGANo, no. Norwegian. Only.Helga's eye is caught by something. Fabrizio looks, does a take... and Jack,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.                                    ROSEHello Jack.Fabrizio and Tommy are floored. Its like the slipper fitting Cinderella.                                    JACKHello again.                                    ROSECould I speak to you in private?                                    JACKUh, 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 - DAYJack 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.                                    JACKSo, you got a name by the way?                                    ROSERose. Rose DeWitt Bukater.                                    JACKThat's quite a moniker. I may hafta get you to write that down.There is an awkward pause.                                    ROSEMr. Dawson, I--                                    JACKJack.                                    ROSEJack... I feel like such an idiot. It took me all morning to get up thenerve to face you.                                    JACKWell, here you are.                                    ROSEHere I am. I... I want to thank you for what you did. Not just for... forpulling me back. But for your discretion.                                    JACKYou're welcome. Rose.                                    ROSELook, I know what you must be thinking! Poor little rich girl. What does sheknow about misery?                                    JACKThat'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.                                    ROSEI 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!                                    JACKUh huh. They'll be sorry. 'Course you'll be dead.                                    ROSE                           (she lowers her head)Oh God, I am such an utter fool.                                    JACKThat penguin last night, is he one of them?                                    ROSEPenguin? Oh, Cal! He is them.                                    JACKIs he your boyfriend?                                    ROSEWorse I'm afraid.She shows him her engagement ring. A sizable diamond.                                    JACKGawd 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.                                    JACKSo you feel like you're stuck on a train you can't get off 'cause you'remarryin' this fella.                                    ROSEYes, exactly!                                    JACKSo don't marry him.                                    ROSEIf only it were that simple.                                    JACKIt is that simple.                                    ROSEOh, Jack... please don't judge me until you've seen my world.                                    JACKWell, I guess I will tonight.Looking for another topic, any other topic, she indicates his sketchbook.                                    ROSEWhat's this?                                    JACKJust some sketches.                                    ROSEMay 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 human condition.                                    ROSEJack, these are quite good! Really, they are.                                    JACKWell, they didn't think too much of 'em in Paree.Some loose sketches fall out and are taken by the wind. Jack scrambles afterthem... catching two, but the rest are gone, over the rail.                                    ROSEOh no! Oh, I'm so sorry. Truly!                                    JACKWell, they didn't think too much of 'em in Paree.He snaps his wrist, shaking his drawing hand in a flourish.                                    JACKI 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.                                    ROSEWell, 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?                                    JACKYup. 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, halfin shadow. Her hands lie at her chin, one furled and one open like a flower,languid and graceful. The drawing is like an Alfred Steiglitz print ofGeorgia O'Keefe.                                    ROSEYou liked this woman. You used her several times.                                    JACKShe 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.                                    JACKI see you.There it is. That piercing gaze again.                                    ROSEAnd...?                                    JACKYou wouldn'ta jumped.                                                                    CUT TO:74 INT. RECEPTION ROOM / D-DECK - DAYRuth is having tea with NOEL LUCY MARTHA DYER-EDWARDES, the COUNTESS OFROTHES, a 35ish English blue-blood with patrician features. Ruth seessomeone coming across the room and lowers her voice.                                    RUTHOh 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.                                   MOLLYHello girls, I was hoping I'd catch you at tea.                                    RUTHWe're awfully sorry you missed it. The Countess and I are just off to takethe air on the boat deck.                                   MOLLYThat 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 to goup. TRACKING WITH THEM, as they cross the room, the SHOT HANDS OFF to BruceIsmay and Captain Smith at another table.                                   ISMAYSo you've not lit the last four boilers then?                                   SMITHNo, 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 ofTitanic must make headlines!                                   SMITHI prefer not to push the engines until they've been properly run in.                                   ISMAYOf 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 night andsurprise them all.                    (Ismay slaps his hand on the table)Retire with a bang, eh, E.J?A beat. Then Smith nods, stiffly.                                                                    CUT TO:75 EXT. A DECK PROMENADE - DAYRose 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.                                    JACKI'm sorry. Really... I am.                                    ROSEWell, 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 pagan 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.                                   MARVINYou're sad. Sad, sad, sad. You've left your lover on the shore. You maynever see him again. Try to be sadder, darling.SUDDENLY Rose shoots into the shot and strikes a theatrical pose at the railnext to Mary. Mary bursts out laughing. Rose pulls Jack into the picture andmakes 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 moustache like SnidelyWhiplash.                                                                    CUT TO:76 EXT. A DECK PROMENADE / AFT - SUNSETPainted 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.                                    ROSESo then what, Mr. Wandering Jack?                                    JACKWell, then logging got to be too much like work, so I went down to LosAngeles to the pier in Santa Monica. That's a swell place, they even have arollercoaster. I sketched portraits there for ten cents a piece.                                    ROSEA whole ten cents?!                                    JACK                              (not getting it)Yeah; it was great money... I could make a dollar a day, sometimes. But onlyin summer. When it got cold, I decided to go to Paris and see what the realartists 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.                                    JACKAlright, 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 the surf...but you have to ride like a cowboy, none of that side-saddle stuff.                                    ROSEYou mean one leg on each side? Scandalous! Can you show me?                                    JACKSure. 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.                                    JACKThey didn't teach you that in finishing school? Here, it's easy. Watchclosely.He spits. It arcs out over the water.                                    JACKYour 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.                                    JACKNope, 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. Two cometsof gob fly out over the water.                                    JACKThat 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.                                    ROSEMother, may I introduce Jack Dawson.                                    RUTHCharmed, 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.                                   MOLLYWell, 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.                                   MOLLYWhy do they insist on always announcing dinner like a damn cavalry charge?                                    ROSEShall 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 on deck.                                   MOLLYSon, do you have the slightest comprehension of what you're doing?                                    JACKNot really.                                   MOLLYWell, 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.                                   MOLLYI figured.                                                                    CUT TO:77 INT. MOLLY BROWN'S STATEROOMMen's suits and jackets and formal wear are strewn all over the place. Mollyis having a fine time. Jack is dressed, except for his jacket, and Molly istying his bow tie.                                   MOLLYDon't feel bad about it. My husband still can't tie one of these damn thingsafter 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.                                   MOLLYI gotta buy everything in three sizes 'cause I never know how much he's beeneating while I'm away.She turns and sees him, though we don't.                                   MOLLYMy, my, my... you shine up like a new penny.                                                                    CUT TO:78 EXT. BOAT DECK / FIRST CLASS ENTRANCE - DUSKA 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.                                  STEWARDGood 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-DECKJack steps in and his breath is taken away by the splendor spread out beforehim. Overhead is the enormous glass dome, with a crystal chandelier at itscenter. Sweeping down six stories is the First Class Grand Staircase, theepitome 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 recognizing 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 sheathed 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.                                    JACKI saw that in a nickelodeon once, and I always wanted to do it.                                    ROSECal, 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 ROOMCUT 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 going intothe dining saloon she walks next to him, speaking low:                                   MOLLYAin't nothin' to it, is there, Jack?                                    JACKYeah, you just dress like a pallbearer and keep your nose up.                                   MOLLYRemember, 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.                                    ROSEThere'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.                                    ROSEAnd 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 COSMOHockley, she is splendid.                                    CALThank you.                                   GRACIECal'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.                                    RUTHHow 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.                                    ROSEJ.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?                                    JACKNo, 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:                                 MADELEINEIt's a pity we're both spoken for, isn't it?                                                                    CUT TO:81 INT. DINING SALOONLike 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 member of the club. Mother of course, could always be countedupon...                                                                    CUT TO:82 INT. DINING SALOONCLOSE ON RUTH.                                    RUTHTell 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.                                    JACKThe best I've seen, ma'am. Hardly any rats.Rose motions surreptitiously for Jack to take his napkin off his plate.                                    CALMr. 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 becomes the subject of furtive glances. Nowthey're all feeling terribly liberal and dangerous.                                 GUGGENHEIM                           (low to Madame Aubert)What is Hockley 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.                                    RUTHAnd where exactly do you live, Mr. Dawson?                                    JACKWell, right now my address is the RMS Titanic. After that, I'm on God's goodhumor.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.                                    RUTHYou find that sort of rootless existence appealing, do you?                                    JACKWell... 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 never knowwhat hand you're going to get dealt next. See, my folks died in a fire whenI was fifteen, and I've been on the road since. Somethin' like that teachesyou to take life as it comes at you. To make each day count.Molly Brown raises her glass in a salute.                                   MOLLYWell said, Jack.                               COLONEL GRACIE                            (raising his glass)Here, here.Rose raises her glass, looking at Jack.                                    ROSETo making it count.Ruth, annoyed that Jack has scored a point, presses him further.                                    RUTHHow is it you have the means to travel, Mr. Dawson?                                    JACKI 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.                                   GRACIEAll life is a game of luck.                                    CALA real man makes his own luck, Archie.Rose notices that Thomas Andrews, sitting next to her, is writing in hisnotebook, completely ignoring the conversation.                                    ROSEMr. Andrews, what are you doing? I see you everywhere writing in this littlebook.                            (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.                                   ISMAYHe knows every rivet in her, don't you Thomas?                                  ANDREWSAll three million of them.                                   ISMAYHis blood and soul are in the ship. She may be mine on paper, but in theeyes of God she belongs to Thomas Andrews.                                    ROSEYour ship is a wonder, Mr. Andrews. Truly.                                  ANDREWSThank you, Rose.We see that Andrews has come under Rose's spell.83 TIME TRANSITION: Dessert has been served and a waiter arrives with cigarsin a humidor on a wheeled cart. The men start clipping ends and lighting.                                    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.                                   GRACIEJoining us, Dawson? You don't want to stay out here with the women, do you?Actually he does, but...                                    JACKNo thanks. I'm heading back.                                    CALProbably best. It'll be all business and politics, that sort of thing.Wouldn't interest you. Good of you to come.Cal and the other gentlemen exit.                                    ROSEJack, must you go?                                    JACKTime 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-NIGHTRose 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. He turns,sees her... smiles.                                    JACKWant to go to a real party?                                                                    CUT TO:85 INT. THIRD CLASS GENERAL ROOMCrow 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, accordion 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.                                    ROSEMay I cut in, miss?                                    JACKYou'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.                                    ROSEI don't know the steps.                                    JACKJust 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 thesteps.                                    ROSEWait... stop!She bends down, pulling off her high heeled shoes, and flings them to Tommy.Then she grabs Jack and they plunge back into the fray, dancing faster asthe music speeds up.                                                                    CUT TO:86 OMITTED87 INT. THIRD CLASS GENERAL ROOMThe 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 plier, 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 cocky. Fabrizio is grinning, holdinghands with Helga.                                    JACKHow you two doin'?                                  FABRIZIOI don't know what 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.                                    ROSEYou think a first class girl can't drink?Everybody else is dancing again, and Bjorn Gundersen crashes into Tommy, whosloshes his beer over Rose's dress. She laughs, not caring. But Tommylunges, grabbing Bjorn and wheeling him around.                                   TOMMYYou stupid bastard!!Bjorn comes around, his fists coming up... and Jack leaps into the middle ofit, pushing them apart.                                    JACKBoys, boys! Did I ever tell you the one about the Swede and the Irishmangoin' to the whorehouse?Tommy stands there, all piss and vinegar, chest puffed up. Then he grins andclaps Bjorn on the shoulder.                                    ROSESo, 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 gape ather incredible muscle control. She comes back down, then her face screws upin pain. She grabs one foot, hopping around.                                    ROSEOooowww! 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 - NIGHTThe 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/ROSECome Josephine in my flying machineAnd 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. Rose grabsa davit and leans back, staring at the cosmos.                                    ROSEIsn't it magnificent? So grand and endless.She goes to the rail and leans on it.                                    ROSEThey'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.                                    JACKYou're not one of them. There's been a mistake.                                    ROSEA mistake?                                    JACKUh 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.                                    JACKThat was a long one. My father used to say that whenever you saw one, it wasa soul going to heaven.                                    ROSEI 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.                                    JACKWhat would you wish for?After a beat, Rose pulls back.                                    ROSESomething I can't have.                             (she smiles sadly)Goodnight, Jack. And thank you.She leaves the rail and hurries through the First Class Entrance.                                    JACKRose!!But the door bangs shut, and she is gone. Back to her world.                                                                    CUT TO:89 INT. ROSE AND CAL'S SUITE / PRIVATE PROMENADE - DAYSUNDAY 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.                                    CALI had hoped you would come to me last night.                                    ROSEI was tired.                                    CALYes. Your exertions below decks were no doubt exhausting.                                    ROSE                                (stiffening)I see you had that undertaker of a manservant follow me.                                    CALYou will never behave like that again! Do you understand?                                    ROSEI'm not some foreman in your mills than you can command! I am your fiancee--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.                                    CALYes! 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 made outa 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.                                    ROSEWe... had a little accident. I'm sorry, Trudy.                                                                    CUT TO:90 INT. RUTH'S SUITE - DAYRose 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.                                    RUTHYou 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 the corsetstrings with both hands.                                    ROSEOh, 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!                                    ROSEOf course I know it's gone. You remind me every day!                                    RUTHYour father left us nothing but a legacy of bad debts hidden by a good name.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.                                    RUTHI 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.                                    RUTHDo you want to see 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?                                    ROSEIt's so unfair.                                    RUTHOf course it's unfair! We're women. Our choices are never easy.Rose pulls the corset tighter.                                                                    CUT TO:91 INT. FIRST CLASS DINING SALOONAt 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.                                  STEWARDLook, you, you're not supposed to be in here.                                    JACKI was just here last night... don't you remember?                     (seeing Lovejoy coming toward him)He'll tell you.                                  LOVEJOYMr. Hockley and Mrs. DeWitt Bukater continue to be most appreciative of yourassistance. They asked me to give you this in gratitude--He holds out two twenty dollar bills, which Jack refuses to take.                                    JACKI 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.                                    JACKI just need to talk to Rose for a--                                  LOVEJOYGentlemen, please see that Mr. Dawson gets back where he belongs.                   (giving the twenties to the stewards)And that he stays there.                                  STEWARDYes 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 - DAYAn Edwardian nautilus room. There are machines we recognize, and some don't.A woman pedals a stationary bicycle in a long dress, looking ridiculous.Thomas Andrews is leading a small tour group, including Rose, Ruth and Cal.Cal is working the oars of a stationary rowing machine with a well trainedstroke.                                    CALReminds me of my Harvard days.T.W. MCCAULEY, the gym instructor, is a bouncy little man in white flannels,eager to show off his modern equipment, like his present-day counterpart onan "Abflex" infomercial. He hits a switch and a machine with a saddle on itstarts to undulate. Rose puts her hand on it, curious.                                  MCCAULEYThe electric horse is very popular. We even have an electric camel.                                 (to Ruth)Care to try your hand at the rowing, ma'am?                                    RUTHDon't be absurd. I can't think of a skill I should likely need less.                                  ANDREWSThe next stop on our tour will be bridge. This way, please.                                                                    CUT TO:93 EXT. AFT WELL DECK, B-DECK AND A-DECK - DAYJack, walking with determination, is followed closely by Tommy and Fabrizio.He quickly climbs the steps to B-Deck and steps over the gate separating 3rdfrom 2nd class.                                   TOMMYShe's a goddess amongst mortal men, there's no denyin'. But she's in anotherworld, Jackie, forget her. She's closed the door.Jack moves furtively to the wall below the A-Deck promenade, aft.                                    JACKIt 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.                                   TOMMYHe's not bein' logical, I tell ya.                                  FABRIZIOAmore is'a not logical.                                                                    CUT TO:94 EXT. A-DECK / AFT - DAYA 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 emerges frombehind one of the huge deck cranes and calmly picks up the coat and bowlerhat. He walks away, slipping into the coat, and slicks his hair back withspit. Then puts the hat on at a jaunty angle. At a distance he could passfor a gentlemen.                                                                    CUT TO:95 INT. BRIDGE / CHARTROOM - DAYHAROLD BRIDE, the 21 year old Junior Wireless Operator, hustles in andskirts around Andrews' tour group to hand a Marconigram to Captain Smith.                                   BRIDEAnother ice warning, sir. This one from the "Baltic".                                   SMITHThank you, Sparks.Smith glances at the message then nonchalantly puts it in his pocket. Henods reassuringly to Rose and the group.                                   SMITHNot 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.                                 LIGHTOLLERDid we ever find those binoculars for the lookouts?                           FIRST OFFICER MURDOCHHaven't seen them since Southampton.                                                                    CUT TO:96 EXT. BOAT DECK / STARBOARD SIDE - DAYAndrews leads the group back from the bridge along the boat deck.                                    ROSEMr. 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.                                  ANDREWSAbout 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 deck)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!                                  ANDREWSSleep 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 - DAYJack 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.                                    ROSEJack, this is impossible. I can't see you.He takes her by the shoulders.                                    JACKRose, 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--                                    ROSEJack, I--                                    JACKNo 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.                                    ROSEYou're making this very hard. I'll be fine. Really.                                    JACKI 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.                                    ROSEIt's not up to you to save me, Jack.                                    JACKYou're right. Only you can do that.                                    ROSEI have to get back, they'll miss me. Please, Jack, for both our sakes, leaveme alone.                                                                    CUT TO:98 INT. FIRST CLASS LOUNGE - DAYThe most elegant room on the ship, done in Louis Quinze Versailles 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.                                    RUTHOf course the invitations had to be sent back to the printers twice. And thebridesmaids 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 tableau 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 tea allover her dress.                                    ROSEOh, look what I've done.                                                                    CUT TO:99 EXT. TITANIC - DAYTITANIC 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. Jack isthere, right at the apex of the bow railing, his favorite spot. He closeshis eyes, letting the chill wind clear his head.Jack hears her voice, behind him...                                    ROSEHello, Jack.He turns and she is standing there.                                    ROSEI 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.                                    ROSEFabrizio said you might be up--                                    JACKSssshh. Come here.He puts his hands on her waist. As if he is going to kiss her.                                    JACKClose 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 takes hertwo hands and raises them until she is standing with her arms outstretched oneach side. Rose is going along with him. When he lowers his hands, her armsstay up... like wings.                                    JACKOkay. 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.                                    ROSEI'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 closes her eyes, feeling herself floating weightless far above the sea.She smiles dreamily, then leans back, gently pressing her back against hischest. 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 against 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 into anight 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.                                   FLEETWish 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 SHACKOLD ROSE blinks, seeming to come back to the present. She sees the wreck onthe screen, the sad ghost ship deep in the abyss.                                    ROSEThat was the last time Titanic ever saw daylight.Brock Lovett changes the tape in the mini cassette recorder.                                   BROCKSo we're up to dusk on the night of the sinking. Six hours to go.                                   BODINEDon't you love it? There's Smith, he's standing there with the icebergwarning in his fucking hand...                             (remembering Rose)... excuse me... in his hand, and he's ordering more speed.                                   BROCK26 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 shit. 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 upholstery emergefrom the rusted ruin. Jack is overwhelmed by the opulence of the room. Hesets his sketchbook and drawing materials on the marble table.                                    ROSEWill 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.                                    JACKIsn't he great... the use of color? I saw him once... through a hole in thisgarden 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.                                    ROSECal insist on luggin this thing everywhere.                                    JACKShould I be expecting him anytime soon?                                    ROSENot 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 out toJack who takes it nervously.                                    JACKWhat is it? A sapphire?                                    ROSEA diamond. A very rare diamond, called the Heart of the Ocean.Jack gazes at wealth beyond his comprehension.                                    ROSEI 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.                                    ROSEThe last thing I need is another picture of me looking like a china doll. Asa paying customer, I expect to get what I want.She hands him a dime and steps back, parting the kimono. The blue stone lieson her creamy breast. Her heart is pounding as she slowly lowers the robe.Jack looks so stricken, it is almost comical. The kimono drops to the floor(this is all in cuts, lyrical).                                    ROSETell me when it looks right to you.She poses on the divan, settling like a cat into the position we rememberfrom the drawing... almost.                                    JACKUh... 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.                                    ROSEI 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 is thebest thing he has ever done. Her pose is languid, her hands beautiful, andher eyes radiate her energy.PUSH SLOWLY IN ON ROSE'S FACE...                                                                TRANSITION:106 INT. KELDYSH / IMAGING SHACKMATCH DISSOLVE/MORPH to Rose, 101 years old. Only her eyes are the same.                                  OLD ROSEMy 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.                                   BODINEWhat, uh... happened next?                                  OLD ROSE                                 (smiling)You mean, did we "do it"?                                                                    CUT TO:107 INT. ROSE AND CAL'S SUITE - NIGHTBACK 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.                                    ROSEDate 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, andcrosses to the safe in the wardrobe.She puts the diamond back in the safe, placing the drawing and the note ontop of it. Closes the door with a CLUNK!                                                                    CUT TO:108 INT. FIRST CLASS SMOKING ROOM - NIGHTLovejoy 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.                                  LOVEJOYNone of the stewards have seen her.                                    CAL                             (low but forceful)This is ridiculous, Lovejoy. Find her.                                                                    CUT TO:109 EXT. ATLANTIC - NIGHTTITANIC glides across an unnatural sea, black and calm as a pool of oil. Theships lights are mirrored almost perfectly in the black water. The sky isbrilliant 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.                                 LIGHTOLLERI don't think I've ever seen such a flat calm, in 24 years at sea.                                   SMITHYes, like a mill pond. Not a breath of wind.                                 LIGHTOLLERIt's make the bergs harder to see, with no breaking water at the base.                                   SMITHMmmmm. Well, I'm off. Maintain speed and heading, Mr. Lightoller.                                 LIGHTOLLERYes sir.                                   SMITHAnd wake me, of course, if anything becomes in the slightest degreedoubtful.                                                                    CUT TO:111 INT. ROSE AND CAL'S SUITERose, fully dressed now, returns to the sitting room. They hear a key in thelock. Rose takes Jack's hand and leads him silently through the bedrooms.Lovejoy enters by the sitting room door.                                  LOVEJOYMiss Rose? Hello?He hears a door opening and goes through Cal's room toward hers.                                                                    CUT TO:112 INT. CORRIDOR OUTSIDE SUITERose 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.                                    ROSECome 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 hell out of the OPERATOR.                                    ROSETake 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 the barsof the gate. Rose makes a very rude and unladylike gesture, and laughs asLovejoy disappears above. The Operator gapes at her.                                                                    CUT TO:113 INT. E-DECK FOYER / ELEVATORSLovejoy emerges from another lift and runs to the one Jack and Rose were in.The Operator is just closing the gate to go back up. Lovejoy runs around thebank of elevators and scans the foyer... no Jack and Rose. He tries thestairs going down to F-Deck.                                                                    CUT TO:114 INT. F-DECK CORRIDORS / FAN ROOMA functional space, with access to a number of machine spaces (fan rooms,boiler uptakes). Jack and Rose are leaning against a wall, laughing.                                    JACKPretty tough for a valet, this fella.                                    ROSEHe'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...                                    JACKKinda 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 a momentlater. Jack grins at Rose, pointing to the ladder.                                    JACKAfter you, m'lady.                                                                    CUT TO:116 INT. BOILER ROOM FIVE AND SIXJack and Rose come down the escape ladder and look around in amazement. Itis like a vision of hell itself, with the roaring furnaces and black figuresmoving in the smoky glow. They run the length of the boiler room, dodgingamazed 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 ROOMAmid unparalleled luxury, Cal sits at a card game, sipping brandy.                               COLONEL GRACIEWe're going like hell I tell 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 OMITTED119 INT. BOILER ROOM SIXThe 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 #2Jack 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. Thereare cut crystals bud vases on the walls back there, each containing a rose.Jack jumps into the driver's seat, enjoying the feel of the leather andwood.                                    JACKWhere to, Miss?                                    ROSETo the stars.ON JACK as her hands come out of the shadows and pull him over the seat intothe 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.                                    JACKAre you nervous?                                    ROSEAu contraire, mon cher.He strokes her face, cherishing her. She kisses his artist's fingers.                                    ROSEPut your hands on me Jack.He kisses her, and she slides down in the seat under his welcome weight.                                                                    CUT TO:121 INT. WIRELESS ROOMA BRILLIANT ARC OF ELECTRICITY fills frame-- the sparks gap of the Marconiinstrument as SENIOR WIRELESS OPERATOR JACK PHILLIPS (24) rapidly keys out amessage. Junior Operator Bride looks through the huge stack of outgoingmessages swamping them.                                   BRIDELook 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 freighter CALIFORNIAN, which jams his outgoing signal. At such closerange, the beeps are deafening.                                  PHILLIPSChrist! It's that idiot on the Californian.Cursing, Phillips furiously keys a rebuke.                                                                    CUT TO:122 INT. / EXT. WIRELESS SHANK / FREIGHTER CALIFORNIANWireless Operator CYRIL EVANS pulls his earphone off his ear as theTitanic's spark deafens him. he translates the message for THIRD OFFICERGROVES.                                   EVANSStupid bastard. I try to warn him about the ice, and he says "Keep out. Shutup. I'm working Cape Race."                                   GROVESNow 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 / TITANICON 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 #2PUSHING IN on the rear window of the Renault, which is completely fogged up.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 like 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.                                    ROSEYou're trembling.                                    JACKIt's okay. I'm alright.He lays his cheek against her chest.                                    JACKI 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 fine hands,artists' hands, but strong too... roughened by work. I remember their toucheven now.                                                                    CUT TO:125 EXT. ATLANTIC / TITANIC - NIGHTThe 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 on lookoutsFleet and Lee. They are stamping their feet and swinging their arms, tryingto keep warm in the 22 knot freezing wind, which whips capor of their breathaway behind.                                   FLEETYou can smell ice, you know, when it's near.                                    LEEBollocks.                                   FLEETWell I can.                                                                    CUT TO:126 INT. BOILER ROOM SIXWithout hearing the 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 SUITECal 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 it inhalf. He tenses to do it, then stops himself.                                    CALI have a better idea.                                                                    CUT TO:128 INT. HOLD #2 - NIGHTThe two stewards enter. They have electric torches and play the beams aroundthe hold. They spot the Renault with its fogged up rear window and approachit 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.                                  STEWARDGot yer!REVERSE: the back seat is empty.                                                                    CUT TO:129 EXT. FORWARD WELL DECK AND CROW'S NEST - NIGHTRose 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 disturbance belowand 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.                                    ROSEWhen this ship docks, I'm getting off with you.                                    JACKThis is crazy.                                    ROSEI 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.                                   FLEETCor... look at that, would ya.                                    LEEThey're a bloody sight warmer than we are.                                   FLEETWell if that's what it takes for us two to get warm, I'd rather not, if it'sall 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.                                   FLEETBugger 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.                                   FLEETPick up, ya bastard.                                                                    CUT TO:131 INT. / EXT. BRIDGEInside the enclosed wheelhouse, SIXTH OFFICER MOODY walks unhurriedly to thetelephone, picking it up.                                FLEET (V.O.)Is someone there?                                   MOODYYes. What do you see?                                   FLEETIceberg right ahead!                                   MOODYThank you.                        (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 the wheel.                                  MURDOCHHard 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.                                    BELLFull astern! FULL ASTERN!!The engineers and greasers like madmen to close steam valves and startbraking the mighty propeller shafts, big as Sequoias, 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.                                  BARRETTShut 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. The icebergbumps and scrapes along the side of the ship. Rivets pop as the steel plateof 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 them offtheir feet. The icy water swirls around the Renault as the men scramble forthe stairs.139 ON G-DECK forward Fabrizio is tossed in his bunk by the impact. He hearsa 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 coming inabout 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 quickly throwsthe switch that closes them.                                  MURDOCHHard 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. The roomis full of water vapor as the cold sea strikes the red hot furnaces. Barrettyells to the stokers scrambling through the door as it comes down like aslow guillotine.                                  BARRETTGo Lads! Go! Go!He dives through into Boiler Room 5 just before the door rumbles down with aCLANG.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 in hisever-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 mortal wound.146 IN THE FIRST CLASS SMOKING ROOM Gracie watches his highball vibrating onthe table.147 IN THE PALM COURT, with its high arched windows, Molly Brown holds upher drink to a passing waiter.                                   MOLLYHey, 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 OMITTED149 IN THE CROW'S NEST Fleet turns to his Lee...                                   FLEETOy, mate... that was a close shave.                                    LEESmell ice, can you? Bleedin' Christ!                                                                    CUT TO:150 INT. / EXT. BRIDGECLOSE 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 his shirt.                                   SMITHWhat was that, Mr. Murdoch?                                  MURDOCHAn 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--                                   SMITHClose the emergency doors.                                  MURDOCHThe 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.                                   SMITHFind the Carpenter and get him to sound the ship.                                                                    CUT TO:151 INT. G-DECK FORWARDIn steerage, Fabrizio comes out into the hall to see what's going on. Hesees dozens of rats running toward him in the corridor, fleeing the floodingbow. Fabrizio jumps aside as the rats run by.                                  FABRIZIOMa-- che cazzo!152 IN HIS STATEROOM Tommy gets out of his top bunk in the dark and dropsdown to the floor. SPLASH!!                                   TOMMMYCor!! 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 the corridor,which is flooded. Fabrizio is running toward him, yelling something inItalian. Tommy and Fabrizio start pounding on doors, getting everybody upand out. The alarm spreads in several languages.                                                                    CUT TO:153 INT. FIRST CLASS CORRIDOR / A-DECKA couple of people have come out into the corridor in robes and slippers. ASTEWARD hurries along, reassuring them.                                   WOMANWhy have the engines stopped? I felt a shudder?                                 STEWARD #1I shouldn't worry, ma'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 DECKJack and Rose are leaning over the starboard rail, looking at the hull ofthe ship.                                    JACKLooks okay. I don't see anything.                                    ROSECould it have damaged the ship?                                    JACKIt 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 FORWARDFabrizio 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.                                   TOMMYIf this is the direction the rats were runnin', it's good enough for me.                                                                    CUT TO:156 INT. CORRIDOR ON B DECKBruce 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 BARNESThere's no cause for alarm. Please, go back to your rooms.He is stopped in his tracks by Cal and Lovejoy.                               STEWARD BARNESPlease, sir. There's no emergency--                                    CALYes there is, I have been robbed. Now get the Master at Arms. Now you moron!                                                                    CUT TO:157 INT. BRIDGE / CHARTROOMC.U. CAPTAIN SMITH studying the commutator.He turns to Andrews, standing behind him.                                   SMITHA five degree list in less than ten minutes.SHIP'S CARPENTER JOHN HUTCHINSON enters behind him, out of breath andclearly unnerved.                                 HUTCHINSONShe'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.                                   ISMAYWhy have we stopped?                                   SMITHWe've struck ice.                                   ISMAYWell, 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 6Strokers 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.                                    BELLThat's it, lads. Get the hell up!They scramble up the escape ladders.                                                                    CUT TO:159 EXT. B-DECK FORWARD / WELL DECKThe gentlemen, now joined by another man, leans on the forward rail watchingthe steerage men playing soccer with chunks of ice.                                 GENTLEMANI 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.                                   YALEYSay, 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.                                   SMITHCan you shore up?                                 HUTCHINSONNot unless the pumps get ahead.The inspection party goes down the stairs to the well deck.                                    JACK                               (low, to her)It's bad.                                    ROSEWe have to tell Mother and Cal.                                    JACKNow it's worse.                                    ROSECome with me, Jack. I jump, you jump... Right?                                    JACKRight.Jack follows Rose through the door inside the ship.                                                                    CUT TO:160 INT. B-DECK FOYER / CORRIDORJack and Rose cross the foyer, entering the corridor. Lovejoy is waiting forthem in the hall as they approach the room.                                  LOVEJOYWe'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 SUITECal and Ruth wait in the sitting room, along with the Master at Arms and twostewards (Steward #1 and Barnes). Silence as Rose and Jack enter. Ruthcloses her robe at her throat when she sees Jack.                                    ROSESomething serious has happened.                                    CALThat'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)Search him.The Master at Arms steps up to Jack.                               MASTER AT ARMSCoat 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.                                    JACKThis is horseshit.                                    ROSECal, 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 BARNESIs this it?Rose is stunned. Needless to say, so is Jack.                                    CALThat's it.                               MASTER AT ARMSRight then. Now don't make a fuss.He starts to handcuff Jack.                                    JACKDon't you believe it, Rose. Don't!                                    ROSE                                (uncertain)He couldn't have.                                    CALOf course he could. Easy enough for a professional. He memorized thecombination when you opened the safe.FLASHBACK: Rose at the safe, looking in the mirror and meeting Jack's eyesas he stands behind her, watching.                                    ROSEBut 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.                                    JACKThey 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 ARMSThat was reported stolen today.                                    JACKI 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.                                    JACKRose, 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 thetears well up.                                    RUTHWhy do women believe men?                                                                    CUT TO:162 INT. MAIL SORTING ROOM / HOLDSmith and Andrews come down the steps to the Mail Sorting Room and finds theclerks scrambling to pull mail from the racks. They are furiously haulingwet 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 / CHARTROOMAndrews 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.                                   ISMAYWhen can we get underway, do you think?Smith glares at him and turns his attention to Andrews' drawing. The builderpoints to it for emphasis as he talks.                                  ANDREWSWater 14 feet above the keel in ten minutes... in the forepeak... in allthree holds... and in boiler room six.                                   SMITHThat's right.                                  ANDREWSFive 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.                                   SMITHThe pumps--                                  ANDREWSThe pumps buy you time... but minutes only. From this moment, no matter whatwe do, Titanic will founder.                                   ISMAYBut this ship can't sink!                                  ANDREWSShe is made of iron, sir. I assure you, she can. And she will. It is amathematical certainty.Smith looks like he has been gutpunched.                                   SMITHHow much time?                                  ANDREWSAn hour, two at most.Ismay reels as his dream turns into his worst nightmare.                                   SMITHAnd how many aboard, Mr. Murdoch?                                  MURDOCHTwo thousand two hundred souls aboard, sir.A long beat. Smith turns to his employer.                                   SMITHI believe you may get your headlines, Mr. Ismay.                                                                    CUT TO:164 EXT. BOAT DECKAndrews is striding along the boat deck, as seamen and officers scurry touncover the boats. Steam is venting from pipes on the funnels overhead, andthe din is horrendous. Speech is difficult adding to the crew's level ofdisorganization. Andrews sees some men fumbling with the mechanism of one ofthe Wellin davits and yells to them over the roar of steam.                                  ANDREWSTurn to the right! Pull the falls taut before you unchock. Have you neverhad a boat drill?                                   SEAMANNo sir! Not with these new davits, sir.He looks around, disgusted as the crew fumble with the davits, and thetackle for the "falls"... the ropes which are used to lower the boats. A fewpassengers are coming out on deck, hesitantly in the noise and bitter cold.                                                                    CUT TO:165 INT. ROSE AND CAL'S SUITEFrom inside the sitting room they can hear knocking and voices in thecorridor.                                    RUTHI had better go dress.Ruth exits and Hockley crosses to Rose. He regards her coldly for a moment,then SLAPS her across the face.                                    CALIt is a little slut, isn't it?To Rose the blow is inconsequential compared to the blow her heart has beengiven. Cal grabs her shoulders roughly.                                    CALLook 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 BARNESSir, I've been told to ask you to please put on your lifebelt, and come upto the boat deck.                                    CALGet out. We're busy.The steward persists, coming in to get the lifebelts down from the top of adresser.                                  STEWARDI'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.                                    CALThis is ridiculous.In the corridor outside the stewards are being so polite and obsequious theyare conveying no sense of danger whatsoever. However, it's another storyin...                                                                    CUT TO:166 INT. STEERAGE BERTHING AFTBLACKNESS. Then BANG! The door is thrown open and the lights snapped on by asteward. The Cartmell family rouses from a sound sleep.                                 STEWARD #2Everybody 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 #2Lifebelts 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 ROOMON PHILLIPS, looking shocked.                                  PHILLIPSCQD, sir?                                   SMITHThat's right. The distress call. CQD. Tell whoever responds that we aregoing down by the head and need immediate assistance.Smith hurries out.                                  PHILLIPSBlimey.                                   BRIDEMaybe 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 DECKThomas 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.                                  ANDREWSWhere are all the passengers?                                  MURDOCHThey'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 FOYERA large number of First Class passengers have gathered near the staircase.They are getting indignant about the confusion. Molly Brown snags a passingYOUNG STEWARD.                                   MOLLYWhat'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 STEWARDSorry, 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 panic.Hockley's entourage comes up to the A-deck foyer. Cal is carrying thelifebelts, almost as an afterthought. Rose is like a sleepwalker.                                    CALIt's just the God damned English doing everything by the book.                                    RUTHThere'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. She walksover to him and Cal goes after her.                                    ROSEI saw the iceberg, Mr. Andrews. And I see it in your eyes. Please tell methe truth.                                  ANDREWSThe ship will sink.                                    ROSEYou're certain?                                  ANDREWSYes. In an hour or so... all this... will be at the bottom of the Atlantic.                                    CALMy God.Now it is Cal's turn to look stunned. The Titanic? Sinking?                                  ANDREWSPlease 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?                                    ROSEYes, I understand. Thank you.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 OFFICELovejoy 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--                                  CREWMANYou're wanted by the Purser, sir. Urgently.                                  LOVEJOYGo 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. BRIDGEJunior Wireless Operator Bride is relaying a message to Captain Smith fromthe CUNARD LINER CARPATHIA.                                   BRIDECarpathia says they're making 17 knots, full steam for them, sir.                                   SMITHAnd she's the only one who's responding?                                   BRIDEThe only one close, sir. She says they can be here in four hours.                                   SMITHFour hours!The enormity of it hits Smith like a sledgehammer blow.                                   SMITHThank you, Bride.He turns as Bride exits, and looks out onto the blackness.                                   SMITH                                (to himself)My God.                                                                    CUT TO:172 EXT. BOAT DECK - NIGHTLightoller 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 sable stoles. Some brought jewels, others books, evensmall dogs.Lightoller sees Smith walking stiffly toward him and quickly goes to him. Heyells into the Captain's ear, through cupped hands, over the roar of thesteam...                                 LIGHTOLLERHadn'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.                                  HARTLEYNumber 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.                                 LIGHTOLLERLadies, please. Step into the boat.Finally one woman steps across the gap, into the boat, terrified of the dropto the water far below.                               WOMAN IN CROWDYou 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.                                    RUTHMy 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.                                    CALStay here, Ruth.Ruth sees his expression, and knows fear for the first time.                                                                    CUT TO:173 INT. STEERAGE BERTHING AFT / CORRIDORS AND STAIRWELLIt is chaos, with stewards pushing their way through narrow corridorsclogged with people 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 reach 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 seamen onthe other side.                                  STEWARDStay calm, please. It's not time to go up to the boats yet.Near Tommy, an IRISHWOMAN stands stoically with two small children and theirbattered luggage.                                 LITTLE BOYWhat are we doing, mummy?                                   WOMANWe're just waiting, dear. When they finish 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 SIDEBoat 7 is less than half full, with 28 aboard a boat made for 65.                           FIRST OFFICER MURDOCHLower away! By the left and right together, steady 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 OFFICETRACKING 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 rising upthe 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 bullet onthe desk and watches it roll across and fall off. He picks up the bullet.                                  LOVEJOYYou 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.                                  LOVEJOYCompliments 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, FORWARDAt 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.                                   ISMAYThere 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 up fromthe tangled falls at the madman.                                    LOWEGet out of the way, you fool!                                   ISMAYDo you know who I am?Lowe, not having a clue nor caring, squares up to Ismay.                                    LOWEYou'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 SIDESECOND OFFICER LIGHTOLLER is loading the boat nearest Cal and Rose... Boat6.                                 LIGHTOLLERWomen 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 to getan exposure off the rocket's light. he has Mary posed in front of the sceneat the boats.                                   MARVINYou'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.                                   MOLLYCome on, you heard the man. Get in the boat, sister.                                    RUTHWill the lifeboats be seated according to class? I hope they're not toocrowded--                                    ROSEOh, Mother shut up!                         (Ruth freezes, mouth open)Don't you understand? The water is freezing and there aren't enough boats...not enough by half. Half the people on this ship are going to die.                                    CALNot 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.                                    ROSEYou unimaginable bastard.                                   MOLLYCome 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.                                   MOLLYCome on, Rose. You're next, darlin'.Rose steps back, shaking her head.                                    RUTHRose, get in the boat!                                    ROSEGoodbye, 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.                                    CALWhere are you going? To him? Is that it? To be a whore to that gutter rat?                                    ROSEI'd rather be his whore 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 go witha curse and she runs into the crowd.                                 LIGHTOLLERLower away!!                                    RUTHRose! ROSE!!                                   MOLLYStuff 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.                                    ROSEThat 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 through the First Class entrance.Cal breaks free and runs after her. He reaches the entrance, but runs into aknot of people coming out. He pushes rudely through them...                                                                    CUT TO:178 INT. BOAT DECK FOYER / STAIRCASE / A-DECK FOYERCal 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 6The 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.                                  HITCHINSKeep pulling... away from the ship. Pull.                                   MOLLYAin'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, othersbeing lowered.                                                                    CUT TO:180 INT. MASTER AT ARMS OFFICE / CORRIDORJack pulls on the pipe with all his strength. It's not budging. He hearsgurgling sound. Water pours under the door, spreading rapidly across thefloor.                                    JACKShit.He tries to pull one hand out of the cuffs, working until the skin is raw...no good.                                    JACKHelp!! 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 hear it.                                                                    CUT TO:182 INT. FIRST CLASS CORRIDORThomas Andrews is opening stateroom doors, checking that people are out.                                  ANDREWSAnyone in here?Rose runs up to him, breathless.                                    ROSEMr. Andrews, thank God! Where would the Master at Arms take someone underarrest?!                                  ANDREWSWhat? You have to get to a boat right away!                                    ROSENo! 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.                                    ROSEBottom, left, right. I have it.                                  ANDREWSHurry, Rose.                                                                    CUT TO:183 INT. FOYER / ELEVATORSRose runs up as the last Elevator Operator is closing up his lift to leave.                                  OPERATORSorry, miss, lifts are closed--Without thinking she grabs him and shoves him back into the lift.                                    ROSEI'm through with being polite, goddamnit!! I may never be polite the rest ofmy life! Now take me down!!The operator fumbles to close the gate and start the lift.                                                                    CUT TO:184 EXT. OCEAN / BOAT 6Molly and the two seamen are rowing, and they've made it a hundred feet orso. Enough to see that the ship is angled down into the water, with the bowrail less than ten feet above the surface.                                   MOLLYCome 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 Atlantic.                                                                    CUT TO:185 INT. FIRST CLASS ELEVATOR / CORRIDORSThrough 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.                                    ROSELeft, crew passage.She spots it and slogs down the flooded corridor. The place isunderstandably deserted. She is on her own.                                    ROSERight, right... right.She turns into a cross-corridor, splashing down the hall. A row of doors oneach side.                                    ROSEJack? Jaaacckk??                                                                    CUT TO:186 INT. MASTER AT ARMS OFFICE / CORRIDORJack 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.                                    JACKROSE!! 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.                                    ROSEJack, Jack, Jack... I'm sorry, I'm so sorry.They are so happy to see each other it's embarrassing.                                    JACKThat guy Lovejoy put it in my pocket.                                    ROSEI know, I know.                                    JACKSee 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.                                    JACKSo... how did you find out I didn't do it?                                    ROSEI didn't.                             (she looks at him)I just realized I already knew.They share a look, then she goes back to ransacking the room, searchingdrawers 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 ONEWhile 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.                                   LUCILEI 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 OFFICERose stops trashing the room, and stands there, breathing hard.                                    ROSEThere's no key in here.They look around at the water, now almost two feet deep. Jack has pulled hisfeet up onto the bench.                                    JACKYou have to go for help.                                    ROSE                                 (nodding)I'll be right back.                                    JACKI'll wait here.She runs out, looking back at him once from the doorway, then splashes away.Jack looks down at the swirling water.                                                                    CUT TO:190 INT. STAIRWELL AND CORRIDORSRose 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 her stockingsand 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.                                    ROSEHello? 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 the water,sending up geysers of spray. He pelts past her without slowing, his eyescrazed...                                    ROSEHelp me! We need help!He doesn't look back. It is like a bad dream. The hull gongs with terrifyingsounds.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.                                  STEWARDCome on, then, let's get you topside, miss, that's right.                                    ROSEWait. Wait! I need your help! There's--                                  STEWARDNo need for panic, miss. Come along!                                    ROSENo, 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.                                  STEWARDTo Hell with you!                                    ROSESee you there, buster!The steward runs off, holding his bloody nose. She spits after him. Just theway Jack taught: 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 powers forward,holding the axe above her head in two hands. She grimaces at the pain fromthe literally freezing water.                                                                    CUT TO:193 INT. MASTER AT ARMS OFFICEJack has climbed up on the bench, and is hugging the waterpipe. Rose wadesin, holding the axe above her head.                                    ROSEWill this work?                                    JACKWe'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 either sideof it.                                    JACKTry a couple practice swings.Rose hefts the axe and thunks it into a wooden cabinet.                                    JACKNow try to hit the same mark again.She swings hard and the blade thunks in four inches from the mark.                                    JACKOkay, 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 force 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.                                    JACKNice work, there, Paul Bunyan.He climbs down into the water next to her. He can't breathe for a second.                                    JACKShit! Excuse my French. Ow ow ow, that is cold! Come on, let's go.They wade out into the hall. Rose starts toward the stairs going up, butJack stops her. There is only about a foot of the stairwell opening visible.                                    JACKToo deep. We gotta find another way out.                                                                    CUT TO:194 EXT. BOAT 6 AND TITANICTIGHT 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 green asthey 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.                                   MOLLYNow there's somethin' you don't see every day.                                                                    CUT TO:196 INT. SCOTLAND ROAD / E-DECKThe 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 the forceof Jack's shoulder. Jack and Rose stumble through, into the corridor. ASTEWARD, who was nearby herding people along, marches over.                                  STEWARDHere 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 blocked bylarge families carrying all their luggage.AN IRISH WOMAN gives Rose a blanket, more for modesty than because she isblue-lipped and shivering.                                 IRISHWOMANHere, 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.                                  IRISHMANThis'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 DECKON THE BOAT DECK, the action has moved to the aft group of boats, numbers 9,11, 13 and 15 on the starboard side, and 10, 12, 14 and 16 on the port side.The pace of work is more frantic. You see crew and officers running now towork 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 separated 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.                                   WOMANWill 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.                                  ANDREWSWhy are the boats being launched half full?!Lightoller steps past him, helping a seaman clear a snarled fall.                                 LIGHTOLLERNot 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!                                 LIGHTOLLERWell... we were not sure of the weight--                                  ANDREWSRubbish! 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.                                  LOVEJOYShe's not on the starboard side either.                                    CALWe're running out of time. And this strutting martinet...                          (indicating Lightoller)...isn't letting any men in at all.                                  LOVEJOYThe one on the other side is letting men in.                                    CALThen 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 OFF toa finely dressed elderly couple, IDA and ISADOR STRAUSS.                                   ISADORPlease, Ida, get into the boat.                                    IDANo. 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.                                 LIGHTOLLERLower away!!                                                                    CUT TO:198 EXT. BRIDGE / FORWARD WELL DECK / FOC'SLEAT 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 OMITTED200 OMITTED201 INT. E-DECK CORRIDORS AND STAIRWELLFabrizio, standing with Helga Dahl and her family, hears Jack's voice.                                    JACKFabrizio! Fabri!Fabrizio turns and sees Jack and Rose pushing through the crowd. He and Jackhug like brothers.                                  FABRIZIOThe boats are all going.                                    JACKWe 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 the stairwell.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 #2Women 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, shovingand punching them.                                 STEWARD #2Get 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 cry goesup among the crowd, who surge forward, pounding against the steel andshouting in several languages.                                   TOMMYFor the love of God, man, there are children down here! Let us up, so we canhave a chance!But the crewmen are scared now. They have let the situation get out of hand,and now they have a mob. Tommy gives up and pushes his way back through thecrowd, going down the stairs. He rejoins Jack, Rose and Fabrizio.                                   TOMMYIt's hopeless that way.                                    JACKWell, 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 to theboats. 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.                                  FABRIZIOHelga... 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".                                  FABRIZIOI 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 OMITTED203 OMITTED204 INT. CAL AND ROSE'S SUITECLUNK! 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, AFTJack, 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 what thesigns mean, while his wife and children wait patiently.Jack et al come upon a narrow stairwell and they go up two decks before theyare stopped by a small group pressed up against a steel gate. The steeragemen are yelling at a scared STEWARD.                                  STEWARDGo 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.                                    JACKGod 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.                                    ROSEMove aside! Quickly, move aside!Jack and Tommy run up the steps with the bench and RAM IT INTO THE GATE withall their strength. It rips loose from its track and falls outward, narrowlymissing the steward. Led by Jack, the crowd surges though. Rose steps up tothe cowering steward and says in her most imperious tone:                                    ROSEIf 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 the boatdeck... now.Class wins out. He nods dumbly motions form them to follow.                                                                    CUT TO:206 EXT. BOAT 6 / TITANIC - NIGHTRuth rows with Molly Brown, two other women and the incompetent sailors. Sherests 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.                                   SMITHCome 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.                                  HITCHINSThe suction will pull us right down if we don't keep going.                                   MOLLYWe got room for lots more. I say we go back.                                  HITCHINSNo! 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 megaphone slowly                                   SMITHThe fools.                                                                    CUT TO:210 INT. A-DECK FOYERAs Cal and Lovejoy cross the foyer encounter Benjamin Guggenheim and hisvalet, both dressed in white tie, tail-coats and top hats.                                    CALBen, what's the occasion?                                 GUGGENHEIMWe have dressed in our best and are prepared to go down like gentlemen.                                    CALThat'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 ROOMThere are still two card games in progress. The room is quiet and civilized.A silver serving cart, holding a large humidor, begins to roll slowly acrossthe room. One of the cardplayers takes a cigar from it as it rolls by.                                 CARDPLAYERIt seems we've been dealt a bad hand this time.                                                                    CUT TO:212 EXT. / INT. A-DECK PROMENADECal 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 unsteadily.                                                                    CUT TO:213 EXT. BOAT DECK AND A-DECK, AFTPANIC 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.                                 LIGHTOLLERGet back! Keep order!The men back down. Fifth Officer Lowe standing in the boat, yells to thecrew.                                    LOWELower 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, AFTCal and Lovejoy arrive in time to see Murdoch lowering his last boat.                                    CALWe're too late.                                  LOVEJOYThere 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 the waterbut still attached to its falls, is pushed aft by the discharge water beingpumped out of the ship. It winds up directly under boat 15, which is comingdown 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 before ittouches the water with a slap.Cal, looking down from the rail hears GUNSHOTS--                                                                    CUT TO:216 EXT. BOAT DECK / A-DECK, PORT, AFTFifth 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.                                    LOWEStay back you lot!BLAM! BLAM!                                                                    CUT TO:217 EXT. BOAT DECK, STARBOARD, AFTThe shots echo away.                                    CALIt'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.                                    CALMr. Murdoch, I'm a businessman, as you know, and I have a businessproposition for you.                                                                    CUT TO:218 OMITTED219 EXT. BOAT DECK, PORTJack, Rose et al burst out onto the boat deck from the crew stairs just aftof the third funnel. They look at the empty davits.                                    ROSEThe boats are gone!She sees Colonel Gracie chugging forward along the deck, escorting two firstclass ladies.                                    ROSEColonel! 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.                                   TOMMYMusic to drown by. Now I know I'm in First Class.                                                                    CUT TO:220 EXT. BOAT DECK, STARBOARD, FORWARDWater 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, includingtwo 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 ofthe pocket of his overcoat and into the waist pocket of Murdoch's greatcoat,leaving the stacks of bills there.                                    CALSo we have an understanding then?                                  MURDOCH                              (nodding curtly)As you've said.Cal, satisfied, steps back. He finds himself waiting next to J. Bruce Ismay.Ismay does not meet his eyes, nor anyone's. Lovejoy come sup to Cal at thatmoment.                                  LOVEJOYI've found her. She's just over on the port side. With him.                                  MURDOCHWomen and children? Any more women and children?                             (glancing at Cal)Any one else, then?Cal looks longingly at his boat... his moment has arrived.                                    CALGod damn it to hell! Come on.He and Lovejoy head for the port side, taking a short-cut through thebridge.Bruce Ismay, seeing his opportunity, 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 - NIGHTON 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.                                 LIGHTOLLERWomen 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                                  HUSBANDGoodbye 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.                                  HUSBANDHold 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 woman whois about to board.                                    MANPlease get this to my wife in DeMoines, Iowa.Jack looks at Tommy and Fabrizio.                                    JACKYou better check out the other side.They nod and run off, searching for a way around the deckhouse.                                    ROSEI'm not going without you.                                    JACKGet in the boat, Rose.Cal walks up just then.                                    CALYes. 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.                                    CALMy 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.                                 LIGHTOLLERQuickly, ladies. Step into the boat. Hurry, please!                                    JACKGo on. I'll get the next one.                                    ROSENo. 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.                                    CALGet 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 herself steppingdown into the boat. It's all a rush and blur.                                 LIGHTOLLERLower away!The two men watch at the rail as the boat begins to descend.                                    CAL                                   (low)You're a good liar.                                    JACKAlmost as good as you.                                    CALI 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 the pulleysas the seamen start to lower. All sound going away... Lightoller givingorders, his lips moving... but Rose hears only the blood pounding in herears... this cannot be happening... a rocket bursts above in slow-motion,outlining Jack in a halo of light... Rose's hair blowing in slow motion asshe gazes up at him, descending away from him... she sees his handtrembling, the tears at the corners of his eyes, and cannot believe theunbearable 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. Reaches thegunwale, 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.                                    JACKNo 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 STAIRCASETRACKING 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.                                    JACKRose, 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.                                    ROSEYou jump, I jump, right?                                    JACKRight.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 HAND onhim, but Cal whips around, grabbing the pistol from Lovejoy's waistband inone 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, runningdown the steps toward them. A bullet blows a divet out of the oak panellingbehind Jack's head as he pulls Rose down the next flight of stairs.Hockley steps on the skittering head of the cherub statue and goessprawling. The gun clatters across the marble floor. He gets up, and reelingdrunkenly goes over to retrieve it.                                                                    CUT TO:224 INT. D-DECK RECEPTION ROOMThe 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 retreats up the stairs a couple ofsteps. 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.                                  LOVEJOYWhat could possible be funny?                                    CALI 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.                                    CALI 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 as hecrosses the pool into the dining saloon.                                                                    CUT TO:225 INT. DINING SALOONLovejoy moves among the tables and ornate columns, searching... listening...his eyes tracking rapidly. It is a sea of tables, and they could beanywhere. A silver serving trolley rolls downhill, bumping into tables andpillars.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. They seethe water advancing toward them, swirling over the floor. They crawl aheadof 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 a table,crashing over it, and toppling to the floor. They land in the water which isflowing 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. Lovejoyscrambles up and lunges at him, but Jack GUTPUNCHES him right in the solarplexus, doubling him over.                                    JACKCompliments of the Chippewa Falls Dawsons.He grabs Lovejoy and slams him into an ornate column. Lovejoy drops to thefloor with a splat, stunned.                                    JACKLet'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 / STAIRWELLThey run through 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 climbs 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 few steps to looks alongthe next deck.                                                                    CUT TO:227 INT. E-DECK CORRIDORSThe corridor is awash, about a foot deep. Standing against the wall, about50 feet away, is a little BOY, about 3. The water swirls around his legs andhe is wailing.                                    ROSEWe 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.                                    JACKCome 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.                                    JACKBack! 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--                                    ROSENo! Not that way! Come back!228 DOUBLE DOORS BLAST OPEN. A wall of water thunders into the corridor. Thefather 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. STAIRWELLJack 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.                                    JACKWait! 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.                                    ROSEHelp us! Please!The steward stops and looks back. He sees Jack and Rose at the gate, theirarms reaching through... sees the water POURING through the gate onto thelanding.                                  STEWARDFucking 'ell!He runs back, slogging against the current. 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.                                    JACKCome 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 SIDECal 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' QUARTERSLightoller, 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.                                 LIGHTOLLERHold 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 OMITTED233 INT. STAIRWELLJack and Rose run up seemingly endless stairs as the ship groans and torquesaround them.                                                                    CUT TO:234 EXT. BOAT DECK, STARBOARD SIDEMurdoch, at Collapsible A, is no longer in control. The crowd is threateningto rush the boat. They push and jostle, yelling and shouting at theofficers. The pressure from behind pushes them forward, and one guy fallsoff the edge of the deck into the water less than ten feet below.                                   TOMMYGive us a chance to live, you limey bastards!Murdoch fires his Webley twice in the air, then point it at the crowd.                                  MURDOCHI'll shoot any man who tries to get past me.Cal steps up to him.                                    CALWe had a deal, damn you.Murdoch pushes him back, pointing the pistol at Cal.                                  MURDOCHGet back!A man next to Tommy rushes forward, and Tommy is shoved from behind. MurdochSHOOTS the first man, and seeing Tommy coming forward, puts a bullet intohis chest.Tommy collapses, and Fabrizio grabs him, holding him in his arms as his lifeflows out over the deck.Murdoch turns to his men and salutes smartly. Then he puts the pistol to histemple and... BLAM! He drops like a puppet with the strings cut and topplesover the edge of the boat deck into the water only a few feet below.Cal stares in horror at Murdoch's body bobbing in the black water. The MONEYFLOATS out of the pocket of his greatcoat, the bills spreading across thesurface.The crew rush to get the last few women aboard 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, cradlingher 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.                                    CALThere, there.                                                                    CUT TO:235 INT. FIRST CLASS SMOKE ROOMThomas 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. Behindhim Jack and Rose run into the room, out of breath and soaked. They runthrough, toward the aft revolving door... then Rose recognizes him. She seesthat his lifebelt is off, lying on a table.                                    ROSEWon'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.                                  ANDREWSGood 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 LOCATIONSThe band finishes the waltz. Wallace Hartley looks at the orchestra members.                                  HARTLEYRight, 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 one theband members 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 transforms 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 a bedin a FIRST CLASS CABIN. Elderly Ida and Isador Strauss stare at the ceiling,holding hands like young lovers. Water pours into the room through adoorway. It swirls around the bed, two feet deep rising fast.241 IN A STEERAGE CABIN somewhere in the bowels of the ship, the young IRISHMOTHER, seen earlier stoically waiting at the stairs, is tucking her twoyoung children into bed. She pulls up the covers, making sure they are allwarm and cozy. She lies down with them on the bed, speaking soothingly andholding them.                                                                    CUT TO:EXT. BOAT DECK / BRIDGE242 IN A WIDE SHOT we see a wave travel up the boat deck as the bridge housesinks 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 the collapsibleunder.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 water climbingthe windows of the enclosed wheelhouse. He has the stricken expression of adamned soul on Judgment Day. The windows burst suddenly and a wall of wateredged with shards of glass slams into Smith. He disappears in a vortex offoam.246 Collapsible A is hit by a wave as the bow plunges suddenly. It partiallyswamps the boat, washing it along the deck. Over a hundred passengers areplunged into the freezing water and the area around the boat becomes afrenzy of splashing, screaming people.As men are trying to climb into the collapsible, Cal grabs an oar and pushesthem back into the water.                                    CALGet 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 his violin.                                  HARTLEYGentlemen, it has been a privilege playing with you tonight.                                                                    CUT TO:248 EXT. A-DECK AFT, PORT SIDEJack 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 there is chaos on deck. Jack helps her put her lifebelt on. Peoplestream around them, shouting and pushing.                                    JACKOkay... we keep moving aft. We have to stay on the ship as long as possible.They push their way aft through the panicking crowd.                                                                    CUT TO:249 EXT. FORWARD FUNNELCollapsible A is whirled like a leaf in the currents around the sinking ship.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 STICKLED 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 the ventilator, ejectingFabrizio. He surfaces in a roar of foam and keeps swimming.                                                                    CUT TO:251 EXT. A-DECK / B-DECK / WELL DECK, AFTJack 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. Shedangles, then falls. Jack jumps down behind her.They join a crush of people literally clawing and scrambling over each otherto 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.                                    MANYeah, though I walk through the valley of the shadow of death--                                    JACKYou wanna walk a little faster through that valley, fella?                                                                    CUT TO:252 EXT. FORWARD FUNNELThe 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 whomps intothe water with a tremendous splash. People swimming underneath it disappearin 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 the funneldraws 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 whirlpool forms,a hole in the ocean, like at enormous toiler-flush. T. W. McCauley, the gyminstructor swims in a frenzy as the vortex draws him in. He is sucked downlike a spider going down a drain.Fabrizio, nearby, swims like Hell as more people are sucked down behind him.He manages to get clear. He's going to live no matter what it takes.                                                                    CUT TO:253 INT. BOAT DECK FOYER / GRAND STAIRCASEWater roars 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 EXPLODE INWARDwith the wave of water washing over it. A Niagara of sea water thunders downinto the room, blasting through the first class opulence. IT is theArmageddon of elegance.                                                                    CUT TO:254 OMITTED255 INT. BELOWDECKSThe 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. BertCartmell shakes the gate futilely, shouting for help. Little Cora wails asthe water boils up around them all.                                                                    CUT TO:256 EXT. STERNRose 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.                                  JOUGHINSorry, miss!Hundreds of people are already on the poop deck, and more are pouring upevery second. Jack and Rose cling together as they 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 OMITTED259 OMITTED260 EXT. STERNON THE POOP DECK Jack and Rose struggle aft as the angle increases. Hundredsof passengers, clinging to every fixed object on deck, huddle on their kneesaround FATHER BYLES, who has his voice raised in prayer. They are praying,sobbing, or just staring at nothing, their minds blank with dread.Pulling himself from handhold to handhold, Jack tugs Rose aft along thedeck.                                    JACKCome 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 rail, jammed in between other people. It is the spotwhere Jack pulled her back onto the ship, just two night... and a lifetime...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 BYLESI 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 loud voicefrom the throne ring out this is God's dwelling among men. He shall dwellwith them and they shall be his people and He shall be their God who isalways 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.                                   MOTHERShhh. Don't cry. It'll be over soon, darling. It'll all be over soon.                                FATHER BYLESHe 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-- VARIOUSAs 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 and slidesaway 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 the bronzehub 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 6268 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, unbelievable, unthinkable. Ruth stares at thespectacle, unable to frame it or put it into any proportion.                                MOLLY BROWNGod Almighty.The great liner's lights flicker.                                                                    CUT TO:270 INT. ENGINE ROOMIn darkness Chief Engineer Bell hangs onto a pipe at the master brakerpanel. Around him men climb through tilted cyclopean machines 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. TITANICWIDE SHOT. The lights go out all over the ship. Titanic becomes a vast blacksilhouette 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. He canavert 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 DECKNear 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 steelLOVEJOY 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 and itrips free. He falls backward into the pit of jagged metal.Fires, explosions and sparks light the yawning chasm as the hull splits downthrough nine decks to the keel. The sea pours into the gaping wound--                                                                    CUT TO:273 INT. ENGINE ROOMIt is a thundering black hell. Men scream as monstrous machinery comes apartaround them, steel frames twisting like taffy. Their torches illuminate theroaring, foaming demon of water as it races at the through the machines.Trying to climb they are overtaken in seconds.                                                                    CUT TO:274 EXT. TITANIC - NIGHTThe 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 massive sternsection falls back almost level, thundering down into the sea and pushingout 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 salvation.                               SEVERAL PEOPLEWe'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 something. 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.                                    JACKWe have to move!He climbs over the stern rail and reaches back for Rose. She is terrified tomove. He grabs her hand.                                    JACKCome 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 VERTICAL. 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 sea atthe base of the stern section. People near them, who didn't climb over, hangfrom the railing, their legs dangling over the long drop. They fall one byone, plummeting down the vertical face of the poop deck. Some of them bouncehorribly 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. Looking downa hundred feet to the water, we drop like an elevator with Jack and Rose.                                    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 of myhand. We're gonna make it Rose. Trust me.She stares at the water coming up at them, and grips his hand harder.                                    ROSEI 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 SURFACEBodies 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 are stunned,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 form deathby fire.A man pushes Rose under, trying to climb on top of her... senselessly tryingto get out of the water, to climb onto anything. Jack PUNCHES himrepeatedly, pulling her free.                                    JACKSwim, 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.                                    JACKKeep 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 OMITTED283 EXT. OCEANJack strokes rhythmically, the effort keeping him from freezing.                                    JACKLook for something floating. Some debris... wood... anything.                                    ROSEIt's so cold.                                    JACKI 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 something in the water.                                    ROSEWhat'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, almostdumping Rose off. It is clearly only big enough to support her. He clings toit, close to her, keeping his upper body out of the water as best he can.Their breath floats around them in a cloud as they pant from exertion. A MANswims toward them, homing in on the piece of debris. Jack warns him back.                                    JACKIt's just enough for this lady... you'll push it under.                                    MANLet me try at least, or I'll die soon.                                    JACKYou'll die quicker if you come any closer.                                    MANYes, I see. Good luck to you then.                               (swimming off)God bless.                                                                    CUT TO:284 EXT. COLLAPSIBLE A / OCEANThe 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.                                    CALStay back! Keep off!Fabrizio, exhausted and near the limit, makes it almost to the boat. CalCLUBS HIM with the oar, cutting open his scalp.                                  FABRIZIOYou 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 demon ina tuxedo. The image fades to black.                                                                    CUT TO:285 EXT. OCEANJACK AND ROSE still float amid a chorus of the damned. Jack sees the ship'sofficer nearby, CHIEF OFFICER WILDE. He is blowing his whistle furiously,knowing the sound will carry over the water for miles.                                    JACKThe 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.                                    ROSEThank God for you Jack.People are still screaming, calling to the lifeboats.                                   WOMANCome back! Please! We know you can hear us. For God's sake!                                    MANPlease... help us. Save one life! SAVE ON LIFE!                                                                    CUT TO:286 EXT. LIFEBOATS / OCEANIN 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.                                  HITCHINSThey'll pull us right down I tell ya!                                   MOLLYAw 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.                                   MOLLYI 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.                                  HITCHINSIf 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 HENDRICKSONWe should do something.Lucile squeezes Cosmo's hand and pleads him with her eyes. She is terrified.                                 SIR COSMOIt'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. OCEANJack and Rose drift under the blazing stars. The water is glassy, with onlythe faintest undulating swell. Rose can actually see the stars reflecting onthe 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 darkness around them.                                    ROSEIt's getting quiet.                                    JACKJust 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. Heis slumped in his lifejacket, looking almost asleep. He has died of exposurealready.                                    JACKI 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 eyes inthe dim light.                                    ROSEI love you Jack.He takes her hand.                                    JACKNo... don't say your good-byes, Rose. Don't you give up. Don't do it.                                    ROSEI'm so cold.                                    JACKYou're going to get out of this... you're going to go on and you're going tomake babies and watch them grow and you're going to die an old lady, warm inyour bed. Not here. Not this night. Do you understand me?                                    ROSEI can't feel my body.                                    JACKRose, listen to me. Listen. Winning that ticket was the best thing that everhappened to me.Jack is having trouble getting the breath to speak.                                    JACKIt 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.                                    JACKYou must do me this honor... promise me you will survive... that you willnever give up... no matter what happens... no matter how hopeless... promiseme now, and never let go of that promise.                                    ROSEI promise.                                    JACKNever let go.                                    ROSEI 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 - NIGHTFifth Officer Lowe, the impetuous young Welshman, has gotten Boats 10, 12and Collapsible D together with his own Boat 14. A demon of energy, he's hadeveryone hold the boats together and is transferring passengers from 14 intothe 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.                                    LOWERight, man the oars.                                                                    CUT TO:290 EXT. OCEAN / BOAT 14The 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 signposts, 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 trunk. 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. OCEANIN 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 a gloriousband 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. Herbreathing is so shallow, she is almost motionless. Her eyes track down fromthe stars to the water.ROSE'S POV... SLOW MOTION: The silhouette of a boat crossing the stars. Shesees 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, silhouetting the bobbing corpses in between. It flicks past hermotionless form and moves on. The boat is 50 feet away, and moving past her.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. Rose gentlyturns 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.                                    ROSEOh, 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 reason toeven 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 something ahead,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.                                    ROSEI 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 unconsciousness and they scramble to cover her with blankets...                                                               DISSOLVE TO:295 INT. IMAGING SHACK / KELDYSHEXTREME CLOSEUP of Rose's ancient, wrinkled face. Present day.                                  OLD ROSEFifteen 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 reality ofwhat happened here 84 years before has hit them like never before. With herstory 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 ROSEAfterward, the seven hundred people in the boats had nothing to do butwait... wait to die, wait to live, wait for an absolution which would nevercome.                                                               DISSOLVE TO:296 EXT. LIFEBOATS / OPEN SEA - PRE-DAWNMATCHING 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 visible, white asthe moon. The man next to her jumps up, pointing and yelling. Soon everyoneis looking and shouting excitedly. In Rose's POV it is all silent, SLOWMOTION.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 - DAWNGolden light 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 - DAYIMAGES 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, partelegy, 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 with 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 - DAYIt 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 steward approacheshim.                             CARPATHIA STEWARDYou 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.                                    ROSEYes, I lived. How awkward for you.                                    CALRose... your mother and I have been looking for you--She holds up her hand, stopping him.                                    ROSEPlease 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. Inreturn I will keep my silence. Your actions last night need never come tolight, 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.                                    ROSEIs this in any way unclear?                                    CAL                            (after a long beat)What do I tell your mother?                                    ROSETell her that her daughter died with the Titanic.She stands, turning to the rail. Dismissing him. We see Cal stricken withemotion.                                    CALYou're precious to me, Rose.                                    ROSEJewels 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 pistol inhis mouth that year. His children fought over the scraps of his estate likehyenas, 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 DISGORGES 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 packed with friendsand relatives, 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 equivalent ofa media circus. They jostle to get close to the survivors, tugging on themas they pass and shouting over each other to ask them questions.Rose is covered with a woollen shawl and walking with a group of steeragepassengers. Immigration officers are asking them questions as they come offthe gangway.                            IMMIGRATION OFFICERName?                                    ROSEDawson. 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 to embracean older woman along the survivors, who cries out with joy. The reportersconverge 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 a butterfly.If a mindless insect can do it, why couldn't I? Was it any more unimaginablethan 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 she is s till walking, determined.                                                                    CUT TO:303 INT. IMAGING SHACK / KELDYSHOld 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 handle inher gnarled hands.                                   BODINEWe never found anything on Jack. There's no record of him at all.                                  OLD ROSENo, 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, inevery 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 OMITTED305 EXT. OCEAN FLOOR / TITANIC WRECKThe Mir submersibles make their last pass over the ship. We hear Yuri thepilot on the UQC:                                    YURIMir 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 DECKA desultory wrap party for the expedition is in progress. There is music andsome of the (co-ed) Russian crew are dancing. Bodine is getting drunk in theaggressive style of Baker Joughin.Lovett stands at the rail, looking down into the black water. Lizzy comes tohim, offering him a beer. She puts her hand on his arm.                                   LIZZYI'm sorry.                                   LOVETTWe were pissin' in the wind the whole time.Lovett notices a figure move through the lights far down at the stern of theship.                                   LOVETTOh shit.                                                                    CUT TO:307 EXT. KELDYSH STERN DECKRose walks through the shadows of the deck machinery. Her nightgown blows inthe wind. Her feet are bare. Her hands are clutched at her chest, almost asif she is praying.ON LOVETT AND LIZZY running down the stairs from the top deck, hauling ass.ROSE reaches the stern 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.                                   LIZZYGrandma, 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.                                    ROSEDon't come any closer.                                   LOVETTYou 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 hands inher pockets. She stops, feeling something, and pulls out the necklace. Shestares at it in amazement.BACK ON KELDYSH, Rose smiles at Brock's incomprehension.                                    ROSEThe 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.                                   BODINEHoly shit.                                   LOVETTDon'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.                                    ROSEI 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...                                   LOVETTJust 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 her atthe stern of Titanic.Surprisingly, she calmly places the massive 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.                                   LOVETTMy God.His grip tightens on the diamond.He looks up, meeting her gaze. Her eyes are suddenly infinitely wise anddeep.                                    ROSEYou 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 out ofhis 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.                                   BODINEAww!! 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.                                   LOVETTWould 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 infinite depths.                                                                    CUT TO:309 INT. ROSE'S CABIN / KELDYSHA 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... Rose withher 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:BLACKNESS310 THE WRECK OF TITANIC looms like a ghost out of the dark. It is lit by akind of moonlight, a light of the mind. We pass over the endless forecastledeck to the superstructure, moving faster than subs can move... almost likewe are flying.WE GO INSIDE, and the echoing sound of distant waltz music is heard. Therust 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 isvibrant now, and the room is populated by men in tie and tails, women ingowns. It is exquisitely beautiful.IN POV we sweep down the staircase. The crowd of beautiful gentlemen andladies turn as we descend toward them. At the bottom a man stands with hisback to us... he turns and it is Jack. Smiling he holds his hand out towardus.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 silenceof the abyss.